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Summer 2015 | By Eric Michael, ’96
On March 8, the Orlando Citrus Bowl became a sea of purple.
The inaugural home match of the Orlando City Soccer Club attracted a sold-out crowd of 62,510 fans outfitted in the team’s signature color to cheer on their Major League Soccer debut. In MLS history, the attendance feat was second only to the 1996 league opener of the LA Galaxy, which drew 69,255 spectators to the Rose Bowl. For the rising Central Florida franchise, which launched in the third-tier USL Pro league in 2010, the landmark match versus the New York City Football Club represented an ascension into the big leagues of professional soccer.
For longtime supporters, the traditional international term for soccer fans, the game was a coming-out party — especially to the many involved in Orlando City’s two organized supporter clubs, the Ruckus and Iron Lion Firm.
“The whole experience was surreal. The visual spectacle alone gave me goose bumps, knowing the humble beginnings from which we came.”
“Everything that we had done in the past was magnified tenfold at that game,” Iron Lion Firm co-founder Jared Ambrose, ’15, remembers. “Hearing more than 60,000 people singing a chant that I started was overwhelming.”
For Orlando City vice president of marketing Teresa Tatlonghari, ’95, the sight was a satisfying confirmation that the three years of work she’d invested in building a community around the club was paying off — big time.
“I broke down in tears,” she acknowledges. “The sense that everyone was here for the same purpose — and being a part of it personally — was a very emotional moment.”
Driven by a media campaign dubbed “Fill the Bowl,” the massive show of support for the team was the result of Orlando City’s grassroots strategy for growing its fan base. With the assistance of Julio Lima, ’83, of Orlando’s Say It Loud! advertising agency, Tatlonghari and her marketing team have helped nurture the growth of the club’s passionate supporter community organically, because in the world of soccer, the traditions, rituals and spirit of the supporter clubs create the culture of the team. “Soccer fans are more passionate than many other sports fans,” says Lima. “There’s no fooling them, so we have to understand their wants and needs and give them something real.”
But what have been the keys to this success? Here are three ways they’ve built an army of support:
Preserve the Flavor of “Football”
Instead of trying to Americanize the fan experience by interrupting the action on the field with halftime shows, cheerleaders and T-shirt cannons, the City club has been careful to preserve what has made soccer one of the most popular sports globally. “We have to be aware of other clubs from around the world in order to stay relevant to the game and to our audience,” says Lima. From the group chants that engage entire sections to the drum corps that play in the stands, they encourage the established rituals and customs from Europe, South America, the Caribbean and other international hubs of the sport’s culture. “We have fans from all over the world here in Central Florida, so we pay respect to their rich traditions,” says Tatlonghari. “There is one American part of our experience — tailgating.”
Give the Fans What They Want
According to Tatlonghari, giving the supporters a voice — and listening to it — has been instrumental in the growth of the City supporter community. The club’s fan advisory council, which offers direct feedback to the team, is made up of volunteer season ticket holders from every section of the stadium and age segment. And to allow the fans to create their own traditions organically, her team closely monitors social media, blogs and the reactions of gameday crowds to tweak their strategies. “We’re very in tune with how our fans are engaging with us,” Tatlonghari says. “It’s part of our culture as a club.”
Keep it Local and Give Back
Keeping the supporters at the center of their focus, Tatlonghari says the club creates opportunities to interact with — and benefit — the Central Florida community. It’s not uncommon to see Orlando City president Phil Rawlins mingling with supporters during the pregame tailgate scene. The club’s street team attends multiple events weekly, from farmers markets to outdoor festivals. They recruit new fans and pass out the purple lion logo magnets that have helped spread awareness of their brand via automobiles throughout the region. And the club’s nonprofit, the Orlando City Foundation, develops youth soccer programs in underserved areas and supports children’s initiatives combating childhood obesity, abuse and homelessness. “Community service has always been ingrained in the club’s culture,” Tatlonghari says. “It’s a huge part of what we do.”
How to Man the Wall
What to expect in the loud and rowdy supporter section of an Orlando City Soccer Club match.
The supporter section of an Orlando City Soccer Club match, aka “The Wall,” might be unlike any American sporting event you’ve ever experienced. “If you [go] there expect your view to be obstructed because of flags or people jumping and chanting,” says Ruckus president Jerry Updike, ’01. “Singing and chants all game long — 90 minutes, no sitting.”
Blending international traditions from around the globe with a burgeoning American enthusiasm for the game, the Ruckus and Iron Lion Firm supporter clubs incite fan fervor in the south end zone of the stadium to inspire the team to victory. “It’s a unique experience unlike any other sporting event in the U.S.,” explains Iron Lion Firm co-founder Jared Ambrose, ’15. “We’re all here to support and push the team, and with every race, creed and orientation singing together as one — it’s a really beautiful thing.”
Escorted by a corps of drummers, the supporter clubs gather in the tailgate area before kickoff and march into the stadium in a raucous display of solidarity.
Led by supporter group leaders called “capos,” spirited songs and chants are choreographed to the action on the field. And it’s an all-hands-on-deck endeavor in the supporter section.
To add a heart-pounding cadence to the chants, drummers keep time for the supporters and increase their amplitude in hopes of bringing the rest of the stadium onto their bandwagon.
A special privilege afforded to the supporter clubs is the use of smoke from designated (and safety-conscious) positions at strategic points in the game.
Photos courtesy of Orlando City Soccer Club

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This article may require cleanup to meet Wikipedia's quality standards. The specific problem is: The article is full of unspecific claims in regard of their citations. (September 2016) (Learn how and when to remove this template message)
In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Consonance is associated with sweetness, pleasantness, and acceptability; dissonance is associated with harshness, unpleasantness, or unacceptability.
The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant ( Schoenberg 1978 , p. 21). As Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied" ( Hindemith 1942 , p. 85).
The opposition can be made in different contexts:
Acoustics is the branch of physics that deals with the study of all mechanical waves in gases, liquids, and solids including topics such as vibration, sound, ultrasound and infrasound. A scientist who works in the field of acoustics is an acoustician while someone working in the field of acoustics technology may be called an acoustical engineer. The application of acoustics is present in almost all aspects of modern society with the most obvious being the audio and noise control industries.
(Achille) Claude Debussy was a French composer. He is sometimes seen as the first Impressionist composer, although he vigorously rejected the term. He was among the most influential composers of the late 19th and early 20th centuries.
In both cases, the distinction mainly concerns simultaneous sounds; if successive sounds are considered, their consonance or dissonance depends on the memorial retention of the first sound while the second sound (or pitch) is heard. For this reason, consonance and dissonance have been considered particularly in the case of Western polyphonic music, and the present article is concerned mainly with this case. Most historical definitions of consonance and dissonance since about the 16th century have stressed their pleasant/unpleasant, or agreeable/disagreeable character. This may be justifiable in a psychophysiological context, but much less in a musical context properly speaking: dissonances often play a decisive role in making music pleasant, even in a generally consonant context—which is one of the reasons why the musical definition of consonance/dissonance cannot match the psychophysiologic definition. In addition, the oppositions pleasant/unpleasant or agreeable/disagreeable evidence a confusion between the concepts of "dissonance" and of "noise". (See also Noise in music, Noise music and Noise (acoustic).)
In music, polyphony is one type of musical texture, where a texture is, generally speaking, the way that melodic, rhythmic, and harmonic aspects of a musical composition are combined to shape the overall sound and quality of the work. In particular, polyphony consists of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, which is called homophony.
Noise is unwanted sound judged to be unpleasant, loud or disruptive to hearing. From a physics standpoint, noise is indistinguishable from sound, as both are vibrations through a medium, such as air or water. The difference arises when the brain receives and perceives a sound.
In music, noise is variously described as unpitched, indeterminate, uncontrolled, loud, unmusical, or unwanted sound. Noise is an important component of the sound of the human voice and all musical instruments, particularly in unpitched percussion instruments and electric guitars. Electronic instruments create various colours of noise. Traditional uses of noise are unrestricted, using all the frequencies associated with pitch and timbre, such as the white noise component of a drum roll on a snare drum, or the transients present in the prefix of the sounds of some organ pipes.
While consonance and dissonance exist only between sounds and therefore necessarily describe intervals (or chords), such as the perfect intervals, which are often viewed as consonant (e.g., the unison and octave), Occidental music theory often considers that, in a dissonant chord, one of the tones alone is in itself deemed to be the dissonance: it is this tone in particular that needs "resolution" through a specific voice leading procedure. For example, in the key of C Major, if F is produced as part of the dominant seventh chord (G7, which consists of the pitches G, B, D and F), it is deemed to be "dissonant" and it normally resolves to E during a cadence, with the G7 chord changing to a C Major chord.
A chord, in music, is any harmonic set of pitches consisting of multiple notes that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and broken chords, or sequences of chord tones, may also be considered as chords.
In music, an octave or perfect octave is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music", the use of which is "common in most musical systems". The interval between the first and second harmonics of the harmonic series is an octave.
Music theory is the study of the practices and possibilities of music. The Oxford Companion to Music describes three interrelated uses of the term "music theory":
The first is what is otherwise called "rudiments", currently taught as the elements of notation, of key signatures, of time signatures, of rhythmic notation, and so on. [...] The second is the study of writings about music from ancient times onwards. [...] The third is an area of current musicological study that seeks to define processes and general principles in music—a sphere of research that can be distinguished from analysis in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built.
Consonances may include:
In music, unison is two or more musical parts sounding the same pitch or at an octave interval, usually at the same time.
A fourth is a musical interval encompassing four staff positions in the music notation of Western culture, and a perfect fourth is the fourth spanning five semitones. For example, the ascending interval from C to the next F is a perfect fourth, because the note F is the fifth semitone above C, and there are four staff positions between C and F. Diminished and augmented fourths span the same number of staff positions, but consist of a different number of semitones.
In music theory, a perfect fifth is the musical interval corresponding to a pair of pitches with a frequency ratio of 3:2, or very nearly so.
The definition of consonance has been variously based on experience, frequency, and both physical and psychological considerations ( Myers 1904 , p. 315). These include:
A stable tone combination is a consonance; consonances are points of arrival, rest, and resolution.
An unstable tone combination is a dissonance; its tension demands an onward motion to a stable chord. Thus dissonant chords are "active"; traditionally they have been considered harsh and have expressed pain, grief, and conflict.— Roger Kamien (2008, p. 41)
In Western music, dissonance is the quality of sounds that seems unstable and has an aural need to resolve to a stable consonance. Both consonance and dissonance are words applied to harmony, chords, and intervals and, by extension, to melody, tonality, and even rhythm and metre. Although there are physical and neurological facts important to understanding the idea of dissonance, the precise definition of dissonance is culturally conditioned—definitions of and conventions of usage related to dissonance vary greatly among different musical styles, traditions, and cultures. Nevertheless, the basic ideas of dissonance, consonance, and resolution exist in some form in all musical traditions that have a concept of melody, harmony, or tonality.[ citation needed ] Dissonance being the complement of consonance it may be defined, as above, as non-coincidence of partials, lack of fusion or pattern matching, or as complexity.
Additional confusion about the idea of dissonance is created by the fact that musicians and writers sometimes use the word dissonance and related terms in a precise and carefully defined way, more often in an informal way, and very often in a metaphorical sense ("rhythmic dissonance"). For many musicians and composers, the essential ideas of dissonance and resolution are vitally important ones that deeply inform their musical thinking on a number of levels.[ citation needed ]
Despite the fact that words like unpleasant and grating are often used to explain the sound of dissonance, all music with a harmonic or tonal basis—even music perceived as generally harmonious—incorporates some degree of dissonance. The buildup and release of tension (dissonance and resolution), which can occur on every level from the subtle to the crass, is partially responsible for what listeners perceive as beauty, emotion, and expressiveness in music.[ citation needed ]
Understanding a particular musical style's treatment of dissonance—what is considered dissonant and what rules or procedures govern how dissonant intervals, chords, or notes are treated—is key in understanding that particular style. For instance, harmony is generally governed by chords, which are collections of notes defined as tolerably consonant by the style. (There is likely, however, to be a hierarchy of chords, with some considered more consonant and some more dissonant.) Any note that does not fall within the prevailing harmony is considered dissonant. A given style typically pays attention to how its musical structure approaches dissonance (in steps is less jarring, a leap is more jarring), and even more to how they resolve (almost always by step), to how they fit within the meter and rhythm (dissonances on strong beats are more emphatic, those on weaker beats less vital), and to how they lie within the phrase (dissonances tend to resolve at phrase's end).[ citation needed ]
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Sharp dissonant intervals and chords play a prominent role in many traditional musical cultures. Vocal polyphonic traditions from Bulgaria, Serbia, Bosnia-Herzegovina, Albania, Latvia, Georgia, Nuristan, some Vietnamese and Chinese minority singing traditions, Lithuanian sutartinės, some polyphonic traditions from Flores and Melanesia are predominantly based on the use of sharp dissonant intervals and chords. The most prominent dissonance in most of these cultures is the interval of the neutral second (which is between the minor and major seconds). This interval is known to create the maximum sharpness and is known in German ethnomusicology under the term "Schwebungsdiaphonie".
Musical styles are similar to languages, in that certain physical, physiological, and neurological facts create bounds that greatly affect the development of all languages. Nevertheless, different cultures and traditions have incorporated the possibilities and limitations created by these physical and neurological facts into vastly different, living systems of human language. Neither the importance of the underlying facts nor the importance of the culture in assigning a particular meaning to the underlying facts should be understated.[ citation needed ]
For instance, two notes played simultaneously but with slightly different frequencies produce a beating "wah-wah-wah" sound. Musical styles such as traditional European classical music consider this effect objectionable ("out of tune") and go to great lengths to eliminate it. Other musical styles such as Indonesian gamelan consider this sound an attractive part of the musical timbre and go to equally great lengths to create instruments that produce this slight "roughness" (Vassilakis 2005, [ page needed ]).
Sensory dissonance and its two perceptual manifestations (beating and roughness) are both closely related to a sound signal's amplitude fluctuations. Amplitude fluctuations describe variations in the maximum value (amplitude) of sound signals relative to a reference point and are the result of wave interference. The interference principle states that the combined amplitude of two or more vibrations (waves) at any given time may be larger (constructive interference) or smaller (destructive interference) than the amplitude of the individual vibrations (waves), depending on their phase relationship. In the case of two or more waves with different frequencies, their periodically changing phase relationship results in periodic alterations between constructive and destructive interference, giving rise to the phenomenon of amplitude fluctuations.[ citation needed ]
Amplitude fluctuations can be placed in three overlapping perceptual categories related to the rate of fluctuation. Slow amplitude fluctuations (≈≤20 per second) are perceived as loudness fluctuations referred to as beating. As the rate of fluctuation is increased, the loudness appears constant, and the fluctuations are perceived as "fluttering" or roughness. As the amplitude fluctuation rate is increased further, the roughness reaches a maximum strength and then gradually diminishes until it disappears (≈≥75–150 fluctuations per second, depending on the frequency of the interfering tones).
Assuming the ear performs a frequency analysis on incoming signals, as indicated by Ohm's acoustic law (see Helmholtz 1885; Levelt and Plomp 1964, [ page needed ]), the above perceptual categories can be related directly to the bandwidth of the hypothetical analysis filters (Zwicker, Flottorp, and Stevens 1957, [ page needed ]; Zwicker 1961, [ page needed ]). For example, in the simplest case of amplitude fluctuations resulting from the addition of two sine signals with frequencies f1 and f2, the fluctuation rate is equal to the frequency difference between the two sines |f1-f2|, and the following statements represent the general consensus:
Along with amplitude fluctuation rate, the second most important signal parameter related to the perceptions of beating and roughness is the degree of a signal's amplitude fluctuation, that is, the level difference between peaks and valleys in a signal (Terhardt 1974, [ page needed ]; Vassilakis 2001, [ page needed ]). The degree of amplitude fluctuation depends on the relative amplitudes of the components in the signal's spectrum, with interfering tones of equal amplitudes resulting in the highest fluctuation degree and therefore in the highest beating or roughness degree.
For fluctuation rates comparable to the auditory filter bandwidth, the degree, rate, and shape of a complex signal's amplitude fluctuations are variables that are manipulated by musicians of various cultures to exploit the beating and roughness sensations, making amplitude fluctuation a significant expressive tool in the production of musical sound. Otherwise, when there is no pronounced beating or roughness, the degree, rate, and shape of a complex signal's amplitude fluctuations remain important, through their interaction with the signal's spectral components. This interaction is manifested perceptually in terms of pitch or timbre variations, linked to the introduction of combination tones (Vassilakis 2001; Vassilakis 2005; Vassilakis 2007).
The beating and roughness sensations associated with certain complex signals are therefore usually understood in terms of sine-component interaction within the same frequency band of the hypothesized auditory filter, called critical band.
In human hearing, the varying effect of simple ratios may be perceived by one of these mechanisms:
Generally, the sonance (i.e., a continuum with pure consonance at one end and pure dissonance at the other) of any given interval can be controlled by adjusting the timbre in which it is played, thereby aligning its partials with the current tuning's notes (or vice versa) ( Sethares 2005 , p. 1). The sonance of the interval between two notes can be maximized (producing consonance) by maximizing the alignment of the two notes' partials, whereas it can be minimized (producing dissonance) by mis-aligning each otherwise nearly aligned pair of partials by an amount equal to the width of the critical band at the average of the two partials' frequencies (Sethares 2005 , p. 1; Sethares 2009, [ page needed ]).
Controlling the sonance of more-or-less non-harmonic timbres in real time is an aspect of dynamic tonality. For example, in Sethares' piece C To Shining C (discussed here), the sonance of intervals is affected both by tuning progressions and timbre progressions.
The strongest homophonic (harmonic) cadence, the authentic cadence, dominant to tonic (D-T, V-I or V7-I), is in part created by the dissonant tritone ( Benward & Saker 2003 , p. 54) created by the seventh, also dissonant, in the dominant seventh chord, which precedes the tonic.
Musical instruments like bells and xylophones, called Idiophones, are played such that their relatively stiff, non-trivial[ clarification needed ] mass is excited to vibration by means of a blow. This contrasts with violins, flutes, or drums, where the vibrating medium is a light, supple string, column of air, or membrane. The overtones of the inharmonic series produced by such instruments may differ greatly from that of the rest of the orchestra, and the consonance or dissonance of the harmonic intervals as well ( Gouwens 2009 , p. 3).
According to John Gouwens (2009 , p. 3), the carillon's harmony profile is summarized:
|“||When we consider musical works we find that the triad is ever-present and that the interpolated dissonances have no other purpose than to effect the continuous variation of the triad.||”|
|— Lorenz Mizler 1739 (quoted in Forte 1979, p. 136)|
Dissonance has been understood and heard differently in different musical traditions, cultures, styles, and time periods. Relaxation and tension have been used as analogy since the time of Aristotle till the present ( Kliewer 1975 , p. 290).
The terms dissonance and consonance are often considered equivalent to tension and relaxation. A cadence is (among other things) a place where tension is resolved; hence the long tradition of thinking of a musical phrase as consisting of a cadence and a passage of gradually accumulating tension leading up to it ( Parncutt and Hair 2011 , 132).
Various psychological principles constructed through the audience's general conception of tonal fluidity determine how a listener will distinguish an instance of dissonance within a musical composition. Based on one's developed conception of the general tonal fusion within the piece, an unexpected tone played sightly variant to the overall schema will generate a psychological need for resolve. When the consonant is followed thereafter, the listener will encounter a sense of resolution. Within Western music, these particular instances and psychological effects within a composition have come to possess an ornate connotation ( Parncutt and Hair 2011 , p. 132).
The application of consonance and dissonance "is sometimes regarded as a property of isolated sonorities that is independent of what precedes or follows them. In most Western music, however, dissonances are held to resolve onto following consonances, and the principle of resolution is tacitly considered integral to consonance and dissonance" ( Parncutt and Hait 2011 , p. 132).
In Ancient Greece, armonia denoted the production of a unified complex, particularly one expressible in numerical ratios. Applied to music, the concept concerned how sounds in a scale or a melody fit together (in this sense, it could also concern the tuning of a scale) ( Philip 1966 , pp. 123–24). The term symphonos was used by Aristoxenus and others to describe the intervals of the fourth, the fifth, the octave and their doublings; other intervals were said diaphonos. This terminology probably referred to the Pythagorean tuning, where fourths, fifths and octaves (ratios 4:3, 3:2 and 2:1) were directly tunable, while the other degrees (other 3-prime ratios) could only be tuned by combinations of the preceding (Aristoxenus 1902 , pp. 188–206 See Tenney 1988 , pp. 11–12). Until the advent of polyphony and even later, this remained the basis of the concept of consonance/dissonance (symphonia/diaphonia) in Occidental theory.
In the early Middle Ages, the Latin term consonantia translated either armonia or symphonia. Boethius (6th century) characterizes consonance by its sweetness, dissonance by its harshness: "Consonance (consonantia) is the blending (mixtura) of a high sound with a low one, sweetly and uniformly (suauiter uniformiterque) arriving to the ears. Dissonance is the harsh and unhappy percussion (aspera atque iniocunda percussio) of two sounds mixed together (sibimet permixtorum)" ( Boethius n.d. , f. 13v.). It remains unclear, however, whether this could refer to simultaneous sounds. The case becomes clear, however, with Hucbald of Saint Amand (c900), who writes: "Consonance (consonantia) is the measured and concordant blending (rata et concordabilis permixtio) of two sounds, which will come about only when two simultaneous sounds from different sources combine into a single musical whole (in unam simul modulationem conveniant) […]. There are six of these consonances, three simple and three composite, […] octave, fifth, fourth, and octave-plus-fifth, octave-plus-fourth and double octave" (Hucbald n.d. , p. 107; translated in Babb 1978 , p. 19).
According to Johannes de Garlandia & 13th century:
One example of imperfect consonances previously considered dissonances[ clarification needed ] in Guillaume de Machaut's "Je ne cuit pas qu'onques" ( Machaut 1926 , p. 13, Ballade 14, "Je ne cuit pas qu'onques a creature", mm. 27–31):
According to Margo Schulter (1997a):
It is worth noting that "perfect" and "imperfect" and the notion of being (esse) must be taken in their contemporaneous Latin meanings (perfectum, imperfectum) to understand these terms, such that imperfect is "unfinished" or "incomplete" and thus an imperfect dissonance is "not quite manifestly dissonant" and perfect consonance is "done almost to the point of excess".[ citation needed ] Also, inversion of intervals (major second in some sense equivalent to minor seventh) and octave reduction (minor ninth in some sense equivalent to minor second) were yet unknown during the Middle Ages.[ citation needed ]
Due to the different tuning systems compared to modern times, the minor seventh and major ninth were "harmonic consonances", meaning that they correctly reproduced the interval ratios of the harmonic series which softened a bad effect ( Schulter 1997b ).[ clarification needed ] They were also often filled in by pairs of perfect fourths and perfect fifths respectively, forming resonant (blending) units characteristic of the musics of the time ( Schulter 1997c ), where "resonance" forms a complementary trine with the categories of consonance and dissonance.[ clarification needed ] Conversely, the thirds and sixths were tempered severely from pure ratios [ clarification needed ], and in practice usually treated as dissonances in the sense that they had to resolve to form complete perfect cadences and stable sonorities ( Schulter 1997d ).
The salient differences from modern conception:[ citation needed ][ clarification needed ]
In Renaissance music, the perfect fourth above the bass was considered a dissonance needing immediate resolution. The regola delle terze e seste ("rule of thirds and sixths") required that imperfect consonances should resolve to a perfect one by a half-step progression in one voice and a whole-step progression in another ( Dahlhaus 1990 , p. 179). The viewpoint concerning successions of imperfect consonances—perhaps more concerned by a desire to avoid monotony than by their dissonant or consonant character—has been variable. Anonymous XIII (13th century) allowed two or three, Johannes de Garlandia's Optima introductio (13th-14th century) three, four or more, and Anonymous XI (15th century) four or five successive imperfect consonances. Adam von Fulda ( Gerbert 1784 , 3:353) wrote "Although the ancients formerly would forbid all sequences of more than three or four imperfect consonances, we more modern do not prohibit them."
In the common practice period, musical style required preparation for all dissonances, followed by a resolution to a consonance. There was also a distinction between melodic and harmonic dissonance. Dissonant melodic intervals included the tritone and all augmented and diminished intervals. Dissonant harmonic intervals included:
Thus, Western musical history can be seen as progressing from a limited definition of consonance to an ever-wider definition of consonance.[ citation needed ] Early in history, only intervals low in the overtone series were considered consonant. As time progressed, intervals ever higher on the overtone series were considered as such. The final result of this was the so-called "emancipation of the dissonance" ( Schoenberg 1975 , pp. 258–64) by some 20th-century composers. Early-20th-century American composer Henry Cowell viewed tone clusters as the use of higher and higher overtones ( Cowell 1969 , pp. 111–39).
Despite the fact that this idea of the historical progression towards the acceptance of ever greater levels of dissonance is somewhat oversimplified and glosses over important developments in the history of Western music, the general idea was attractive to many 20th-century modernist composers and is considered a formative meta-narrative of musical modernism.[ citation needed ]
Composers in the Baroque era were well aware of the expressive potential of dissonance:
Bach uses dissonance to communicate religious ideas in his sacred cantatas and Passion settings. At the end of the St Matthew Passion , where the agony of Christ’s betrayal and crucifixion is portrayed, John Eliot Gardiner (2013 , 427) hears "a final reminder of this comes in the unexpected and almost excruciating dissonance Bach inserts over the very last chord: the melody instruments insist on B natural—the jarring leading tone—before eventually melting in a C minor cadence."
In the opening aria of Cantata BWV 54, Widerstehe doch der Sünde ("upon sin oppose resistance"), nearly every strong beat carries a dissonance:
Albert Schweizer says that this aria “begins with an alarming chord of the seventh… It is meant to depict the horror of the curse upon sin that is threatened in the text" ( Schweizer 1905 , 53). Gillies Whittaker (1959 , 368) points out that “The thirty-two continuo quavers of the initial four bars support four consonances only, all the rest are dissonances, twelve of them being chords containing five different notes. It is a remarkable picture of desperate and unflinching resistance to the Christian to the fell powers of evil.”
According to H.C. Robbins Landon, the opening movement of Haydn’s Symphony No. 82, "a brilliant C major work in the best tradition" contains "dissonances of barbaric strength that are succeeded by delicate passages of Mozartean grace." ( Landon 1955 , p. 415):
Mozart's music contains a number of quite radical experiments in dissonance. The following comes from his Adagio and Fugue in C Minor, K. 546:
Mozart’s Quartet in C major, K465 opens with an adagio introduction that gave the work its nickname, the “Dissonance Quartet”:
There are several passing dissonances in this adagio passage, for example on the first beat of bar 3. However the most striking effect here is implied, rather than sounded explicitly. The A flat in the first bar is contradicted by the high A natural in the second bar, but these notes do not sound together as a discord. (See also False relation.)
An even more famous example from Mozart comes in a magical passage from the slow movement of his popular "Elvira Madigan" Piano Concerto 21, K467, where the subtle, but quite explicit dissonances on the first beats of each bar are enhanced by exquisite orchestration:
Philip Radcliffe (1978 , 52) speaks of this as “a remarkably poignant passage with surprisingly sharp dissonances." Radcliffe says that the dissonances here "have a vivid foretaste of Schumann and the way they gently melt into the major key is equally prophetic of Schubert." Eric Blom (1935 , p. 226) says that this movement must have "made Mozart's hearers sit up by its daring modernities... There is a suppressed feeling of discomfort about it."
The finale of Beethoven’s Symphony No. 9 opens with a startling discord, consisting of a B flat inserted into a D minor chord:
Roger Scruton (2009 , 101) alludes to Wagner’s description of this chord as introducing “a huge Schreckensfanfare—horror fanfare.” When this passage returns later in the same movement (just before the voices enter) the sound is further complicated with the addition of a diminished seventh chord, creating, in Scruton’s words “the most atrocious dissonance that Beethoven ever wrote, a first inversion D-minor triad containing all the notes of the D minor harmonic scale”:
Robert Schumann’s song ‘Auf Einer Burg’from his cycle Liederkreis Op. 39, climaxes on a striking dissonance in the fourteenth bar. As Nicholas Cook (1987 , p. 242) points out, this is “the only chord in the whole song that Schumann marks with an accent.” Cook goes on to stress that what makes this chord so effective is Schumann’s placing of it in its musical context: “in what leads up to it and what comes of it.” Cook explains further how the interweaving of lines in both piano and voice parts in the bars leading up to this chord (bars 9-14) “are set on a kind of collision course; hence the feeling of tension rising steadily to a breaking point.”
Richard Wagner made increasing use of dissonance for dramatic effect as his style developed, particularly in his later operas. In the scene known as "Hagen’s Watch" from the first act of Götterdämmerung , according to Scruton (2016 , p. 127) the music conveys a sense of "matchless brooding evil", and the excruciating dissonance in bars 9–10 below it constitute "a semitonal wail of desolation".
Another example of a cumulative build-up of dissonance from the early 20th century (1910) can be found in the Adagio that opens Gustav Mahler’s unfinished 10th Symphony :
Taruskin (2005 , 23) parses this chord (in bars 206 and 208) as a “diminished nineteenth… a searingly dissonant dominant harmony containing nine different pitches. Who knows what Guido Adler, for whom the second and Third Symphonies already contained ‘unprecedented cacophonies’, might have called it?”
One example of modernist dissonance comes from a work that received its first performance in 1913, three years after the Mahler:
The West's progressive embrace of increasingly dissonant intervals occurred almost entirely within the context of harmonic timbres, as produced by vibrating strings and columns of air, on which the West's dominant musical instruments are based. By generalizing Helmholtz's notion of consonance (described above as the "coincidence of partials") to embrace non-harmonic timbres and their related tunings, consonance has recently been "emancipated" from harmonic timbres and their related tunings (Milne, Sethares, and Plamondon 2007, [ page needed ]; Milne, Sethares, and Plamadon 2008, [ page needed ]; Sethares et al. 2009, [ page needed ]). Using electronically controlled pseudo-harmonic timbres, rather than strictly harmonic acoustic timbres, provides tonality with new structural resources such as Dynamic tonality. These new resources provide musicians with an alternative to pursuing the musical uses of ever-higher partials of harmonic timbres and, in some people's minds, may resolve what Arnold Schoenberg described as the "crisis of tonality" (Stein 1953, [ page needed ]).
George Russell, in his 1953 Lydian Chromatic Concept of Tonal Organization , presents a slightly different view from classical practice, one widely taken up in Jazz. He regards the tritone over the tonic as a rather consonant interval due to its derivation from the Lydian dominant thirteenth chord ( Russell 2008 , p. 1).
In effect, he returns to a Medieval consideration of "harmonic consonance": that intervals when not subject to octave equivalence (at least not by contraction) and correctly reproducing the mathematical ratios of the harmonic series are truly non-dissonant. Thus the harmonic minor seventh, natural major ninth, half-sharp eleventh note (untempered tritone), half-flat thirteenth note, and half-flat fifteenth note must necessarily be consonant. Octave equivalence (minor ninth in some sense equivalent to minor second, etc.) is no longer unquestioned.
Note that most of these pitches exist only in a universe of microtones smaller than a halfstep; notice also that we already freely take the flat (minor) seventh note for the just seventh of the harmonic series in chords. Russell extends by approximation the virtual merits of harmonic consonance to the 12TET tuning system of Jazz and the 12-note octave of the piano, granting consonance to the sharp eleventh note (approximating the harmonic eleventh), that accidental being the sole pitch difference between the Major scale and the Lydian mode.
(In another sense, that Lydian scale representing the provenance of the tonic chord (with major seventh and sharp fourth) replaces or supplements the Mixolydian scale of the dominant chord (with minor seventh and natural fourth) as the source from which to derive extended tertian harmony.)
Dan Haerle, in his 1980 The Jazz Language( Studio 224 1980 , p. 4), extends the same idea of harmonic consonance and intact octave displacement to alter Paul Hindemith's Series 2 gradation table from The Craft of Musical Composition( Hindemith & 1937–70 , 1:[ page needed ]). In contradistinction to Hindemith, whose scale of consonance and dissonance is currently the de facto standard, Haerle places the minor ninth as the most dissonant interval of all, more dissonant than the minor second to which it was once considered by all as octave-equivalent. He also promotes the tritone from most-dissonant position to one just a little less consonant than the perfect fourth and perfect fifth.
For context: unstated in these theories is that musicians of the Romantic Era had effectively promoted the major ninth and minor seventh to a legitimacy of harmonic consonance as well, in their fabrics of 4-note chords ( Tymoczko 2011 , p. 106).
In music, counterpoint is the relationship between voices that are harmonically interdependent (polyphony) yet independent in rhythm and contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque. The term originates from the Latin punctus contra punctum meaning "point against point".
A harmonic series is the sequence of sounds—pure tones, represented by sinusoidal waves—in which the frequency of each sound is an integer multiple of the fundamental, the lowest frequency.
In music, there are two common meanings for tuning:
In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords.
Pythagorean tuning is a system of musical tuning in which the frequency ratios of all intervals are based on the ratio 3:2. This ratio, also known as the "pure" perfect fifth, is chosen because it is one of the most consonant and easiest to tune by ear and because of importance attributed to the integer 3. As Novalis put it, "The musical proportions seem to me to be particularly correct natural proportions." Alternatively, it can be described as the tuning of the syntonic temperament in which the generator is the ratio 3:2, which is ≈702 cents wide.
In music theory, an interval is the difference in pitch between two sounds. An interval may be described as horizontal, linear, or melodic if it refers to successively sounding tones, such as two adjacent pitches in a melody, and vertical or harmonic if it pertains to simultaneously sounding tones, such as in a chord.
This page is an alphabetized index of articles about music.
In music theory, the wolf fifth is a particularly dissonant musical interval spanning seven semitones. Strictly, the term refers to an interval produced by a specific tuning system, widely used in the sixteenth and seventeenth centuries: the quarter-comma meantone temperament. More broadly, it is also used to refer to similar intervals produced by other tuning systems, including most meantone temperaments.
In classical music from Western culture, a third is a musical interval encompassing three staff positions, and the major third is a third spanning four semitones. Along with the minor third, the major third is one of two commonly occurring thirds. It is qualified as major because it is the larger of the two: the major third spans four semitones, the minor third three. For example, the interval from C to E is a major third, as the note E lies four semitones above C, and there are three staff positions from C to E. Diminished and augmented thirds span the same number of staff positions, but consist of a different number of semitones.
In classical music from Western culture, an augmented fifth is an interval produced by widening a perfect fifth by a chromatic semitone. For instance, the interval from C to G is a perfect fifth, seven semitones wide, and both the intervals from C♭ to G, and from C to G♯ are augmented fifths, spanning eight semitones. Being augmented, it is considered a dissonant interval.
Musical acoustics or music acoustics is a branch of acoustics concerned with researching and describing the physics of music – how sounds are employed to make music. Examples of areas of study are the function of musical instruments, the human voice, computer analysis of melody, and in the clinical use of music in music therapy.
In music, a guitar chord is a set of notes played on a guitar. A chord's notes are often played simultaneously, but they can be played sequentially in an arpeggio. The implementation of guitar chords depends on the guitar tuning. Most guitars used in popular music have six strings with the "standard" tuning of the Spanish classical guitar, namely E-A-D-G-B-E' ; in standard tuning, the intervals present among adjacent strings are perfect fourths except for the major third (G,B). Standard tuning requires four chord-shapes for the major triads.
In musical set theory, an interval vector is an array of natural numbers which summarize the intervals present in a set of pitch classes. Other names include: ic vector, PIC vector and APIC vector
In musical tuning, a temperament is a tuning system that slightly compromises the pure intervals of just intonation to meet other requirements. Most modern Western musical instruments are tuned in the equal temperament system. "Tempering is the process of altering the size of an interval by making it narrower or wider than pure. A temperament is any plan that describes the adjustments to the sizes of some or all of the twelve fifth intervals in the circle of fifths so that they accommodate pure octaves and produce certain sizes of major thirds." Temperament is especially important for keyboard instruments, which typically allow a player to play only the pitches assigned to the various keys, and lack any way to alter pitch of a note in performance. Historically, the use of just intonation, Pythagorean tuning and meantone temperament meant that such instruments could sound "in tune" in one key, or some keys, but would then have more dissonance in other keys.
Dynamic tonality is tonal music which uses real-time changes in tuning and timbre to perform new musical effects such as polyphonic tuning bends, new chord progressions, and temperament modulations, with the option of consonance. The performance of dynamic tonality requires an isomorphic keyboard driving a music synthesizer which implements dynamic tuning and dynamic timbres. Dynamic tonality was discovered by Andrew Milne, William Sethares, and Jim Plamondon.
Paul Erlich is a guitarist and music theorist living near Boston, Massachusetts. He is known for his seminal role in developing the theory of regular temperaments, including being the first to define pajara temperament and its decatonic scales in 22-ET. He holds a Bachelor of Science degree in physics from Yale University.
William A. Sethares is an American music theorist and professor of electrical engineering at the University of Wisconsin. In music, he has contributed to the theory of Dynamic Tonality and provided a formalization of consonance.
|Wikiquote has quotations related to: Consonance and dissonance|
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The Arbor Day Foundation has named the City of Bowling Green a 2015 Tree City USA in honor of its commitment to effective urban forest management. The City also received a Tree City USA Growth Award for demonstrating environmental improvement and higher level of tree care.
Bowling Green achieved Tree City USA recognition by meeting the program’s four requirements: a tree board or department, a tree-care ordinance, an annual community forestry budget of at least $2.00 per capita, and an Arbor Day observance and proclamation.
The Tree City USA program is sponsored by the Arbor Day Foundation, in partnership with the U.S. Forest Service and the National Association of State Foresters.
“Tree City USA communities see the impact an urban forest has in a community first hand,” said Dan Lambe, President of the Arbor Day Foundation. “Additionally, recognition brings residents together and creates a sense of community pride, whether it’s through volunteer engagement or public education.”
More information on the program is available at www.arborday.org/TreeCityUSA.


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There are so many beautiful waterfalls in the mountains of Western North Carolina! Me and Dad love having waterfall adventures here:
- Hooker Falls - this has been our go-to waterfall for many years. A short hike and lot of fun. There is also a place where you can go behind the waterfall and a place where you can jump off of the waterfall, but not recommended.
- Looking Glass Falls - easy to get to and a great swimming hole. See our video there.
- Triple Falls - no swimming, but a great place to hike, and plus you can see where a part of the Hunger Games was filmed.
- Catawba Falls - a nice hike that is over a mile with so many small waterfalls on the way. See our hiking video to the falls.
There are many great places to go cycling in the mountains of Western North Carolina! We love biking around the mountains. Here are some great spots;
- Lake Powhatan - this lake is surrounded by a biking trail but part of it is through the woods so you need to walk it first to get familiar with the terrain. There are also many other dirt trails going up in the woods, but requires more experience.
- Carrier Park - this is a great place to bike around the track and it also connect to the greenway!
- Bent Creek - there are many biking trails along this creek, but always be careful and wear your safety gear.
- Asheville Greenways - make sure you check out more options on the City of Asheville website!
There are many great sports and recreation activities to do in the mountains of Western North Carolina! Several organizations offer team activities, but here are some other things that you can do:
- Basketball, Volleyball, Cycling, and Roller Skating at Carrier Park
- Bowling in West Asheville or East Asheville
- Disc Golf, Volleyball, and Soccer at the Buncombe County Sports Park
- Tennis, Basketball, and Swimming at Malvern Hills Park
There are many great places to go camping in the mountains of Western North Carolina! We love to camp and even took a camping trip to the beach not too long ago. Here are some spots to check out:
- Catawba Falls Campground - we went camping here right before we went hiking to see the waterfall at Catawba Falls. Such a great spot with RV sites, cabins, and tent sites.
- Lake Powhatan - a great place to camp with so many outdoor activities to do.
- KOA Candler - another great camping spot on the west side of town.
- KOA Swannanoa - Nana loved going to this spot because they have a pool!
There are many great lakes in the mountains of Western North Carolina that are so much fun.
There are several great beaches in the mountains of Western North Carolina that are so much fun. Here's a great list to get you started on your next adventure:
- Lake Powhatan - me and Dad visit this lake beach regularly. They have swimming, fishing, hiking, biking, a waterfall, and lots of nature.
- Lake Lure - this beach is one of a kind when it comes to mountain beaches. They have a small waterpark and a small town area around the lake. We also bumped into some people fishing with their feet for fresh water clams at the deep end of the swimming area.
- Lake James - we love traveling to this lake to meet friends for the day. It's a great mountain beach with lots of water spots including SUP boards, boats, and more.
- Lake Fontana - in the finger-lakes section of this lake, there is a beach. If you rent a pontoon boat like we did, you can find a bunch of small beach areas along the lakeside.
- Wildcat Lake - we have not been here yet, but it is on our list!
- Lake Glenville - this is another mountain beach that we have not experienced, but we are heading that way soon!
Hiking in the mountains of Western North Carolina is so much fun. And it's not just all about getting a workout, but that is great too! Hiking together as a parent / child team brings so many good times forth. The talk while you walk. The questions your child asks. The nature that you get to experience together. The energy that the mountains seem to give to each of us. We love to go hiking regularly, so if that is your thing and you are looking to team up with us, let's make a plan! Here are some great hikes that you can take on your own:
Fishing in the mountains of Asheville and Western North Carolina is so much fun. Gigi actually caught her first fish ever on Lake Tomahawk in Black Mountain NC. We are going to list some fishing adventures that you can take on your own, and also some fishing adventures that we will be going on soon as a group!
Gigi loves to climb trees, but safety is always our first concern. We stick to the smaller trees, but not too small that we could damage them. We always want to be careful not to be destructive in any way toward nature. We are planning a few trips to treetop adventure parks, so stay tuned so you can join in on the fun!

domain: geography


Sunday, Feb. 4, 2018 | 2 a.m.
The state of our union is … teetering on the brink.
I will assume that a large number of Nevadans watched President Donald Trump’s State of the Union speech Tuesday night. I will also assume that the number of Americans who tuned into Rep. Joe Kennedy III’s response was significantly less. And so, as a public service to our readers, I will try to compare and contrast the two speeches.
When President Trump humanized his speech with real-life American stories, he got high marks. When he tried to manipulate my fellow countrymen into believing that he loved the “Dreamers” and hated the Russians, he fell far short.
While it is not a critique of substance but of style, I would suggest to our president that if he wants me to think he is sincere when he says things he doesn’t believe he should, at the very least, look me in the eye. Whether he couldn’t read more than a few words at a time from the teleprompter, or just had an aversion to looking straight into the camera, I don’t think he spent more than a full minute of the 80-minute speech looking into the eyes of America. That’s not very smart for a reality TV star.
Contrast that with the grandson of Bobby Kennedy, who looked us straight in the eye when he spoke about an America that should be united not divided, and that the richest nation in the world “ shouldn’t leave anyone behind,” and the style and sincerity points go to the man who spoke from Fall River, Mass., and not to the fellow speaking to a joint session of Congress.
Kennedy talked about the perilous political times in which we find ourselves. This was before that elementary-school level memo that congressional Republicans conspired with Trump to release on Friday. Release of the memo was opposed by the Department of Justice as well as the FBI because it caused “grave concerns about material omissions of fact that fundamentally impact the memo’s accuracy.”
Congressman Kennedy said, “Many have spent the last year anxious, angry, afraid. We all feel the fractured fault lines across our country.” He added, “We hear the voices of Americans who are forgotten and forsaken. We see an economy that makes stocks soar, investor portfolios bulge and corporate profits climb but fails to give workers their fair share. A government that struggles to keep itself open. Russia, knee deep in our democracy. An all-out war on environmental protection. A Justice Department rolling back civil rights by the day. Hatred and supremacy proudly marching in our streets. Bullets tearing through our classrooms, concerts and congregations, targeting our safest and sacred places. And this nagging and sinking feeling, no matter your political beliefs, that this is not right, this is not who we are.”
He also said that “this administration isn’t just targeting the laws that protect us, they are targeting the very idea that we are all worthy of protection.”
When Trump tried, unsuccessfully, to convince the nation he had helped to divide that he wanted to unify us, Kennedy proclaimed that “we are all equal, that we all count in the eyes of our laws, our leaders, our God, and our government. That is the American promise.”
He further separated his vision of America from that of our pretend populist of a president when he said, “They are turning American lives into a zero-sum game. Where for one to win, another must lose. … We are bombarded with one false choice after another. Coal miners or single moms, rural communities or inner cities. The coast or the heartland. … So here is an answer that Democrats offer tonight. We choose both.”
Kennedy’s words, his vision and his challenge to Americans soared while those of our president just stumbled from one self-congratulatory sentence to another. While Trump talked about significant progress in fighting America’s enemies overseas, and for which every American should be grateful, he barely, if ever, mentioned the challenges of climate change and the environmental outrages being visited upon our communities by his administration’s callous actions.
The young Kennedy did present a vision worthy of our consideration:
“We choose the thousands of American communities whose roads are not paved with power or privilege, but with an honest effort, with good faith and the resolve to build something better for your kids. That, that is our story. It began the day our Founding Fathers and mothers set sail for a new world fleeing oppression and intolerance. It continued with every word of our independence, the audacity to declare that all men are created equal. An imperfect promise for a nation struggling to become a more perfect union.”
Now, that is the kind of vision delivered with sincerity that can unite our country, rather than the words of our current leader who chooses to divide us.
Two ideas for America while our country teeters on the brink.
There is no guarantee that our democracy or any democracy survives from one century to another. A democracy takes hard work, understanding and the commitment of its people to work every day to make sure that the government of, by and for the people “shall not perish from the Earth.”
Friday, the GOP-controlled House of Representatives and President Donald Trump went to war with the FBI and the Justice Department. Congressman Devin Nunes and every Republican member of the House Intelligence Committee, aided and abetted by the president, released a memo that was intended to do one thing and one thing only: obstruct special counsel Robert Mueller’s investigation.
Sen. John McCain, R-Ariz., decried what he claimed was a partisan attack on our nation’s law enforcement agencies.
“The latest attacks on the FBI and the Department of Justice serve no American interests — no party’s, no president’s, only Putin’s,” McCain said. “The American people deserve to know all the facts surrounding Russia’s ongoing efforts to subvert our democracy, which is why special counsel Mueller’s investigation must proceed unimpeded.”
McCain continued, “Our nation’s elected officials, including the president, must stop looking at this investigation through the warped lens of politics and manufacturing partisan sideshows. If we continue to undermine our own rule of law, we are doing Putin’s job for him.”
Today, we find ourselves at a crossroads. Not since the scourge of Joe McCarthy has our democracy been so threatened. McCain, sadly afflicted with a brain tumor, has more courage and intelligence than the speaker of the House, the GOP members of the Intelligence Committee and, yes, the president. They are obstructing the rule of law rather than advancing it.
President Trump said all Americans are dreamers. He should only know what I am dreaming about today.
Brian Greenspun is editor, publisher and owner of the Sun.


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domain: pet


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Sterling Silver Earrings. Everyday all Silver Earrings
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domain: artistic


text:
Knight W. Wheeler Diaries, 1907-1915: Finding Aid
Published in June 2009
- Publisher: United States Naval Academy. Special Collections & Archives.
- Publisher Address:
589 McNair Road
Annapolis, Maryland 21402-5029, USA
- Call number: MS 349
- Location: Special Collections & Archives Department - Manuscripts
- Title: Knight W. Wheeler Diaries
- Dates: 1907-1915
- Size: 0.42 linear feet
- Container Summary: 1 manuscript box
- Creator: Wheeler, Knight W.
- Language(s) of material: English
- Abstract: Knight W. Wheeler was an enlisted sailor in the United States Navy. The Wheeler Diaries span from March 12, 1907 until June 1, 1915, and are composed of first-hand accounts and related enclosures of Wheeler's service aboard U.S. Ships Hopkins, West Virginia, and Albatross, and at the Naval Recruiting Officer in Eugene, Oregon.
Biography of Knight W. Wheeler
Knight W. Wheeler, of Remsenberg, Long Island, New York, enlisted in the United States Navy in March 1907.
Following his enlistment, Wheeler served aboard U.S.S. Hopkins (Destroyer: DD-6) from 1907 to 1910, possibly as a member of the ship's engineering department. During this time period, the Hopkins was assigned to the Second Torpedo Flotilla, engaging in target practice and shadowing the Great White Fleet. In June 1910, Wheeler transferred from the Hopkins to U.S.S. West Virginia (Armored Cruiser No.5). On February 20, 1911, he was transferred again to U.S.S. Albatross (Steamer), a vessel assigned to the Bureau of Fisheries, U.S. Department of Commerce. During Wheeler's tour of duty, Albatross made two scientific voyages, to Lower California (Mexico) and Alaska.
On April 18, 1913, Wheeler was detached from the Albatross and ordered to duty at Naval Station, Portland, Oregon. Wheeler's last known assignment was a two year tour of duty (1913-1915) at the Recruiting Office, Eugene, Oregon.
Description of Contents
The Knight W. Wheeler Diaries, comprising 0.42 linear feet of documentation in three volumes and accompanying enclosures, span from March 12, 1907 until June 1, 1915. The diaries are composed of first-hand accounts and related enclosures of Wheeler's service aboard U.S. Ships Hopkins, West Virginia, and Albatross, and at the Naval Recruiting Office in Eugene, Oregon.
In addition to Wheeler's hand-written entries, the three diaries also include news clippings, post cards, event programs, and photographs.
The first diary, entitled "Log," is entirely the product of Wheeler's service aboard U.S.S. Hopkins, from March 12, 1907 until October 14, 1908. Throughout most of this period, the Hopkins, along with the rest of the Second Torpedo Flotilla, was shadowing the Great White Fleet. Included in the diary are descriptions of various American and South American ports of call, target practice, and numerous details pertaining to the ship's engineering and engine performance. Beginning from the back cover of the diary is a 17 leaf section detailing gun accidents in the U.S. Navy, Naval coaling stations, annual naval maintenance costs, Maori and Australian natives, and Wheeler's August 1908 leave in Yosemite.
The second diary, entitled "Second Log," is the product of Wheeler's service aboard the U.S. Ships Hopkins, West Virginia and Albatross, from October 15, 1908 to April 15, 1911. Much like the corresponding entries in his previous volume, the entries from Wheeler's time aboard Hopkins focus on mechanical issues and target practice, as well as the conditions of other vessels in the Torpedo Flotilla. The majority of the entries from the West Virginia come in the form of pre-printed postcards entitled "Daily Log of the U.S.S. West Virginia." Entries from the Albatross, which was serving for the Bureau of Fisheries, U.S. Department of Commerce, deal not only with ports of call and mechanical issues, but also discussion of specimens retrieved by dredging and from shore expeditions.
The third diary, entitled "Log No. 3," is the product of Wheeler's service aboard U.S.S. Albatross, engaged at that time in a halibut survey off the Alaskan coast, and ashore at the Portland Naval Station and the Naval Recruiting Office at Eugene, Oregon, from April 16, 1911 to June 1, 1915. Entries from this period focus on ports of call, scientific specimens brought aboard, and Alaskan geography and society. Following his transfer to Oregon, Wheeler's diary is dominated by news clippings on various current events. Following the clippings of August 1914, the diary also includes notes on the U. S. Navy, such as listings of the ships and their fleets, shore installations, and divisions of the Navy.
Research interests served by the Wheeler Diaries include the study of early destroyers (especially safety and mechanical issues), U.S. Naval interactions with Central America and the islands of the South Pacific, and early twentieth century scientific exploration.
Detached materials, such as news clippings, postcards, and photographs, have been removed from the volumes and re-housed in chronological order according to their corresponding diary entries, and filed after their respective volume.
Access and Use
Access is unrestricted.
Copyright and Permission
The Knight W. Wheeler Diaries are the physical property of Nimitz Library. Copyright belongs to the authors or creators of the works, or their legal representatives. For further information, consult the Head, Special Collections & Archives.
It is the responsibility of the researcher to secure written permission to publish, reprint, or reproduce material from Special Collections & Archives. The researcher assumes responsibility for infringement of copyright or literary or publication rights. Please contact the Head, Special Collections & Archives for permission to publish and for further information.
Acquisition and Appraisal
Provenance and Acquisition
Purchased in September 1999. Accession No. 99-86.
Related Archival Material
Additional material pertaining to the Great White Fleet can be found in Theodore W. Richards' Great White Fleet Scrapbook, MS 219 in the Special Collections & Archives Department, Nimitz Library.
Materials Cataloged Separately
No materials have been removed from this collection
Processing and Other Information
Knight W. Wheeler Diaries, MS 349
Special Collections & Archives Department
United States Naval Academy
This collection was processed by David D'Onofrio in June 2009. Finding aid written by David D'Onofrio in June 2009.
Name and Subject Terms
- Albatross (Steamer)
- Destroyers (Warships) -- United States
- Hopkins (Destroyer : DD-6)
- Scientific expeditions
- United States. Navy -- Cruise, 1907-1909
- Wheeler, Knight W.
- Clippings (information artifacts)
Log, 1907 March 12-1908 October 15
Aboard U.S.S. Hopkins. Includes entries pertaining to the Japanese Tsukuba class cruisers (October 19, 1907), a boiler tube explosion (December 13, 1907), Trinidad (December 1907), Buenos Ayres (January 26, 1908), the Straits of Magellan and local natives (February 8, 1908), Honolulu and Mark Twain's remarks on Hawaii (August-September, 1908), and Samoa and Samoan natives (including photographs of natives, September 1908).
Second Log, 1908 October 15-1911 April 15
Aboard U.S. Ships Hopkins, West Virginia, and Albatross. Includes entries pertaining to San Diego (December 1908), fatal boiler explosions aboard Hopkins (June 30, 1909 and February 14, 1910), Somoan society (after July 22, 1909), Alaska (July 28 - August 5, 1909), discovery of endangered elephant seals (March 2, 1911), and various Mexican ports (March - April 1911). Also included is a poem entitled "Inside of a Thousand Yard" by Alfred E. Bennett (after entry of January 29, 1909).
Log No. 3, 1911 April 16-1915 June 1
Aboard U.S.S. Albatross and at Portland and Eugene, Oregon. Includes entries pertaining to various Mexican ports of call (April 16-20, 1911), halibut survey and various Alaskan ports of call (May 25-August 29, 1911), Alaskan geography and society (after August 22, 1911), detachment from Albatross (April 18, 1913), and organization of the Navy (after August 1915). Includes news clippings on the Panama Canal (October 1913), diesel marine propulsion (April 1914), and the eruption of Lassen Peak (July 1914).

domain: library


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James Corden, Emily Blunt and Lin-Manuel Miranda sang and danced their means by way of 22 film musicals in just below 12 minutes in a single very entertaining section on The Late Late Show Tuesday night time (Dec. 18).
“Are we prepared for this?” requested host Corden after inviting his friends onto the blue display set. “Not in any respect,” Blunt replied, with Miranda asserting that he was “born prepared."
Donning prime hats, sparkly vests and canes, the trio shrugged their shoulders in time with the the opening music from Cabaret: “Willkommen.” Blunt adopted by crooning to “All That Jazz” from Chicago as Corden pretended to again her up with a piano, after which — letting a bit of hair fall into his face — Corden broke into “City of Stars” from La La Land as Blunt held on the sting of his piano in a yellow costume.
Miranda then got here out costumed like a golden candlestick, bursting into “Be Our Guest” from Beauty and the Beast as Corden placed on a large Cogsworth masks and handed Blunt (now taking over the position of Belle) varied dishes.
The three took on prime hats and swayed their arms to “Sit Down, You’re Rockin’ the Boat” (Guys and Dolls), with Blunt then stepping onto a chair and having a podium pushed in entrance of her for “Don’t Cry For Me Argentina" (Evita). Miranda adopted by reenacting the titular scene from “Singin’ within the Rain."
Blunt adopted by floating down from the clouds with an umbrella. “Anything is feasible, even the inconceivable,” she mentioned, dressed because the titular magical nanny from Mary Poppins, Miranda and Corden becoming a member of her for the movie's quantity. “James, it’s so spectacular you realize that music. Mary Poppins Returns isn’t even out but,” added Miranda because the pattern concluded. “Well, when is it out, Lin?" requested The Late Late Show host, however Blunt lower off Miranda’s reply: “No, no, no, no, no, Lin. One by no means plugs one's personal movie. I might’ve hoped I taught you higher.” She nodded to Corden teasingly. “James, plug it, c'mon.”
The subsequent scene noticed Corden — dressed as Kermit the Frog and donning a banjo — breaking into “Rainbow Connection” from The Muppet Movie till he was interrupted by the precise Kermit the Frog: “Uh, James, that didn’t sound good.” The Muppet and Corden sung in unison, earlier than being swept away by Blunt’s wealthy rendition of The Wizard of Oz traditional, “Somewhere Over the Rainbow." (Miranda caught his head out of her basket because the canine, Toto.)
Corden jumped out to hitch the 2 (sporting a skirt and a wig) to jive to “You Can’t Stop the Beat” from Hairspray. The trio then threw on fuzzy white shawls to sing "Listen” from Dreamgirls, the digicam subsequent panning right down to reveal Blunt (now sporting a curly pink wig) and the boys washing the ground to “It’s a Hard Knock Life” from Annie. They turned their rags into head coverings, hanging laundry and chiming “Matchmaker, Matchmaker" from Fiddler on the Roof.
Corden and Blunt slowed it down, stepping shut to one another and harmonizing to “It Takes Two” from Into the Woods, which they beforehand starred collectively in as The Baker and his spouse, respectively. Miranda ran up behind Emily to hug her. “Lin-Manuel, what are you doing?” snapped Corden. “I can’t be on this one? I believed you had been kidding?” Miranda complained, fiercely proclaiming, “I’m not throwing away my shot,” and persevering with to sing a number of strains of “My Shot” from Hamilton till Corden interrupted: “If you actually need to do that, you may be the woods.”
Miranda, subsequent dressed as a Venus flytrap, joined the gang to interrupt out within the titular monitor from “Little Shop of Horrors,” then marching to “One Day More” from Les Misérables. Corden and Blunt threw on wigs and took on “Your Song” from Moulin Rouge as Miranda comically spun a windmill behind them. Backed by a music retailer, Blunt floated out on a piano whereas Miranda donned a guitar as they went for “Falling Slowly” from Once.
Corden quickly busted out in “Fame” from the musical of the identical identify, and placing on headbands, the three jog across the taxi prop. Blunt then proclaimed, “Diamonds Are a Girl’s Best Friend,” (Gentlemen Prefer Blondes) sporting a Marilyn Monroe-esque wig and fanning herself; the blokes sported prime hats at her sides. The crew was tossed feather boas for a closing musical quantity, backed by a mountain-surrounded lake: “Dancing Queen” from the musical primarily based on ABBA, Mama Mia.
Watch the performers tackle a few of movie's biggest showtunes beneath.


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Army in 2002. Has four multi touchdown games this season. The NCAA has an easily accessible list of what substances are banned, how they are tested for and why they are banned on its website. 2 overall, rather than trade the pick to the Eagles back in 2016.
While Easton is starting at a different position, Berger mostly is after having 11 starts last season at center, two at right guard and one at left guard.. Breaking out from the pack in women’s sports apparel is actress Alyssa Milano, known for her role in the WB’s “Charmed” and for her love of baseball.
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The 49ers could make a big splash with Patriots free agent Dont’a Hightower, but it’s hard to say how that would sit with Bowman, the defensive king of San Francisco’s locker room. Watson got caught trying to do too much a few drives later and paid for it who makes nba jerseys when Stephon Gilmore intercepted his pass intended for DeAndre Hopkins and returned it 39 yards to the Houston 12.
Lewis drafted former USC standout linebacker Rey Maualuga, and added former Cowboys Tank authentic nba basketball jerseys Johnson and Roy Williams in hopes of being able to strengthen the middle of that unit. A January 2011 article for the Columbus Local News cites a 2009 study by the Mid Ohio Regional Planning Commission that lists the salaries of the mayors of Whitehall, Bexley and Reynoldsburg at $77,500, $90,522 and $97,801 respectively..
The National Football league or NFL is the most admired sport association in the United States. On the record, named sources are always preferable because attaching a real name to information or opinions adds layers of accountability to them. People pass through a construction zone on Benjamin Franklin Parkway in view of the Philadelphia Museum of Art where preparations are being made for the upcoming 2017 NFL football in Philadelphia, Thursday, April 20, 2017.
Video for Jaguars vs Panthers Live 6 hours ago Uploaded by NFL SPORTS 2015 Enjoy to custom youth basketball uniforms reversible watch Panthers vs Jaguars live Streaming Online Football 2015 Week 1 start Time, Highlights.. 14. “He is just fantastic in every aspect of the game. Green, but he going off the board about a dozen picks after them..
Specifically, he acquired Mike Leach’s cough, the one that only comes out in interviews. “Just look at my stats over the past five years,” he says, noting especially his 2008 season of 1,000 yard gains, 96 receptions, and double digit touchdowns. Step 3Contact your local construction equipment rental or building supply center.
Is he a bust? Absolutely not. The latest casualty is JC Penney’s New York City flagship and sole Manhattan outpost, put up for rent last month less than a decade into oakley sunglasses sale a 20 year lease. Some paint companies sell the exact shades of colors used by NFL and college football teams.
Especially, with Tebow on the sideline just waiting to get his chance to become a starting quarterback again.. Sixth ranked Washington will host a former assistant team this week in Fresno State. To this day, I’ll bounce things off Bill and look for advice and counsel.
His last rugby appearance was a British and Irish Cup match against Ealing in front of 837 spectators in January. You can shave the studs down to about 50 percent of their length, according to The Kicking Coach. Estimates are that ESPN lost about 10 million subscribers since 2008 with its ad support and subscriber fee based model, falling below 88 million homes, as it also has been tied up with deals worth $15 billion to the NFL (a 10 year deal in 2001), $12 billion to the NBA (a nine year deal), $5.6 billion to the MLB (eight year deal) and more than $7 billion to college football to carrying the championship game and major bowls (12 years).

domain: news


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- Featured Articles
Album review of 'Fast Times At Barrington High' by The Academy Is. Having just completed a string of dates in the UK, The Academy Is....
The Academy isVideo InterviewThe Academy Is ... are one of the most popular Fueled By Ramen bands & quite rightly so. The band were originally...
The Academy Is. Santi Album Review About to embark on a huge American tour with +44 and label mates Fall Out Boy, The Academy Is....


YuzzitPro joins SVG Europe as a Bronze sponsor
YuzzitPro, a tool for creating and distributing content on social media, has joined SVG Europe as a Bronze sponsor.
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Find out more about the benefits of SVG Europe sponsorship.


Health Affairs Briefing
Health Affairs California Forum: Delivery System Innovation
Tsakopoulos Library Galleria, Sacramento Central Public Library
828 I Street, Sacramento, CA
Wednesday, March 22, 2017 from 9:00 a.m. - Noon PST
Follow Live Tweets from the briefing @Health_Affairs, and join in the conversation with #deliveryreform
The March 2017 edition of Health Affairs examines what we have learned about what works and what doesn't when it comes to delivery system innovation. From leading health care systems seeking to improve their own performance; public and private payers increasingly relying upon value-based payment methods; and clinical leaders and patients demanding change, innovation at the point of care is necessary not only for improved efficiency, but also for improved quality, better patient engagement, and a more satisfied clinical workforce.
A March 22 forum at the Central Public Library in Sacramento, California featured authors from the journal, and a variety of regional perspectives, for a discussion of innovations currently underway. Topics discussed included: what we are learning; and measures policymakers can take to understand, evaluate, and spread the word about new approaches to delivering care.
Health Affairs is grateful to Blue Shield of California Foundation for its support of the issue and forum.


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Identified duplications impact VIPR2 gene, which usually regulates neurons and behavioral processes.
An international team of scientists has identified a gene mutation strongly linked to schizophrenia.They say that variations in the VIPR2 gene increases signaling in the vasoactive intestinal peptide pathway, which can be controlled by synthetic peptides, but therapeutic effect of these compounds are yet to be determined.
Details of the study are reported in “Duplications of the neuropeptide receptor gene VIPR2 confer significant risk for schizophrenia,” published in the February 23 online issue of Nature.
Over the past three years researchers discovered that copy number variants (CNVs) at many locations in the human genome resulted in significantly higher risk of schizophrenia. Those findings were the first conclusive evidence that rare mutations can cause schizophrenia but did not identify specific genes involved.
In the latest study, led by Jonathan Sebat, Ph.D., assistant professor of psychiatry and cellular and molecular medicine at the University of California, San Diego School of Medicine, researchers scanned for CNVs in the genomes of 8,290 individuals with diagnosed cases of schizophrenia and 7,431 healthy controls.
The study confirmed CNVs identified in earlier studies but also found that duplications at the tip of chromosome 7q were detected in individuals with schizophrenia at a rate 14 times higher than in healthy individuals. The duplications impact a gene coding for the vasoactive intestinal peptide receptor 2 (VIPR2), expressed in the nervous system including in the brain as well as blood vessels and the gastrointestinal tract.
Previous studies showed that VIPR2 helps to regulate the formation and activity of neurons in the brain. In mice, VIPR2 also has been found to play important roles in behavioral processes like learning and timing of daily activity.
The study next measured expression of the VIPR2 gene in blood cells from patients, finding that individuals with mutations had greater expression of VIPR2 and greater activity of the receptor. “This suggests that the mutations increase signaling in the vasoactive intestinal peptide pathway,” explains Aiden Corvin, Ph.D., of the psychosis research group at Trinity College Dublin and co-author on the study.
“We know that this activity can be modulated by synthetic peptides and the next step is to see if these compounds have a therapeutic effect in mice or in cultured human cells that carry the VIPR2 gene mutation.”
The psychosis research group was involved in study design, analysis, and data interpretation. Irish patients and their families from Trinity teaching hospitals contributed to the original test sample of 802 cases and 742 controls along with participants from Columbia University, Harvard, NYU, McLean, and University of Washington medical teaching hospitals.


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I'd definitely frequent a place like that! The prices aren't too bad, either, especially for an NYC restaurant.
We have a place that's somewhat like this in town, except it's more of a vegan establishment, but there are a number of dishes that are just vegetable/fruit/nut-based and primal. However, it's incredibly pretentious on top of being expensive, so despite trying it with good intentions, I do not intend on returning.
Very cool. Best I can do is just order meat and veg at local restaurants and hope the oil they used isn't too shabby. We don't eat out much as a result. I would definitely be interested if something like this opened up near me. Enjoy it!
holy crap what a small world...jordan i will be coming there very soon and alot..most likley this wkend to start..i will ask for you..my name is chris...see you there...i am so excited about this place..
That's actually pretty cool. I read a good bit of it. I see that they "embrace" olive oil, coconut oil, avocado fat and natural fats from animals that eat their normal diets, but I'm curious as to what they cook their food in. I'm assuming olive and coconut oil from that blurb? I'd expect them to NOT use cheap seed oils or I'd be very disappointed. I'm okay with occasional eating of grains. While grains are clearly a contributor to disease, the major diseases we face today that have become epidemic surely are not caused by occasional grain intake since we've been eating grains for thousands of years and heart disease and cancer have only reached epidemic levels in the past few decades. It's those disgusted, rancid seed oils. I'd rather eat CAFO chicken tenders breaded in wheat flour and deep fried in virgin olive oil than a steak seared in soybean oil. That's how I feel.
Don't put your trust in anyone on this forum, including me. You are the key to your own success.
Hey, ChocoTaco. Thanks for checking out the site. I'm with you on the bad oils. It's for sure more expensive, but we walk the walk. We season, cook, and finish with olive oil, coconut oil, and seldom grass-fed butter. No canola oil or BS canola/olive oil blends. We take stances on many other issues that will no doubt make you smile, but that answers your oil question. Swing by if you are ever in NYC.

domain: food


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long postcard holder
Lovely wooden postcard or picture holder, suitable for cards in landscape orientation.
We have a wonderful selection of postcards, for all seasons and occasions. A simple, beautiful, guiding image can leave its imprint on not only the eyes... Uplifting, and calming, an image for focus of what is important to our hearts and souls.
Made in Germany.


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In your box:
–Broccoli shoots or summer squash
–Eggplant or sweet pepper
As we come around the halfway point of the growing season, it’s time for my annual plug for Minnesota’s stinkiest celebration, the 10th annual Minnesota Garlic Festival. If you’ve never been this is a great day-long celebration of our favorite smelly vegetable held at the McLeod County Fairgrounds in Hutchinson (about an hour west of the Twin Cities). The big day is this Saturday, August 15th. For more information, please check out: http://www.sfa-mn.org/garlicfest/, And don’t forget to scroll down the right-hand sidebar for your printable 2-for-1 ticket!
Paying half price still not good enough for you? You can get in for free AND get a t-shirt AND get a free meal voucher if you volunteer for just a two hour session. This year I have somehow signed up to be the admissions coordinator, in charge of our volunteers who handle the admissions fees. I need a few more volunteers between 1:30-3:30. All you have to do is stand in the shade and collect money from people as they enter (no, you don’t get to keep the money….) If you’re interested in helping out, please let me know!
This week’s sweet corn has ripened two weeks ahead of schedule, which is great news as we continue the flow of summer. It does mean, however, that we’ll be done with sweet corn by the middle of August. This has been the most consistent crop of corn I’ve ever had, and I’ve only lost three ears to raccoons. I try to let them know they can take up to ten ears without me getting too mad, so I think they’re still feeling poorly about eating a hundred ears last summer.
Tomato harvest has become a full-time job, I’m happy to say. This looks to be one of our best tomato seasons ever, at least this early in their season. I’m already ready to take extra tomato orders. If you are interested in freezing or canning or making salsa, we offer 10 pound boxes of tomatoes for $25. We try to give a mixture of meaty paste tomatoes along with a few heirlooms as well. If you are interested in purchasing surplus tomatoes, please let me know what date works best and how much you would like. I only offer a surplus for sale when I have enough for 1.5 lb for half shares and 3 lb for full shares that week—our CSA boxes come first, of course. But we already have more than that, so you can request extra starting next week through early September.
This week we launch our harvest of Eggplant. What’s that? You don’t like eggplant? Well, I’m not the biggest fan either. But we can all eat a few eggplant each year. This is good for us. And then we can celebrate all through the winter that we’ve eaten our eggplant and don’t have to for nine more months.
Eggplant are in the nightshade family, closely related to potatoes, tomatoes, and peppers. They are so close to potatoes that the treacherous Colorado potato beetle will wander over after a meal of potato greens and happily munch on an eggplant leaf.
- Eggplant may be peeled, but this is not necessary.
- To bake: Prick all over the skin with a fork and bake it at 400 degrees until the flesh is tender—about 30-40 minutes. Baked eggplant can be pureed.
- To stuff: Bake 20 minutes, scoop out seeds, replace with stuffing, and return to oven for 15 minutes
- To saute: Saute in hot oil until light brown, preferably with herbs, garlic, cheese, etc. It may also be sliced and then dunked in flour, eggs, or bread crumbs before sauteeing.
- To steam: Steam over one inch of water for 15-30 minutes.
- To grill: Slice into thin strips and grill with other veggies (squash, peppers, etc.) and skewer it for a shish kabob.
One thought on “Week 9 Newsletter”
Thanks for the 2fer tip. You saved me five bucks. More seed garlic to buy!!!! Michelle and Duncan

domain: agronomy


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|28th Nov 2020 to 23rd Dec 2020|
|Selected dates and times - see event website for details|
Dalkeith Country Park
Dalkeith Country Park Via King's Gate, Dalkeith EH22 2NA
|Visit the event website here|
A magical experience at Dalkeith Country Park
Santa and his elves are coming to Dalkeith Country Park to give your kids an unforgettably magical experience this Christmas. Making dreams come true, our Santa (and we are pretty sure he is the real one) wants to make sure every child he meets gets plenty of time so they can tell him their dearest wish, get a free (socially distanced) photo opportunity and receive a proper under-the-tree worthy gift. As part of the package you’ll also get free entry into Fort Douglas on the same day.
Please note that this year’s Santa’s Grotto will be socially distanced so Santa will be two metres away from you and your children to help keep everyone safe. After all, Santa needs to keep fit and well to deliver everyone’s presents come Christmas Eve!
While we take every opportunity to ensure the details for Santa’s Grotto at Dalkeith Country Park are accurate, we always advise that you contact the event organiser before setting out for the event to avoid disapointment. All information (whether in text or photographs) is given in good faith but should not be relied upon as being a statement of representation or fact.
The magic of Christmas lives on at The Parking Lot Social Winter Festival... featuring pantomimes, huge Christmas parties, festive movie screenings, fireworks, comedy, food trucks & more!
Join the Surgeons Hall Museums on their weekend walking tour through Edinburgh’s old town and hear tales of old Edinburgh, disease, dissection and curious methods of treatment.
Join us to carve a Jack-o'-lantern at The Cauldron Edinburgh on Frederick Street in New Town while enjoying a mug of The Cauldron’s signature HallowCream!
Edinburgh International Film Festival and Unique Events have teamed up with Edinburgh Airport to produce a new monthly event for cinema fans throughout the rest of 2020!

domain: entertainment