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332_3 | Animalia (book) [SEP] "Animalia" is an alliterative alphabet book and contains twenty-six illustrations, one for each letter of the alphabet. Each illustration features an animal from the animal kingdom (A is for alligator, B is for butterfly, etc.) along with a short poem utilizing the letter of the page for many of the words. The illustrations contain many other objects beginning with that letter that the reader can try to identify. As an additional challenge, the author has hidden a picture of himself as a child in every picture. |
332_4 | Animalia (book) [SEP] Section::::Related products. |
332_5 | Animalia (book) [SEP] Julia MacRae Books published an "Animalia" colouring book in 2008. H. N. Abrams also published a wall calendar colouring book version for children the same year. |
332_6 | Animalia (book) [SEP] H. N. Abrams published "The Animalia Wall Frieze", a fold-out over 26 feet in length, in which the author created new riddles for each letter. |
332_7 | Animalia (book) [SEP] The Great American Puzzle Factory created a 300-piece jigsaw puzzle based on the book's cover. |
332_8 | Animalia (book) [SEP] Section::::Adaptations. |
332_9 | Animalia (book) [SEP] A television series was also created, based on the book, which airs in the United States, Australia, Canada, the United Kingdom, Norway and Venezuela. It also airs on Minimax for the Czech Republic and Slovakia. And recently in Greece on the channel ET1. The Australian Children's Television Foundation released a teaching resource DVD-ROM in 2011 to accompany the TV series with teaching aids for classroom use. |
332_10 | Animalia (book) [SEP] In 2010, The Base Factory and AppBooks released Animalia as an application for iPad and iPhone/iPod Touch. |
332_11 | Animalia (book) [SEP] Section::::Awards. |
332_12 | Animalia (book) [SEP] "Animalia" won the Young Australian's Best Book Award in 1987 for Best Picture Story Book. |
332_13 | Animalia (book) [SEP] The Children's Book Council of Australia designated "Animalia" a 1987 : Honour Book. |
332_14 | Animalia (book) [SEP] Kid's Own Australian Literature Awards named "Animalia" the 1988 Picture Book Winner. |
332_15 | Animalia (book) [SEP] Section::::External links. |
332_16 | Animalia (book) [SEP] BULLET::::- Graeme Base's official website |
332_17 | Animalia (book) [SEP] BULLET::::- A Learning Time activity guide for "Animalia" created by The Little Big Book Club |
309_0 | An American in Paris [SEP] An American in Paris |
309_1 | An American in Paris [SEP] An American in Paris is a jazz-influenced orchestral piece by American composer George Gershwin first performed in 1928. It was inspired by the time that Gershwin had spent in Paris and evokes the sights and energy of the French capital in the 1920s. |
309_2 | An American in Paris [SEP] Walter Damrosch had asked Gershwin to write a full concerto following the success of "Rhapsody in Blue" (1924). Gershwin scored the piece for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. He brought back four Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928, in Carnegie Hall, with Damrosch conducting the New York Philharmonic. He completed the orchestration on November 18, less than four weeks before the work's premiere. He collaborated on the original program notes with critic and composer Deems Taylor. |
309_3 | An American in Paris [SEP] Section::::Background. |
309_4 | An American in Paris [SEP] Although the story is likely apocryphal, Gershwin is said to have been attracted by Maurice Ravel's unusual chords, and Gershwin went on his first trip to Paris in 1926 ready to study with Ravel. After his initial student audition with Ravel turned into a sharing of musical theories, Ravel said he could not teach him, saying, "Why be a second-rate Ravel when you can be a first-rate Gershwin?" That 1926 trip, however, resulted in a snippet of melody entitled "Very Parisienne", that the initial musical motive of "An American in Paris", written as a 'thank you note' to Gershwin's hosts, |
309_5 | An American in Paris [SEP] Robert and Mabel Schirmer. Gershwin called it "a rhapsodic ballet"; it is written freely and in a much more modern idiom than his prior works. |
309_6 | An American in Paris [SEP] Gershwin strongly encouraged Ravel to come to the United States for a tour. To this end, upon his return to New York, Gershwin joined the efforts of Ravel's friend Robert Schmitz, a pianist Ravel had met during the war, to urge Ravel to tour the U.S. Schmitz was the head of Pro Musica, promoting Franco-American musical relations, and was able to offer Ravel a $10,000 fee for the tour, an enticement Gershwin knew would be important to Ravel. |
309_7 | An American in Paris [SEP] Gershwin greeted Ravel in New York in March 1928 during a party held for Ravel's birthday by Éva Gauthier. Ravel's tour reignited Gershwin's desire to return to Paris which he and his brother Ira did after meeting Ravel. Ravel's high praise of Gershwin in an introductory letter to Nadia Boulanger caused Gershwin to seriously consider taking much more time to study abroad in Paris. Yet after playing for her, she told him she could not teach him. Nadia Boulanger gave Gershwin basically the same advice she gave all of her accomplished master students: "What could I give you that you |
309_8 | An American in Paris [SEP] haven't already got?" This did not set Gershwin back, as his real intent abroad was to complete a new work based on Paris and perhaps a second rhapsody for piano and orchestra to follow his "Rhapsody in Blue". Paris at this time hosted many expatriate writers, among them Ezra Pound, W. B. Yeats, Ernest Hemingway; and artist Pablo Picasso. |
309_9 | An American in Paris [SEP] Section::::Composition. |
309_10 | An American in Paris [SEP] Gershwin based "An American in Paris" on a melodic fragment called "Very Parisienne", written in 1926 on his first visit to Paris as a gift to his hosts, Robert and Mabel Schirmer. He described the piece as a "rhapsodic ballet" because it was written freely and is more modern than his previous works. Gershwin explained in "Musical America", "My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere." |
309_11 | An American in Paris [SEP] The piece is structured into five sections, which culminate in a loose ABA format. Gershwin's first A episode introduces the two main "walking" themes in the "Allegretto grazioso" and develops a third theme in the "Subito con brio". The style of this A section is written in the typical French style of composers Claude Debussy and Les Six. This A section featured duple meter, singsong rhythms, and diatonic melodies with the sounds of oboe, English horn, and taxi horns. The B section's "Andante ma con ritmo deciso" introduces the American Blues and spasms of homesickness. The "Allegro" that follows continues |
309_12 | An American in Paris [SEP] to express homesickness in a faster twelve-bar blues. In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum. "Moderato con grazia" is the last A section that returns to the themes set in A. After recapitulating the "walking" themes, Gershwin overlays the slow blues theme from section B in the final "Grandioso". |
309_13 | An American in Paris [SEP] Section::::Instrumentation. |
309_14 | An American in Paris [SEP] "An American in Paris" is scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani, snare drum, bass drum, triangle, wood block, ratchet, cymbals, low and high tom-toms, xylophone, glockenspiel, celesta, 4 taxi horns labeled as A, B, C and D with circles around them, alto saxophone/soprano saxophone, tenor saxophone/soprano saxophone/alto saxophone, baritone saxophone/soprano saxophone/alto saxophone, and strings. Although most modern audiences have heard the taxi horns using the notes A, B, C and D, it |
309_15 | An American in Paris [SEP] has recently come to light that Gershwin's intention was to have used the notes A, B, D, and A. It is likely that in labeling the taxi horns as A, B, C and D with circles, he may have been referring to the use of the four different horns and not the notes that they played. |
309_16 | An American in Paris [SEP] The revised edition by F. Campbell-Watson calls for three saxophones, alto, tenor and baritone. In this arrangement the soprano and alto doublings have been rewritten to avoid changing instruments. In 2000, Gershwin specialist Jack Gibbons made his own restoration of the original orchestration of An American in Paris, working directly from Gershwin's original manuscript, including the restoration of Gershwin's soprano saxophone parts removed in F. Campbell-Watson's revision; Gibbons' restored orchestration of An American in Paris was performed at London's Queen Elizabeth Hall on July 9, 2000 by the City of Oxford Orchestra conducted by Levon Parikian |
309_17 | An American in Paris [SEP] William Daly arranged the score for piano solo which was published by New World Music in 1929. |
309_18 | An American in Paris [SEP] Section::::Response. |
309_19 | An American in Paris [SEP] Gershwin did not particularly like Walter Damrosch's interpretation at the world premiere of "An American in Paris". He stated that Damrosch's sluggish, dragging tempo caused him to walk out of the hall during a matinee performance of this work. The audience, according to Edward Cushing, responded with "a demonstration of enthusiasm impressively genuine in contrast to the conventional applause which new music, good and bad, ordinarily arouses." Critics believed that "An American in Paris" was better crafted than his lukewarm Concerto in F. Some did not think it belonged in a program with classical composers César Franck, Richard Wagner, or |
309_20 | An American in Paris [SEP] Guillaume Lekeu on its premiere. Gershwin responded to the critics, "It's not a Beethoven Symphony, you know... It's a humorous piece, nothing solemn about it. It's not intended to draw tears. If it pleases symphony audiences as a light, jolly piece, a series of impressions musically expressed, it succeeds." |
309_21 | An American in Paris [SEP] Section::::Preservation status. |
309_22 | An American in Paris [SEP] On September 22, 2013, it was announced that a musicological critical edition of the full orchestral score will be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michigan, are working to make scores available to the public that represent Gershwin's true intent. It is unknown if the critical score will include the four minutes of material Gershwin later deleted from the work (such as the restatement of the blues theme after the faster 12 bar blues section), or if the score will document changes in the orchestration during Gershwin's composition process. |
309_23 | An American in Paris [SEP] The score to "An American in Paris" is currently scheduled to be issued first in a series of scores to be released. The entire project may take 30 to 40 years to complete, but "An American in Paris" will be an early volume in the series. |
309_24 | An American in Paris [SEP] Two urtext editions of the work were published by the German publisher B-Note Music in 2015. The changes made by Campbell-Watson have been withdrawn in both editions. In the extended urtext, 120 bars of music have been re-integrated. Conductor Walter Damrosch had cut them shortly before the first performance. |
309_25 | An American in Paris [SEP] Section::::Recordings. |
309_26 | An American in Paris [SEP] "An American in Paris" has been frequently recorded. The first recording was made for RCA Victor in 1929 with Nathaniel Shilkret conducting the RCA Victor Symphony Orchestra, drawn from members of the Philadelphia Orchestra. Gershwin was on hand to "supervise" the recording; however, Shilkret was reported to be in charge and eventually asked the composer to leave the recording studio. Then, a little later, Shilkret discovered there was no one to play the brief celesta solo during the slow section, so he hastily asked Gershwin if he might play the solo; Gershwin said he could and so he briefly participated |
309_27 | An American in Paris [SEP] in the actual recording. This recording is believed to use the taxi horns in the way that Gershwin had intended using the notes A-flat, B-flat, a higher D and a lower A. The radio broadcast of the September 8, 1937 Hollywood Bowl George Gershwin Memorial Concert, in which "An American in Paris," also conducted by Shilkret, was second on the program, was recorded and was released in 1998 in a two-CD set. Arthur Fiedler and the Boston Pops Orchestra recorded the work for RCA Victor, including one of the first stereo recordings of the music. In 1945, Arturo Toscanini conducting |
309_28 | An American in Paris [SEP] the NBC Symphony Orchestra recorded the piece for RCA Victor, one of the few commercial recordings Toscanini made of music by an American composer. The Seattle Symphony also recorded a version in 1990 of Gershwin's original score, before he made numerous edits resulting in the score as we hear it today. Harry James released a version of the blues section on his 1953 album "One Night Stand," recorded live at the Aragon Ballroom in Chicago (Columbia GL 522 and CL 522). |
309_29 | An American in Paris [SEP] Section::::Use in film. |
309_30 | An American in Paris [SEP] In 1951, Metro-Goldwyn-Mayer released the musical film "An American in Paris", featuring Gene Kelly and Leslie Caron. Winning the 1951 Best Picture Oscar and numerous other awards, the film was directed by Vincente Minnelli, featured many tunes of Gershwin, and concluded with an extensive, elaborate dance sequence built around the "An American in Paris" symphonic poem (arranged for the film by Johnny Green), costing $500,000. |
309_31 | An American in Paris [SEP] Section::::Further reading. |
309_32 | An American in Paris [SEP] BULLET::::- Rimler, Walter. "George Gershwin – An Intimate Portrait". Urbana, University of Illinois Press, 2009. 29–33. |
309_33 | An American in Paris [SEP] BULLET::::- Pollack, Howard. "George Gershwin – His Life and Work". Berkeley, University of California Press, 2006. 431–42. |
309_34 | An American in Paris [SEP] Section::::External links. |
309_35 | An American in Paris [SEP] BULLET::::- 1944 recording by the New York Philharmonic conducted by Artur Rodziński |
309_36 | An American in Paris [SEP] BULLET::::- , New York Philharmonic, Leonard Bernstein, 1959. |
334_0 | International Atomic Time [SEP] International Atomic Time |
334_1 | International Atomic Time [SEP] International Atomic Time (TAI, from the French name ) is a high-precision atomic coordinate time standard based on the notional passage of proper time on Earth's geoid. It is the principal realisation of Terrestrial Time (with a fixed offset of epoch). It is also the basis for Coordinated Universal Time (UTC), which is used for civil timekeeping all over the Earth's surface. , when another leap second was added, TAI is exactly 37 seconds ahead of UTC. The 37 seconds results from the initial difference of 10 seconds at the start of 1972, plus 27 leap seconds in UTC since |
334_2 | International Atomic Time [SEP] 1972. |
334_3 | International Atomic Time [SEP] TAI may be reported using traditional means of specifying days, carried over from non-uniform time standards based on the rotation of the Earth. Specifically, both Julian Dates and the Gregorian calendar are used. TAI in this form was synchronised with Universal Time at the beginning of 1958, and the two have drifted apart ever since, due to the changing motion of the Earth. |
334_4 | International Atomic Time [SEP] Section::::Operation. |
334_5 | International Atomic Time [SEP] TAI is a weighted average of the time kept by over 400 atomic clocks in over 50 national laboratories worldwide. The majority of the clocks involved are caesium clocks; the International System of Units (SI) definition of the second is based on caesium. The clocks are compared using GPS signals and two-way satellite time and frequency transfer. Due to the signal averaging TAI is an order of magnitude more stable than its best constituent clock. |
334_6 | International Atomic Time [SEP] The participating institutions each broadcast, in real time, a frequency signal with timecodes, which is their estimate of TAI. Time codes are usually published in the form of UTC, which differs from TAI by a well-known integer number of seconds. These time scales are denoted in the form "UTC(NPL)" in the UTC form, where "NPL" in this case identifies the National Physical Laboratory, UK. The TAI form may be denoted "TAI(NPL)". The latter is not to be confused with "TA(NPL)", which denotes an independent atomic time scale, not synchronised to TAI or to anything else. |
334_7 | International Atomic Time [SEP] The clocks at different institutions are regularly compared against each other. The International Bureau of Weights and Measures (BIPM, France), combines these measurements to retrospectively calculate the weighted average that forms the most stable time scale possible. This combined time scale is published monthly in "Circular T", and is the canonical TAI. This time scale is expressed in the form of tables of differences UTC − UTC("k") (equivalent to TAI − TAI("k")) for each participating institution "k". The same circular also gives tables of TAI − TA("k"), for the various unsynchronised atomic time scales. |
334_8 | International Atomic Time [SEP] Errors in publication may be corrected by issuing a revision of the faulty Circular T or by errata in a subsequent Circular T. Aside from this, once published in Circular T, the TAI scale is not revised. In hindsight it is possible to discover errors in TAI, and to make better estimates of the true proper time scale. Since the published circulars are definitive, better estimates do not create another version of TAI; it is instead considered to be creating a better realisation of Terrestrial Time (TT). |
334_9 | International Atomic Time [SEP] Section::::History. |
334_10 | International Atomic Time [SEP] Early atomic time scales consisted of quartz clocks with frequencies calibrated by a single atomic clock; the atomic clocks were not operated continuously. Atomic timekeeping services started experimentally in 1955, using the first caesium atomic clock at the National Physical Laboratory, UK (NPL). It was used as a basis for calibrating the quartz clocks at the Royal Greenwich Observatory and to establish a time scale, called Greenwich Atomic (GA). The United States Naval Observatory began the A.1 scale on 13 September 1956, using an Atomichron commercial atomic clock, followed by the NBS-A scale at the National Bureau of Standards, Boulder, |
334_11 | International Atomic Time [SEP] Colorado on 9 October 1957. |
334_12 | International Atomic Time [SEP] The International Time Bureau (BIH) began a time scale, T or AM, in July 1955, using both local caesium clocks and comparisons to distant clocks using the phase of VLF radio signals. The BIH scale, A.1, and NBS-A were defined by an epoch at the beginning of 1958 The procedures used by the BIH evolved, and the name for the time scale changed: "A3" in 1964 and "TA(BIH)" in 1969. |
334_13 | International Atomic Time [SEP] The SI second was defined in terms of the caesium atom in 1967. From 1971 to 1975 the General Conference on Weights and Measures and the International Committee for Weights and Measures made a series of decisions which designated the BIPM time scale International Atomic Time (TAI). |
334_14 | International Atomic Time [SEP] In the 1970s, it became clear that the clocks participating in TAI were ticking at different rates due to gravitational time dilation, and the combined TAI scale therefore corresponded to an average of the altitudes of the various clocks. Starting from Julian Date 2443144.5 (1 January 1977 00:00:00), corrections were applied to the output of all participating clocks, so that TAI would correspond to proper time at mean sea level (the geoid). Because the clocks were, on average, well above sea level, this meant that TAI slowed down, by about one part in a trillion. The former uncorrected time scale |
334_15 | International Atomic Time [SEP] continues to be published, under the name "EAL" ("Echelle Atomique Libre", meaning "Free Atomic Scale"). |
334_16 | International Atomic Time [SEP] The instant that the gravitational correction started to be applied serves as the epoch for Barycentric Coordinate Time (TCB), Geocentric Coordinate Time (TCG), and Terrestrial Time (TT), which represent three fundamental time scales in the solar system. All three of these time scales were defined to read JD 2443144.5003725 (1 January 1977 00:00:32.184) exactly at that instant. TAI was henceforth a realisation of TT, with the equation TT(TAI) = TAI + 32.184 s. |
334_17 | International Atomic Time [SEP] The continued existence of TAI was questioned in a 2007 letter from the BIPM to the ITU-R which stated, "In the case of a redefinition of UTC without leap seconds, the CCTF would consider discussing the possibility of suppressing TAI, as it would remain parallel to the continuous UTC." |
334_18 | International Atomic Time [SEP] Section::::Relation to UTC. |
334_19 | International Atomic Time [SEP] UTC is a discontinuous time scale. It is regularly adjusted by leap seconds. Between these adjustments it is composed from segments that are linear transformations of atomic time. From its beginning in 1961 through December 1971 the adjustments were made regularly in fractional leap seconds so that UTC approximated UT2. Afterwards these adjustments were made only in whole seconds to approximate UT1. This was a compromise arrangement in order to enable a publicly broadcast time scale; the post-1971 more linear transformation of the BIH's atomic time meant that the time scale would be more stable and easier to synchronize internationally. |
334_20 | International Atomic Time [SEP] The fact that it continues to approximate UT1 means that tasks such as navigation which require a source of Universal Time continue to be well served by the public broadcast of UTC. |
334_21 | International Atomic Time [SEP] Section::::See also. |
334_22 | International Atomic Time [SEP] BULLET::::- Clock synchronization |
334_23 | International Atomic Time [SEP] BULLET::::- Network Time Protocol |
334_24 | International Atomic Time [SEP] BULLET::::- Precision Time Protocol |
334_25 | International Atomic Time [SEP] BULLET::::- Time and frequency transfer |
334_26 | International Atomic Time [SEP] Section::::External links. |
334_27 | International Atomic Time [SEP] BULLET::::- Bureau International des Poids et Mesures: TAI |
334_28 | International Atomic Time [SEP] BULLET::::- Time and Frequency Section - National Physical Laboratory, UK |
334_29 | International Atomic Time [SEP] BULLET::::- IERS website |
334_30 | International Atomic Time [SEP] BULLET::::- NIST Web Clock FAQs |
334_31 | International Atomic Time [SEP] BULLET::::- History of time scales |
334_32 | International Atomic Time [SEP] BULLET::::- NIST-F1 Cesium Fountain Atomic Clock |
334_33 | International Atomic Time [SEP] BULLET::::- Japan Standard Time Project, NICT, Japan |
334_34 | International Atomic Time [SEP] BULLET::::- Standard of time definition: UTC, GPS, LORAN and TAI |
340_0 | Alain Connes [SEP] Alain Connes |
340_1 | Alain Connes [SEP] Alain Connes (; born 1 April 1947) is a French mathematician, currently Professor at the Collège de France, IHÉS, Ohio State University and Vanderbilt University. He was an Invited Professor at the Conservatoire national des arts et métiers (2000). |
340_2 | Alain Connes [SEP] Section::::Work. |
340_3 | Alain Connes [SEP] Alain Connes studies operator algebras. In his early work on von Neumann algebras in the 1970s, he succeeded in obtaining the almost complete classification of injective factors. He also formulated the Connes embedding problem. Following this, he made contributions in operator K-theory and index theory, which culminated in the Baum–Connes conjecture. He also introduced cyclic cohomology in the early 1980s as a first step in the study of noncommutative differential geometry. He was a member of Bourbaki. |
340_4 | Alain Connes [SEP] Connes has applied his work in areas of mathematics and theoretical physics, including number theory, differential geometry and particle physics. |
340_5 | Alain Connes [SEP] Section::::Awards and honours. |
340_6 | Alain Connes [SEP] Connes was awarded the Fields Medal in 1982, the Crafoord Prize in 2001 |
340_7 | Alain Connes [SEP] Section::::Books. |
340_8 | Alain Connes [SEP] BULLET::::- Alain Connes and Matilde Marcolli, "Noncommutative Geometry, Quantum Fields and Motives", Colloquium Publications, American Mathematical Society, 2007, |
340_9 | Alain Connes [SEP] BULLET::::- Alain Connes, Andre Lichnerowicz, and Marcel Paul Schutzenberger, "Triangle of Thought", translated by Jennifer Gage, American Mathematical Society, 2001, |
340_10 | Alain Connes [SEP] BULLET::::- Jean-Pierre Changeux, and Alain Connes, "Conversations on Mind, Matter, and Mathematics", translated by M. B. DeBevoise, Princeton University Press, 1998, |
340_11 | Alain Connes [SEP] BULLET::::- Alain Connes, "Noncommutative Geometry", Academic Press, 1994, |
340_12 | Alain Connes [SEP] Section::::See also. |
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