POSIXOPTIONS
Section: Linux Programmer's Manual (7)
Updated: 2007-12-21
Index
Return to Main Contents
NAME
posixoptions - optional parts of the POSIX standard
DESCRIPTION
The POSIX standard (the information below is from POSIX.1-2001)
describes a set of behaviors and interfaces for a compliant system.
However, many interfaces are optional and there are feature test macros
to test the availability of interfaces at compile time, and functions
sysconf(3),
fpathconf(3),
pathconf(3),
confstr(3)
to do this at run time.
From shell scripts one can use
getconf(1).
For more detail, see
sysconf(3).
We give the name of the POSIX abbreviation, the option, the name of the
sysconf(3)
parameter used to inquire about the option, and possibly
a very short description.
Much more precise detail can be found in the POSIX standard itself,
versions of which can nowadays be accessed freely on the web.
ADV - _POSIX_ADVISORY_INFO - _SC_ADVISORY_INFO
The following advisory functions are present:
posix_fadvise(),
posix_fallocate(),
posix_memalign(),
posix_madvise().
AIO - _POSIX_ASYNCHRONOUS_IO - _SC_ASYNCHRONOUS_IO
The header
<aio.h>
is present.
The following functions are present:
aio_cancel(),
aio_error(),
aio_fsync(),
aio_read(),
aio_return(),
aio_suspend(),
aio_write(),
lio_listio().
BAR - _POSIX_BARRIERS - _SC_BARRIERS
This option implies the
_POSIX_THREADS
and
_POSIX_THREAD_SAFE_FUNCTIONS
options.
The following functions are present:
pthread_barrier_destroy(),
pthread_barrier_init(),
pthread_barrier_wait(),
pthread_barrierattr_destroy(),
pthread_barrierattr_init().
--- - POSIX_CHOWN_RESTRICTED
If this option is in effect (as it always is under POSIX.1-2001),
then only root may change the owner of a file, and nonroot can
set the group of a file only to one of the groups it belongs to.
This affects the functions
chown(),
fchown().
CS - _POSIX_CLOCK_SELECTION - _SC_CLOCK_SELECTION
This option implies the
_POSIX_TIMERS
option.
The following functions are present:
pthread_condattr_getclock(),
pthread_condattr_setclock(),
clock_nanosleep().
If
CLOCK_REALTIME
is changed by the function
clock_settime(),
then this affects all timers set for an absolute time.
CPT - _POSIX_CPUTIME - _SC_CPUTIME
The clockID CLOCK_PROCESS_CPUTIME_ID is supported.
The initial value of this clock is 0 for each process.
This option implies the
_POSIX_TIMERS
option.
The function
clock_getcpuclockid()
is present.
--- - _POSIX_FILE_LOCKING - _SC_FILE_LOCKING
This option has been deleted.
Not in final XPG6.
FSC - _POSIX_FSYNC - _SC_FSYNC
The function
fsync()
is present.
IP6 - _POSIX_IPV6 - _SC_IPV6
Internet Protocol Version 6 is supported.
--- - _POSIX_JOB_CONTROL - _SC_JOB_CONTROL
If this option is in effect (as it always is under POSIX.1-2001),
then the system implements POSIX-style job control,
and the following functions are present:
setpgid(),
tcdrain(),
tcflush(),
tcgetpgrp(),
tcsendbreak(),
tcsetattr(),
tcsetpgrp().
MF - _POSIX_MAPPED_FILES - _SC_MAPPED_FILES
Shared memory is supported.
The include file
<sys/mman.h>
is present.
The following functions are present:
mmap(),
msync(),
munmap().
ML - _POSIX_MEMLOCK - _SC_MEMLOCK
Shared memory can be locked into core.
The functions
mlockall(),
munlockall()
are present.
MR/MLR - _POSIX_MEMLOCK_RANGE - _SC_MEMLOCK_RANGE
More precisely, ranges can be locked into core.
The functions
mlock(),
munlock()
are present.
MPR - _POSIX_MEMORY_PROTECTION - _SC_MEMORY_PROTECTION
The function
mprotect()
is present.
MSG - _POSIX_MESSAGE_PASSING - _SC_MESSAGE_PASSING
The include file
<mqueue.h>
is present.
The following functions are present:
mq_close(),
mq_getattr(),
mq_notify(),
mq_open(),
mq_receive(),
mq_send(),
mq_setattr(),
mq_unlink().
MON - _POSIX_MONOTONIC_CLOCK - _SC_MONOTONIC_CLOCK
CLOCK_MONOTONIC
is supported.
This option implies the
_POSIX_TIMERS
option.
Affected functions are
aio_suspend(),
clock_getres(),
clock_gettime(),
clock_settime(),
timer_create().
--- - _POSIX_MULTI_PROCESS - _SC_MULTI_PROCESS
This option has been deleted.
Not in final XPG6.
--- - _POSIX_NO_TRUNC
If this option is in effect (as it always is under POSIX.1-2001)
then pathname components longer than
NAME_MAX
are not truncated,
but give an error.
This property may be dependent on the path prefix of the component.
PIO - _POSIX_PRIORITIZED_IO - _SC_PRIORITIZED_IO
This option says that one can specify priorities for asynchronous I/O.
This affects the functions
aio_read(),
aio_write().
PS - _POSIX_PRIORITY_SCHEDULING - _SC_PRIORITY_SCHEDULING
The include file
<sched.h>
is present.
The following functions are present:
sched_get_priority_max(),
sched_get_priority_min(),
sched_getparam(),
sched_getscheduler(),
sched_rr_get_interval(),
sched_setparam(),
sched_setscheduler(),
sched_yield().
If also
_POSIX_SPAWN
is in effect, then the following functions are present:
posix_spawnattr_getschedparam(),
posix_spawnattr_getschedpolicy(),
posix_spawnattr_setschedparam(),
posix_spawnattr_setschedpolicy().
RS - _POSIX_RAW_SOCKETS
Raw sockets are supported.
Affected functions are
getsockopt(),
setsockopt().
--- - _POSIX_READER_WRITER_LOCKS - _SC_READER_WRITER_LOCKS
This option implies the
_POSIX_THREADS
option.
Conversely,
under POSIX.1-2001 the
_POSIX_THREADS
option implies this option.
The following functions are present:
pthread_rwlock_destroy(),
pthread_rwlock_init(),
pthread_rwlock_rdlock(),
pthread_rwlock_tryrdlock(),
pthread_rwlock_trywrlock(),
pthread_rwlock_unlock(),
pthread_rwlock_wrlock(),
pthread_rwlockattr_destroy(),
pthread_rwlockattr_init().
RTS - _POSIX_REALTIME_SIGNALS - _SC_REALTIME_SIGNALS
Realtime signals are supported.
The following functions are present:
sigqueue(),
sigtimedwait(),
sigwaitinfo().
--- - _POSIX_REGEXP - _SC_REGEXP
If this option is in effect (as it always is under POSIX.1-2001)
then POSIX regular expressions are supported
and the following functions are present:
regcomp(),
regerror(),
regexec(),
regfree().
--- - _POSIX_SAVED_IDS - _SC_SAVED_IDS
If this option is in effect (as it always is under POSIX.1-2001),
then a process has a saved set-user-ID and a saved set-group-ID.
Affected functions are
exec(),
kill(),
seteuid(),
setegid(),
setgid(),
setuid().
SEM - _POSIX_SEMAPHORES - _SC_SEMAPHORES
The include file
<semaphore.h>
is present.
The following functions are present:
sem_close(),
sem_destroy(),
sem_getvalue(),
sem_init(),
sem_open(),
sem_post(),
sem_trywait(),
sem_unlink(),
sem_wait().
SHM - _POSIX_SHARED_MEMORY_OBJECTS - _SC_SHARED_MEMORY_OBJECTS
The following functions are present:
mmap(),
munmap(),
shm_open(),
shm_unlink().
--- - _POSIX_SHELL - _SC_SHELL
If this option is in effect (as it always is under POSIX.1-2001),
the function
system()
is present.
SPN - _POSIX_SPAWN - _SC_SPAWN
This option describes support for process creation in a context where
it is difficult or impossible to use
fork(),
for example, because no MMU is present.
If
_POSIX_SPAWN
is in effect, then the include file
<spawn.h>
and the following functions are present:
posix_spawn(),
posix_spawn_file_actions_addclose(),
posix_spawn_file_actions_adddup2(),
posix_spawn_file_actions_addopen(),
posix_spawn_file_actions_destroy(),
posix_spawn_file_actions_init(),
posix_spawnattr_destroy(),
posix_spawnattr_getsigdefault(),
posix_spawnattr_getflags(),
posix_spawnattr_getpgroup(),
posix_spawnattr_getsigmask(),
posix_spawnattr_init(),
posix_spawnattr_setsigdefault(),
posix_spawnattr_setflags(),
posix_spawnattr_setpgroup(),
posix_spawnattr_setsigmask(),
posix_spawnp().
If also
_POSIX_PRIORITY_SCHEDULING
is in effect, then
the following functions are present:
posix_spawnattr_getschedparam(),
posix_spawnattr_getschedpolicy(),
posix_spawnattr_setschedparam(),
posix_spawnattr_setschedpolicy().
SPI - _POSIX_SPIN_LOCKS - _SC_SPIN_LOCKS
This option implies the
_POSIX_THREADS
and
_POSIX_THREAD_SAFE_FUNCTIONS
options.
The following functions are present:
pthread_spin_destroy(),
pthread_spin_init(),
pthread_spin_lock(),
pthread_spin_trylock(),
pthread_spin_unlock().
SS - _POSIX_SPORADIC_SERVER - _SC_SPORADIC_SERVER
The scheduling policy
SCHED_SPORADIC
is supported.
This option implies the
_POSIX_PRIORITY_SCHEDULING
option.
Affected functions are
sched_setparam(),
sched_setscheduler().
SIO - _POSIX_SYNCHRONIZED_IO - _SC_SYNCHRONIZED_IO
Affected functions are
open(),
msync(),
fsync(),
fdatasync().
TSA - _POSIX_THREAD_ATTR_STACKADDR - _SC_THREAD_ATTR_STACKADDR
Affected functions are
pthread_attr_getstack(),
pthread_attr_getstackaddr(),
pthread_attr_setstack(),
pthread_attr_setstackaddr().
TSS - _POSIX_THREAD_ATTR_STACKSIZE - _SC_THREAD_ATTR_STACKSIZE
Affected functions are
pthread_attr_getstack(),
pthread_attr_getstacksize(),
pthread_attr_setstack(),
pthread_attr_setstacksize().
TCT - _POSIX_THREAD_CPUTIME - _SC_THREAD_CPUTIME
The clockID CLOCK_THREAD_CPUTIME_ID is supported.
This option implies the
_POSIX_TIMERS
option.
Affected functions are
pthread_getcpuclockid(),
clock_getres(),
clock_gettime(),
clock_settime(),
timer_create().
TPI - _POSIX_THREAD_PRIO_INHERIT - _SC_THREAD_PRIO_INHERIT
Affected functions are
pthread_mutexattr_getprotocol(),
pthread_mutexattr_setprotocol().
TPP - _POSIX_THREAD_PRIO_PROTECT - _SC_THREAD_PRIO_PROTECT
Affected functions are
pthread_mutex_getprioceiling(),
pthread_mutex_setprioceiling(),
pthread_mutexattr_getprioceiling(),
pthread_mutexattr_getprotocol(),
pthread_mutexattr_setprioceiling(),
pthread_mutexattr_setprotocol().
TPS - _POSIX_THREAD_PRIORITY_SCHEDULING - _SC_THREAD_PRIORITY_SCHEDULING
If this option is in effect, the different threads inside a process
can run with different priorities and/or different schedulers.
Affected functions are
pthread_attr_getinheritsched(),
pthread_attr_getschedpolicy(),
pthread_attr_getscope(),
pthread_attr_setinheritsched(),
pthread_attr_setschedpolicy(),
pthread_attr_setscope(),
pthread_getschedparam(),
pthread_setschedparam(),
pthread_setschedprio().
TSH - _POSIX_THREAD_PROCESS_SHARED - _SC_THREAD_PROCESS_SHARED
Affected functions are
pthread_barrierattr_getpshared(),
pthread_barrierattr_setpshared(),
pthread_condattr_getpshared(),
pthread_condattr_setpshared(),
pthread_mutexattr_getpshared(),
pthread_mutexattr_setpshared(),
pthread_rwlockattr_getpshared(),
pthread_rwlockattr_setpshared().
TSF - _POSIX_THREAD_SAFE_FUNCTIONS - _SC_THREAD_SAFE_FUNCTIONS
Affected functions are
readdir_r(),
getgrgid_r(),
getgrnam_r(),
getpwnam_r(),
getpwuid_r(),
flockfile(),
ftrylockfile(),
funlockfile(),
getc_unlocked(),
getchar_unlocked(),
putc_unlocked(),
putchar_unlocked(),
rand_r(),
strerror_r(),
strtok_r(),
asctime_r(),
ctime_r(),
gmtime_r(),
localtime_r().
TSP - _POSIX_THREAD_SPORADIC_SERVER - _SC_THREAD_SPORADIC_SERVER
This option implies the
_POSIX_THREAD_PRIORITY_SCHEDULING
option.
Affected functions are
sched_getparam(),
sched_setparam(),
sched_setscheduler().
THR - _POSIX_THREADS - _SC_THREADS
Basic support for POSIX threads is available.
The following functions are present:
pthread_atfork(),
pthread_attr_destroy(),
pthread_attr_getdetachstate(),
pthread_attr_getschedparam(),
pthread_attr_init(),
pthread_attr_setdetachstate(),
pthread_attr_setschedparam(),
pthread_cancel(),
pthread_cleanup_push(),
pthread_cleanup_pop(),
pthread_cond_broadcast(),
pthread_cond_destroy(),
pthread_cond_init(),
pthread_cond_signal(),
pthread_cond_timedwait(),
pthread_cond_wait(),
pthread_condattr_destroy(),
pthread_condattr_init(),
pthread_create(),
pthread_detach(),
pthread_equal(),
pthread_exit(),
pthread_getspecific(),
pthread_join(),
pthread_key_create(),
pthread_key_delete(),
pthread_mutex_destroy(),
pthread_mutex_init(),
pthread_mutex_lock(),
pthread_mutex_trylock(),
pthread_mutex_unlock(),
pthread_mutexattr_destroy(),
pthread_mutexattr_init(),
pthread_once(),
pthread_rwlock_destroy(),
pthread_rwlock_init(),
pthread_rwlock_rdlock(),
pthread_rwlock_tryrdlock(),
pthread_rwlock_trywrlock(),
pthread_rwlock_unlock(),
pthread_rwlock_wrlock(),
pthread_rwlockattr_destroy(),
pthread_rwlockattr_init(),
pthread_self(),
pthread_setcancelstate(),
pthread_setcanceltype(),
pthread_setspecific(),
pthread_testcancel().
TMO - _POSIX_TIMEOUTS - _SC_TIMEOUTS
The following functions are present:
mq_timedreceive(),
mq_timedsend(),
pthread_mutex_timedlock(),
pthread_rwlock_timedrdlock(),
pthread_rwlock_timedwrlock(),
sem_timedwait(),
posix_trace_timedgetnext_event().
TMR - _POSIX_TIMERS - _SC_TIMERS
The following functions are present:
clock_getres(),
clock_gettime(),
clock_settime(),
nanosleep(),
timer_create(),
timer_delete(),
timer_gettime(),
timer_getoverrun(),
timer_settime().
TRC - _POSIX_TRACE - _SC_TRACE
POSIX tracing is available.
The following functions are present:
posix_trace_attr_destroy(),
posix_trace_attr_getclockres(),
posix_trace_attr_getcreatetime(),
posix_trace_attr_getgenversion(),
posix_trace_attr_getmaxdatasize(),
posix_trace_attr_getmaxsystemeventsize(),
posix_trace_attr_getmaxusereventsize(),
posix_trace_attr_getname(),
posix_trace_attr_getstreamfullpolicy(),
posix_trace_attr_getstreamsize(),
posix_trace_attr_init(),
posix_trace_attr_setmaxdatasize(),
posix_trace_attr_setname(),
posix_trace_attr_setstreamsize(),
posix_trace_attr_setstreamfullpolicy(),
posix_trace_clear(),
posix_trace_create(),
posix_trace_event(),
posix_trace_eventid_equal(),
posix_trace_eventid_get_name(),
posix_trace_eventid_open(),
posix_trace_eventtypelist_getnext_id(),
posix_trace_eventtypelist_rewind(),
posix_trace_flush(),
posix_trace_get_attr(),
posix_trace_get_status(),
posix_trace_getnext_event(),
posix_trace_shutdown(),
posix_trace_start(),
posix_trace_stop(),
posix_trace_trygetnext_event().
TEF - _POSIX_TRACE_EVENT_FILTER - _SC_TRACE_EVENT_FILTER
This option implies the
_POSIX_TRACE
option.
The following functions are present:
posix_trace_eventset_add(),
posix_trace_eventset_del(),
posix_trace_eventset_empty(),
posix_trace_eventset_fill(),
posix_trace_eventset_ismember(),
posix_trace_get_filter(),
posix_trace_set_filter(),
posix_trace_trid_eventid_open().
TRI - _POSIX_TRACE_INHERIT - _SC_TRACE_INHERIT
Tracing children of the traced process is supported.
This option implies the
_POSIX_TRACE
option.
The following functions are present:
posix_trace_attr_getinherited(),
posix_trace_attr_setinherited().
TRL - _POSIX_TRACE_LOG - _SC_TRACE_LOG
This option implies the
_POSIX_TRACE
option.
The following functions are present:
posix_trace_attr_getlogfullpolicy(),
posix_trace_attr_getlogsize(),
posix_trace_attr_setlogfullpolicy(),
posix_trace_attr_setlogsize(),
posix_trace_close(),
posix_trace_create_withlog(),
posix_trace_open(),
posix_trace_rewind().
TYM - _POSIX_TYPED_MEMORY_OBJECTS - _SC_TYPED_MEMORY_OBJECT
The following functions are present:
posix_mem_offset(),
posix_typed_mem_get_info(),
posix_typed_mem_open().
--- - _POSIX_VDISABLE
Always present (probably 0).
Value to set a changeable special control
character to indicate that it is disabled.
XOPEN EXTENSIONS
_XOPEN_CRYPT,
_XOPEN_LEGACY,
_XOPEN_REALTIME,
_XOPEN_REALTIME_THREADS,
_XOPEN_UNIX.
SEE ALSO
sysconf(3),
standards(7)
Index
- NAME
-
- DESCRIPTION
-
- ADV - _POSIX_ADVISORY_INFO - _SC_ADVISORY_INFO
-
- AIO - _POSIX_ASYNCHRONOUS_IO - _SC_ASYNCHRONOUS_IO
-
- BAR - _POSIX_BARRIERS - _SC_BARRIERS
-
- --- - POSIX_CHOWN_RESTRICTED
-
- CS - _POSIX_CLOCK_SELECTION - _SC_CLOCK_SELECTION
-
- CPT - _POSIX_CPUTIME - _SC_CPUTIME
-
- --- - _POSIX_FILE_LOCKING - _SC_FILE_LOCKING
-
- FSC - _POSIX_FSYNC - _SC_FSYNC
-
- IP6 - _POSIX_IPV6 - _SC_IPV6
-
- --- - _POSIX_JOB_CONTROL - _SC_JOB_CONTROL
-
- MF - _POSIX_MAPPED_FILES - _SC_MAPPED_FILES
-
- ML - _POSIX_MEMLOCK - _SC_MEMLOCK
-
- MR/MLR - _POSIX_MEMLOCK_RANGE - _SC_MEMLOCK_RANGE
-
- MPR - _POSIX_MEMORY_PROTECTION - _SC_MEMORY_PROTECTION
-
- MSG - _POSIX_MESSAGE_PASSING - _SC_MESSAGE_PASSING
-
- MON - _POSIX_MONOTONIC_CLOCK - _SC_MONOTONIC_CLOCK
-
- --- - _POSIX_MULTI_PROCESS - _SC_MULTI_PROCESS
-
- --- - _POSIX_NO_TRUNC
-
- PIO - _POSIX_PRIORITIZED_IO - _SC_PRIORITIZED_IO
-
- PS - _POSIX_PRIORITY_SCHEDULING - _SC_PRIORITY_SCHEDULING
-
- RS - _POSIX_RAW_SOCKETS
-
- --- - _POSIX_READER_WRITER_LOCKS - _SC_READER_WRITER_LOCKS
-
- RTS - _POSIX_REALTIME_SIGNALS - _SC_REALTIME_SIGNALS
-
- --- - _POSIX_REGEXP - _SC_REGEXP
-
- --- - _POSIX_SAVED_IDS - _SC_SAVED_IDS
-
- SEM - _POSIX_SEMAPHORES - _SC_SEMAPHORES
-
- SHM - _POSIX_SHARED_MEMORY_OBJECTS - _SC_SHARED_MEMORY_OBJECTS
-
- --- - _POSIX_SHELL - _SC_SHELL
-
- SPN - _POSIX_SPAWN - _SC_SPAWN
-
- SPI - _POSIX_SPIN_LOCKS - _SC_SPIN_LOCKS
-
- SS - _POSIX_SPORADIC_SERVER - _SC_SPORADIC_SERVER
-
- SIO - _POSIX_SYNCHRONIZED_IO - _SC_SYNCHRONIZED_IO
-
- TSA - _POSIX_THREAD_ATTR_STACKADDR - _SC_THREAD_ATTR_STACKADDR
-
- TSS - _POSIX_THREAD_ATTR_STACKSIZE - _SC_THREAD_ATTR_STACKSIZE
-
- TCT - _POSIX_THREAD_CPUTIME - _SC_THREAD_CPUTIME
-
- TPI - _POSIX_THREAD_PRIO_INHERIT - _SC_THREAD_PRIO_INHERIT
-
- TPP - _POSIX_THREAD_PRIO_PROTECT - _SC_THREAD_PRIO_PROTECT
-
- TPS - _POSIX_THREAD_PRIORITY_SCHEDULING - _SC_THREAD_PRIORITY_SCHEDULING
-
- TSH - _POSIX_THREAD_PROCESS_SHARED - _SC_THREAD_PROCESS_SHARED
-
- TSF - _POSIX_THREAD_SAFE_FUNCTIONS - _SC_THREAD_SAFE_FUNCTIONS
-
- TSP - _POSIX_THREAD_SPORADIC_SERVER - _SC_THREAD_SPORADIC_SERVER
-
- THR - _POSIX_THREADS - _SC_THREADS
-
- TMO - _POSIX_TIMEOUTS - _SC_TIMEOUTS
-
- TMR - _POSIX_TIMERS - _SC_TIMERS
-
- TRC - _POSIX_TRACE - _SC_TRACE
-
- TEF - _POSIX_TRACE_EVENT_FILTER - _SC_TRACE_EVENT_FILTER
-
- TRI - _POSIX_TRACE_INHERIT - _SC_TRACE_INHERIT
-
- TRL - _POSIX_TRACE_LOG - _SC_TRACE_LOG
-
- TYM - _POSIX_TYPED_MEMORY_OBJECTS - _SC_TYPED_MEMORY_OBJECT
-
- --- - _POSIX_VDISABLE
-
- XOPEN EXTENSIONS
-
- SEE ALSO
-
This document was created by
man2html,
using the manual pages.
Time: 02:55:22 GMT, September 18, 2014


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40
My Help and My Deliverer
TO THE CHOIRMASTER. A PSALM OF DAVID.
1 I waited patiently for the LORD;
he inclined to me and heard my cry.
2 He drew me up from the pit of destruction,
out of the miry bog,
and set my feet upon a rock,
making my steps secure.
3 He put a new song in my mouth,
a song of praise to our God.
Many will see and fear,
and put their trust in the LORD.
4 Blessed is the man who makes
the LORD his trust,
who does not turn to the proud,
to those who go astray after a lie!
5 You have multiplied, O LORD my God,
your wondrous deeds and your thoughts toward us;
none can compare with you!
I will proclaim and tell of them,
yet they are more than can be told.
6 Sacrifice and offering you have not desired,
but you have given me an open ear.
Burnt offering and sin offering
you have not required.
7 Then I said, “Behold, I have come;
in the scroll of the book it is written of me:
8 I desire to do your will, O my God;
your law is within my heart.”
9 I have told the glad news of deliverance
in the great congregation;
behold, I have not restrained my lips,
as you know, O LORD.
10 I have not hidden your deliverance within my heart;
I have spoken of your faithfulness and your salvation;
I have not concealed your steadfast love and your faithfulness
from the great congregation.
11 As for you, O LORD, you will not restrain
your mercy from me;
your steadfast love and your faithfulness will
ever preserve me!
12 For evils have encompassed me
beyond number;
my iniquities have overtaken me,
and I cannot see;
they are more than the hairs of my head;
my heart fails me.
13 Be pleased, O LORD, to deliver me!
O LORD, make haste to help me!
14 Let those be put to shame and disappointed altogether
who seek to snatch away my life;
let those be turned back and brought to dishonor
who desire my hurt!
15 Let those be appalled because of their shame
who say to me, “Aha, Aha!”
16 But may all who seek you
rejoice and be glad in you;
may those who love your salvation
say continually, “Great is the LORD!”
17 As for me, I am poor and needy,
but the Lord takes thought for me.
You are my help and my deliverer;
do not delay, O my God!


28
September
Dumb,Dumber and Dumbest
How can you say it without actually saying it? An event filled with laughs, confusion and excitement as individuals dare to come forth and try to reveal the words in their minds to the audience through hand gestures and other actions.


|
Solar Flux |
Solar Flux can vary between 50 and 300. Generally, the
higher the Solar Flux, the higher the Maximum Usable Frequency and
the better the HF conditions. For best HF conditions, the Solar Flux
should remain above 150 for several days with a K Index of below 2. |


|
Memory Functions
CosmMemAllocSyntax#include "cosm/os_mem.h" void * CosmMemAlloc( u64 bytes, u32 secure ); DescriptionAllocate a block of zeroed memory. Will allocate 16*floor((bytes+15)/16)) bytes, i.e. blocks of 16 bytes, and only on 16 byte boundaries. If secure is COSM_MEM_NORMAL no special requirements are needed. If secure is COSM_MEM_SECURE the program will expect the following:
If the secure flag cannot be enforced, CosmMemWarning will be called and the function will return NULL. The user will then be warned any time that the system is insecure and the program attempts to do secure operations. Return ValuesAn aligned pointer to the RAM block, or NULL on failure. ErrorsNone. Exampleu64 size; void * mem; size = 0x0000000000000400LL; mem = CosmMemAlloc( size ); if ( mem == NULL ) { /* Error */ return COSM_FAIL; } CosmMemReallocSyntax#include "cosm/os_mem.h" void * CosmMemRealloc( void * memory, u64 bytes, u32 secure ); DescriptionAdjust the size of the ram block memory to bytes length, copying any old data. If memory is NULL, this function acts like CosmMemAlloc. The secure flag will be treated as it is in CosmMemAlloc. If bytes is zero, then free the memory, and return NULL. Any expanded memory space will have unknown values. Return ValuesA pointer to the new memory space on success, or NULL if unable to change the size - leaving the old memory unmodified. ErrorsNone. Exampleu64 size; void * mem; void * small; size = 0x0000000000000400LL; mem = CosmMemAlloc( size ); if ( mem == NULL ) { /* Error */ return COSM_FAIL; } size = 0x0000000000000200LL; small = CosmMemRealloc( mem, size, 0 ); if ( small == NULL ) { /* Error */ return COSM_FAIL; } CosmMemCopySyntax#include "cosm/os_mem.h" s32 CosmMemCopy( void * dest, const void * src, u64 length ); DescriptionCopy length bytes of memory from src to dest. Return ValuesCOSM_PASS on success, or COSM_FAIL on failure. ErrorsNone. Examplevoid * old; void * new; u64 size; size = 0x0000000000000400LL; old = CosmMemAlloc( size ); if ( old == NULL ) { /* Error */ return COSM_FAIL; } new = CosmMemAlloc( size ); if ( new == NULL ) { /* Error */ return COSM_FAIL; } if ( CosmMemCopy( new, mem, size ) == COSM_FAIL ) { /* Error */ return COSM_FAIL; } CosmMemSetSyntax#include "cosm/os_mem.h" s32 CosmMemSet( void * memory, u64 length, u8 value ); DescriptionSet length bytes of memory to value. Return ValuesCOSM_PASS on success, or COSM_FAIL on failure. ErrorsPassing a NULL parameter or wrapping around the top of memory. Exampleu64 size; void * mem; void * small; size = 0x0000000000000400LL; mem = CosmMemAlloc( size ); if ( mem == NULL ) { /* Error */ return COSM_FAIL; } if ( CosmMemSet( mem, size, 0xFF ) == COSM_FAIL ) { /* Error */ return COSM_FAIL; } CosmMemCmpSyntax#include "cosm/os_mem.h" s32 CosmMemCmp( const void * blockA, const void * blockB, u64 max_bytes ); DescriptionCompare the memory blocks blockA and blockB, up to max_bytes will be compared. Return Values0 if the blocks are identical. If they are different then a positive or negative based on blockA[x] - blockB[x]. Due to endian issues the +/- result may or may not be relivant. If any parameter is NULL/0 then it returns -1 unless blockA == blockB. ErrorsNone. Exampleu64 size; void memA[256]; void memB[256]; s32 diff; size = 0x0000000000000100LL; if ( ( diff = CosmMemCmp( memA, memB, size ) ) == 0 ) { /* memory blocks are the same */ } CosmMemOffsetSyntax#include "cosm/os_mem.h" void * CosmMemOffset( const void * memory, u64 offset ); DescriptionCalculates the address of memory + offset. Return ValuesA pointer to the data location, or NULL if address space is exceeded. ErrorsNone. Exampleu64 offset; void * memory; void * ptr; offset = 0x0000000000000100LL; ptr = CosmMemOffset( memory, offset ); /* ptr is a pointer to 256 bytes past memory */ CosmMemFreeSyntax#include "cosm/os_mem.h" void CosmMemFree( void * memory ); DescriptionFree the requested memory block memory. memory may safely be NULL. Return ValuesNone. ErrorsNone. Exampleu64 size; void * mem; size = 0x0000000000000400LL; mem = CosmMemAlloc( size ); if ( mem == NULL ) { /* Error */ return COSM_FAIL; } CosmMemFree( mem ); CosmMemSystemSyntax#include "cosm/os_mem.h" s32 CosmMemSystem( u64 * amount ); DescriptionSet amount to the number of bytes of physical RAM in the system. Return ValuesCOSM_PASS on success, or COSM_FAIL on failure. ErrorsPossible causes of an failure:
Exampleu64 memory_size; void * mem; if ( CosmMemSystem( &memory_size ) != COSM_PASS ) { /* couldn't get memory total */ } CosmMemWarningSyntax#include "cosm/os_mem.h" void * CosmMemWarning( void ); DescriptionForce display of a warning message to the user, when secure memory is requested but not available. Return ValuesNone. ErrorsNone. ExampleCosmMemWarning(); CosmMemDumpLeaksSyntax#include "cosm/os_mem.h" s32 CosmMemDumpLeaks( const ascii * filename ); DescriptionWrite out a list of memory that has not been CosmMemFeee'd yet to filename. Due to the overhead of this function you must define MEM_LEAK_FIND when compiling the cosm libraries and your code, otherwise it will not exist. Return ValuesCOSM_PASS on success, or COSM_FAIL on failure. ErrorsAny errors will be related to opening the file.. ExampleCosmMemDumpLeaks( "leaks.txt" );
© Copyright Mithral Communications & Design Inc.
1995-.
All rights reserved.
Mithral® and Cosm® are trademarks of
Mithral Communications & Design Inc.
|


|
Assimp
5.0.1, master @ cd42b955
|
Helper class to export a given scene to a StepFile. More...
Public Member Functions | |
| StepExporter (const aiScene *pScene, IOSystem *pIOSystem, const std::string &path, const std::string &file, const ExportProperties *pProperties) | |
| Constructor for a specific scene to export. More... | |
Public Attributes | |
| std::stringstream | mOutput |
| Stringstream to write all output into. More... | |
Protected Types | |
| typedef std::multimap< const aiNode *, unsigned int > | MeshesByNodeMap |
| map to all meshed of nodes More... | |
Protected Member Functions | |
| void | WriteFile () |
| Starts writing the contents. More... | |
Protected Attributes | |
| std::string | endstr |
| current line end string for simple stream insertion More... | |
| MeshesByNodeMap | meshes |
| std::string | mFile |
| Name of the file (without extension) where the scene will be exported. More... | |
| IOSystem * | mIOSystem |
| The IOSystem for output. More... | |
| std::string | mPath |
| Path of the directory where the scene will be exported. More... | |
| const ExportProperties * | mProperties |
| hold the properties pointer More... | |
| const aiScene * | mScene |
| The scene to be written. More... | |
| std::map< const aiNode *, aiMatrix4x4 > | trafos |
| accumultated transformations for nodes More... | |
Helper class to export a given scene to a StepFile.
Note: an StepFile uses a left hand system. Assimp used a right hand system (OpenGL), therefore we have to transform everything
|
protected |
map to all meshed of nodes
| StepExporter::StepExporter | ( | const aiScene * | pScene, |
| IOSystem * | pIOSystem, | ||
| const std::string & | path, | ||
| const std::string & | file, | ||
| const ExportProperties * | pProperties | ||
| ) |
Constructor for a specific scene to export.
|
protected |
Starts writing the contents.
|
protected |
current line end string for simple stream insertion
|
protected |
|
protected |
Name of the file (without extension) where the scene will be exported.
| std::stringstream Assimp::StepExporter::mOutput |
Stringstream to write all output into.
|
protected |
Path of the directory where the scene will be exported.
|
protected |
hold the properties pointer
|
protected |
The scene to be written.
|
protected |
accumultated transformations for nodes


My experience with Modafinil was an interesting one to say the least. I was at a friend's house and interested in acquiring some speed. He told me he had some great speed that wouldn't be detectable on drug tests. Needless to say, I was interested. So I bought from him two Modafinil pills for $5. I took one and shared one with a friend.
The first hour or so, I noticed really no effect from the drug. I felt the same as always.
8:00 PM The drug effect starts to kick in. I feel boosted awake. I feel much more alert, similar to the feeling of a few caffeine pills, but without any of the stimulant effects. No speedy feeling, no elevated heart rate...nothing. Just very awake.
10:30 PM I had taken the Modafinil right before attending a concert. At this point, the concert was over and the Modafinil was just starting to really kick in. I felt more and more awake by the minute.
3:00 AM I've spend almost the entire night chatting with my friend who take Modafinil on the internet. Neither of us are at all tired at this point. We just continue chatting.
7:00 AM At this point, I feel the Modafinil starting to wear off. My energy and alertness boost goes away and I'm really feeling a crash coming on.
8:00 AM I crash and fall asleep. I sleep for maybe 2 or 3 hours and then am awakened because I have go to a class. When I wake up, I can definitely tell I've crashed. I feel insanely tired.
Overall, it was a good experience, but not something that really had much of a drug experience.  There were genuinely no real stimulant effects, just an amazing feeling of being completely void of any feeling of tiredness for a solid 12 hours. I can see how this could be a great drug to boost alertness for work or school. I'd definitely consider taking it again, but not for recreation. It should in no way be considered speed.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


When you want to use code2doc you must always create a "documentation" project. You also should define another project "documentation-output"
In the "documentation" project
You can define
Use a package structure when you define classes.In the "documentation-output" project
Create a class with a main method where you can start the output generation. There must be a specification created and given to a dedicated output renderer.


# CodePlayField
This provides a primarily visual environment to learn programming. The
examples use Python3 as the programming language.
## Contents
- [Overview](#overview)
- [Download](#download)
- [Quick start](#quick-start)
- [Project Goals](#project-goals)
- [Other Documentation](#other-documentation)
- [License](#license)
## Overview
[codeplayfield/docs/overview.html]
## Download
Download the package from the [releases]
(https://github.com/animatedb/codeplayfield/releases).
## Project Goals
- Provide a high level programming environment that allows making small
modifications of existing code that produce large visual or auditory changes.
- Allow very early learners that have a minimal amount of computer knowledge.
This system will require someone that can install the software.
## License
The software is licensed using the GPLv2.


- 20% increase of Unarmed Damage
- 40% increase of Unarmed Damage
- 60% increase of Unarmed Damage
- 80% increase of Unarmed Damage
- 100% increase of Unarmed Damage
- 20% increase of Unarmed Damage
- 40% increase of Unarmed Damage
- 60% increase of Unarmed Damage
- 80% increase of Unarmed Damage
- 100% increase of Unarmed Damage


Rides for your biking pleasure
We offer
SICK
rides all over the Pacific Northwest. Sign up for our newsletter to keep posted!


--- layout: post title: Let it Rain on Your Parade date: '2006-09-21T12:00:00-04:00' tags: - '2006' tumblr_url: http://poetry.liabogoev.com/post/48193117998/let-it-rain-on-your-parade ---
Sing in the rain,
Dance in the street,
Go overboard,
& set sail today.
Don’t give a damn,
If it rains on my parade,
Life doesn’t end,
When the floats get wet.
The candy still flies,
Wet though it is,
Straight to the greedy
Children’s hands
Jump into life,
Just do it, go ahead.
Nothing to it.
Step into space,
Dive headfirst,
Don’t worry about the
Safety net,
It’s not there,
It won’t ever be.
Jump,
Head over heels,
For the one,
You love,
Even if,
They break your heart.
Let it rain.
On your parade.


Syntax:
ash integer count => shifted-integer
Arguments and Values:
integer---an integer.
count---an integer.
shifted-integer---an integer.
Description:
ash performs the arithmetic shift operation on the binary representation of integer, which is treated as if it were binary.
ash shifts integer arithmetically left by count bit positions if count is positive, or right count bit positions if count is negative. The shifted value of the same sign as integer is returned.
Mathematically speaking, ash performs the computation floor(integer*2^count). Logically, ash moves all of the bits in integer to the left, adding zero-bits at the right, or moves them to the right, discarding bits.
ash is defined to behave as if integer were represented in two's complement form, regardless of how integers are represented internally.
Examples:
(ash 16 1) => 32 (ash 16 0) => 16 (ash 16 -1) => 8 (ash -100000000000000000000000000000000 -100) => -79
Affected By: None.
Exceptional Situations:
Should signal an error of type type-error if integer is not an integer. Should signal an error of type type-error if count is not an integer. Might signal arithmetic-error.
See Also: None.
Notes:
(logbitp j (ash n k)) == (and (>= j k) (logbitp (- j k) n))


Reports potentially unresolvable asset references if the
usdresolve
bin script path hasn't been configured or is misconfigured.
usdresolve
is used for resolving custom URI asset reference paths (wrapped by the
@
symbols).


QATrack+ has many features to make your life easier:
QATrack+ is highly configurable allowing you to tailor your installation to the needs of your clinic. You define the test data that you want to record! QATrack+ is not tied to any specifc vendor or device and is currently being used for QA of Linacs, Tomotherapy, Cyberknife, CT Simulators and more.
QATrack+ was developed and implemented clinically at The Ottawa Hospital Cancer Centre, one of the largest cancer centres in Canada. QATrack+ has proven to be extremely reliable in this setting, recording hundreds of thousands of QC test results without breaking a sweat.
QATrack+ is open source software that you are free to download and use in your clinic. There is no initial licensing costs and upgrades are free for ever. Community support is provided via an online forum. Development & and bug reports can be tracked via the online source code repository.
QATrack+ was developed at the Ottawa Hospital Cancer Centre in Ottawa, Canada but is also being used in many other cancer centres around the world! A selection of some of the cancer centres using QATrack+ in their clinics are shown below.
Get in touch to have your centre added to this list!
QATrack+ is a cross platform server application and requires either a Linux, Windows or Mac server and either a PostgreSQL, MySQL, or Microsoft SQL database (MSSQL).
QATrack+ can be accessed via Firefox, Chrome, IE8+, Safari and other modern browsers.
Detailed instructions for downloading, installing & deploying the software are available on the QATrack+ Wiki
QATrack+ is a free and open source (MIT License) community supported software project and we are delighted to accept contributions from the Medical Physics community. Ways you can contribute to the QATrack+ project:


The ARDC Vocabulary Registry.
The Registry implements a vocabulary metadata catalogue and repository, and provides an API interface for a Vocabulary Portal and for machine-to-machine clients.


---
layout: default
---
{{ site.name }} STULL
Welcome!
I am an interdisciplinary environmental scientist, global health professional, systems thinker, and social justice advocate. I'm interested in working on the hardest, most impactful problems we face now and into the future.
I care deeply about inequality and the overlap between environmental degradation and human wellbeing. I have structured my career around addressing these challenges.
For more about my work, please see about me or my CV. If you’d like to get in touch please feel free to email me. You can also follow me on twitter: @_vstull_ or @_MIGTHi_.


Step 2: Enter Account Details
Registration information is verified before we pay our members. Please be sure to use fully accurate information.
In order to be eligible to earn money on Level Rewards, you have to "Level Up." After you Level Up, you can then
share your referral link and earn $5 per level your referrals complete. The maximum amount you can earn per
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offers will lead to your account being placed on hold or closed after account verification.


Home
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Search:
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meatspoon
07-Aug-19 05:03 PM
ARRR is the most private because no one owns it
ARRR was about as half baked as a crypto project could be. I was watching people talk it up as it began. It was totally fly-by-the-seat of your pants style
like KMD, there was no marketing. a crappy website, a few big miners cranking out ARRR and hyping it
and just like KMD, everyone saying the tech beats the pants off of Zcash and Monero.... as always, forgetting that first mover advantage means more than tech


A global proxy for go modules.

Github
Note: this proxy can't fetch your private repos of course.
Mail: admin@goproxy.io


Federal poly expels two students over cultism
by Peter DadaPeter Dada, Akure
The Federal Polytechnic, Ile Oluji, Ondo State, said it had zero tolerance for indiscipline as it expelled two students for allegedly getting involved in cultism.
The institution, which was four years old said it aimed at producing quality graduates, who will contribute to the technological development of the country.
The Rector of the federal government-owned institution, Prof. Emmanuel Fasakin, stated this on Monday while speaking with journalists on the maiden convocation of the polytechnic.
He said no fewer than 292 students of the school completed their National Diploma programme for 2017/2018 and 2018/2019 academic sessions.
He said, “This institution is aiming at being the best polytechnic in Nigeria, so we have zero tolerance for indiscipline, any student caught in any act of indicipline would be dealt with. For instance two of our students were expelled recently. We discovered that they were involved in cultism and we set a panel for them, so they were expelled.”
Fasakin noted that there was a need for the country to embrace and develop polytechnic education, saying the students need technological and vocational studies, for Nigeria to develop technologically. He stated that the polytechnic produced high-level manpower.


Linkerd was originally created by Buoyant
View Code of Conduct
Community
{{ $currentPage := . }} {{ range.Site.Menus.community }} {{ end }}Follow
{{ range.Site.Menus.follow }} {{ end }}Copyright © {{ now.Year }} Linkerd Authors. All rights reserved.


Colors make everything interesting !
If you are used to designing with computer, either web, image or other types, it is highly likely that
you have
seen the RGB scheme of color generation.
Use your color sense to identify the right color from various similar looking ones and have fun.
This game is low in size, does not require any permissions & does not show
advertisements.
Our only income is donations.
Kindly Support Us by Donating.


add one marker for the example
add array of markers for the example
show one marker by id
hide one marker by id


One dead and three injured after east London stabbing
A man in his 20s died at the scene on Buckle Street, Whitechapel, the Metropolitan Police said.
A man has died and another three have been injured after a stabbing in east London.
A man in his 20s died at the scene on Buckle Street, Whitechapel, the Metropolitan Police said.
Three other men with stab injuries were treated at the scene and taken to hospital.
Two people have been arrested on suspicion of GBH.
Officers were called to the scene just before 9am on Saturday and a large police presence remained in the area by the afternoon.
A man in handcuffs was seen being led out of Blakeney Tower on Buckle Street by several police officers, and an inside door was covered in brown paper.
A second handcuffed man was led out a few minutes later and taken away in a police van.
A forensics team could be seen inside the lobby near the lifts, while officers spoke to people as they entered and exited the building.
Police have asked anybody with any information, including pictures or video of the incident, to come forward.


Translated by Doris L. Mackinnon as
Beethoven's Sketches:
an analysis of his style based on a study of his sketch-books
publ. Oxford University Press 1929, and Dover 1974
Fischer goes on to state (p.62): "In the neo-classical style, melodies, either of the S-type or closely allied to it as regards their form, are fitted into the frame provided by the baroque C-type." Or, somewhat differently expressed (p.52): "The C-type develops into the form of exposition of the sonata movement, with exclusion, of course, of the second section." Fischer (p.51) instances a theme by Pergolesi as an example of the transition, "where the first subject of a melody framed on the C-type is constructed on the S-type". Space will not admit of my dealing further with the matter here; I shall discuss the importance of these sections more fully in a later part of the book.
The definition of the two types of melody shows that repetitions and sequences fulfil an important role. And in Chapter I we have already dealt with these structures. So let us now consider the groups of alterations and those cases which have to do with the formation and arrangement of repetitions and sequences.
Gal (p.68) has shown how, in the episodic theme of the 'Coriolanus' overture, a four-bar group is formed by threefold repetition, and he has drawn attention to the logical way in which this is introduced. Later (pp. 111-12) he quotes similar instances of groups used in the working-out. As a matter of fact, it is possible to demonstrate this threefold repetition everywhere throughout the structure both of theme and of movement, and in their larger as well as in their more detailed aspects.
62 b contains a threefold repetition, but it is very 'short-winded'.
This melodic structure has certain disadvantages; it produces clear-cut caesurae at every two bars, which become inconspicuous only when the tempo gets rapid. In his early work Beethoven was satisfied with this structure; later on he used it only where it could do no harm. In the threefold repetition in thematic structure we have one of the stylistic features characteristic of Beethoven as a young man.
We learn something more, however, from these considerations. The S-type is usually in eight bars, and, so to speak, square; this follows inevitably from its origin in folk-song and dance tunes (Fischer p.29). But in Beethoven the C-types of melody also have the same number of bars.
As we have seen, threefold repetition served for construction of the theme; there are other cases where it is employed to build up a movement or a part of a movement. Gal goes so far as to interpret these threefold groups in the working-out as an attempt to 'expand the form' (p.113). In simple song-melodies we constantly find the threefold repetitions of a phrase, and especially of its first half; in the same way, it is very common to find a whole melody repeated three times in slow movements and in rondos. An instance of this occurs in the third movement of the serenade Op.8, where two melodies - adagio - allegro molto - adagio - allegro molto - adagio - appear alternatively; and the slow movement of the violin sonata Op.96 brings in the main theme three times. This can scarcely be regarded as a peculiarity of Beethoven's.
It is another matter altogether when we proceed to
follow out the development of this idea in cases where
the form has to be expanded in movements of minuet
or scherzo character occurring in the works between
Op.70 and Op.100 roughly. Here we have not so
much a special feature of the scherzo, in
Becking's
sense, as a middle section, We find a transition to this
in the scherzo of the pianoforte trio Op.97. The
first part of the scherzo theme consists of 16 = 2 x 8
bars; then follows the second part; and to this is
immediately appended the melody of the trio plus the first
part. The repetition-signs show that all this is to be
played twice; then follows the second part of the scherzo,
and after that comes the coda, which gives us the following
structure:
Part I |: Part II + Trio + Part I :| Part II + Coda
|---- Scherzo ----|
and this means that the scherzo melody occurs three
times. This form occurs in full in the presto of Op.74, in
the Presto of the seventh symphony, Op.92, in the trio
portion of the allegro assai vivace ma serioso in Op.95
(though with fundamental changes), and then finally
in the presto of Op.131. There have always been
minuets and other dance forms with two alternating
passages in which the main melody is repeated three
times. But to expand this form with an episode is
undoubtedly one of Beethoven's peculiarities as a
composer; and even in his work it occurs only for a relatively
short period. Later on, Schumann revived it in some
degree, when, as in the second symphony, the pianoforte
quintet and the third pianoforte trio, he expanded
the several parts; but he made a departure by introducing
two trios. This is an instance of the way in which
a composer of the romantic school dealt with and modified
the development introduced by Beethoven; in
Beethoven's own work the form is expanded, but the
thematic material remains unaltered; in Schumann the
material is expanded, and it is the form that remains
unaltered. Later on, as in the molto vivace of the ninth
Symphony, we get, however, some expansion of the
theme, in which fugato plays an important part.
In his earlier work Beethoven effected this expansion in other ways, as can be seen by comparing the octet for wind-instruments Op.103 with the string quintet Op.4. Altmann has pointed out (compare also Orel) that the quintet is not a mere re-instrumentation of the octet, but has been rewritten and expanded from first to last. The final movement of 223 bars in the octet, for instance, is extended in the quintet to 418 bars. This movement can be divided up into some four sections. In the following table the comparison is brought out:
| Op.4 | Op.103 | Difference | ||
| (a) | The first theme with its working-out and repetition | 164 | 90 | 74 |
| (b) | The middle section, up to the repetition of the first theme | 72 | 61 | 11 |
| (c) | Up to the re-entry of the middle section | 87 | 47 | 40 |
| (d) | The repetition of the middle section, and the coda | 95 | 25 | 70 |
| 418 | 223 | 195 |
Writers have frequently laid stress on the importance of sequences in the formation of Beethoven's themes and elaborations generally. In addition to the passages already mentioned (in a certain measure the threefold repetition also belongs to this category). I shall refer to the treatment of individual themes in the third and fifth symphonies pointed out by Schmitz (pp.79, 84). I have already made it clear that this threefold repetition is a feature of Beethoven's early style.
This association of repetition and sequences in the forming of a theme is a kind of logical construction from a motive provided by the imagination. Out of such a motive the construction promptly develops a theme, which has then to be modified in consequence of its too regular rhythm or of the predominance of sequences.
As we may judge from the sketches, the beautiful middle section of the adagio of the ninth symphony also suffered from too great uniformity of rhythm, a fault that was soon corrected by alteration of the melody in the third bar, together with addition of an up-beat and syncopation.
At the beginning of the second part of the march Op.45 No.1 we see how a series of short sequences is avoided through rhythmical and melodic changes in the first segment as contrasted with those that follow.
In other groups showing alteration of the structure of the sequences we see the development of perfectly definite types of melody. The essential feature in these types lies in the relations between the several parts of the melody. The example on p.47 shows what these are. The way in which they are grouped is characteristic of each type. In the S-type they follow in successive groups, the second linked to the first (H. Riemann); isolated parts of the melody, such as bars 1-2 an 5-6, are alike, both as regards motive and rhythm (Ex.60). The C-type is different; the successive parts are connected by virtue of sequences and repetitions. Fischer has shown that 'where the antecedent is made up of a number of segments, the motives of the sequences in the continuation are always shorter; as soon as the continuation begins, we get a contraction of the rhythm'. In what follows I shall refer to this phenomenon as 'sequence-contraction'. I consider that what is essential in shaping the form is to order the relations of the final melody in such a way that they suffice to unify it and make it hold together; but they must not be so numerous that the independence of the several parts is seriously imperilled: for this leads to the form's becoming unrecognisable. Ex.8 illustrates this. It is possible to find in the sketches a number of groups in which we can see a unified type of melody develop out of a condition in which there was a superfluity of liaisons consisting of sequences and regular rhythms. The theme from Op.132 (Exs. 6 and 73), to which I have aready referred so frequently, belongs here. From the first drafts it is not possible to ascribe it to any particularity of melody, either on account of, or in spite of, the rhythmic liaisons between bar and bar (Ex.6); it has a certain unity, but is not well put together. In its second stage (which, however, may possibly not belong to this developmental series) it is a C-type; there is a four-bar antecedent with two-bar liaisons, and at the end we end a Sequence-contraction. The next sketch (Ex.73b) has none of these organising liaisons; it is to be regarded merely as an eight-bar antecedent of a C-type which also has a course of eight bars. In the final form (Ex.73c), which is distinguished from the others by something additional ( See Chapter II g), liaisons are again established between bars 1, 3 and 6 by means of similarity in the rhythmical treatment.
And we find that Beethoven also rejected this arrangement of the liaisons. What did he substitute for it? An eight-bar C-type with a four-bar antecedent (||: 2 :||) followed by a continuation of four bars showing sequence-contraction (Ex.81).
In the article referred to, I showed that it is possible to make music strictly symmetrical by technical means without our feeling corresponding to this in any way. The way in which these two almost symmetrical themes were altered, and the fact that really symmetrical melodies seldom, if ever occur, seen to justify my opinion and to give it the support of a very important witness, i.e. Beethoven himself.
Lorenz has shown that in the arrangement of Wagner's melodies there is a plan - a b c b a - and this he calls the 'perfect curve' (a, b, and c stand for the several melodies). But the fact that a structure so simple as this has escaped detection for so long is, to my way of thinking, just so much the more proof that no acoustic or aesthetic equivalent for it exists.
In Ex.83b an attempt is made to improve on this by a change in bar 3, without further justification.
In the final reading the two-bar sequences are cut out. Does this not involve a loss of structural stability? It is clear that Beethoven recognised that the sequences of the original form were to some degree logical, but the construction finally adopted is not quite sure, nor quite intelligible.
In the foregoing paragraphs I have dealt mainly with the excision of superfluous liaisons conditioned by the rhythmic structure or by sequences. I shall now refer to some cases in which the liaisons depend on similarities in the melodic structure. It is impossible, of course, to draw a hard and fast line between these and the preceding. All I am concerned to show is that Beethoven finally selected, from out the superabundant liaisons, just those which were characteristic of the particular type of melody adopted in the final reading.
And in this connection there is an interesting case (Ex.85) quoted by Gal (p.94) from the trio in the second symphony, where the melodic liaison in bars 5 and 7 is weakened, so that there remain only those belonging to the S-type.
2 x 2 + 2 x 1 + 2 + 2 x 2 + 2 x 1 + 2 antecedent continuation, antecedent continuation C-types Antecedent CF7 Consequent CF7B6 of S-type cadencesBut even the first sketch (Ex.87a) foreshadows the introduction of the Malinconia theme.
The above examples should suffice. We see in them clearly that Beethoven was striving after an intelligible and characteristic thematic form; but at the same time it is apparent that the completed form was not a flash of inspiration that came at the first moment, but the result of retaining a certain rhythmical and thematic structure throughout the many changes to which the work was subjected.
The beginning of a longer sketch (Ex.89c) shows a similar mixture.
Little by little, the raggedness of the beginning is smoothed away, the quavers disappear, and with their dissapperarance the melodic line hecomes better unified (Ex.89d).
From the sketch (Ex.89e) we may perhaps conclude that the idea of 'Ritmo di tre battute' was the germ from which this unification arose.
2x2 (antecedent) + 2x1 + 2 (continuation)
In the final form (Ex.91b) the first and second bars of the sketch are cut out, and as third bar a motive is introduced that corresponds with bars 7-8 in the sketch.
The outcome of these changes is a regular S-type
with a rest in place of the eighth bar. This S-type is the
antecedent of a C-type, and the whole theme has accordingly
the structure of a C(S)-type
(see abbreviations),
with the structure
2+2+2+1+fermata (antecedent) + 3x1 + 3x⅓ + 1 (continuation)
The finished work, on the other hand (Ex.92b), is definitely of the S-type; bars 1-2 and 5-6 are rhythmically alike, and the repetitions have dropped out.
I have already pointed out (p.61) that I agree with Fischer on the importance of sequence-contractions as a term of melodic liaison. The relation of the length of sequence in the antecedent to that in the consequent, and the working-out of the contraction, are matters of vital importance to the elasticity of the theme in the C-type. In one group of alterations, where the theme may originally be of the S-type, the characteristic feature is the development to a C8, C16, etc.
2x2 + 4
;
this was followed by an S8 as the second part.
In a later sketch this second part has already
undergone contraction.
From this, the final reading (Ex.93b) proceeds logically
on the plan 3x1 + 3x1 + 2
.
The whole thing, accordingly, is a C, in which both
the antecedent and the continuation are also built on that type.
The small subsidiary half-bar sequences in the continuation are important to the development, which is completely lacking in the sketch, where the two types are merely set side by side. The special character of the form is in no way affected by the fact that the repetitions are varied in the two parts although the harmonization is the same.
In the finished work (Ex.94b) this somewhat trivial regularity is replaced
by a C4 with wonderfully effective contractions. It is built as follows:
2x1 (anteced.) + 2x½ + 3x¼ (contin.) + ¼ (conseq.)
This effect is much employed in episodic sections.
In a later sketch (Ex.95b) it began with a very short contraction. The theme still lacked development to the repetition.
This appeared only in the final form (Ex.95c), where a series of contractions lead up to the repetition with admirable inevitability.
later on (Ex.97b) it consists entirely of two-bar segments without connection or development;
finally (Ex.97c), it becomes a boldly conceived type with the following
structure:
2 (curtain) + 4x2 (anteced.) + 2x2 + 2x1 (contin.) + 3x2 + 2 (conclus.)
which is 24 bars.
It is clear that Beethoven experienced some difficulty in developing
the form; but create it he did by sheer hard work, guided,
whether consciously or not, by certain definite principles.
In these last examples we find the development moving towards more wide-embracing thematic complexes. Since Beethoven now preferred to begin themes with sequences, and since such structures tend to involve contraction, a type was produced that begins with a C8 and then repeats this with a change in the second part. The whole theme, therefore, is of the S-type, in which either the antecedent or the consequent, or both, are of the C-type. I have already referred to an S (C) of this kind from Op.18. No.6 (Ex.87). In Ex.91 from Op.1 No.3 we get the converse type C (S). Both were very common in Beethoven's works, and both tend to increase the complexity of the theme (the thematic complex).
whereas in the final form (Ex.98b) it progresses from half-bar to quarter-bar sequences. The antecedent is a C8; by means of repetition, with altered and intensified cadence, an S (C) type of 18 bars is produced.
The final form steers clear of this defect and begins the continuation at once with the contraction and repeats the antecedent with a different cadence, so that the whole become an S (C) type of 16 bars. The fact that most of the S (C) types have an even number of bars does not follow as a matter of course; it is merely a consequence of what I have often mentioned already, i.e. the regular number of bars in the types of which it is composed.
Ex.100b gives the whole passage. It is built up as
follows:
4+4+4+4+2+2+2+2
Interpolation of the two bars would make it:
4+4+4+4+2+4+2+2
Accordingly, the present solution seems to be the better
and more justifiable.
This suggests an interesting inquiry into the rhythmical construction of Beethoven's compositions in general, i.e. the way in which the larger parts are put together. But obviously such an inquiry would be beyond the scope of the present work.
All the foregoing examples show how the production of form may depend on the cutting out of liaisons, rhythms, sequences, along with the introduction of thematic connexions and sequence-contractions. They make us see the advantage of considering the question from at new angle, and, in place of studying the means by which the remodelling is effected, of demonstrating rather how the first ideas as they appear in the sketches are related to the final form they assume in the finished works, and to what types these belong.
I propose to deal first with those themes which develop into an S-type. In Ex.92 I have already cited the adagio theme of Sonata Op.96, in which an S is derived from a melody with disconnected liaisons. In the theme of the theme of the Eroica (Ex.86) a varied S-type is developed from a simple one.
In the final reading (Ex.101b) the S-type liaisons almost disappear, or are, at any rate, profoundly modified - at this stage they cannot be completely destroyed. This theme shows Beethoven at his most typical; in a later section I shall discuss more fully the method by which the transformation is effected. The characteristic feature in this kind of melodic construction is the remarkable emotional breadth.
A second sketch (Ex.102b) written in the C-type has sequences in the consequent, but none in the antecedent.
A third (Ex.102c) shows the C-type with sequence-contraction, and in this draft the final motive has been found, in addition to the rhythm.
The final form (Ex.102d) is a varied S 16.
We had another instance of this transformation of the C- to the S-type in Ex.4 from the trio in the eighth symphony (see p.7). This practically exhausts the list of cases forming the group of changes in form that lead to an S-type. Moreover, it is obvious that the theme with the liaisons characteristic of the C-type cannot straightway be turned into the S-type. For the liaisons in the latter are more fixed and wider in their embrace than in the former; and in the S-type the antecedent and consequent are more closely connected in their first segments.
The reverse change-of the S-type into the C-type is therefore more common, especially as the liaisons in the consequent are easily modified by means of sequences.
The theme of the minuet in Op.18. V
(Ex.37) was
of a varied S-type in the sketch; but in the final form it
is a C 12 with the structure:
4 (anteced.) + 2 x 2 (contin.) + 4 (conseq.)
The theme of the presto in the seventh Symphony already referred to (Ex.97) also shows this development.
in a later sketch (Ex.104b) the theme is changed, without characteristic liaisons being introduced.
Finally (Ex.104c) an S8 appears, in which the continuation is added to the antecedent in the form of a sequence.
I shall now refer to some instructive instances in which the sketch belongs to the C-type. When we were considering the up-beat, I mentioned the eight-bar theme of Op.132, together with the sketches leading up to it (Ex.19).
5 (curtain) + 2x4 (anteced.) + 3x2 (contin.) + 2 (conclus.) = 5 + C16
Schmitz (p.79) says of this passage, 'We might also imagine it scored as follows: (Ex.107) It is easy to imagine the guiding melodic line as played by the first violins alone, the sustained notes being held by the second violins, violas, and cellos. The imitations . . . as they appear in the actual score, do nothing to alter the rhythmic symmetry of the structure,'
But I consider that the regular one-bar rhythm would become too insistent, and would drown the effect of the four-bar sequences. The way in which the form is developed shows that the instrumentation is essential, and determines the structure here; it is not a secondary consideration as Schmitz suggests.
The final form retains the sequence and consists of eight bars. The retention of the first dotted minim throughout all the sketches shows that it was an essential part of the melody; the last note acts both as end and as beginning. Here again, we see the C-type expanded to eight bars.
I have repeatedly pointed out that in Beethoven's works the C-type is either 8 or 16 bars in length: and so, as regards the number of bars, it is broadly comparable with the S-type. The latter must of necessity have this number of bars, but the former is not limited in that way. The liaisons characteristic of it are quite different, and Fischer has thoroughly demonstrated the basis on which they rest. Riemann is certainly wrong in thinking that all themes have the S-type as their foundation. This explains, however, why his method of analysis so often does violence to the themes he is considering.
This connection that exists in Beethoven's music between the two essentially different types explains the important part played in his compositions by the mixed forms, S(C) and C(S), to which I have already referred. Both forms fall in readily with the four-bar structure. They are far wider in their embrace than are the simple S- and C-types. And it is one of the peculiar features of Beethoven's style that each part of a phrase shall encompass more than do those that precede it.
Let us first consider simple cases where, in an S-type,
the antecedent or the consequent is, or both of them are,
of the C-type; the result is a mixed type, S(C). We
saw an instance of this in the finale theme of Op.18. VI
(Ex.87)
where both antecedent and consequent are C8.
In Ex.99 (Ex.99) likewise we get the development of the
adagio theme in Op.101 to a 16-bar S(C) of the form 8+8.
In the theme of the rondo of Sonata Op.24
(Ex.98)
the subsequent is lengthened so that the S(C) type has 8+10 = 18 bars.
From this, by retention of the first four bars and elaboration of the bass motive in bars 10-11, the final form (Ex.110b) developed a C8. With a four-bar antecedent and continuation; repetition with modified cadence made this into a sixteen-bar S (C). The postlude is not part of the theme: for the repetition,while varying the theme, fundamentally alters the consequent.
1+2+1+2
(anteced.=S6) + ||:2:|| + ||:1:||
(contin.) + 2
(conclus.) = C14
Even if we choose to reckon as part of the theme the twelve bars that follow, up to the intervening allegro, this would only mean that the conclusion had also become a C.
In this case also the first four bars are retained and expanded to eight by repetition (ex.112b) . These eight bars are repeated with so much alteration in the instrumentation and the accompaniment, and with such different cadences, that we may speak here of an S16 as antecedent; then follows the 8-bar continuation with contraction. The sketch shows conclusively that these bars belong to the theme.
The next sketch (Ex.113b) substitutes for this a definite S8 followed by a continuation.
These liaisons are still more schematically shown in a later experiment (Ex.113c), where the complete echoes are introduced only after the main sections.
In the final form (Ex.113d) the echoes are shortened but occur more frequently; they are no longer mere interpolations, but aid in the production of form. They constitute a kind of sequence, and so help out to the liaisons: for it is not easy to decide whether the final theme belongs to the S- or to the C-type. As a matter of fact, the two types are completely interwoven in the sketches. Here we are dealing with a theme that is characteristic of Beethoven's mature style; in a later section (Chap. II(g)) I shall attempt to explain the peculiarities that such themes illustrate.
It still keeps this number of bars in Ex.114b, but now contains sequences, the elements of the C-type.
The object of the two following experiments (Ex.114c and d) was to arrive at a different number of bars by means of sequences.
Ex.114e gives the result; the theme now runs to nine bars. What is unusual, however, is that an S 16 follows this C9, and is actually in melodic contrast to it. In Beethoven's work this occurs seldom (Gal p.68) and it is quite contradictory of Schmitz's principle of 'contrasting derivation'.
Finally (Ex.114f), the double bars are combined as simple 6/8 time. The irregularity is retained; the antecedent in the C-type has an apparent length of 5 bars, but as a matter of fact the number of bars is even, for the first is an up-beat or curtain; the high note always lies in the second part of the bar, as is shown by sf frequently being written above it in the overture; 114e is very different in this respect. Half-bars would therefore give the correct number of bars and the stress in the antecedent; in the consequent the reverse occurs.
All this may explain why this overture is not accounted one of Beethoven's best works. The process of getting it into shape cost him a great deal of labour, and even in the end he did not achieve a perfect result. The substitution of the S-type for the continuation is not really suitable.
Ex.91 from Op.1 No.3 gave a case in which the antecedent in a C(S) is an S, and this method of building up the theme gives essentially better results.
What we learn from these and similar examples be summarised as follows:
Before going on to investigate a final characteristic displayed in Beethoven's themes, let me say a word concerning certain themes with an irregular number of bars. It would appear that in many cases special features conceal or counter-balance these irregularities; such examples accordingly serve to strengthen statement 2 above.
We can also see the derivation from the sketches.
In Ex.111 we had a theme from
Op.18 No.2, of the C(S) type and of 14 bars. The
antecedent of the song has six bars; the sketch shows
the development from four regular ones; the irregularity
is scarcely perceptible. The minuet from the
trio Op 1 No.3 (Ex.91) has as antecedent an S-type
of seven bars; it is completed by the addition of a rest
to the last bar and of five bars to the continuation that follows.
The effect of the whole is to make the
irregularity of the several parts less obvious. The original
nal sketch had eight bars, and the same is true of the
Scherzo theme in Op.106; whereas in the final form the
number of bars is seven. I have already explained why the one bar was taken out
(Ex.24 and p.67).
The first theme of the quartet Op.18 No.5
(Ex.54)
is also only apparently eleven bars long; the sketch had the structure
4 (curtain) +2+2+2+2 (S8)
.
I have explained that Beethoven
replaced the note-repetition by a swinging movement,
and this involved shortening the curtain by a bar; the
actual theme is an S8. The adagio of the ninth symphony
(Ex.113)
is full of repetitions, which involve a new irregularity
in the number of bars, an irregularity
that does not appear in many of the sketches. I have
already drawn attention to the important part these
echoes play in form-production; but they have another
purpose, and the consideration of this leads me on to yet
another feature in Beethoven's style.
Wetzel in an account of Kurth's work 'Romantic harmony' says: 'Bach and Beethoven took great pains to achieve an increasingly perfect rhythmical organisation of the succession of sounds in their works. Kurth fails to recognize its development to subtlety from a very obvious foundation. He fails to realise . . . that Bach and Beethoven in their mature years composed melodies without definite limit, which overflowed the strophic limits, and that they were not in the least ashamed of these.' Throughout this chapter we have striven to follow 'these subtle developments to a perfect rhythmical structure' in the case of Beethoven, and, in so doing, to reveal the course he pursued and the laws that were established; for the liaisons characteristic of the several types of melody are nothing more or less than a rhythmical organization of this kind. Comparison of the sketches and the finished works would also have brought us to the conclusion expressed in Wetzel's second statement.
I have already analysed the remodelling undergone by the theme of the allegro appassionato in Op.132 (Exs. 6 and 73). The liaisons characteristic of the melodic types form sections separated by caesurae. Normally, the eight-bar S-type has one main caesura between the fourth and fifth bars; and between the second and third or sixth and seventh there are subsidiary caesurae. In the C-type all are distributed in accordance with its structure; sequences naturally tend to involve caesurae of this kind. Now let us consider the effect of such a theme in its final form. The literature on Beethoven is unanimous in its opinion. Helm (p.290) calls it 'one of the most impressive that he ever discovered'; Thayer (V p.269) writes: 'The melody of the movement is certainly one of the most beautiful that Beethoven ever wrote'.
|
|
Again in the final form (Ex.115b) we find these caesurae bridged by repeated notes and syncopated slurs. At the same time, the subsequent is so markedly altered that it loses its liaisons with the antecedent, and a C8 is produced.
I have already drawn attention to the filling-in of the rest in bar 2 of the slow movement in Sonata Op.90 (Ex.1 and p.5). Now we see that the reason for this was to get rid of the caesura in that bar. Concerning this particular instance Nottebohm remarks (N. II, p.366) that by the alteration of one note 'the melody is given a significance that it originally lacked'. The change is effected, however, not by this one note alone, but by the repeated note which bridges the caesura.
The theme for variations in Sonata Op.109 (Ex.26) illustrates the same thing. The sketch still shows clearly the main caesura between bars 4 and 5; in the final form this is bridged by a repeated note and an appoggiatura chord. The way in which this chord is written is not mere chance: it imposes a dynamic connection with the preceding part of the bar, and - let me once more emphasize this point - it puts the melodic apex in an effective position.
2+2 (anteced) + 2x1 + 2x½ + 1 (contin) = C8.
The caesurae in bars 2, 4, 5, and 6 are very conspicuous.
In the final form (Ex.116b), this is changed. Here the liaisons are weakened, the caesura in bar 4 is got rid of by repetition of a note over the same accompaniment, and that in bar 2 by removal of the rest.
In the fourth bar of the adagio in Op.59 No.1 the harmonized suspensions (Exs. 52 and 78), by means of the tension they produce, bridge to some extent the marked caesurae in the sketch.
The foregoing examples and the explanation that I have given of them justify the following conclusions:
As further examples may be mentioned the theme of the first allegro in Op.74; the minuet from Op.59. No.3 (Ex.88), which in spite of being constructed on the S-type shows scarcely any caesurae; the third movement of Op.18 No.3; and the slow movement of Op. 18. No.1, with its accompaniment in triplets. I have purposely chosen early examples: in these Beethoven does not so completely avoid caesurae as he does in the later works already mentioned.
In considering these movements we see something
new, which, however, is on the same lines as the fact
of a regular number of bars in the C-type melodies,
already referred to. The length of the fugue theme is
such that a phrase of 8, 16, or 12 bars results. We can
think of the theme from Op.2 No.3
(Ex.125) as evolved
from a threefold repetition on the plan
3x2 + 2 = 8
;
similarly, the presto theme (Op.126) has the structure
3x1 + 1 = 4 in triplicate. The fugue and fugato
themes of the later period also show the same regularity
in the number of bars. That from Op.131
(Ex.10)
is in four bars, and is repeated four times in succession.
The theme of the fugue in Sonata Op.110 is in four bars,
with the structure 3x1 + 1
;
an irregularity comes in with the entry of the third part,
since the second part lengthens the theme by two bars.
The theme of the second movement in the ninth symphony
is also in four bars, and it is easy to find other examples
in the Missa solemnis and the fugue for string quartet Op.133.
Of course, we find instances of different structure, such as the irregularity in the entry of the parts in Op.110, to which I have just referred. But in comparison with the variety in bar-number and number of entries of the fugue themes of Bach's 'Well-tempered Chavichord' we are justified in making some such statement as the following. In Beethoven the theme of the fugue or fugato, and also the passage that involves the entry of the several parts (exposition) usually display the same regular number of bars as do themes of the S- and C-types.
This concludes what I have to say regarding the study of thematic form yielded by a comparison of the sketch with the completed work. Our investigation has shown that in many cases where the motive is retained a great portion of the work is expended on the production of form; our study has yielded us the types and the laws governing these forms, and we have learnt more about them than has been known hitherto.
Our study, however, has been based on the works of Beethoven alone; so that for the time being the points we have discovered concerning style must hold good for him alone. We must reserve for a more extensive study the detailed demonstration of the differences between, say, the classical composers of the Viennese school; in the foregoing I have hinted here and there at the lines that this investigation should follow. I believe that, especially as concerns the C-type, it will be found that similar differences occur in the number of bars used for the theme and in the formation of mixed types, as I have already shown they do in the case of the melody based on triplication (p.46 et seq.). I find support for my view in Essner's observation that 'continuation-types in eight bars are rare among the works of Haydn'.
Continued from Part I: The melodic line
See also:
Index of Opus-numbers,
List of Abbreviations,
Bibliography,
Editor's notes
Also:
www.pjb.com.au,
www.pjb.com.au/mus


Welcome to the hGraph
The hGraph is an open source project that is being developed and designed to provide an industry standard of presenting health care information to professionals and average citizens alike.
The hGraph is an open source project that is being developed and designed to provide an industry standard of presenting health care information to professionals and average citizens alike.
The green ring is the focal point of hGraph. It is what tells us if we are doing a good job of keeping ourselves healthy in many different aspects of our lives. Points that lie within the width of this band tell us that we are doing a good job; points outside mean we need to make changes.
Each point along the circle represents a different facet in our lives. For each one of these, we can calculate a specific range of healthy and non healthy values. hGraph lets you immediately see which category every aspect falls into based on these colors. The red points are unhealthy, and the grey points are healthy.
With all of the various types of lifestyle factors plotted, we can calculate just how healthy you are. The number in the middle of the band represents exactly that.
It is the hScore


ZIP: 209 Title: Prohibit Negative Shielded Value Pool Owners: Sean Bowe<EMAIL_ADDRESS>Status: Final Category: Consensus Created: 2019-02-25 License: MIT
The key words "MUST", "SHOULD", "SHOULD NOT", and "MAY" in this document are to be interpreted as described in RFC 2119. 1
The term "block chain" and "network upgrade" are to be interpreted as defined in 3.
The "Sprout value pool balance" for a given block chain, as implied by section 4.11 of the Zcash Protocol Specification 2, is the sum of all vpub_old
fields for transactions in the block chain, minus the sum of all vpub_new
fields for transactions in the block chain.
The "Sapling value pool balance" for a given block chain, as implied by section 4.12 of Zcash Protocol Specification 2, is the negation of the sum of all valueBalance
fields for transactions in the block chain.
This proposal defines how the consensus rules are altered such that blocks which produce negative shielded value pools are prohibited.
It is possible for nodes to monitor the total value of notes that are shielded to, or unshielded from, each of the Sprout or Sapling value pools. If the total value that is unshielded exceeds the total value that was shielded for a given pool, a balance violation has occurred in the corresponding shielded transaction protocol.
It would be preferable for the network to reject blocks that result in the aforementioned balance violation. However, nodes do not currently react to such an event. Remediation may therefore require chain rollbacks and other disruption.
If the "Sprout value pool balance" or "Sapling value pool balance" would become negative in the block chain created as a result of accepting a block, then all nodes MUST reject the block as invalid.
Nodes MAY relay transactions even if one or more of them cannot be mined due to the aforementioned restriction.
This consensus rule is not deployed as part of a network upgrade as defined in ZIP-200 3 and there is no mechanism by which the network will synchronize to enforce this rule. Rather, all nodes should begin enforcing this consensus rule upon acceptance of this proposal.
There is a risk that before all nodes on the network begin enforcing this consensus rule that block(s) will be produced that violate it, potentially leading to network fragmentation. This is considered sufficiently unlikely that the benefits of enforcing this consensus rule sooner are overwhelming.
| 1 | Key words for use in RFCs to Indicate Requirement Levels |
|---|
| 2 | Zcash Protocol Specification, Version 2019.0-beta-37 [Overwinter+Sapling] |
|---|
| 3 | ZIP 200: Network Upgrade Mechanism |
|---|


Rock is a vast genre of music that goes back decades and has a long history. It's amazing to think about how many subgenres of Rock there are and how they came to be. Rock has been evolving since the mid-20th century and has shown up as many different genres. There have been many different supergenres that encompass a lot of subgenres. This informational site will talk about a lot the more popular genres through all of rock history.
Explore each subgenre and find out about its history as well as some notable bands from it. Each subgenre is listed under its parent genre and is in order of when it originated. From Surf Rock to Pop Punk and from Progressive Rock to Shoegaze, a lot of subgenres are organized here to read. Credits are cited on the credits page in the top right.
A primitive form of Rock originating in the 50s.
Also known as the golden age of Rock. Rock exploded in the sixties, so much so that music journalists consider it as the most important music genre. So many people still listen to music from this era and rightfully so.
Punk Rock and New Wave are both genres that focus heavily on concept and message that aren't about the band's personal life or feelings but are more about society. Both utilize new technology and both genres evolved a lot in a short time span.
Originated as a subgenre of Punk, it grew quickly in both the US and the UK. It was originally defined by a lifestyle that is more disciplined and pure but the average perception of Hardcore was a lot more negative because of the aggressive nature of the music. Hardcore has lasted decades from mottos in its community that are along the lines of "Hardcore Will Never Die" and "Forever Hardcore". Being mostly underground, it has lived on longer than any other genre here.
After the mid-eighties, Rock couldn't really be considered mainstream and Alternative Rock stemmed from that. It dominated the Rock scene from the mid-eighties to the end of the nineties. It is a collection of a lot of different styles but is usually recognizable by lots of distortion and sentimental lyrics. Songs are longer and slower than other Rock genres with the exception of progressive rock. Alternative Rock died with the end of the millenium but lives on in the form of Indie Rock.
Contemporary Rock encompasses all new Rock genres in the 21st century. A lot of genres in this era share characteristics but not in the form of technology but rather a way of forming these genres. These genres were formed from taking old genres and forming completely new ones out of them. Contemporary Rock is defined by the building of bridges to other musical genres.


Germany: Manufacturing sector is still in recession – TDS
by Sandeep KanihamaAnalysts at TD Securities note that Germany's IFO recorded a small gain in November, with the headline rising from 94.7 to 95.0, exactly on top of consensus.
Key Quotes
“Details showed a 0.5pt improvement in expectations to 92.1 (mkt 92.5), and an essentially unchanged current assessment of 97.9 (mkt 97.9). A spokesperson from the IFO institute sounded quite cautious, noting that the manufacturing sector is still in recession, that export prospects have darkened, and that it's too early to speak of a turnaround in the economy, but at the same time, there are signs that business will be very good this Christmas.”


Collaborative product development for enhanced apparel and wearable technologies.
Through integrating structural, chemical and electronic technologies into apparel and wearable objects, The CRATED product development studio partners with future-minded companies to go to market. We've provided insights and product development for Vogue, The White House, Intel & Milk Studios and many more. Press includes Fast Company, Google, Inc and PSFK. Through investing branding, strategy, prototyping, insights and design into new products, we take fashion and tech companies into the future. To press fast-forward, sync with us at Future@thecrated.com.


"WELL "(Hebrews beer), to be distinguished from a fountain (Hebrews‘ain). A “beer” was a deep shaft, bored far under the rocky surface by the art of man, which contained water which percolated through the strata in its sides. Such wells were those of Jacob and Beersheba, etc. (see Genesis 21:19, 25, 30, 31; 24:11; 26:15, 18-25, 32, etc.). In the Pentateuch this word beer, so rendered, occurs twenty-five times.
"WELL "(Hebrews beer), to be distinguished from a fountain (Hebrews‘ain). A “beer” was a deep shaft, bored far under the rocky surface by the art of man, which contained water which percolated through the strata in its sides. Such wells were those of Jacob and Beersheba, etc. (see Genesis 21:19, 25, 30, 31; 24:11; 26:15, 18-25, 32, etc.). In the Pentateuch this word beer, so rendered, occurs twenty-five times.


The 10 Best Bralettes On Amazon
When it comes to wire-free comfort and style, many shoppers are devoted to the bralette for its versatility. Whether you’re lounging around the house, looking for zero seams under even the clingiest top, or creating a chic layered look, the best bralettes on Amazon have you covered. On my list below, I've even included a sport bralette that offers light-to-medium support and moisture-wicking properties, so you'll be comfortable and supported during workouts without feeling constricted.
While most bralettes tend to only offer minimal support, there are also styles that offer light padding or mesh cups so you still have that unfussy look but with a bit more support. If you have a larger bust or are looking for more support, look for features like fuller cups, an elastic band around the ribs, and wider shoulder straps to provide a more comfortable fit.
The bralettes on this list are made from fabrics like nylon, spandex, rayon, cotton, and elastane to provide stretch and breathability. Some of these bralettes are even machine-washable. And while some of these are all about casual cool, there are also styles that make a louder statement from cutouts to a leopard printed Savage x Fenty pick.
With all that in mind, these are the best bralettes on Amazon in a variety of styles, colors, and sizes. All of them are sure to add wireless comfort to your wardrobe.
1. A Comfy Classic Bralette In Lots Of Colors
Jockey Seamfree Bralette$24|AmazonSee On Amazon
This minimalist seamless bralette with adjustable straps is made from nylon and spandex for stretch and comfort, and it’s available in more than 10 colors. Choose from classics like white or beige, or go for a bright purple or blue. The cups include removable padding for more or less support. Best of all, it’s easy to machine-wash and can even be put in the dryer.
What fans say: "I like this bra so much that this is the second order. It is so comfortable...hardly notice I’ve got it on."
- Available sizes: S - XL
2. A Classic Bralette For An Athleisure Look
Calvin Klein Modern Cotton Bralette$19|AmazonSee On Amazon
This iconic Calvin Klein bralette is a timeless choice for style and comfort. It’s made from a soft, breathable cotton-modal-elastane blend and features a racerback design and a thick elastic band with the Calvin Klein logo. There’s a wide array of colors and patterns to choose from including classic gray, black, or white, plus florals and stripes, and it’s machine-washable. However, while the look is sporty, reviewers report that it's more focused on comfort than support, so it's likely not the best choice for workouts.

- Available sizes: XS - XL
3. A Lacy Bralette With Lots Of Size Options
Savage x Fenty Scalloped Lace Bralette$30|AmazonSee On Amazon
This scalloped lace bralette from Savage x Fenty offers a luxuriously lacy look without a hefty price tag. The pull-on bralette is made from nylon, rayon, cotton, and spandex, and features two shades of blue lace. It’s unlined but with adjustable straps and cool rose gold tone hardware. The only drawback to this Rihanna-approved style might be that it's hand-wash only.
What fans say: "I wear a 42DD bra, so I had my doubts about this bralette … This one surprised me! There is not as much support as an actual bra, but I didn't feel like my boobs were just hanging there."
- Available sizes: XS - 3X
4. The Most Seamless Bralette
Calvin Klein Skinny Strap Bralette$38|AmazonSee On Amazon
For a classic bralette that'll disappear under even the clingiest tops, you can’t go wrong with this Calvin Klein option. It’s made from nylon and elastane for stretchy comfort, the skinny straps are adjustable, and there are removable pads. Its ultra-smooth edges promise not to show even under thin tops. This comfy bralette is machine-washable and comes in several neutrals like black and beige, as well as muted shades of purple, pink, and orange. A lace print version is available, too.
What fans say: "It's super comfortable and truly invisible under everything that doesn't have a deep V. For me it shows less than a regular bra under thin shirts. I love it!"
- Available sizes: XS - XL
5. A Bralette Specially Designed For Larger Busts
Cosabella Curvy Soft Bra$52|AmazonSee On Amazon
Designed with bigger cups in mind, this bralette for larger busts is best suited for sizes 28DD - 40H. Made from nylon and elastane and featuring a lacy floral pattern, wide adjustable straps, supportive mesh lined cups, and sturdy elastic at the bust, this bralette is stretchy and stylish. It comes in classic black or white, as well as bright shades of blue, pink, and yellow. However, it's best to hand-wash this one.
What fans say: "GET THIS BRA! so comfortable, so cute! I have never ever had a bra in my size fit both of those criteria before."
- Available sizes: XS - XL
6. A Trendy Racerback Bralette
Savage x Fenty Bralette$29|AmazonSee On Amazon
For a sportier look from a fan-favorite brand, this trendy racerback bralette is a super comfy choice. Made from cotton and spandex, it’s breathable and stretchy. The rose gold band shows off the Savage x Fenty logo with a bit of shimmer, while elastic on the inside keeps it in place. It’s machine-washable and available in the fun leopard print pictured here, as well as a black Savage x Fenty print pattern and a few solid colors.
What fans say: "The fabric is very soft and thin but not see through. I also like the racerback style [it's] very sporty."
- Available sizes: XS - 3X
7. A Budget Padded Bralette You'll Want In Every Color
Mae Lace Padded Bralette$14|AmazonSee On Amazon
This comfortable padded bralette features cotton-lined cups with removable padding, offering light support that’s best suited for A through C cups. The nylon and spandex fabric provides stretch, and adjustable straps help you find the perfect fit. It comes in 11 colors, including neutrals like black and ivory, as well as pretty shades of purple, blue, coral, and more. The floral lace overlay and scalloped band give this bralette a luxe look for a super affordable price. Plus, it’s machine-washable.
What fans say: "It doesn't pinch or itch, very soft material, tiny bit of padding, tight enough for a little support. And it's super cute!"
- Available sizes: XS - XL
8. A Sports Bralette That's Good For Working Out
Gaiam Wireless Bralette$20|AmazonSee On Amazon
For low- to medium-impact exercises, this sporty workout bralette with a strappy racerback offers support and moisture-wicking properties to keep you comfortable. It’s made from polyester and spandex so it’s soft and supportive, and it has removable pads so you can adjust it to your liking. This athletic bralette is machine-washable and available in black, gray, or blue with mesh trim, as well as several patterns.
What fans say: "I wear an unusual size, so bra shopping is perpetually difficult. I also do a lot of yoga, so I need something that will keep me contained but that I can also get back off again at the end when I'm sweaty and sticky. This bra has become one of my favorites!"
- Available sizes: XS - XL
9. A High-Neck Bralette That's Great For Layering
Mae High-Neck Bralette With Cutouts$17|AmazonSee On Amazon
With its high neckline and cutouts, this comfy layering bralette is a show-stopping layering piece. It’s made from nylon and spandex for stretchiness and offers light support that’s best suited for A through C cups. In addition to the eye-catching cutouts, this bralette has a cute strappy criss-cross back. It’s machine-washable and available in more than 20 vibrant colors and designs including mesh and a floral cutout pattern.
What fans say: "I love this bralette. I wear it with low cut shirts or sleeveless shirts that come too far down under the arms."
- Available sizes: XS - XL
10. A Fun Bralette & Camisole Blend
Free People Century Brami$13|AmazonSee On Amazon
A cross between a bralette and a camisole, this Free People brami pairs well with your favorite pants and skirts alone or as a layering piece. Available in black and white or purple and pink color combinations, as well as solid black, this bralette is made from rayon and spandex and features a V-neckline with an adjustable tie at the neck. There’s an eye-catching lace insert at the center of the bust and more lace accenting on the back. Plus, it’s machine-washable.
What fans say: "Love the way it fit. Looks great on."
- Available sizes: XS - L
Bustle may receive a portion of sales from products purchased from this article, which was created independently of Bustle's editorial and sales departments.


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f8a_worker/data_normalizer.py M 110:4 DataNormalizer._handle_javascript - F (52) f8a_worker/workers/mercator.py M 159:4 MercatorTask._merge_python_items - D (29) 2 blocks (classes, functions, methods) analyzed. Average complexity: F (40.5)


| survexp.fit {survival} | R Documentation |
Compute expected survival times.
survexp.fit(group, x, y, times, death, ratetable)
group |
if there are multiple survival curves this identifies the group, otherwise it is a constant. Must be an integer. |
x |
A matrix whose columns match the dimensions of the |
y |
the follow up time for each subject. |
times |
the vector of times at which a result will be computed. |
death |
a logical value, if |
ratetable |
a rate table, such as |
For conditional survival y
must be the time of last follow-up or death for
each subject.
For cohort survival it must be the potential censoring time for
each subject, ignoring death.
For an exact estimate times
should be a superset of y
, so that each
subject at risk is at risk for the entire sub-interval of time.
For a large data set, however, this can use an inordinate amount of
storage and/or compute time. If the times
spacing is more coarse than
this, an actuarial approximation is used which should, however, be extremely
accurate as long as all of the returned values are > .99.
For a subgroup of size 1 and times
> y
,
the conditional method reduces to exp(-h) where
h is the expected cumulative hazard for the subject over his/her
observation time. This is used to compute individual expected survival.
A list containing the number of subjects and the expected survival(s) at each time point. If there are multiple groups, these will be matrices with one column per group.
Most users will call the higher level routine survexp
.
Consequently, this function has very few error checks on its input arguments.


Our Scudamore leggings are based on the field armor of Sir James Scudamore, currently on view at the The Metropolitan Museum of Art, New York. Sir James was a prominent Elizabethan soldier, courtier, and enthusiastic jouster; he was praised in Edmund Spenser’s Faerie Queene (published 1596) as an example of chivalry personified. Channel knightly nobility in our take on this gorgeous armor!
8% Spandex, 92% Recycled Polyester | Made in the USA
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