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Jazz Piano

< Jazz

Technique
One of the first things a jazz pianist needs is a foundation of good pianistic technique, which is most easily gained by studying classical piano. Learning pieces by composers known for using counterpoint, especially J.S. Bach, can be especially helpful in developing an ear for contrapuntal melodies and hand independence (the ability of both hands to do different things at the same time), which are both critical to the jazz pianist. Several of the technical resources used in jazz piano are classical devices which you can find in the baroque era.

In order to successfully improvise, a correct articulation is necessary. Although this can only be achieved through practice—classical training may help—, the best advice is to "feel" the music you are playing. Technical aspects involved in rhythm, for instance, are likely to be better understood if they are felt and thought rather than just read from sheet music. In jazz, as a rule of thumb, most passages are played with eighth notes, in a more or less "swinging" feel. But to learn rhythm patterns, it is usually better to do it by listening.

A further jazz piano technique is to consider each note as a number or 'degree' of the major scale to which the chord is related. By doing this, you will no longer have difficulty playing in unfamiliary keys because you will be thinking 'numbers' rather than 'note letters'. For example, if your improvised melody goes, against a Cm7 chord (C,Eb, G, Bb): G, G, Eb, A, D, D, Bb, F... you can consider these as note values against the C root, giving:  5, 5, m3, 6, 9, 9, d7, 4. Remembering this sequence means that you can simply transpose this idea into any other key, let's say F: C, C, Ab, D, G, G, Eb, Bb.

In addition to this note value concept, each note value itself has a particular 'feeling'. A 9th sounds 'longing', a 6th sounds 'soft' and easy on the ear. Knowing the note values' feelings enables you to play Purposeful improvisations in any key.

Jazz piano technique should not deter the aspiring jazz pianist. Understandably, listening to recordings of Oscar Peterson and Bill Evans is enough to make anyone give up jazz piano, but it need not be that way. Their technique came to them in the same way it should come to you: practising and listening and emulating and creating anew. At the end of the day, with a steady accumulation in your knowledge and ability to play in all 12 keys: major scales, minor scales, blues scales, major/minor chords and these with dominant and major 7ths, is all you need to really get going in jazz. The rest will come from within.

Listening
By collecting a library of good jazz recordings and listening regularly, you'll be able to determine which pianists you might like to emulate, familiarize yourself with the myriad sounds that constitute "jazz", and develop an ear for the common forms jazz tunes tend to follow (AABA, for instance). This will also give you an idea of which tunes you would like to learn first. There are numerous great pianists that you will discover in time, but the first seven on your list should be Art Tatum, Thelonious Monk, Bud Powell, Oscar Peterson, Bill Evans, Red Garland and McCoy Tyner. Each of these seven pianists made a significant contribution through his style, and all of these pianists' styles were highly original. There are in many cases pianists who occupied similar niches, and these are marked under "further listening."

Art Tatum is first because he was most influential during the 1930s and 1940s and (somewhat) preceded the bebop era. His recordings and transcriptions are admired by modern pianists for his advanced concept of the jazz popular of his day, as his playing possessed incredible technique and speed.

Thelonious Monk is today admired most for his style's influence on other musicians and his compositions. His compositions were critical to the founding of bebop and gave it advanced chromatic chord progressions. His ballad "Round Midnight" is one of many jazz standards he composed, and any jazz pianist should be familiar with a few dozen of the tunes he wrote. His quartet with saxophone player Charlie Rouse (1960s) was a significant development in its day. For further listening: Stanley Cowell, Geri Allen.

Bud Powell's playing showed influences from Thelonious Monk, one of bebop's founders, and Art Tatum. He took Monk's choppier style and gave it an Art Tatum influence resulting in more flow and stronger swing pulse. His Massey Hall concert with Parker and Gillespie, and later a number of trio recordings, gave him legendary status in bebop circles along with Monk. His technique was advanced and therefore few emulated his style, with a notable example being Barry Harris. Transcriptions are challenging to learn. Further listening: Barry Harris, brother Richie Powell.

Oscar Peterson developed a number of accessible licks that he could apply to any swing rhythm, from ballad to uptempo, and his piano trio (Ray Brown on bass and Ed Thigpen on drums) is considered to have been one of the greatest in jazz. As his playing was somewhat more accessible than that of his predecessors, listening to his extensive discography is an excellent start for learning pianists.

Bill Evans came to prominence in the late 1950s and early 1960s and was influenced by a number of other players, yet had his own more classical playing style. As the pianist on Miles Davis' Kind of Blue he was successful both as an accompanist and leader of his own trio, which he ran until his death in 1980. His playing consisted primarily of two styles: exploration on ballad and slow 3/4, and uptempo swing, and he applied different styles to each. He focused on clarity, particularly in his earlier years, before shifting toward electric piano in his later years. Further listening: Michel Petrucciani, Onaje Gumbs.

Red Garland, also a former member of the Miles Davis Quintet (before Evans) was one of many mainstream jazz pianists who were influenced by bebop but avoided the intensity of Bud Powell's playing style. Further listening: Al Haig, Tommy Flanagan, Duke Jordan.

McCoy Tyner was a member of John Coltrane's Quartet/Quintet and in his early years (1960s) was a proponent of the avant-garde approach. His voicings were more complicated than those of his predecessors in order to match the intensity of Coltrane. He largely succeeded Tommy Flanagan and the mainstream pianists in Coltrane's increasingly avant-garde music circle. For further listening: Alice Coltrane, Cecil Taylor, Mulgrew Miller, Herbie Hancock, Cedar Walton.

The verb 'to listen' is very different to the verb 'to hear'; you must execute the former. To listen to jazz is to internalise jazz; to hear jazz is to ignore jazz. When listening, pay close attention to chord types, bass lines, how the melody makes you feel and how the swing, if it's a fast enough piece, really gets to you. Without an awareness of such things, jazz will be lost on you.

Listening may also involve sitting down and copying what you hear. Whilst it is not advised (by Oscar Peterson no less) to listen just to copy note-for-note an entire recording, doing so to copy and then study and then personalise your favourite licks (melodic phrases) from a jazz recording is more than encouraged because it opens up the piano in ways you never thought possible, as well as providing you with a heavier 'bag of licks' and more opportunities for your fingers to develop dexterity. You also learn about note/chord connections which were originally unknown to you.

Listen to jazz as much as much as possible. There can be no finer advice to the aspiring jazz pianist.

Learning Tunes
Before learning a lot of complex scales or chord voicings, it is essential to learn some of the more common tunes jazz players play. Here are some examples of tunes you'll want to learn:

 * Autumn Leaves
 * All the Things You Are
 * Beautiful Love
 * Body and Soul
 * But Beautiful
 * Cherokee
 * Darn That Dream
 * Fly Me to the Moon
 * Girl from Ipanema
 * I Hear a Rhapsody
 * My Funny Valentine
 * Round Midnight
 * There Will Never Be Another You

Resist the urge to read tunes out of the book and memorize them as soon as possible. It is better to buy a recording of the tune and learn from the recording. It is critical that you feel relaxed and free to use your ears to explore possibilities in a piece of music, something you'll never accomplish while reading from a page.

Start learning each tune simply; begin by memorizing the melody and also the lyrics, if there are any. One good way to learn a melody is to play the bass note of each chord symbol while singing the melody. Later, replace singing the melody with playing it in your right hand, but sing along softly or silently in your head. To ensure you really know the melody, try transposing it into two or three other randomly chosen keys.

Next, fill in the space between the bass notes and the melody with the inner chordal material indicated by the chord symbols from the book.

In addition, it is very important to be aware of chord sequences in jazz tunes. It's fair to say that over 75-80% of them contain incredibly similar chord sequences, albeit in a different key. The most common chord progression is II-V-I. This is commonly extended by being VI-II-V-I and this itself can oftimes be extended by being III-VI-II-V-I.

The use of Roman Numerals is very commonplace in jazz so familiarise yourself with RN 1-7 immediately. 7, because that is the highest major scale degree. The RN values in the progressions above (and any other jazz progression) are numbered from the root, I (one). In the key of C, the longest progression would be: E, A, D, G, C, with C being the I and E being the III, from the major scale of the root, C.

This does become a little more complex because the first question is, "What type of chord do I play for each scale degree?" Simply remember this before going to study in detail about 'Modal Theory': I: Major 7, II: m7, III: m7, 4: Major 7, 5: dominant 7, 6: m7, 7: half-diminshed (root, minor, flat 5, dominant 7th, not 6th which is a full diminished or put another way, a full set of minor 3rds).

Once you are familiar with modal theory and have practised and mastered the II-VI-II-V-I chord progressions in every key (give yourself a month, max), you will be ready to rapidly internalise the vast majority of jazz tunes.

Blues Scale
There is no one scale which can be called the "jazz scale". Jazz music uses many scales, which belong to the various groups of modes.

Blues scale, ascending (C minor): C Eb F F# G Bb C

The scale is a representation of what notes can be used across a dominant (seventh) or minor chord of the respective key, and the scale is not to be played ascending and descending as with classical scales. While jazz pianists may or may not play scales in practice (most do), application of these scales is crucial to an improvising jazz pianist. It's called a minor C blues scale when playing a blues in C (major).

The same scale can be used as the equivalent major scale, in this case Eb. Play the Eb chord with your left hand and play (or try improvising in) the above C minor scale. The bass note is now of course the second one - Eb. You will see that this major-6 scale is a very good jazz scale and probably more useful than the C minor in most jazz tunes.

The same scale in C (major) would look like this: C D (Eb) E G A C

Adding an Ab to the C6 scale gives you another blue note between the 5-6 (G-A).

These scales in theoretical terminology are known as the pentatonic scales. Many improvisations made by some pianists give this pentatonic feeling as the key to improvisation. Something else to consider is that parts of chromatic scales are often used when improvising as well. A common chromatic approach used in Thelonious Monk's "Blue Note" is ascending four notes chromatically, such as C - C# - D - Eb, across the dominant chord. It can be done in reverse (Tadd Dameron's "Hot House") or used as part of a longer phrase. Advanced jazz pianists use a combination of the vast number of available scales and techniques, switching from one approach to another within phrases and choruses of improvisation.

Using Appoggiaturas and Other Melodic Phrases
In music, an appoggiatura is a note that is played quickly and chromatically, for example in the C major scale a pianist could play C, D, D# E, where D# becomes the appoggiatura and is played right before E. In most blues piano improvisations there is a famous melodic phrase, used before the fifth chord on a chord progression is played, called the Huey "Piano" Smith turnaround, named after the pianist who invented it in New Orleans.

Most of the music containing good improvisational phrases and piano soloing also comes from this city. This turnaround in a C Major scale would contain an appoggiatura, thus the following notes are played with right hand: C D# (E and G simultaneously) C (F and A as an interval); C, D# (E and G simultaneously once more) A (crossing index over thumb, which falls naturally into G and then G is played).

More concisely, the turnaround repeats the first interval with the appoggiatura and notes F and A are played with fingers 4 and 5 respectively. Another interesting phrase used in piano for jazz or blues which uses the black keys to form a quick blues (pentatonic) scale can be heard in the song "Big Chief" by Professor Longhair.

title: Jazz Piano


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Sakhi

Sakhi (Gurmukhi: ਸਾਖੀ; sākhī) literally means 'historical account', 'anecdote', or 'story'. It is derived from the Sanskrit word sākṣī (साक्षी) which literally means 'witness'.

The term refers to the accounts of the historical events in Sikhism. It is a tale usually from the era during the times of the Sikh Gurus and their devoted followers and associates. However, many Sakhis do exist from the period before and after the times of the Ten Gurus. Most Sakhis have a moral lesson and highlight important Sikh principles.

Compilation
A collection of over five-hundred anecdotes from Sikh history was said to have been compiled in a work known as the Panj Sau Sakhi, which is now lost. An extant work titled Sau Sakhi contains a hundred anecdotes.

List of Sakhis
Below is a list of important Sakhis with a message for Sikhs.
 * Bhai Makhan Shah
 * Village of Children
 * Establishment of Kartarpur
 * Darshan
 * 3 Days in the River
 * Bhai Lalo's Honesty
 * Bhai Manjh Singh
 * Bhai Taloka's ardas
 * Dukh Sukh
 * Durga Worshipper from Amritsar
 * Guru Ji's Sickness
 * Guru Nanak and Duni Chand
 * Guru Nanak and Moola
 * Guru Nanak and the Sacred Thread
 * Guru Nanak at School
 * Platforms of Jetha
 * Respect through Service]]
 * Sakhi Kaligidhar Chamatkar
 * Sakhi of Bhagat Dhanna
 * Sakhis of Guru Nanak
 * Sundri
 * The Birth of the Guru
 * There is no Hindu and no Musalman
 * Watering the Crops
 * 2 Pots
 * Attaining Guruship
 * Beheaded
 * Bring me Arms and Horses
 * Charity to Sadhus
 * Chhajju
 * Creation of Anand Sahib
 * Creation of Shabad Hazarai
 * Guru Gobind Singh and Ghanaya
 * Guru Gobind Singh and The Donkey
 * Guru Nanak and two students]]
 * Holy Cakes
 * Iron Clad Soldiers
 * Is there one God for the Rich, and one for the Poor? (Are there TWO Gods)
 * Mardana Gives Clothes and Food
 * Mardana and the ants
 * Mardana and the stone
 * Sajan the Robber
 * The Desecration of Harimandir Sahib
 * Guru Nanak and Hot Spring

source: wikimedia

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Sakhi


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Cookbook:Cuisine of California

| North America | United States

The Cuisine of California covers a wide range of styles and recipes. A distinct subdivision, known as California Cuisine, is a gourmet food movement which, while originating in California, is now influential worldwide. This cookbook is primarily focused on the broader subject. Recipes associated with California Cuisine are indicated with CC.

Recipes

 * Au Jus Sandwich (early California restaurant creation)
 * Brown Rice with Ground Turkey (California health food tradition)
 * Burrito (Mission variety created in San Francisco)
 * Caesar Salad (early California restaurant creation)
 * California Fusion Peach Salsa (CC)
 * California Curry Chicken (modeled after the dish in California Indian restaurants, which may be different from the native Indian dish)
 * Cioppino (early California restaurant creation)
 * Fred Steak Marinade (recreation of a marinated steak from a California butcher)
 * French Dressing, also known as Catalina Dressing, from Los Angeles
 * Garlic Pork Chops with Black Mushrooms (CC)
 * Louis Dressing (early California restaurant creation)
 * Rosemary Grilled Salmon Steaks (CC)
 * San Francisco style Scallop Ceviche (CC)
 * Tempura Baked Halibut with Cilantro Aioli (CC)
 * Teriyaki Grilled Salmon Steaks (CC)
 * Thousand Island Dressing
 * Tetrazzini (a creation from San Francisco during the early 20th century in honor of the opera singer Luisa Tetrazzini) (CC)

title: Cookbook:Cuisine of California


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Genting Sempah–Genting Highlands Highway

The Genting Sempah–Genting Highlands Highway is the main highway from Genting Sempah to Genting Highlands, Malaysia, a mountain resort and entertainment park. This is a private highway owned by Genting Berhad. The speed limit of the highway is 50 km/h (31 mph).

Route background
The Genting Sempah–Genting Highlands Highway begins at the downhill Genting Sempah near EXIT 803 on Kuala Lumpur–Karak Expressway (kilometre 17.6). Its terminus (kilometre zero) is at Genting Highlands summit.

History
The Genting Sempah–Genting Highlands Highway used to be a private highway owned by Genting Highlands Resort. Construction of the access road to Genting Highlands began on 18 August 1965 and took four years to complete from Genting Sempah to Mount Ulu Kali's peak. The access road finally opened on 31 March 1969 in conjunction with the official laying of the foundation stone for the Genting Hotel (the then Highlands Hotel) by the then-Prime Minister Tunku Abdul Rahman Putra Al-Haj. In 2001, a new bypass Chin Swee Bypass was designed as a downhill route from the summit to the downhill Chin Swee Temple was constructed and completed in 2005. The construction of the new bypass was regarded as one of the most astonishing engineering projects in Malaysia.

In 2021 and 2022, Genting Sempah was closed due to landslides caused by heavy rains that were exacerbated by climate change.

Notable events

 * 18 August 1965 – Construction of the access road to Genting Highlands began.
 * 31 March 1969 – The access road to Genting Highlands was opened.
 * 30 June 1995 – 20 people were killed in a landslide at the Genting Highlands slip road near the Kuala Lumpur–Karak Highway.
 * 16 July 1996 – A bus, ferrying a group of factory workers and their families on a holiday excursion, plunged into a 120-metre-deep ravine at km 1 near the Genting Highlands Resort, killing 17 of them. Six were children.
 * 5 June 2004 – A retired businessman was killed when the bus he was skidded overturned and crashed at km 16 near Sri Layang roundabout.
 * 31 March 2005 – A bus negotiating the sharp corner at km 18 at Gohtong Jaya roundabout skidded, hit the divider and landed on its side while coming down Genting Highlands. Fifteen passengers were injured.
 * 13 April 2006 – A landslide occurred at 11 p.m. at km 3.8. The landslide at the new Chin Swee Bypass to Genting Highlands two days ago caused soil and boulders to cover the road, making it inaccessible to traffic. No one was apparently hurt.
 * 22 September 2009 – Genting Malaysia Berhad has announced that soil erosion occurred at km 3.3 of a downhill road at the Genting Highlands Resort at 3.20 am. No one was apparently hurt.
 * 29 October 2010 – Seven people were killed and more than 20 injured when the bus they were travelling in crashed at the slip roads for the Kuala Lumpur–Karak Expressway near Genting Sempah.
 * 21 October 2011 – A man suffered light injuries when a landslide hit the front of his car at km 13.9 near Genting Highlands
 * 21 August 2013 – At least 37 people were killed and 16 others injured when the bus carrying 53 passengers crashed into ravine at Km 3.5 of the Genting Sempah–Genting Highlands Highway near Chin Swee Temple, Genting Highlands, Pahang. It was one of the worst road disasters in Malaysian history.
 * 18 November 2014 – A landslide, caused by heavy rain, forced the closure of km 4.2 heading towards Genting Highlands.

Dangerous curves
At least six spots along the 18 km road leading down from Genting Highlands have recorded horrific accident area involving buses and other heavy vehicles since 1989. 10% steep gradients, sharp bends and less-than-ideal road conditions can make it difficult for heavy vehicles to manoeuvre, and odds of losing control, skidding off the road and crashing, are high.

Separated one-way roads
The one-way road (formerly original dual-carriageway highway) from Chin Swee Temple was constructed as a climbing route to the summit. The other one-way road from the summit was designed as a downhill route to Chin Swee Temple.

Emergency escape ramp
Emergency escape ramps are also provided, especially on the one way downhill Genting Sempah bound lanes. An emergency escape ramp enables vehicles that are having braking problems to stop safely. It is typically a long, sand or gravel-filled lane adjacent to a road with a steep grade, and is designed to accommodate large, heavy vehicles. The deep gravel allows the heavy vehicle's momentum to be dissipated in a controlled and relatively harmless way, allowing the operator to stop it safely.

Viaducts at Chin Swee Bypass
Viaducts at the downhill road of Chin Swee Bypass leading Genting Sempah bound.

Le Tour de Langkawi
Genting Highlands serve as the finish point of a stage in the Tour de Langkawi cycling race. It is one of the longest (30 km) climbs featured in a cycling event.

Kilometre and Hectormetre markers
Kilometer and Hectormetre markers are placed along the road. It can be used for reporting accident locations.

Genting Highlands Climbing Route
(Climbing route, One-way Genting Highlands bound)

Chin Swee Bypass
(Downhill route, One-way Genting Sempah bound)


text:
Talk:Diarmuid Byron-O'Connor

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title: Talk:Diarmuid Byron-O'Connor


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Talk:Arthur Pickens

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title: Talk:Arthur Pickens


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Tenellia georgiana

Tenellia georgiana is a species of sea slug, an aeolid nudibranch, a marine gastropod mollusc in the family Fionidae.

Distribution
This species was described from South Georgia, Antarctica. It is reported from the Ross Sea, Kerguelen, South Georgia and southern Chile.

title: Tenellia georgiana


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Introduction to Paleoanthropology/Definition

To effectively study paleoanthropology, one must understand that it is a subdiscipline of anthropology and have a basic understanding of archaeology dating techniques, evolution of cultures, Darwinian thought, genetics, and primate behaviours.

There is a long academic tradition in modern anthropology which is divided into four fields, as defined by Franz Boas (1858-1942), who is generally considered the father of the Anthropology in the United States of America. The study of anthropology falls into four main fields:
 * 1) Sociocultural anthropology
 * 2) Linguistic anthropology
 * 3) Archaeology
 * 4) Physical anthropology

Although these disciplines are separate, they share common goals. All forms of anthropology focus on the following:
 * Diversity of human cultures observed in past and present.
 * Human beings in all of their biological, social, and cultural complexity.
 * Many other disciplines in the social sciences, natural sciences, and even humanities are involved in study of human cultures.
 * Examples include: Psychology, geography, sociology, political science, economics, biology, genetics, history and even art and literature.

Sociocultural anthropology/ethnology
This field can trace its roots to processes of European colonization and globalization, when European trade with other parts of the world and eventual political control of overseas territories offered scholars access to different cultures. Anthropology was the scientific discipline that searches to understand human diversity, both culturally and biologically. Originally anthropology focused on understanding groups of people then considered "primitive" or "simple" whereas sociology focused on modern urban societies in Europe and North America although more recently cultural anthropology looks at all cultures around the world, including those in developed countries. Over the years, sociocultural anthropology has influenced other disciplines like urban studies, gender studies, ethnic studies and has developed a number of sub-disciplines like medical anthropology, political anthropology, environmental anthropology, applied anthropology, psychological anthropology, economic anthropology and others have developed.

Linguistic anthropology
This study of human speech and languages includes their structure, origins and diversity. It focuses on comparison between contemporary languages, identification of language families and past relationships between human groups. It looks at:
 * Relationship between language and culture
 * Use of language in perception of various cultural and natural phenomena
 * Process of language acquisition, a phenomenon that is uniquely human, as well as the cognitive, cultural, and biological aspects involved in the process.
 * Through historical linguistics we can trace the migration trails of large groups of people (be it initiated by choice, by natural disasters, by social and political pressures). In reverse, we can trace movement and establish the impact of the political, social and physical pressures, by looking at where and when the changes in linguistic usage occurred.

Archaeology
Is the study of past cultures through an analysis of artifacts, or materials left behind gathered through excavation. This is in contrast to history, which studies past cultures though an analysis of written records left behind. Archaeology can thus examine the past of cultures or social classes that had no written history. Historical archaeology can be informed by historical information although the different methods of gathering information mean that historians and archaeologists are often asking and answering very different kinds of questions. It should be noted that recovery and analysis of material remains is only one window to view the reconstruction of past human societies, including their economic systems, religious beliefs, and social and political organization. Archaeological studies are based on:
 * A specific methodology to recover material remains including excavation techniques, stratigraphy, chronology, and dating techniques
 * Animal bones, plant remains, human bones, stone tools, pottery, structures (architecture, pits, hearths).

Physical anthropology
Is the study of human biological variation within the framework of evolution, with a strong emphasis on the interaction between biology and culture. Physical anthropology has several subfields:
 * Paleoanthropology
 * Osteometry/osteology
 * Forensic anthropology
 * Primatology
 * Biological variation in living human populations
 * Bioarchaeology/paleopathology

Paleoanthropology
As a subdiscipline of physical anthropology that focuses on the fossil record of humans and non-human primates. This field relies on the following:

Evolution of hominids from other primates starting around 8 million to 6 million years ago. This information is gained from fossil record of primates, genetics analysis of humans and other surviving primate species, and the history of changing climate and environments in which these species evolved.
 * Understanding Human Evolution:

Evidence of hominid activity between 8 and 2.5 million years ago usually only consists of bone remains available for study. Because of this very incomplete picture of the time period from the fossil record, various aspects of physical anthropology (osteometry, functional anatomy, evolutionary framework) are essential to explain evolution during these first millions of years. Evolution during this time is considered as the result of natural forces only.
 * Importance of physical anthropology

Paleoanthropologists need to be well-versed in other scientific disciplines and methods, including ecology, biology, anatomy, genetics, and primatology. Through several million years of evolution, humans eventually became a unique species. This process is similar to the evolution of other animals that are adapted to specific environments or "ecological niches". Animals adapted to niches usually play a specialized part in their ecosystem and rely on a specialized diet.
 * Importance of related disciplines

Humans are different in many ways from other animals. Since 2.5 million years ago, several breakthroughs have occurred in human evolution, including dietary habits, technological aptitude, and economic revolutions. Humans also showed signs of early migration to new ecological niches and developed new subsistence activities based on new stone tool technologies and the use of fire. Because of this, the concept of an ecological niche does not always apply to humans any more.

Summary
The following topics were covered:
 * Introduced field of physical anthropology;
 * Physical anthropology: study of human biology, non-human primates, and hominid fossil record;
 * Placed paleoanthropology within overall context of anthropological studies (along with cultural anthropology, linguistics, and archaeology);

Further modules in this series will focus on physical anthropology and be oriented toward understanding of the natural and cultural factors involved in the evolution of the first hominids.


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User:SuggestBot/Interviews/User-47

As part of our current research study we would like to know a bit more about you and your involvement on Wikipedia and your use of SuggestBot. Your participation is voluntary, meaning you are free to not answer any questions or withdraw at any time. You can find more information about the study and contact information in the consent information sheet. To respond you can edit this page and write the answers below the questions like it was a talk page. If you wish to submit your answers in private you can email us directly.

If you have questions about any part of this, feel free to let us know. I (User:Nettrom) am the researcher responsible for the project and I’ve got this page on my watchlist so I can respond fairly quickly. I might also stop by to ask some follow-up questions, e.g. to clarify if there was something I could not understand. Regards, Nettrom (talk) 18:09, 10 July 2012 (UTC)

 * 1) Articles you are interested in.
 * I am mostly interested in India related articles as I am an Indian. Also I like to read and work on sports, military related articles. I also like to work on lists also. I also fix disambiguation links in my free time. Thats about covers up my 99% areas if anything is left out then I am unmindful about it or it is not much to me.
 * 1) How do you decide which articles to work on?
 * It is hard to say because sometimes I just arrive at an article through a link and if I find a thing or two incorrect I might start work on it. I also take part in collaborations of the months for a couple of wikiprojects these are conscious efforts to work on an article. Most of the times the article which I work on is from area of my interest so I know a lot of details about that article and I end up working on it.
 * 1) Are there certain features of Wikipedia that help you make these decisions, e.g. recent changes, community portal, WikiProjects, etc?
 * As I said earlier wikiprojects help me a lot in making decisions. One example is Anil Kumble other is List of named tropical cyclones.
 * 1) What kind of things to do on Wikipedia do you find most interesting?
 * I certainly like to edit text, add ref. to name some. I also like to fix disambiguation links with the help of Dab solver tool. I also like to work on lists. I am not that good with writing a prose or a longer para. so I generally avoid that. In short I can't write at the pro level but I can edit the written text find a ref and make it a finished product. I also check my watchlist every time I log in so keep track of articles I am interested in and fight vandalism if there is any.
 * 1) How much time (in hours per week) do you generally spend on Wikipedia?
 * That varies time to time but let say in a week I spend at most 8 to 10 hours on English Wikipedia. I also work on Gujarati(thats my mother tongue spoken in state of Gujarat in western India) Wikisource so if you count that also then score goes up to 18 to 20 hours a week.
 * 1) When SuggestBot has posted suggestions to you, what do you do with them?
 * I go through most of the article. I work on articles listed under Add sources, Stubs and Wikify. Most of those articles I work on has high opportunity.
 * 1) What makes a specific suggestion from SuggestBot good or bad for you?
 * It generally goes with my interests. I will not work on a low opportunity article. I also does not like to expand or merge articles. I never clean up articles.
 * 1) We have recently run an experiment where we added information about the suggested articles, in your case icons similar to these ones: Green cross.svg Green cross.svg
 * That is good for me helps a lot in deciding the article to work.
 * 1) How did you interpret the information?
 * When I see a high opportunity tag next to an article I find it easy to work with and when I find low opportunity tag next to an article I find it hard to work with.
 * 1) How did you use that information when thinking about the suggestions?
 * I think I replied it earlier. But if you mean anything else then please let me know.
 * 1) What other types of information would be helpful?
 * I can't think of any particular thing as of now. I will let you know if I comes up with anything specific. Yeah, it would be useful to know if article is protected or not.
 * 1) Do you have suggestions for how to improve SuggestBot? It could be specific types of articles or work you would like to see added, things that need to be improved, or anything else for that matter. Let us know what we should work on!
 * I think SuggestBot is a very useful thing to have. It makes you aware of certain article's existence. I think you should also add a couple of articles from the areas user is not interested or never worked in the past. For me Space, American Football are some of the areas I never worked before. That way a user will try to explore something new. Of course user will not go for it if it doesn't like it. But it does not hurt.
 * On the final note I would like to thank you for creating such a wonderful worker which is named suggest bot and also because you invited me to this survey. I am glad to express my views. If you find anything messy or if you want to ask me anything more please let me know I will be more then happy to clarify. Once again Thank You.--Vyom25 (talk) 10:42, 19 July 2012 (UTC)

title: User:SuggestBot/Interviews/User-47