text stringlengths 454 608k | url stringlengths 17 896 | dump stringclasses 91
values | source stringclasses 1
value | word_count int64 101 114k | flesch_reading_ease float64 50 104 |
|---|---|---|---|---|---|
This gist from @hadley has been on my mind for some time. This was already a follow up of this post from @johnmyleswhite. The problem was that sugar vectorised code suffered a performance penalty compared to devectorised code. This is particularly troubling me because the whole point of sugar is to have nice syntax without paying the price of the abstraction.
The code using sugar looks like this:
void rcpp_vectorised() { NumericVector a = NumericVector::create(1, 1); NumericVector b = NumericVector::create(2, 2); NumericVector x(2); for (int j = 0; j < 1e6; ++j) { x = a + b; } }
and the devectorised version, using a manual for loop:
void rcpp_devectorised() { NumericVector a = NumericVector::create(1, 1); NumericVector b = NumericVector::create(2, 2); NumericVector x(2); for (int j = 0; j < 1e6; ++j) { for (int i = 0; i < 2; ++i) { x[i] = a[i] + b[i]; } } }
So we have two
NumericVector
a and
b of length
2 that we assign into another
NumericVector of length
2. Here are benchmark results from Hadley's gist:
microbenchmark( rcpp_vectorised(), rcpp_devectorised(), unit = "s") # Unit: seconds # expr min lq median uq max neval # rcpp_vectorised() 0.012043 0.012308 0.012453 0.012580 0.01319 100 # rcpp_devectorised() 0.000837 0.000848 0.000865 0.000887 0.00101 100
So quite a difference indeed. There were a few reasons for this difference. The first reason was that sugar needed some modernisation. In the next release of
Rcpp11, we've made progress in that direction and some sugar expression directly control how to apply themselves into their target vector. This differs from historic implementations (as found e.g. in
Rcpp) which was entirely based on
operator[].
The relevant working code for the
operator+ between two vectors is now a direct call to
std::transform :
template <typename Target> inline void apply( Target& target ) const { std::transform( sugar_begin(lhs), sugar_end(lhs), sugar_begin(rhs), target.begin(), op ) ; }
With this at end, here are some new timings of the same code, but built against
Rcpp11:
$ Rcpp11Script /tmp/sug.cpp > require(microbenchmark) Loading required package: microbenchmark > microbenchmark(vec = rcpp_vectorised(), devec = rcpp_devectorised(), + unit = "s") Unit: seconds expr min lq median uq max neval vec 0.004440250 0.004457024 0.004464254 0.004479742 0.006363814 100 devec 0.001306806 0.001307507 0.001308996 0.001324055 0.001420102 100
The vectorised version is much better than the version in
Rcpp:
$ RcppScript /tmp/sug.cpp > require(microbenchmark) Loading required package: microbenchmark > microbenchmark(vec = rcpp_vectorised(), devec = rcpp_devectorised(), + unit = "s") Unit: seconds expr min lq median uq max neval vec 0.014118233 0.014155100 0.014201735 0.014477436 0.015247361 100 devec 0.001256794 0.001259593 0.001269401 0.001278607 0.001394016 100
But still not optimal. However, we can't go much further and I'll try to give some insights here. When we do:
for (int i = 0; i < 2; ++i) { x[i] = a[i] + b[i]; }
The number of elements to process is known and assumed equal between
x,
a and
b. But when we do:
x = a + b ;
The assignment operator first has to check that the sizes match, so we need to get the length of at least
x and
a (we'll assume
a and
b have matching sizes). That's your time difference right there. Getting the length of a vector is not a free operation. It is even quite an expensive operation in
Rcpp which delegates this to the
Rf_length function from the R api:; } }
This contains redundant code, e.g. we don't need the switch as we already know the R type of the object, that's the whole point of scoping these R objects in C++ classes. And furthermore
LENGTH itself has work to do, depending on whether there is support for long vectors it is implemented either like this:
# define SHORT_VEC_LENGTH(x) (((VECSEXP) (x))->vecsxp.length) # define LENGTH(x) (IS_LONG_VEC(x) ? R_BadLongVector(x, __FILE__, __LINE__) : SHORT_VEC_LENGTH(x))
or directly like this:
# define LENGTH(x) (((VECSEXP) (x))->vecsxp.length)
So getting the length of a vector is not a free operation. That's why we can't match with the devectorised version in this case because the timings are completely dominated by it.
Here are variations of @hadley's code but doing the measuring internally to reduce various overheads (
.Call, ...) :
#include <Rcpp.h> using namespace Rcpp ; // [[Rcpp::plugins(cpp11)]] typedef std::chrono::high_resolution_clock Clock ; typedef std::chrono::duration<double, std::micro> microseconds ; typedef Clock::time_point time_point ; // [[Rcpp::export]] double rcpp_devectorised(NumericVector a, NumericVector b, NumericVector x, int n, int niter ){ time_point start = Clock::now() ; for (int j = 0; j < niter; ++j) { for (int i = 0; i < n; ++i) { x[i] = a[i] + b[i]; } } return std::chrono::duration_cast<microseconds>( Clock::now() - start ).count() ; } // [[Rcpp::export]] double rcpp_vectorised(NumericVector a, NumericVector b, NumericVector x, int n, int niter ){ time_point start = Clock::now() ; for (int j = 0; j < niter; ++j) { x = a + b ; } return std::chrono::duration_cast<microseconds>( Clock::now() - start ).count() ; } // [[Rcpp::export]] List rcpp_length_vec(NumericVector x, NumericVector a, int niter){ time_point start = Clock::now() ; int n = 0; for (int j = 0; j < niter; ++j) { n += x.size() + a.size() ; } time_point end = Clock::now() ; // here n is returned so that the compiler will not outsmart us and just not do anything. // which would be likely to happen otherwise return List::create( std::chrono::duration_cast<microseconds>( end - start ).count(), n ) ; }
So we have the devectorised, vectorised and a third function calling as many times
.size() as needed by the sugar implementation. We can compile this file with both
Rcpp and
Rcpp11 and make our own benchmarking. An interesting thing to note is that none of these functions allocate between the two ticks, so there's no garbage collector pollution of the timings.
require(microbenchmark) env <- new.env() Rcpp::sourceCpp("/tmp/sugar.cpp", env = env) Rcpp_vec <- env[["rcpp_vectorised"]] Rcpp_devec <- env[["rcpp_devectorised"]] Rcpp_len <- env[["rcpp_length_vec"]] attributes::sourceCpp( "/tmp/sugar.cpp") Rcpp11_vec <- rcpp_vectorised Rcpp11_devec <- rcpp_devectorised Rcpp11_len <- rcpp_length_vec bench <- function(n, niter){ a <- rnorm(n) b <- rnorm(n) x <- numeric(n) do.call( rbind, lapply( list( Rcpp_vec = replicate( 100, Rcpp_vec(a,b,x,n,niter) ), Rcpp11_vec = replicate( 100, Rcpp11_vec(a,b,x,n,niter) ), Rcpp_devec = replicate( 100, Rcpp_devec(a,b,x,n,niter)), Rcpp11_devec = replicate( 100, Rcpp11_devec(a,b,x,n,niter)), Rcpp_len = replicate( 100, Rcpp_len(x,a,niter)[[1]] ), Rcpp11_len = replicate( 100, Rcpp11_len(x,a,niter)[[1]] ) ), summary ) ) }
A few things form reading this table:
- For the small vectors, there is a noticable difference of performance between the vectorised and devectorised code using
Rcpp11, but the difference is fixed so its weight becomes smaller as the size of the vector grows
- Just getting the lengths of vectors is cheaper with
Rcpp11as we use closer to the metal macro rather than the over cautious
Rf_length.
This is I think good enough. A potential source of improvement for the
Rcpp11 version could be to take advantage of multithreading, either manually or by leveraging a threaded STL implementation. All we would need is a threaded version of
std::transform. I'll save this for later, especially given that we can't yet use
<thread> on windows with the current version of Rtools.
A design question
Good if you made it all the way down, you might be able to help me. At the moment,
Vector::size() delegates to
SHORT_VEC_LENGTH (I'll get to long vector support later) which is cheap but not free. An alternative would be to store the length as part of the C++ object. With this, retrieving the length would be instant, but we would have to calculate it every time we create a
Vector or update its underlying data.
I'm happy with both options. Ideas ? Comments ?
Please discuss this on this github... | http://www.r-bloggers.com/vectorized-vs-devectorized/ | CC-MAIN-2014-52 | refinedweb | 1,276 | 51.78 |
(1 "two" 3.0)
( … )- List
[ … ]- Vector
{ … }- Map
#- Dispatch character
#{ … }- Set
#_- Discard
#"…"- Regular Expression
#(…)- Anonymous function
#'- Var quote
##- Symbolic values
#inst,
#uuid, and
#jsetc. - tagged literals
%,
%n,
%&- Anonymous function arguments
@- Deref
^(and
#^) - Metadata
'- Quote
;- Comment
:- Keyword
::- Auto-resolved keyword
#:and
#::- Namespace Map Syntax
/- Namespace separator
\- Character literal
$- Inner class reference
->,
->>,
some->,
cond->,
as->etc. - Threading macros
`- Syntax quote
~- Unquote
~@- Unquote splicing
<symbol>#- Gensym
#?- Reader conditional
#?@- Splicing Reader conditional
*var-name*- "Earmuffs"
>!!,
<!!,
>!, and
<!- core.async channel macros
<symbol>?- Predicate Suffix
<symbol>!- Unsafe Operations
_- Unused argument
,- Whitespace character
#=Reader eval
This page explains the Clojure syntax for characters that are difficult to "google". Sections are not in any particular order, but related items are grouped for ease. Please refer to the reader reference page as the authoritative reference on the Clojure reader. This guide is based on James Hughes original blog post and has been updated and expanded here with the permission of the author.
( … )- List
Lists are sequential heterogeneous collections implemented as a linked list.
A list of three values:
(1 "two" 3.0)
[ … ]- Vector
Vectors are sequential, indexed, heterogeneous collections. Indexing is 0-based.
An example of retrieving the value at index 1 in a vector of three values:
user=> (get ["a" 13.7 :foo] 1) 13.7
{ … }- Map
Maps are heterogeneous collections specified with alternating keys and values:
user=> (keys {:a 1 :b 2}) (:a :b)
#- Dispatch character
You’ll see this character beside another e.g.
#( or
#".
# is a special character that tells the Clojure reader (the component that takes Clojure
source and "reads" it as Clojure data) how to interpret the next character using a read table. Although some Lisps allow the read table to be extended by users, Clojure does not.
The
# is also used at the end of a symbol when creating generated symbols inside a syntax quote.
#{ … }- Set
#{…} defines a set (a collection of unique values), specifically a
hash-set. The
following are equivalent:
user=> #{1 2 3 4} #{1 2 3 4} user=> (hash-set 1 2 3 4) #{1 2 3 4}
Sets cannot contain duplicates and thus the
set reader will throw an exception in this case as it is an invalid literal. When items are added to a set, they are simply dropped if the value is already present.
user=> #{1 2 3 4 1} Syntax error reading source at (REPL:83:13). Duplicate key: 1
#_- Discard
#_ tells the reader to ignore the next form completely.
user=> [1 2 3 #_ 4 5] [1 2 3 5]
Note that the space following
#_ is optional, so
user=> [1 2 3 #_4 5] [1 2 3 5]
also works. Also note that the discard character works in edn.
A neat trick is that multiple
#_ can be stacked to omit multiple forms
user=> {:a 1, #_#_ :b 2, :c 3} {:a 1, :c 3}
The docs suggest that "The form following
#_ is completely skipped by the reader
(This is a more complete removal than the
comment macro which yields
nil).".
This can prove useful for debugging situations or for multiline comments.
#"…"- Regular Expression
#" indicates the start of a regular expression
user=> (re-matches #"^test$" "test") "test"
This form is compiled at read time into a host-specific regex machinery, but it is not available in edn. Note that when using regexes in Clojure, Java string escaping is not required
#(…)- Anonymous function
#( begins the short hand syntax for an inline function definition. The
following two snippets of code are similar:
; anonymous function taking a single argument and printing it (fn [line] (println line)) ; anonymous function taking a single argument and printing it - shorthand #(println %)
The reader expands an anonymous function into a function definition whose
arity (the number of arguments it takes) is defined by how the
% placeholders
are declared. See the
% character for discussion around arity.
user=> (macroexpand `#(println %)) (fn* [arg] (clojure.core/println arg)) ; argument names shortened for clarity
#'- Var quote
#' is the var quote which expands into a call to the
var function:
user=> (read-string "#'foo") (var foo).
Note that var quote is not available in edn.
##- Symbolic values
Clojure can read and print the symbolic values
##Inf,
##-Inf, and
##NaN. These are also available in edn.
user=> (/ 1.0 0.0) ##Inf user=> (/ -1.0 0.0) ##-Inf user=> (Math/sqrt -1.0) ##NaN
#inst,
#uuid, and
#jsetc. - tagged literals
Tagged literals are defined in edn and supported by the Clojure and
ClojureScript readers natively. The
#inst and
#uuid tags are defined by edn,
whereas the #js tag is defined by ClojureScript.
We can use Clojure’s
read-string to read a tagged literal (or use it directly):
user=> (type #inst "2014-05-19T19:12:37.925-00:00") java.util.Date ;; this is host dependent (read-string "#inst \"2014-05-19T19:12:37.925-00:00\"") #inst "2014-05-19T19:12:37.925-00:00"
A tagged literal tells the reader how to parse the literal value. Other common
uses include
#uuid for expressing UUIDs and in the ClojureScript world an
extremely common use of tagged literals is
#js which can be used to convert
ClojureScript data structures into JavaScript structures directly. Note that
#js doesn’t convert recursively, so if you have a nested data-structure, use
js->clj.
Note that while
#inst and
#uuid are available in edn,
#js is not.
%,
%n,
%&- Anonymous function arguments
% is an argument in an anonymous function
(…) as in
(* % %).
When an anonymous function is expanded, it becomes an
fn form and
% args are replaced with gensym’ed names
(here we use arg1, etc for readability):
user=> (macroexpand `#(println %)) (fn* [arg1] (clojure.core/println arg1))
Numbers can be placed directly after the
% to indicate the argument positions (1-based).
Anonymous function arity is determined based on the highest number
% argument.
You don’t have to use the arguments, but you do need to declare them in the order you’d expect an external caller to pass them in.
% and
%1 can be used interchangeably:
user=> (macroexpand `#(println % %1)) ; use both % and %1 (fn* [arg1] (clojure.core/println arg1 arg1)) ; still only takes 1 argument
There is also
%& which is the symbol used in a variadic anonymous function
to represent the "rest" of the arguments (after the highest named anonymous
argument).
user=> (macroexpand '#(println %&)) (fn* [& rest__11#] (println rest__11#))
Anonymous functions and
% are not part of edn.
@- Deref
@ expands into a call to the
deref function, so these two
future s,
delay s,
promises s etc. to
force computation and potentially block.
Note that
@ is not available in edn.
^(and
#^) - function optimizations
thus potentially making resultant code}
Originally, meta was declared with
#^, which is now deprecated (but still works). Later, this was simplified to just
^ and that is what you will see in most Clojure, but occasionally you will encounter the
#^ syntax in older code.
Note that metadata is available in edn, but type hints are not.
'- Quote
Quoting is used to indicate that the next form should be read but not evaluated.
The reader expands
' into a call to the
quote special form.
user=> (1 3 4) ; fails as it tries to invoke 1 as a function Execution error (ClassCastException) at myproject.person-names/eval230 (REPL:1). class java.lang.Long cannot be cast to class clojure.lang.IFn user=> '(1 3 4) ; quote (1 3 4) user=> (quote (1 2 3)) ; using the longer quote method (1 2 3) user=>
;- Comment
; starts a line comment and ignores all input from its starting point to the end of the
line.
user=> (def x "x") ; this is a comment #'user/x user=> ; this is a comment too <returns nothing>
It is common in Clojure to use multiple semicolons for readability or emphasis, but these are all the same to Clojure
;; This is probably more important than ; this
:- Keyword
: is the indicator for a keyword. Keywords are often used as keys in maps and
they provide faster comparisons and lower memory overhead than strings (because instances are cached and reused).
user=> (type :test) clojure.lang.Keyword
Alternatively you can use the
keyword function to create a keyword from a string
user=> (keyword "test") :test
Keywords can also be invoked as functions to look themselves up as a key in a map:
user=> (def my-map {:one 1 :two 2}) #'user/my-map user=> (:one my-map) ; get the value for :one by invoking it as function 1 user=> (:three my-map) ; it can safely check for missing keys nil user=> (:three my-map 3) ; it can return a default if specified 3 user => (get my-map :three 3) ; same as above, but using get 3
::- Auto-resolved keyword
:: is used to auto-resolve a keyword in the current namespace. If no qualifier
is specified, it will auto-resolve to the current namespace. If a qualifier is
specified, it may use aliases in the current namespace:
user=> :my-keyword :my-keyword user=> ::my-keyword :user/my-keyword user=> (= ::my-keyword :my-keyword) false
This is useful when creating macros. If you want to ensure that a macro that calls
another function in the macro namespace correctly expands to call the function,
you could use
::my-function to refer to the fully qualified name.
Note that
:: is not available in edn.
#:and
#::- Namespace Map Syntax
Namespace map syntax was added in Clojure 1.9 and is used to specify a default namespace context when keys or symbols in a map where they share a common namespace.
The
#:ns syntax specifies a fully-qualified namespace map prefix n alias
in the namespace map prefix with, where ns is the name of a namespace and the prefix
precedes the opening brace
{ of the map."}}
Note that these maps represent the identical object - these are just alternate syntaxes.
#:: can be used to auto-resolve the namespace of keyword or symbol keys
in a map using the current namespace.
These two examples are equivalent:
user=> (keys {:user/a 1, :user/b 2}) (:user/a :user/b) user=> (keys #::{:a 1, :b 2}) (:user/a :user/b)
Similar to autoresolved keywords,
you can also use
#::alias to auto-resolve with a namespace alias defined in
the
ns form:
(ns rebel.core (:require [rebel.person :as p] [rebel.ship :as s] )) #::p{:first "Han" :last "Solo" :ship #::s{:name "Millennium Falcon" :model "YT-1300f light freighter"}}
is read the same as:
{:rebel.person/first "Han" :rebel.person/last "Solo" :rebel.person/ship {:rebel.ship/name "Millennium Falcon" :rebel.ship/model "YT-1300f light freighter"}}
/- Namespace separator
\- Character literal
\ indicates a literal character as in:
user=> (str \h \i) "hi"
There are also a small number of special characters to name special ASCII characters:
\newline,
\space,
\tab,
\formfeed,
\backspace, and
\return.
The
\ can also be followed by a Unicode literal of the form
\uNNNN. For example,
\u03A9 is the literal for Ω.
$- Inner class reference
Used to reference inner classes and interfaces in Java. Separates. Please refer to Official Clojure Documentation
`- Syntax quote
` is the syntax quote. Syntax quote is similar to quoting (to delay
evaluation) but has some additional effects.
Basic syntax quote may look similar to normal quoting:
user=> (1 2 3) Execution error (ClassCastException) at myproject.person-names/eval232 (REPL:1). class java.lang.Long cannot be cast to class clojure.lang.IFn user=> `(1 2 3) (1 2 3)
However, symbols used within a syntax quote are fully resolved with respect to the current namespace:
user=> (def five 5) #'user/five user=> `five user/five
Syntax quote is most used as a "template" mechanism within macros. We can write one now:
user=> (defmacro debug [body] #_=> `(let [val# ~body] #_=> (println "DEBUG: " val#) #_=> val#)) #'user/debug user=> (debug (+ 2 2)) DEBUG: 4 4
Macros are functions invoked by the compiler with code as data. They are expected
to return code (as data) that can be further compiled and evaluated.
This macro takes a single body expression and returns a
let form that will
evaluate the body, print its value, and then return the value. Here the syntax
quote creates a list, but does not evaluate it. That list is actually code.
~- Unquote
~ is unquote. That is within a syntax quoted
` form
~ will unquote
the associated symbol, i.e. evaluate it in the current context:
user=> (def five 5) ; create a named var with the value 5 #'user/five user=> five ; the symbol five is evaluated to its value 5 user=> `five ; syntax quoting five will avoid evaluating the symbol, and fully resolve it user/five user=> `~five ; within a syntax quoted block, ~ will turn evaluation back on just for the next form 5
Syntax quoting and unquote are essential tools for writing macros, which are functions invoked during compilation that take code and return code.
~@- Unquote splicing
~@ is unquote-splicing. Where unquote (
~)
evaluates a form and places the result into the quoted result,
~@ expects the
evaluated value to be a collection and splices the contents of that
collection into the quoted result.
user=> (def three-and-four (list 3 4)) #'user/three-and-four user=> `(1 ~three-and-four) ; evaluates `three-and-four` and places it in the result (1 (3 4)) user=> `(1 ~@three-and-four) ; evaluates `three-and-four` and places its contents in the result (1 3 4)
Again, this is a powerful tool for writing macros.
<symbol>#- Gensym
A
# at the end of a symbol is used to automatically generate a new symbol.
This is useful inside macros to keep macro specifics from leaking into the
userspace. A regular
let will fail in a macro definition:
user=> (defmacro m [] `(let [x 1] x)) #'user/m user=> (m) Syntax error macroexpanding clojure.core/let at (REPL:1:1). myproject.person-names/x - failed: simple-symbol? at: [:bindings :form :local-symbol] spec: :clojure.core.specs.alpha/local-name myproject.person-names/x - failed: vector? at: [:bindings :form :seq-destructure] spec: :clojure.core.specs.alpha/seq-binding-form myproject.person-names/x - failed: map? at: [:bindings :form :map-destructure] spec: :clojure.core.specs.alpha/map-bindings myproject.person-names/x - failed: map? at: [:bindings :form :map-destructure] spec: :clojure.core.specs.alpha/map-special-binding
This is because symbols inside a syntax quote are fully resolved, including the
local binding
x here.
Instead you can append
# to the end of the variable name and let Clojure
generate a unique (unqualified) symbol:
user=> (defmacro m [] `(let [x# 1] x#)) #'user/m user=> (m) 1 user=>
Importantly, every time a particular
x# is used within a single syntax quote, the same generated name will be used.
If we expand this macro, we can see the
gensym 'd name:
user=> (macroexpand '(m)) (let* [x__681__auto__ 1] x__681__auto__)
#?- Reader conditional
Reader conditionals are designed to allow different dialects of Clojure
to share common code. The reader conditional behaves similarly to a traditional
cond. The syntax for usage is
#? and looks like this:
#?(:clj (Clojure expression) :cljs (ClojureScript expression) :cljr (Clojure CLR expression) :default (fallthrough expression))
#?@- Splicing Reader conditional))
*var-name*- "Earmuffs"
Earmuffs (a pair of asterisk bookending var names) is a naming convention in many LISPs used to denote special vars. Most commonly in Clojure this is used to denote dynamic vars, i.e. ones that can change depending on dynamic scope. The earmuffs act as a warning that "here be dragons" and to never assume the state of the var. Remember, this is a convention, not a rule.
Core Clojure examples include
*out* and
*in* which represent the standard in
and out streams for Clojure.
>!!,
<!!,
>!, and
<!-.
>!! and
<!! are blocking put and take respectively
>! and
<! are, simply put and take
THe difference being the blocking version guide,
fundamentally the
go blocks operate and manage their own resources pausing
execution of code without blocking threads. This makes asynchronously executed
code appear to be synchronous, removing the pain of managing
asynchronous code from the code base.
<symbol>?- Predicate Suffix
Putting
? at the end of a symbol is a naming convention common across
many languages that support special characters in their symbol names. It is
used to indicate that the thing is a predicate, i.e. that it poses a question.
For example, imagine using an API that dealt with buffer manipulation:
(def my-buffer (buffers/create-buffer [1 2 3])) (buffers/empty my-buffer)
At a glance, how would you know if the function and not a requirement.
Note that the exclamation mark is often pronounced as bang.
_- Unused argument
When you see the underscore character used as function arguments or in a
let binding,
_ is a common naming convention to indicate you won’t be using this argument.
This is an example using the
add-watch function that can be used to add
callback style behaviour when atoms change value. Imagine, given an atom, we
want to print the new value every time it changes:
(def value (atom 0)) (add-watch value nil (fn [_ _ _ new-value] (println new-value)) (reset! value 6) ; prints 6 (reset! value 9) ; prints 9
add-watch takes four arguments, but in our case we only really care about the
last argument - the new value of the atom so we use
_ for the others.
,- Whitespace character
In Clojure,
, is treated as whitespace, exactly the same as spaces, tabs, or newlines.
Commas are thus never required in literal collections, but are often used to enhance
readability:
user=>(def m {:a 1, :b 2, :c 3} {:a 1, :b 2, :c 3}
#=Reader eval
#= allows the reader to evaluate an arbitrary form during read time:
user=> (read-string "#=(+ 3 4)") ;;=> 7
Note that the read-time evaluation can also cause side-effects:
user=> (read-string "#=(println :foo)") :foo nil
Consequently,
read-string is not safe to call with unverified user input.
For a safe alternative, see
clojure.edn/read-string.
Note that
#= is not an officially supported feature of the reader, so you
shouldn’t rely on its presence in future versions of Clojure..
Original author: James Hughes | https://clojure.org/guides/weird_characters | CC-MAIN-2019-47 | refinedweb | 2,989 | 53.31 |
Functions?
Table of Contents
Functions are a major part of procedural programming. They allows us to split up our programs into subroutines of logic designed to perform specific tasks. They are an incredibly useful abstraction which is used at all levels of the computational process of transforming a human readable description of how to perform a task, right down to the level machine code that our computer CPUs can understand.
Broadly speaking, a function takes a set of inputs variables and returns an output (or outputs if one takes advantage of Concurnas' ability for functions to return tuples) having executed code specified in a block of code associated with the function. The function has a name in order to make it possible for other functions to call it. The input variables have their specified types as does the return value. The input variables and return type constitute the signature of the function and along with the name (and package path) must be unique.
Here is a function, the
def keyword on its own is used to indicate that we are creating a function, followed by the name of the function, and any comma separated input parameters surrounded by a pair of parentheses
( )and a (optional) return type:
def addTogether(a int, b int) int { return a + b }
The /return/ keyword is used within a function in order to cease further execution and literally return the value on the right hand side of it from the function (or the innermost nested function if they are nested).
Now, the above is a perfectly acceptable way to define a function and although it is very verbose, is often the preferred method when writing complex code, or code for which the intended audience may require the extra verbosity in order to aid in their understanding of what is happening.
But there are a few refinements to the above which can make writing functions in Concurnas a quicker, more enjoyable less verbose experience with very little compromise to clarity.
Firstly, the type of the return value is usually inferable by Concurnas, in the above case it's
int so we can omit this from the definition and leave it implicit:
def addTogether(a int, b int) { return a + b }
Next we know that blocks are able to return values, so we don't need the
return keyword at all:
def addTogether(a int, b int) { a + b }
Now let us use the compact one line form of the
block, via
=>:
def addTogether(a int, b int) => a + b
The above is functionally identical to our first definition but far more compact. It's a matter of discretion in so far as the degree to which one wishes to compact one's functions definitions, sometimes a less compact, more verbose form is more appropriate.
Functions vs Methods?
In Concurnas, a distinction is drawn between the concept of functions and methods.
Simply put, functions are defined at root source code level, methods are defined within classes and have access to the internal state of instance objects of their host class (and any parent nestor classes if relevant), via the
this and
super keywords. Methods are covered in more detail here See Classes and Objects section. For now lets look at a simple example highlighting the distinction:
def iAmAFunction() => "hi I'm a function" class MyClass(id int){ def iAmAMethod() => "hi I'm a method, my class holds the number: " + this.id }
Calling functions and methods?
Ordinarily, we require three things when calling a function, 1). the name of the function, 2). input arguments to qualify it's input parameters and 3). an understanding of the return type.
We can call our
addTogether function defined previously as follows:
result int = addTogether(1, 1)
Also, we may use named arguments in order to call our function. This can often make method calls easier to read, especially where there are lots of arguments involved, some with default values some not etc. Named arguments do not have to be specified in the order in which they are defined in the function:
result = addTogether(a=1, b=1) result = addTogether(b=1, a=1)
The above two calls to
addTogether are functionally identical.
When it comes to calling (or invoking) methods, we need an additional component; an object to call the method on. To indicate that we are calling a function on a method, we need to use a dot
., for example:
class MyClass(state int){ def myMethod(an input) => state += an; state } obj = new MyClass(10) result = obj.myMethod(2) //result == 12
If instead of whatever is returned from the method (if anything) we wish to return a reference to the object upon which we called the method, we can use the double dot notation:
..:
obj = new MyClass(10) result = obj..myMethod(2)..myMethod(10) //result == 22
The double dot notation
..is particularly useful when we need to chain together multiple calls on the same object and do not wish to do perform any sort of operation on the returned values from the intermediate method calls.
We can use named arguments when calling methods:
obj = new MyClass(10) result = obj.myMethod(input = 2) //result == 12
Input parameters?
Functions specify a comma separated list of input variables consisting of a name and type. Each input variable name must be unique. They may optionally be preceded by
var or
val:
def addTwo(var a int, val b int) => a+b
Default arguments?
Function input arguments may specify a default value to use in cases where the input argument is not specified by the caller. When this is done, the type of the variable does not have to be specified if you're happy for Concurnas to infer the input parameter type:
def doMath(an int, b int = 100, c = 10) => (an + b) * c
Then, when we call a function with default arguments, we do need to specify the arguments for which a default value has been defined:
res = doMath(5) //res == 1050
Varargs?
Function parameters may consume more than one input parameter if they are declared as a vararg. A varag input parameter is signified by postfixing
...to the type of the parameter - note that this converts the input parameter to be an array if it's a single value type, or an n+1 dimensional array if it's already an n dimensional array. For example:
def stringAndSum(prefix String, items int...){ summ = 0L for( i in items){ summ += i } prefix + summ }
We can call a function with vararg parameters we can pass as many inputs to the vararg component as we need, seperated via a commas as par normal function invocation arguments:
result = stringAndSum("the sum is: ", 2, 3, 2, 1, 3, 2, 1, 3, 4, 2, 4) //result == "ths sum is: 27"
The vararg may alternatively be passed as an array type (or n+1 dimensional array as eluded previously):
result = stringAndSum("the sum is: ", [2 3 2 1 3 2 1 3 4 2 4]) //result == "ths sum is: 27"
It's perfectly acceptable to not pass any input to the vararg parameter, e.g:
result = stringAndSum("the sum is: ") //result == "ths sum is: 27"
An n dimensional array type can be used as a varrag:
def stringAndSum(prefix String, items int[]){ summ = 0L for( i in items){ summ += i } prefix + summ } result = stringAndSum("the sum is: ", 2, 3, 2, 1, 3, 2, 1, 3, 4, 2, 4) //result == "ths sum is: 27"
Nested functions?
Nested functions are appropriate in two cases:
It makes sense to break one's code down into a subroutine - for instance, in order to avoid what would otherwise be code duplication
One wishes for that sub function to only be callable within the nestor function - i.e. the nestor function is the only caller.
A nested function is simply a function defined within a function. The scope of that function is bound to the scope of the nestor function, it cannot directly be called by code outside of the nestor function. Example:
def parentFunction(apply int){ result = 0L def dosomething(){ result + (result + apply) * apply } //we wish to perform the above four times but avoid the code duplication, we also don't require any other code outside of parentFunction to be able to call it. result = dosomething() result = dosomething() result = dosomething() result = dosomething() }
When it comes to using variables which are defined in the nestor function within the nested function, they are implicitly passed to the function but the nested function itself is defined as if it were separate from the nestor. For this reason, and by virtue of the fact that Concurnas uses pass by value for function arguments when calling functions the following is true:
def parentFun(){ parentVar = 100 def nestedFunc(){ parentVar += 100 parentVar } result = nestedFunc() assert result == 200 assert parentVar ==100 }
We see above that although our
nestedFunc has access to a copy of the value of the nestor variable
parentVar (as it is implicitly passed into the function), changes made to that variable within the function do not apply to the one in scope of the
parentFun.
But note that if we pass in an object, a copy of the reference to that object is passed to the nested function, so the behaviour is as follows:
class IntHolder(~an int) def parentFun(){ parentVar = IntHolder(100) def nestedFunc(){ parentVar.an += 100 parentVar.an } result = nestedFunc() assert result == 200 assert parentVar.an == 200 }
As
parentVar holds a reference to an object, the reference is copied, not the object itself, therefore the nestor function
parentFun and nested function
nestedFunc versions of the object referenced by variable
parentVar are the same - they are shared.
Recursion?
Recursion is the process by which a function, either directly or indirectly calls itself. Concurnas permits function recursion (except for within GPU functions and GPU kernels). The classic textbook example of this being factorial number calculation:
def factorial(n int){ match(n){ 1 or 2 => 1 else => factorial(n-1)+factorial(n-2) } } res = factorial(5) //res == 5
It turns out that the above, for any value of n greater than 2 performs a lot of unnecessary repetitive work in terms of calling factorial for values already previously calculated. There are far better ways of calculating factorial numbers (some of which don't use recursion at all). Here is a different recursion example more likely to be seen in the wild, a tree traversal:
open class Node class Branch(~children Node...) < Node class Leaf(~value String) < Node def create(){ Branch(Branch(Leaf("a"), Leaf("z")), Leaf("c")) } def explore(node Node){ match(node){ Branch => String.join(", ", (explore(n) for n in node.children)) Leaf => "Leaf: {node.value}" } } tree = create() res = explore(tree) //res == Leaf: a, Leaf: z, Leaf: c
One thing to bear in mind with recursion is the fact that as we recurse, with every direct or indirect self call, we deepen the call stack. This is not a big deal if we recurse to a small degree, but if we are recursing a lot1, then we will be eating up our call stack which may result in us running out of stack causing a
java.lang.StackOverflowError exception to be thrown. It is for this reason that some organizations restrict the use of, or even outright ban the use of recursion.
Footnotes
1A lot sounds vague but this is intentional because the stack size is platform specific, so really we cannot be more precise than this. | https://concurnas.com/docs/functions.html | CC-MAIN-2022-21 | refinedweb | 1,908 | 53.14 |
Allowing multiple databases within a single object system has been
considered from the beginning of the development of the Zope object
database. From the beginning the transaction system assumed that
there might be multiple databases present within the application.
This has been used to integrate relational transactional semantics
within the larger transaction system. It was envisioned that
multiple object databases would be present and that objects in one
database could refer directly to objects in other databases.
This presents some significant problems however. Maintaining the
necessary database connections when traversing from one object to
another is rather complicated, although doable. Garbage collection in
the presence of multiple databases with arbitrary connections across
databases is extremely difficult. In fact it may be an unsolved
problem.
It was suggested by Philip Eby that a simpler approach might be
taken. Some application-level object might provide a bridge to a
second database in much the same way that SQL methods and SQL
database connections provide a bridge to relational databases.
Recent experiments along these lines have been very promising. On
the basis of these experiments we are moving forward to provide both
the infrastructure support and example products that allow multiple
Zope databases to be used within a single cell process. This
document describes the basic assumptions and requirements of such a
system.
The model of the mounted database approach on the mounting of file
systems in Unix system. We will allow an object from one database
to be mounted or inserted into the object space of another
database. We will allow out name references to span multiple
databases in much the same way that symbolic links can span
multiple file systems in a Unix system. We will disallow a direct
object references across databases in much the same way that's
hard links are disallowed across file systems.
We will use mount objects. These small objects will know how to
retrieve an object from a database. They will provide an __of__
method that returns the object retrieved it from the database in
the context of their container:
def __of__(self, parent):
data=getattr(self, '_v_data', None)
if data is None:
db=getattr(self, '_v_db', None)
if db is None: db=self._connect()
j=db.open(version=self._p_jar.getVersion())
self._p_jar.onCloseCallback(self._close)
app=j.root()['Application']
data=self._v_data=Acquisition.aq_base(
app.unrestrictedTraverse(self._path))
return data.__of__(parent)
def _close(self):
self._v_data._p_jar.close()
del self._v_data
MartijnF?: wikis sometimes are a bit tricky with source code; when I read it
as web page, app=jroot()['Application'] has the square brackets stripped off.
MindLace?: corrected
When a mount object retrieves an object from its database it must
open a database connection. It needs to assure that the database
connection is closed at the end of the current request. It does
this by registering a callback with the parent object's database
connection. When the parent object's connection is closest the
callback will be called and the mount object's database connection
will be closed.
At least initially we will impose a restriction that a ZClass?
can be created in a mounted storage only if the mounted storage
has a registration for the ZClass?. The easiest way to
accomplish this, would be to use another Zope database as a
mounted storage and to define the ZClass? in the control panel
for the database that is mounted.
anthony - 1 Jun 2000: I'd be curious to know about the security issues here. The only
one I can think of right now is that you could mount an object from a ZODB underneath
a different acl_users where the username would have a different meaning. But I think
that this is handled by the newer security model, where there's a link back to the actual
ZODB user folder(?). It could also be addressed by not allowing mounts to anything but
the root of the new ZODB.
A mounted database is now running on zope.org. The updated copy/paste
is not yet installed on zope.org but the patch is in the CVS repository.
Once we got it going, we have not had any problems that we know of.
The mount work is on a branch in CVS, but the changes required are so
small that I wouldn't be surprised if the changes went into the next release.
The UI issue is quite significant. We might consider the possibility of
managing databases from the control panel, in a centralized way, rather
than the normal Zope decentralized way.
See the MountedFileStorage for a product that allows you to mount multiple file stores.
anthony, 2000-06-05. I'm trying to put together some code to produce
a page which lists the mounts in the current database in a sane-ish way.
There's a number of issues with this that I've put on a seperate page. | http://old.zope.org/Members/jim/ZODB/MountedDatabases/wikipage_view | CC-MAIN-2015-06 | refinedweb | 817 | 54.63 |
aio_fsync()
Asynchronously synchronize a file
Synopsis:
#include <aio.h> int aio_fsync( int op, struct aiocb * aiocbptr );
Since:
BlackBerry 10.0.0
Arguments:
- op
- One of the following:
- O_DSYNC — complete all queued operations as if done by calling fdatasync() (i.e. as defined for synchronized I/O data integrity completion).
- O_SYNC — complete all queued operations as if done by calling fsync() (i.e. as defined for synchronized I/O file integrity completion).
- aiocbptr
- A pointer to an asynchronous I/O control block of type aiocb for which you want to asynchronously force all queued I/O operations to the synchronized I/O completion state.
Library:
libc
Use the -l c option to qcc to link against this library. This library is usually included automatically.
Description:
The aio_fsync() function asynchronously forces all I/O operations associated with the file indicated by the file descriptor to the synchronized I/O completion state.
If the function succeeds, only the I/O operations that were queued at the time of the call are guaranteed to have been completed. The completion of subsequent I/O on the file descriptor isn't guaranteed to be completed in a synchronized fashion. If the operation that aio_fsync() queues fails, outstanding I/O operations aren't guaranteed to have been completed.
You can pass the aiocbptr argument to aio_error() or aio_return() to determine the error status and return status for the asynchronous operation.
Returns:
0 if the I/O operation was successfully queued, or -1 if an error occurred ( errno is set).
Errors:
- EAGAIN
- The requested asynchronous operation wasn't queued due to temporary resource limitations.
- EBADF
- The aio_fildes member of the aiocb structure referenced by the aiocbptr argument isn't a valid file descriptor that's open for writing.
- EINVAL
- Synchronized I/O isn't supported for this file.
- EINVAL
- The op argument was something other than O_DSYNC or O_SYNC.
If any of the queued I/O operations failed, aio_fsync() returns the error condition defined for read() and write(). The error is returned in the error status for the asynchronous fsync() operation, which you can retrieve by using aio_error().
Classification:
Caveats:
The first time you call an aio_* function, a thread pool is created, making your process multithreaded if it isn't already. The thread pool isn't destroyed until your process ends.
Last modified: 2014-06-24
Got questions about leaving a comment? Get answers from our Disqus FAQ.comments powered by Disqus | http://developer.blackberry.com/native/reference/core/com.qnx.doc.neutrino.lib_ref/topic/a/aio_fsync.html | CC-MAIN-2015-11 | refinedweb | 405 | 56.76 |
How To Test Real iOS Devices With Appium, Part 2
This is the second in a 2-part series on using real iOS devices with Appium. It's a tutorial on getting started from scratch, authored by Appium contributor Jonah Stiennon. Assuming you've gone through all the setup instructions in the first part of this guide, we'll now be able to put it all together in the form of actual Appium scripts.
How Appium Automates Real iOS Devices
You don't need to understand how Appium controls iOS devices in order to run and write your tests, but I haven't found a written explanation of this anywhere else, so am including it for those who are curious. To get started testing right away, skip to the next section, but if you're wondering why we've had to install some of the things we need, read on.
User Interface Testing of any device relies upon the ability to launch an app and have another program inspect and interact with what the app displays on the screen. iOS is very strict about security and works hard to prevent one app from looking at what is going on in another app. In order to provide this necessary feature for testing apps, Apple built the XCUITest framework. The way it works is that Xcode has the ability to build a special app called an "XCUITest-Runner" app. The XCUITest-Runner app has access to a special set of system functions which can look at the user interface elements of another app and interact with them. These special functions are called the XCUITest API, and sparse documentation for them can be found here. (For the rest of this explanation, we'll refer to the app we are trying to test as the "app under test" or AUT, and the XCUITest-Runner app as the "runner app".)
When running tests, Xcode installs both the AUT and the runner app on the device. The runner app is a special package which includes the actual tests we wrote, and the name of the AUT. Xcode tells the device to launch the runner app, and the runner app launches the AUT. From this point forward, both the runner app and the AUT are active on the device. The runner app is invisible and works in the background, while the AUT is displayed on screen.
After the AUT launches, the runner app goes through its list of tests and runs each test, looking at the user interface of the AUT and tapping, swiping, typing into it, etc... It does this using the special XCUITest API functions.
UI tests are usually compiled into the runner app which is loaded onto the device, but Appium needs to be able to control the device as you send commands to it, rather than following a predetermined script. What we need is a test which can become any test, rather than following a prescribed set of user actions. Some bright minds at Facebook came up with a way to do this and published a special test called WebDriverAgent (or WDA). Essentially, WDA is a runner app which opens a connection to the outside world and waits for commands to be sent to it, calling the relevant XCUITest API methods for each command. The creators of WDA chose to use the eponymous WebDriver protocol for the format of these commands, the same protocol that Appium already uses for its test commands.
When your Appium tests run, they are using an Appium client to send WebDriver commands to the Appium server. The Appium server installs both your app and WDA on the iOS device, waits for WDA to start, then forwards your test commands to WDA. WDA in turn executes XCUITest API functions on the device, corresponding to the commands it receives from the Appium server. In this way, we are able to arbitrarily interact with the user interface of an iOS device.
Whenever you see a reference to
WDA in the Appium logs, this is referring to WebDriverAgent running on the device.
The Capabilities
We have the app running on our device, now let's write a simple automated test which will launch our app and look for a particular set of words on the screen. Because all of our Apple setup has been done (hopefully) correctly, all that we need to do from the Appium side of things is use the right set of capabilities:>");
The trick here is knowing how to fill all of these out!
platformNameis
iOS(as you would no doubt expect)
platformVersionis the version of iOS our app is running,
12.0.1in my case.
deviceNamedoes not actually matter for us, since we have plugged in a real device and will select that device using the
udiddesired capability. Appium still requires us to supply a value for
deviceName, though, so I put
iPhone 8.
udidis the unique ID of the device we want to run our test on. We could find our device udid by running the command
instruments -s devicesin the terminal, but since we only have a single device plugged in, we can put
autoand Appium will automatically find the udid of the device for us and use it.
bundleIdis the special iOS-internal name of our app, which is set in the same app-settings form where we selected our Team in Xcode. It is a unique way of identifying any app. In my case it is
land.stiennon.jonah-test-app, but you should put in a value that is correct for your app..
xcodeOrgIdis the "Organizational Unit" value we made a note of earlier. It is the ID of the Developer Team which signed the certificate used to create the app.
xcodeSigningIdis the first part of the "Common Name" associated with the developer certificate. Since Xcode set this up for us, it is almost always
iPhone Developerbut could be something different for you if you are automating a different iOS device.
updatedWDABundleIdis used by Appium to trick your device into allowing Appium to install WDA on it. You might have wondered, given how many hoops you had to jump through to get your app running on a device, how Appium is able to get WDA on the device. The short answer is that, typically, it can't. WDA's bundle ID (
com.facebook.webdriveragent) will not show up as an App ID in any of your provisioning profiles, so the app would not be allowed to run on your device. But given that Appium has the WDA code, it can actually change the bundle ID on the fly, so that when WDA is built and signed it will be allowed past Apple's security restrictions. What this means is that you must supply a bundle ID value that is allowed by an App ID in your provisioning profile. We typically recommend using wildcard App IDs (like
com.test.*), so that we can give a new bundle ID to WDA of
com.test.webdriveragent. You could also give it the same bundle ID as your app, but that could cause some confusion in the system later on. If you prefer, you can omit this capability and simply open up the WDA project inside of Appium, and make all these modifications yourself using Xcode.
The Test
Your actual test code, of course, is up to you to define! You'll simply instantiate a Driver and run your test as in any other case. All the heavy lifting is done by Appium in response to the capabilities above and in the context of correctly-signed apps and correctly-provisioned devices. Here's a step-by-step guide of what to do:
- Start the Appium server (by opening the Appium Desktop app or using the CLI).
- Run the Java test you wrote including the capabilities above, and watch as the iOS device opens your app!
- Make sure the device is unlocked, and if it asks you to "Trust the Computer", tap the button to trust our Mac. You'll need to do this the first time.
- If anything goes wrong, check the logs which Appium prints. There is another helpful AppiumPro post about how to read these logs.
Note that the
bundleId capability can only be used for apps which are already installed on our iOS device. We installed our app manually using Xcode, so the app is already there. If we make changes to the app code, we will have to click the
▶ button in Xcode in order to install the latest version of our code on the device. Then we can run our Appium tests again.
Alternatively, we could use the
app capability and set it to the path of an
.ipa file on disk. This must be an app archive generated in Xcode and signed correctly.
As a full (not working) example, see below (or click through to the code sample on GitHub). It's not working because of course you'll need to supply the correct values for your app. But you can use it as a template.
import io.appium.java_client.ios.IOSDriver;
import java.net.MalformedURLException;
import java.net.URL;
import org.junit.After;
import org.junit.Before;
import org.junit.Test;
import org.openqa.selenium.remote.DesiredCapabilities;
public class Edition041_iOS_Real_Device {
private IOSDriver driver;
public void setUp() throws MalformedURLException {>");
driver = new IOSDriver<>(new URL(""), capabilities);
}
public void tearDown() {
if (driver != null) {
driver.quit();
}
}
public void testFindingAnElement() {
driver.findElementByAccessibilityId("Login Screen");
}
} | https://appiumpro.com/editions/41 | CC-MAIN-2019-18 | refinedweb | 1,580 | 61.36 |
Hello coders!! In this example, we will be learning about NumPy cross product in Python. We will also see different examples to clarify the concept. Let us dive into the topic.
Contents of Tutorial
What is a cross product?
A cross product, also known as a vector product is a binary operation done between two vectors in 3D space. It is denoted by the symbol X. A cross product between two vectors ‘a X b’ is perpendicular to both a and b.
What is NumPy in python?
It is an inbuilt module in Python used primarily for array operations. It also includes functions for linear algebra, Fourier transform, and matrices. Let us see some examples to see how NumPy is used for cross product.
syntax:
numpy.cross(a, b, axisa=-1, axisb=-1, axisc=-1, axis=None)
parameters:
- a: first vector
- b: second vector
- axisa: Axis of a that defines the vector
- axisb: Axis of b that defines the vector
- axisc: Axis of c containing the cross product vector
- axis: If defined, the axis of a, b and c that defines the vector(s) and cross product(s)
Return Value:Return Value:
Cross product of two vectors
Example 1: Vector cross product:
import numpy as np x = [1, -1, 1] y = [4, 2, 3] print('Vector 1:',x) print('Vector 2:',y) z=np.cross(x, y) print('Cross Product:',z)
Output & Explanation:
Here, first, we imported the NumPy module to use its functions. We then declared two 3d vectors. Then we used the method to calculate the cross product of the two vectors. As you can see it’s very easy to find the cross product of two vectors using the NumPy module.
Example 2: One 2D vector:
import numpy as np x = [1, -1] y = [4, 2, 3] print('Vector 1:',x) print('Vector 2:',y) z=np.cross(x, y) print('Cross Product:',z)
Output & Explanation:
Here, we have used one 3d vector and one 2d vector and then calculated its cross product using the function available in the NumPy module of python.
Example 3: Cross Product of 3D Vectors
import numpy as np x = np.array([[1,2,3], [4,5,6]]) y = np.array([[4,5,6], [1,2,3]]) print('Vector 1:',x,sep='n') print('Vector 2:',y,sep='n') z=np.cross(x, y) print('Cross Product:',z,sep='n')
Output & Explanation:
In this example, we used 3D vectors to see how the output turns out to be. As you can see, the method calculates its cross-product and gives the desired output.
Why NumPy cross product is slow?
Let
"a"
be an array with vectors laid out across either the most quickly varying axis or the slowest varying axis, or something in between.
axisa tells
cross() how the vectors are laid out in
"a". By default, the value of the most slowly varying axis is taken.
axisb works the same with input
"b". If the output is an array, the output vectors can be laid out with different array axes. The layout of the vectors in its output array is determined by
axisc. The most slowly varying axis is indicated by default.
You Might Be Also Interested in Reading
Conclusion| NumPy Cross Product
With this, we come to an end with this article. We learned about the NumPy cross method in detail and also saw various examples to clarify the concept.
However, if you have any doubts or questions, do let me know in the comment section below. I will try to help you as soon as possible.
Happy Pythoning!
1 thought on “Python Pool: NumPy Cross Product in Python with Examples”
It’s perfect, it’s very close to my hair color, and I can’t see it is fake at all! With air bangs covering my big forehead, it is especially age-reducing and cute! satisfaction | https://www.coodingdessign.com/python/python-pool-numpy-cross-product-in-python-with-examples/ | CC-MAIN-2021-10 | refinedweb | 647 | 63.8 |
Created on 2012-02-14 23:49 by ncoghlan, last changed 2014-06-15 12:42 by BreamoreBoy.
io.TextIOWrapper acquired a new "write_through" argument for 3.3, but that is not exposed as a documented attribute.
This is needed so that a text wrapper can be replaced with an equivalent that only alters selected settings (such as the Unicode error handler).
Updating issue title, since I realised this doesn't work in 3.2 either (the "newline" argument also isn't available for introspection - "newlines" is not the same thing)
Possible API signature:
_missing = object()
def rewrap(self, encoding=_missing, errors=_missing, newline=_missing, line_buffering=_missing, write_through=_missing):
pass
That is, accept the same arguments as __init__ (excluding the buffer argument), with any arguments not explicitly supplied replaced with the values from the current instance.
@Nick would you like or even need this in 3.5? | http://bugs.python.org/issue14017 | CC-MAIN-2015-27 | refinedweb | 147 | 52.8 |
Details
- Type:
Bug
- Status: Fixed but Unreleased (View Workflow)
- Priority:
Minor
- Resolution: Not A Defect
- Component/s: groovy-label-assignment-plugin
- Labels:None
- Similar Issues:
Description
Unfortunately the pluign documentation is a bit short and should cover more use cases. One of them is the assignment of a default label and, in case all hosts with that label are busy, a fallback label so that the job only has to wait if all hosts with both labels are busy. This would allow to specify a preference for faster hosts and fall back to slower ones if all fast hosts are busy.
Here's what I've tried so far:
import jenkins.model.Jenkins Jenkins.instance.getLabel('FastHost').getNodes().each { agent -> def executors = agent.getComputer().numExecutors def busy = agent.getComputer().countBusy() if (busy < executors) { return "FastHost" } } return "SlowHost"
But this always returns "SlowHost", no matter how many executors are free on "FastHost" hosts.
Attachments
Activity
Looks resolved by the reporter.
Anyway, it’s an issue of the language specification of groovy. This plugin expects users know how to write groovy codes.
You may add example codes in the plugin page as it’s a Wiki page. Improvements are welcome.
Well, the idea was to add it to the documentation as an example of how to use Jenkins internals
Seems I shouldn't "return" while inside "each". Works with the following modification: | https://issues.jenkins.io/browse/JENKINS-55672 | CC-MAIN-2021-25 | refinedweb | 230 | 56.35 |
Natural language processing (NLP) is the automatic or semi-automatic processing of human language. NLP is closely related to linguistics and has links to research in cognitive science, psychology, physiology, and mathematics. In the computer science domain in particular, NLP is related to compiler techniques, formal language theory, human-computer interaction, machine learning, and theorem proving. This Quora question shows different advantages of NLP.
In this tutorial I'm going to walk you through an interesting Python platform for NLP called the Natural Language Toolkit (NLTK). Before we see how to work with this platform, let me first tell you what NLTK is.
What Is NLTK?
The Natural Language Toolkit (NLTK) is a platform used for building programs for text analysis. The platform was originally released by Steven Bird and Edward Loper in conjunction with a computational linguistics course at the University of Pennsylvania in 2001. There is an accompanying book for the platform called Natural Language Processing with Python.
Installing NLTK
Let's now install NLTK to start experimenting with natural language processing. It will be fun!
Installing NLTK is very simple. I'm using Windows 10, so in my Command Prompt (
MS-DOS) I type the following command:
pip install nltk
If you are using Ubuntu or macOS, you run the command from the
Terminal. More information about installing NLTK on different platforms can be found in the documentation.
If you are wondering what
pip is, it is a package management system used to install and manage software packages written in Python. If you are using Python 2 >=2.7.9 or Python 3 >=3.4, you already have
pip installed! To check your Python version, simply type the following in your command prompt:
python --version
Let's go ahead and check if we have installed NLTK successfully. To do that, open up Python's IDLE and type the two lines shown in the figure below:
If you get the version of your NLTK returned, then congratulations, you have NLTK installed successfully!
So what we have done in the above step is that we installed NLTK from the Python Package index (pip) locally into our virtual environment.
Notice that you might have a different version of NLTK depending on when you have installed the platform, but that shouldn't cause a problem.
Working With NLTK
The first thing we need to do to work with NLTK is to download what's called the NLTK corpora. I'm going to download the whole corpora. I know it is very large (10.9 GB), but we are going to do it only once. If you know which corpora you need, you don't need to download the whole corpora.
In your Python's IDLE, type the following:
import nltk nltk.download()
In this case, you will get a GUI from which you can specify the destination and what to download, as shown in the figure below:
I'm going to download everything at this point. Click the Download button at the bottom left of the window, and wait for a while until everything gets downloaded to your destination directory.
Before moving forward, you might be wondering what a corpus (singular of corpora) is. A corpus can be defined as follows:
Corpus, plural corpora;. 1992. An Encyclopedic Dictionary of Language and Languages. Oxford: Blackwell.)
A text corpus is thus simply any large body of text.
Stop Words
Sometimes we need to filter out useless data to make the data more understandable by the computer. In natural language processing (NLP), such useless data (words) are called stop words. So, these words to us have no meaning, and we would like to remove them.
NLTK provides us with some stop words to start with. To see those words, use the following script:
from nltk.corpus import stopwords print(set(stopwords.words('English')))
In which case you will get the following output:
What we did is that we printed out a set (unordered collection of items) of stop words of the English language.
How can we remove the stop words from our own text? The example below shows how we can perform this task:
from nltk.corpus import stopwords from nltk.tokenize import word_tokenize text = 'In this tutorial, I\'m learning NLTK. It is an interesting platform.' stop_words = set(stopwords.words('english')) words = word_tokenize(text) new_sentence = [] for word in words: if word not in stop_words: new_sentence.append(word) print(new_sentence)
The output of the above script is:
Tokenization, as defined in Wikipedia, is:
The process of breaking a stream of text up into words, phrases, symbols, or other meaningful elements called tokens.
So what the
word_tokenize() function does is:
Tokenize a string to split off punctuation other than periods
Searching
Let's say we have the following text file (download the text file from Dropbox). We would like to look for (search) the word
language. We can simply do this using the NLTK platform as follows:
import nltk file = open('NLTK.txt', 'r') read_file = file.read() text = nltk.Text(nltk.word_tokenize(read_file)) match = text.concordance('language')
In which case you will get the following output:
Notice that
concordance() returns every occurrence of the word
language, in addition to some context. Before that, as shown in the script above, we tokenize the read file and then convert it into an
nltk.Text object.
I just want to note that the first time I ran the program, I got the following error, which seems to be related to the encoding the console uses:
File "test.py", line 7, in <module> match = text.concordance('language').decode('utf-8') File "C:\Python35\lib\site-packages\nltk\text.py", line 334, in concordance self._concordance_index.print_concordance(word, width, lines) File "C:\Python35\lib\site-packages\nltk\text.py", line 200, in print_concordance print(left, self._tokens[i], right) File "C:\Python35\lib\encodings\cp437.py", line 19, in encode return codecs.charmap_encode(input,self.errors,encoding_map)[0] UnicodeEncodeError: 'charmap' codec can't encode character '\u2014' in position 11: character maps to <undefined>
What I simply did to solve this issue is to run this command in my console before running the program:
chcp 65001.
The Gutenberg Corpus
As mentioned in Wikipedia:.
NLTK contains a small selection of texts from Project Gutenberg. To see the included files from Project Gutenberg, we do the following:
import nltk gutenberg_files = nltk.corpus.gutenberg.fileids() print(gutenberg_files)
The output of the above script will be as follows:
If we want to find the number of words for the text file
bryant-stories.txt for instance, we can do the following:
import nltk bryant_words = nltk.corpus.gutenberg.words('bryant-stories.txt') print(len(bryant_words))
The above script should return the following number of words:
55563.
Conclusion
As we have seen in this tutorial, the NLTK platform provides us with a powerful tool for working with natural language processing (NLP). I have only scratched the surface in this tutorial. If you would like to go deeper into using NLTK for different NLP tasks, you can refer to NLTK's accompanying book: Natural Language Processing with Python.
Envato Tuts+ tutorials are translated into other languages by our community members—you can be involved too!Translate this post
| https://code.tutsplus.com/tutorials/introducing-the-natural-language-toolkit-nltk--cms-28620 | CC-MAIN-2018-22 | refinedweb | 1,200 | 56.96 |
General Document Display Platform
Blog Builder is a web application that displays content authored by markdown.
Hammer is a web app platform that is used as the substrate for all of the web apps authored by Shrinking World Solutions.
Hammer is deployed and running as a Droplet at Digital Ocean.
This single Droplet runs all of the following domains.
This general purpose tool displays documents identified by a requested URL.
urls.py
from django.urls import path from .views_blog import BlogTodayView, BlogView urlpatterns = [ path('<str:blog>', BlogView.as_view(), name='blog'), path('<str:blog>/<str:notebook>', BlogView.as_view(), name='blog_notebook'), path('<str:blog>/<str:notebook>/<str:article>', BlogView.as_view(), name='blog_article'), ]
Each of these platforms is built into the Hammer App that is hosted at Digital Ocean. | https://shrinking-world.com/blog/projects/BlogBuilder | CC-MAIN-2022-21 | refinedweb | 126 | 53.27 |
Reveal the Current File In Popular Code Editors
Frequently I want to look at the folder context of a file I am editing in my code editor. I often use shortcuts like “Go to symbol” or “Go to anything” to open a file most of the time. However, what if I want to see the context of the file within the project folders?
Going to the file in the sidebar helps me visualize the namespaces involved and the overall structure of a set of classes and files. It’s handy in the context of your app as well as vendor packages like the Laravel framework.
Since I use various editors I thought it would be useful to collect how you can set this up and provide a keyboard shortcut in the most popular editors as of 2019. If you want to share how to do this in your editor of choice, shout out on Twitter at @laravelnews and we’ll add it here!
Note: I use
Control + Shift + R as my shortcut because to me “R” stands for “Reveal” so it’s easier for me to remember.
PhpStorm Setup
PhpStorm has built-in support for selecting the current file in the project view, but you have to set up a keyboard shortcut. I use
Control + Shift + R in Sublime Text, so to keep the shortcut the same in PhpStorm I override the default. Feel free to pick whatever shortcut you want!
To add a keyboard shortcut, go to Preferences | Keymap and filter by “Select in Project View”. Right click and select “Add Keyboard Shortcut”:
VS Code Setup
In Visual Studio Code, you can add the following configuration to the keybindings.json file:
{ "key": "ctrl+shift+r", "command": "workbench.files.action.showActiveFileInExplorer" }
You can also visually search for it and use the UI to bind the keymapping by using the keyboard shortcut
⌘K ⌘S and searching for “File: Reveal”:
Thanks to Chris Kankiewicz for this tip on Twitter!
Sublime Text Setup
I originally shared this tip in my Minimalist Sublime Text 3 Setup for PHP post. To reveal the file in the sidebar, add the following to your keymap configuration:
{ "keys": ["ctrl+shift+r"], "command": "reveal_in_side_bar"}
To get to your user-configured keybindings you can hit
Ctrl/Cmd + Shift + P and type “Preferences: Key Bindings” or go to Preferences | Keybindings via the UI Menu.
What about ___ Editor?
PhpStorm, VS Code, and Sublime Text are the most popular editors out there for PHP as of 2019. If you have a favorite editor and want to share how to reveal a file in the sidebar, let us know how to do it on Twitter at @laravelnews.
Additional Editors
The following is a list instructions for other editors that the community shared on Twitter.
Atom Setup
Atom provides this feature out of the box using the
Ctrl+Shift+\ shortcut. You can customize the shortcut in your workspace config with the
tree-view:reveal-active-file option. Hat tip to @cliambrown for the details. Cloud Source Code on GitHub
Taylor Otwell opened the source code of Laravel Cloud on GitHub, his first attempt to build “Forge Pro.”
New Session Input Assertion Method in Laravel 5.8.30
The Laravel team released v5.8.30 with a new assertSessionHasInput() method along with all the latest changes and fix… | https://laravel-news.com/reveal-the-current-file-in-popular-code-editors | CC-MAIN-2019-51 | refinedweb | 553 | 69.21 |
SOAP, the Simple Object Access Protocol, is the powerhouse of web services. Its a highly adaptable, object-oriented protocol that exists in over 80 implementations on every popular platform, including AppleScript, JavaScript, and Cocoa. It provides a flexible communication layer between applications, regardless of platform and location. As long as they both speak SOAP, a PHP-based web application can ask a C++ database application on another continent to look up the price of a book and have the answer right away. Another Internet Developer article shows how to use SOAP with AppleScript and Perl.. (For more about SOAP and web services, try XML.coms helpful demystification.).
There are a number of different implementations of SOAP under PHP. Its a shifting landscape: new ones appear, and old ones arent maintained or simply vanish. As of this writing, the most viable PHP implementation of SOAP seems to be Dietrich Ayalas SOAPx4, also known as NuSOAP. This implementation is the most commonly used and appears to be the most fully developed and actively maintained, and it shows every sign of continuing to be a robust and popular solution. Its not complete—a number of features, including full documentation, are still in the works—but its still a highly viable and easy-to-use SOAP solution.
First, you need to get PHP up and running on your Mac. This is easy to do: check out our tutorial to get yourself set up. If you want to send SOAP messages over HTTPS, youll need to include the cURL module in your PHP build.
The next step is to install NuSOAP. Download the package from the developers site. Unzip it to get a folder of documentation, as well as the file nusoap.php, which contains the actual PHP classes that well need. To use them, place nusoap.php in your PHP path and include it in the scripts you write.
The base class is nusoap_base. By using it and its subclasses, anything is possible. As an example, Ill build a simple SOAP server script and client script, and then dissect the XML transaction they send.
nusoap_base
Here is a simple server, written in PHP, that takes an ISBN (International Standard Book Number) as input, performs a lookup in an imaginary database, and returns the price of the corresponding book. In it, I use the soap_server class, and four methods of that class: the soap_server constructor, register, fault, and service:
soap_server
fault
service
<?php
// function to get price from database
function lookup($ISBN) {
$query = "select price from books where isbn = ". $ISBN;
if (mysql_connect("localhost", "username", "passwd"))
else { $error = "Database connection error";
return $error; }
if (mysql_select_db("books"))
else { $error = "Database not found";
return $error; }
if ($result = mysql_query($query))
else { $error = "mysql_error()";
return $error; }
$price = mysql_result($result, 0, 0);
return $price;
}
// include the SOAP classes
require_once('nusoap.php');
// create the server object
$server = new soap_server;
// register the lookup service
$server->register('lookup');
// if the lookup fails, return an error
if $price == 0 {
$error = "Price lookup error";
}
if (isset($error)) {
$fault =
$server->fault('soap:Server','',$err
or);
}
// send the result as a SOAP response over HTTP
$server->service($HTTP_RAW_POST_DATA);
?>
The first method I use is the soap_server constructor, which creates the server object that will be doing all the work for me. I assign that object to $server. Next is register, which tells the server what to do (in this case, to call the lookup() function). The methods one parameter is the name of the function. There are other optional parameters that can be used to define the namespace and the SOAPAction information as specified in the SOAP specification, but those arent necessary for this example. The general syntax of the register method is:
$server
lookup()
SOAPAction
register(name, in, out, namespace, SOAPAction, style)
The first parameter is the only mandatory one. in and out are arrays of input and output values; namespace and SOAPAction are used in accordance with the SOAP spec. Finally, style is used to indicate whether the data being sent is literal XML data (the default, and what I use in these examples) or RPC serialized application data.
in
out
namespace
style
So, the function is executed, and the returned value is passed to the server object. Then the service method returns a SOAP response to the client that initiated the request. The argument to the service method is $HTTP_RAW_POST_DATA.
$HTTP_RAW_POST_DATA
Because databases are not perfect, the script has a series of steps to catch errors. The lookup function contains three traps for different kinds of MySQL database errors. Each trap assigns an error identification string to the variable $error and returns that variable to the main function. Additionally, the main function tests the $price variable to ensure that its not set to zero, which would indicate a defective entry in the database.
lookup
$error
$price
If any one of these traps finds an error, NuSOAPs fault method is called. This halts execution of the server script and returns the methods parameters to the client as the string variable $fault. The syntax of the fault method is:
$fault
fault(faultcode, faultactor, faultstring, faultdetail)
The first two arguments are required, the latter two are optional. For the faultcode argument, a machine-readable fault code must be provided, as described in the SOAP spec. There are four predefined fault codes in the specification: VersionMismatch, MustUnderstand, Client, and Server. These must be given as qualified names in the namespace by prefixing them with SOAP-ENV:. A VersionMismatch error indicates incompatible namespaces. A MustUnderstand error is used when it comes across a mandatory header entry that it doesnt understand. Client is used when the error lies in the message that was received from the client. And Server indicates a problem encountered during processing on the server, unaffiliated with the SOAP message per se. This latter code is what I used in the script when theres a problem with the database lookup.
faultcode
VersionMismatch
MustUnderstand
Client
Server
SOAP-ENV:
The faultactor argument should contain the URI where the problem originated. This is more important for transactions where numerous intermediaries are involved. In this example, I use the URI of the server script. (Note: the NuSOAP documentation implies that the faultactor element should be set to either client or server. The SOAP specification, however, says it should be a URI.)
faultactor
faultstring and faultdetail are set aside for explaining the fault in human-readable language. faultstring should be a brief message indicating the nature of the problem, while faultdetail can go into more detail—it can even contain an array with specific itemized information about the fault. In my example, I pass the $error string to faultstring, and omit faultdetail.
faultstring
faultdetail
Now Ill write a client for an existing SOAP server, so you can see it in action. Ill use XMethods Barnes & Noble Price Quote server, which acts a lot like the example server, above. It takes an ISBN as input and returns price data from Barnes & Noble.
The client script will need to send a request containing an ISBN and then parse the response. In this script, I use the soapclient class, its constructor, and call, which handles making a request and parsing the response all in one. The only method available on the server is GetPrice, which takes only one parameter, a string called isbn. It returns a floating-point variable called return.
soapclient
call
GetPrice
isbn
return
<);
?>
The soapclient constructor takes a server URL as its argument. Having thus initialized the server object, I pass to the call method the name of the function I want (getPrice), the necessary parameters (the array containing the ISBN string to look up), and the required method namespace: urn:xmethods-BNPriceCheck.
getPrice
urn:xmethods-BNPriceCheck
The parameters for soapclients call method are: function name, parameter array, and three optional ones: namespace, SOAPAction, and an array of headers. The definition for the server will specify which, if any, of the optional parameters are necessary. The Barnes & Noble Price Quote server requires a method namespace definition (urn:xmethods-BNPriceCheck) but no SOAPAction or SOAP headers. Information about what this server offers and what it requires was gleaned from the servers listing on XMethods index of SOAP servers. (This particular server happens to be hosted by XMethods, but the index lists a wide variety of servers, regardless of host.)
function name
parameter array
The call method of the client performs the SOAP transaction and returns the content of the servers response to the $price variable. The script checks for the presence of $fault, which the server returns if there was an error in the transaction. If the $fault variable is set, the script outputs the error information. If there isnt an error, it checks to see if the price returned is -1, which indicates that the requested book was not found. Otherwise, the price data is printed.
The actual XML message sent by the client to the server looks something like this:
<SOAP-ENV:Envelope
xmlns:SOAP-ENV=""
xmlns:xsi=""
xmlns:
<SOAP-ENV:Body>
<ns1:getPrice xmlns:ns1="urn:xmethods-BNPriceCheck"
SOAP-ENV:
<isbn xsi:0385503954</isbn>
</ns1:getPrice>
</SOAP-ENV:Body>
</SOAP-ENV:Envelope>
The Envelope tag contains pointers to the global namespace definitions. It also includes pointers to the SOAP envelope schema hosted on xmlsoap.org and to the W3Cs XML schema definition. These tell the server where its getting definitions for the various XML tags that its using. The XMLSchema class (which is, as of this writing, only experimental) can be used to work with aspects of the XML schema.
Envelope
XMLSchema
The schema definition is set automatically by NuSOAP to. If you wish to change this, you must set the $XMLSchemaVersion global variable:
$XMLSchemaVersion
$XMLSchemaVersion = '';
Detailed discussion of the ins and outs of the W3Cs XML schema can be found in OReillys new book on the subject.
Within the Envelope tag is the Body tag, which contains the body of the message. Its attributes are determined by the parameters of the function call. The name of the remote method, the method namespace, and the actual content of the message—the ISBN string—are set by the client script. NuSOAP automatically detects the variable type and incorporates the type namespace (xsd:string) in the isbn tag. If a SOAPAction had been set in the script, that would appear as a SOAPAction HTTP header.
Body
xsd:string
The encoding style is set by default to. This is pre-set by NuSOAP as the SOAP-ENC element of the public array called namespaces. To change it, simply include a line in your script like:
SOAP-ENC
namespaces
$namespaces[SOAP-ENC] = '';
The same technique can be used to change other namespace values, if necessary. The keys of the namespaces array are SOAP-ENV, xsd, xsi, SOAP-ENC, and si, corresponding to the namespace URIs for the envelope schema, the XML schema definition (equal to $XMLSchemaVersion), the XML schema instance, the encoding style, and the SOAP interoperability test URI, respectively. The default settings for these should not need to be changed under ordinary circumstances.
SOAP-ENV
xsd
xsi
si
The servers XML response to the request looks like this:
<SOAP-ENV:Envelope
xmlns:SOAP-ENV=""
xmlns:xsi=""
xmlns:
<SOAP-ENV:Body>
<ns1:getPriceResponse xmlns:ns1="urn:xmethods-BNPriceCheck"
SOAP-ENV:
<return xsi:14.65</return>
</ns1:getPriceResponse>
</SOAP-ENV:Body>
</SOAP-ENV:Envelope>
The envelope is pretty much the same as that of the request, though youll notice that the server uses an older XML schema than the client. The body is also similar: the method namespace and the encoding style are the same. The ns1 package tag has Response appended to its name now: <ns1:getPriceResponse>. And where the request had an element called isbn, here the core of the response is called return, and the data type is specified as float. PHP is weakly typed, so NuSOAP assigns variable types automatically.
ns1
Response
<ns1:getPriceResponse>
float
NuSOAP makes working with SOAP very easy by automatically handling the complexity, although it also provides a fair amount of access to the flexibility and nuance underneath. The call method of the soapclient class and the register method of the soap_server class do a lot of work that many other SOAP implementations make you do by hand. NuSOAP offers some access to the underlayer now, and will allow more as development proceeds.
To learn more about the details of working with SOAP, refer to the SOAP specification and the API documentation that comes with NuSOAP. If you encounter a specific question about how NuSOAP handles SOAP transactions, it can be helpful to look at the nusoap.php file, which is clearly organized by class and decently commented. Going to the source, as it were, should answer most questions.
Get information on Apple products.
Visit the Apple Store online or at retail locations.
1-800-MY-APPLE | http://developer.apple.com/internet/webservices/soapphp.html | crawl-002 | refinedweb | 2,139 | 53.51 |
Related
Tutorial
How To Run Serverless Functions Using OpenFaaS on DigitalOcean Kubernetes
The author selected the Free and Open Source Fund to receive a donation as part of the Write for DOnations program.
Introduction
Typically, hosting a software application on the internet requires infrastructure management, planning, and monitoring for a monolithic system. Unlike this traditional approach, the serverless architecture (also known as function as a service, or FaaS) breaks down your application into functions. These functions are stateless, self contained, event triggered, functionally complete entities that communicate via APIs that you manage, instead of the underlying hardware and explicit infrastructure provisioning. Functions are scalable by design, portable, faster to set up and easier to test than ordinary apps. For the serverless architecture to work in principle, it requires a platform agnostic way of packaging and orchestrating functions.
OpenFaaS is an open-source framework for implementing the serverless architecture on Kubernetes, using Docker containers for storing and running functions. It allows any program to be packaged as a container and managed as a function via the command line or the integrated web UI. OpenFaaS has excellent support for metrics and provides autoscaling for functions when demand increases.
In this tutorial, you will deploy OpenFaaS to your DigitalOcean Kubernetes cluster at your domain and secure it using free Let’s Encrypt TLS certificates. You’ll also explore its web UI and deploy existing and new functions using the faas-cli, the official command line tool. In the end, you’ll have a flexible system for deploying serverless functions in place.
Prerequisites
- A DigitalOcean Kubernetes cluster with your connection configured as the
kubectldefault. The cluster must have at least 8GB RAM and 4 CPU cores available for OpenFaaS (more will be required in case of heavier use). Instructions on how to configure
kubectlare shown under the Connect to your Cluster step when you create your cluster. To create a Kubernetes cluster on DigitalOcean, see Kubernetes Quickstart.
- Docker installed on your local machine. Following Steps 1 and 2 for your distribution, see How To Install Docker.
- An account at Docker Hub for storing Docker images you’ll create during this tutorial.
- faas-cli, the official CLI tool for managing OpenFaaS, installed on your local machine. For instructions for multiple platforms, visit the official docs.
- The Helm package manager installed on your local machine. To do this, complete Step 1 and add the
stablerepo from Step 2 of the How To Install Software on Kubernetes Clusters with the Helm 3 Package Manager tutorial.
- The Nginx Ingress Controller and Cert-Manager installed on your cluster using Helm in order to expose OpenFaaS using Ingress Resources. For guidance, follow How to Set Up an Nginx Ingress on DigitalOcean Kubernetes Using Helm.
- A fully registered domain name to host OpenFaaS, pointed at the Load Balancer used by the Nginx Ingress. This tutorial will use
openfaas.your_domainthroughout. You can purchase a domain name on Namecheap, get one for free on Freenom, or use the domain registrar of your choice.
Note: The domain name you use in this tutorial must differ from the one used in the “How To Set Up an Nginx Ingress on DigitalOcean Kubernetes” prerequisite tutorial.
Step 1 — Installing OpenFaaS using Helm
In this step, you will install OpenFaaS to your Kubernetes cluster using Helm and expose it at your domain.
As part of the Nginx Ingress Controller prerequisite, you created example Services and an Ingress. You won’t need them in this tutorial, so you can delete them by running the following commands:
- kubectl delete -f hello-kubernetes-first.yaml
- kubectl delete -f hello-kubernetes-second.yaml
- kubectl delete -f hello-kubernetes-ingress.yaml
Since you’ll be deploying functions as Kubernetes objects, it’s helpful to store them and OpenFaaS itself in separate namespaces in your cluster. The OpenFaaS namespace will be called
openfaas, and the functions namespace will be
openfaas-fn. Create them in your cluster by running the following command:
- kubectl apply -f
You’ll see the following output:
Outputnamespace/openfaas created namespace/openfaas-fn created
Next, you’ll need to add the OpenFaaS Helm repository, which hosts the OpenFaaS chart. To do this, run the following command:
- helm repo add openfaas
Helm will display the following output:
Output"openfaas" has been added to your repositories
Refresh Helm’s chart cache:
- helm repo update
You’ll see the following output:
OutputHang tight while we grab the latest from your chart repositories... ...Successfully got an update from the "openfaas" chart repository ...Successfully got an update from the "jetstack" chart repository ...Successfully got an update from the "stable" chart repository Update Complete. ⎈ Happy Helming!⎈
Before installing OpenFaaS, you’ll need to customize some chart parameters. You’ll store them on your local machine, in a file named
values.yaml. Create and open the file with your text editor:
- nano values.yaml
Add the following lines:
functionNamespace: openfaas-fn generateBasicAuth: true ingress: enabled: true annotations: kubernetes.io/ingress.class: "nginx" hosts: - host: openfaas.your_domain serviceName: gateway servicePort: 8080 path: /
First, you specify the namespace where functions will be stored by assigning
openfaas-fn to the
functionNamespace variable. By setting
generateBasicAuth to
true, you order Helm to set up mandatory authentication when accessing the OpenFaaS web UI and to generate an admin username and password login combination for you.
Then, you enable Ingress creation and further configure it to use the Nginx Ingress Controller and serve the
gateway OpenFaaS service at your domain.
Remember to replace
openfaas.your_domain with your desired domain from the prerequisites. When you are done, save and close the file.
Finally, install OpenFaaS into the
openfaas namespace with the customized values:
- helm upgrade openfaas --install openfaas/openfaas --namespace openfaas -f values.yaml
You will see the following output:
OutputRelease "openfaas" does not exist. Installing it now. NAME: openfaas LAST DEPLOYED: ... NAMESPACE: openfaas STATUS: deployed REVISION:)
The output shows that the installation was successful. Run the following command to reveal the password for the
admin account:
- echo $(kubectl -n openfaas get secret basic-auth -o jsonpath="{.data.basic-auth-password}" | base64 --decode) | tee openfaas-password.txt
The decoded password is written to the output and to a file called
openfaas-password.txt at the same time using
tee. Note the output, which is your OpenFaaS password for the
admin account.
You can watch OpenFaaS containers become available by running the following command:
- kubectl -n openfaas get deployments -l "release=openfaas, app=openfaas"
When all listed deployments become
ready, type
CTRL + C to exit.
You can now navigate to the specified domain in your web browser. Input
admin as the username and the accompanying password when prompted. You’ll see the OpenFaaS web UI:
You’ve successfully installed OpenFaaS and exposed its control panel at your domain. Next, you’ll secure it using free TLS certificates from Let’s Encrypt.
Step 2 — Enabling TLS for Your Domain
In this step, you’ll secure your exposed domain using Let’s Encrypt certificates, provided by cert-manager.
To do this, you’ll need to edit the ingress config in
values.yaml. Open it for editing:
- nano values.yaml
Add the highlighted lines:
generateBasicAuth: true ingress: enabled: true annotations: kubernetes.io/ingress.class: "nginx" cert-manager.io/cluster-issuer: letsencrypt-prod tls: - hosts: - openfaas.your_domain secretName: openfaas-crt hosts: - host: openfaas.your_domain serviceName: gateway servicePort: 8080 path: /
The
tls block defines in what Secret the certificates for your sites (listed under
hosts) will store their certificates, which the
letsencrypt-prod ClusterIssuer issues. Generally, the specified Secret must be different for every Ingress in your cluster.
Remember to replace
openfaas.your_domain with your desired domain, then save and close the file.
Apply the changes to your cluster by running the following command:
- helm upgrade openfaas --install openfaas/openfaas --namespace openfaas -f values.yaml
You’ll see the following output:
OutputRelease "openfaas" has been upgraded. Happy Helming! NAME: openfaas LAST DEPLOYED: ... NAMESPACE: openfaas STATUS: deployed REVISION:)
You’ll need to wait a few minutes for the Let’s Encrypt servers to issue a certificate for your domain. In the meantime, you can track its progress by inspecting the output of the following command:
- kubectl describe certificate openfaas-crt -n openfaas
The end of the output will look similar to this:
OutputEvents: Type Reason Age From Message ---- ------ ---- ---- ------- Normal GeneratedKey 24m cert-manager Generated a new private key Normal Requested 16m cert-manager Created new CertificateRequest resource "openfaas-crt-1017759607" Normal Issued 16m cert-manager Certificate issued successfully
When the last line of output reads
Certificate issued successfully, you can exit by pressing
CTRL + C. Refresh your domain in your browser to test. You’ll see the padlock to the left of the address bar in your browser, signifying that your connection is secure.
You’ve secured your OpenFaaS domain using free TLS certificates from Let’s Encrypt. Now you’ll use the web UI and manage functions from it.
Step 3 — Deploying Functions via the Web UI
In this section, you’ll explore the OpenFaaS web UI and then deploy, manage, and invoke functions from it.
The OpenFaaS web UI has two main parts: on the left-hand side, a column where the deployed functions will be listed, and the central panel, where you’ll see detailed info about a selected function and be able to interact with it.
To deploy a new function, click the Deploy New Function button underneath the OpenFaaS logo on the upper left. You’ll see a dialog asking you to choose a function:
The FROM STORE tab lists pre-made functions from the official OpenFaaS function store that you can deploy right away. Each function is shown with a short description, and you can select the link icon on the right of a function to take a look at its source code. To deploy a store function from this list, select it, and then click the DEPLOY button.
You can also supply your own function by switching to the CUSTOM tab:
Here, you’d need to specify a Docker image of your function that is configured specifically for OpenFaaS and available at a Docker registry (such as Docker Hub). In this step, you’ll deploy a pre-made function from the OpenFaaS store, then in the next steps you’ll create and deploy custom functions to Docker Hub.
You’ll deploy the
NodeInfo function, which returns information about the machine it’s deployed on, such as CPU architecture, number of cores, total RAM memory available, and uptime (in seconds).
From the list of store functions, select NodeInfo and click DEPLOY. It will soon show up in the list of deployed functions.
Select it. In the central part of the screen, you’ll see basic information about the deployed function.
The status of the function updates in real time, and should quickly turn to
Ready. If it stays at
Not Ready for longer periods of time, it’s most likely that your cluster lacks the resources to accept a new pod. You can follow How To Resize Droplets for information on how to fix this.
Once
Ready, the deployed function is accessible at the shown URL. To test it, you can navigate to the URL in your browser, or call it from the Invoke function panel located beneath the function info.
You can select between Text, JSON, and Download to indicate the type of response you expect. If you want the request to be a
POST instead of
GET, you can supply request data in the Request body field.
To call the
nodeinfo function, click the INVOKE button. OpenFaaS will craft and execute a HTTP request according to the selected options and fill in the response fields with received data.
The response status is
HTTP 200 OK, which means that the request was executed successfully. The response body contains system information that the NodeInfo function collects, meaning that it’s properly accessible and working correctly.
To delete a function, select it from the list and click the garbage can icon in the right upper corner of the page. When prompted, click OK to confirm. The function’s status will turn to
Not Ready (which means it’s being removed from the cluster) and the function will soon vanish from the UI altogether.
In this step, you’ve used the OpenFaaS web UI, as well as deploy and manage functions from it. You’ll now see how you can deploy and manage OpenFaaS functions using the command line.
Step 4 — Managing Functions Using the faas-cli
In this section, you’ll configure the faas-cli to work with your cluster. Then, you’ll deploy and manage your existing functions through the command line.
To avoid having to specify your OpenFaaS domain every time you run the faas-cli, you’ll store it in an environment variable called
OPENFAAS_URL, whose value the faas-cli will automatically pick up and use during execution.
Open
.bash_profile in your home directory for editing:
- nano ~/.bash_profile
Add the following line:
. . . export OPENFAAS_URL=
Remember to replace
openfaas.your_domain with your domain, then save and close the file.
To avoid having to log in again, manually evaluate the file:
- . ~/.bash_profile
Now, ensure that you have faas-cli installed on your local machine. If you haven’t yet installed it, do so by following the instructions outlined in the official docs.
Then, set up your login credentials by running the following command:
- cat ~/openfaas-password.txt | faas-cli login --username admin --password-stdin
The output will look like:
OutputCalling the OpenFaaS server to validate the credentials... credentials saved for admin
To deploy a function from the store, run the following command:
- faas store deploy function_name
You can try deploying
nodeinfo by running:
- faas store deploy nodeinfo
You’ll see output like the following:
OutputDeployed. 202 Accepted. URL:
To list deployed functions, run
faas list:
- faas list
Your existing functions will be shown:
OutputFunction Invocations Replicas nodeinfo 0 1
To get detailed info about a deployed function, use
faas describe:
- faas describe nodeinfo
The output will be similar to:
Name: nodeinfo Status: Ready Replicas: 1 Available replicas: 1 Invocations: 0 Image: functions/nodeinfo-http:latest Function process: URL: Async URL: Labels: faas_function : nodeinfo uid : 514253614 Annotations: prometheus.io.scrape : false
You can invoke a function with
faas invoke:
- faas invoke nodeinfo
You’ll get the following message:
OutputReading from STDIN - hit (Control + D) to stop.
You can then provide a request body. If you do, the method will be
POST instead of
GET. When you are done with inputting data, or want the request to be
GET, press
CTRL + D. The faas-cli will then execute the inferred request and output the response, similarly to the web UI.
To delete a function, run
faas remove:
- faas remove nodeinfo
You’ll get the following output:
OutputDeleting: nodeinfo. Removing old function.
Run
faas list again to see that
nodeinfo was removed:
OutputFunction Invocations Replicas
In this step, you’ve deployed, listed, invoked, and removed functions in your cluster from the command line using the faas-cli. In the next step, you’ll create your own function and deploy it to your cluster.
Step 5 — Creating and Deploying a New Function
Now you’ll create a sample Node.JS function using the faas-cli and deploy it to your cluster.
The resulting function you’ll create will be packaged as a Docker container and published on Docker Hub. To be able to publish containers, you’ll need to log in by running the following command:
- docker login
Enter your Docker Hub username and password when prompted to finish the login process.
You’ll store the sample Node.JS function in a folder named
sample-js-function. Create it using the following command:
- mkdir sample-js-function
Navigate to it:
- cd sample-js-function
Populate the directory with the template of a JS function by running the following command:
- faas new sample-js --lang node
The output will look like this:
Output2020/03/24 17:06:08 No templates found in current directory. 2020/03/24 17:06:08 Attempting to expand templates from 2020/03/24 17:06:10 Fetched 19 template(s) : [csharp csharp-armhf dockerfile go go-armhf java11 java11-vert -x java8 node node-arm64 node-armhf node12 php7 python python-armhf python3 python3-armhf python3-debian ru by] from Folder: sample-js created. ___ _____ ____ / _ \ _ __ ___ _ __ | ___|_ _ __ _/ ___| | | | | '_ \ / _ \ '_ \| |_ / _` |/ _` \___ \ | |_| | |_) | __/ | | | _| (_| | (_| |___) | \___/| .__/ \___|_| |_|_| \__,_|\__,_|____/ |_| Function created in folder: sample-js Stack file written: sample-js.yml ...
As written in the output, the code for the function itself is in the folder
sample-js, while the OpenFaaS configuration for the function is in the file
sample-js.yaml. Under the
sample-js directory (which resembles a regular Node.JS project) are two files,
handler.js and
package.json.
handler.js contains actual JS code that will return a response when the function is called. The contents of the handler look like the following:
"use strict" module.exports = async (context, callback) => { return {status: "done"} }
It exports a lambda function with two parameters, a
context with request data and a
callback that you can use to pass back response data, instead of just returning it.
Open this file for editing:
- nano sample-js/handler.js
Change the highlighted line as follows:
"use strict" module.exports = async (context, callback) => { return {status: "<h1>Hello Sammy!</h1>"} }
When you are done, save and close the file. This OpenFaaS function will, when called, write
Hello Sammy! to the response.
Next, open the configuration file for editing:
- nano sample-js.yml
It will look like the following:
version: 1.0 provider: name: openfaas gateway: functions: sample-js: lang: node handler: ./sample-js image: sample-js:latest
For the
provider, it specifies
openfaas and a default gateway. Then, it defines the
sample-js function, specifies its language (
node), its handler and the Docker image name, which you’ll need to modify to include your Docker Hub account username, like so:
version: 1.0 provider: name: openfaas gateway: functions: sample-js: lang: node handler: ./sample-js image: your_docker_hub_username/sample-js:latest
Save and close the file.
Then, build the Docker image, push it to Docker Hub, and deploy it on your cluster, all at the same time by running the following command:
- faas up -f sample-js.yml
There will be a lot of output (mainly from Docker), which will end like this:
Output. . . [0] < Pushing sample-js [your_docker_hub_username/sample-js:latest] done. [0] Worker done. Deploying: sample-js. Deployed. 202 Accepted. URL:
Invoke your newly deployed function to make sure it’s working:
- faas invoke sample-js
CTRL + D. You’ll see the following output:
Output<h1>Hello Sammy!</h1>
This means that the function was packaged and deployed correctly.
You can remove the function by running:
- faas remove sample-js
You have now successfully created and deployed a custom Node.JS function on your OpenFaaS instance in your cluster.
Conclusion
You’ve deployed OpenFaaS on your DigitalOcean Kubernetes cluster and are ready to deploy and access both pre-made and custom functions. Now, you are able to implement the Function as a Service architecture, which can increase resource utilization and bring performance improvements to your apps.
If you’d like to learn more about advanced OpenFaaS features, such as autoscaling for your deployed functions and monitoring their performance, visit the official docs. | https://www.digitalocean.com/community/tutorials/how-to-run-serverless-functions-using-openfaas-on-digitalocean-kubernetes | CC-MAIN-2020-24 | refinedweb | 3,249 | 54.42 |
Javascript autocompletions and having one for Sublime Text 2
Autocompletion is major software development productivity booster in modern programming text editors. This article discuss about Javascript autocompletion and how to make Sublime Text 2 editor to support them. If you are not familiar with Sublime Text 2 please see my earlier post what Sublime Text 2 is all about and how to tune it to be a superior programmer’s tool. Please note that information here applies to Sublime Text 2, Sublime Text 3 is underway (most ST2 plugins are open source and can be easily upgraded for ST3 compatibility).
1. Why autocompletion for Javascript is so hard
Javascript does not have Java-like static typing system, meaning that it’s not possible to know what’s the type variables of like this, $, jQuery, etc. until the code is actually executed in the web browser. In statically typed systems like Java you declare the type of the variables when you introduce them, like int i or MyClass foo. In Javascript you have only var or let. This makes Javascript lighter to write, but it also effectively means that during writing the code the information about the variable contents is not really available. Thus, your text editor cannot know how to autocomplete your typing because it cannot know what autocompletions there are available.
What makes things even more worse and sets Javascript apart from Ruby and Python is the lack of native support of classes and modules. Prototypial inheritance gives great freedoms – leading to the sad state of the things that each Javascript framework has invented their own way to declare classes, modules and namespaces. There isn’t one right way, but many incompatible ways. Thus, there is no single solution to extract the classy type information, even run-time.
2. Introducing type information into Javascript
There exist several ways to annotate Javascript source code or overlay type information over it. By using these type hints your text editor can know that $ is actually jQuery and can guess what kind of functions it could provide.
First of all, most text editors have their own type information format and files which are generated from the source code or entered as manually maintained files. Examples include Sublime Text 2 .sublime-completions files and Aptana Studio Javascript autocompletions. To make the editor support autocompletion one needs to integrate a source code scanner plug-in which extracts the type information and turns it to the native symbol database format supported by the editor.
Please note that autocompletion is not the only reason to have static typing support or type hinting. When project size and number of developers grow, static typing becomes more and more preferable as it decreases the cognitive load needed to work with the codebase, reducing human errors.
3. JsDoc directive scanning
JsDoc is a loosely followed convention to annotate Javascript with source code comments to contain references about packages, namespaces, singlentons, etc. Basically you write something like @class foo.bar.Baz in /** */ comment blocks and it is picked up. JsDoc was originally created to generate Javadoc like API documentation for Javascript projects. If you have any self respect you document your source code with comments. Do this by following the JsDoc best practices and you’ll be lucky and the same type information can be utilized for generating autocompletions too.
JsDoc class and namespace hints are especially needed when you are using something like RequireJS for defining your modules. This is because naive source code scanners have very hard time to determine module exports and classes from this kind of source code and as far as I know, no IDE supports RequreJS natively yet.
Note that personally I prefer superior JsDuck over JsDoc for actual HTML documentation generation.
4. TypeScript definitions and language
With some bad rap due to its owner, Microsoft, TypeScript is an open source project to provide type information for Javascript. TypeScript comes with two “modes” of operating.
The less invasive approach is to provide type information in externally typed interface files (example .ts for jQuery).
Move invasive, but easier to maintain approach is to write your source code in TypeScript language itself which compiles down to Javascript and .ts type information files. TypeScript language is a Javascript superset, so all Javascript is valid TypeScript. TypeScript adds optional support for classes, modules and static typing of variables. The TypeScript compiler will detect if you are trying to mix wrong types or using missing functions and gives a compiler error at the compile phase, when generating JS from TS.
Sublime Text 2 has a plugin to support TypeScript based autocompletions.
5. SublimeCodeIntel plug-in and OpenKomodo CodeIntel
OpenKomodo is a software repository for the open source parts of ActiveState’s Komodo Edit editor. It has a subsystem called CodeIntel for autocompletion and source code symbol scanning.
What makes CodeIntel interesting from the perspective of Sublime Text 2 is that CodeIntel is 1) open source 2) written in Python, making it easy to integrate with the Python based plug-in system of Sublime Text 2. Thus, there exist SublimeCodeIntel plug-in.
CodeIntel has a Javascript scanner. Based on its source code, it should provide JsDoc @class decorator support. However, I have never managed to get it working and there is an open stackoverflow.com question how to make SublimeCodeIntel to work with JsDoc directives. All help welcome.
6. Sublime Text 2 and CTags
Exuberant CTags is a generic “tag” type information extractor backend for various programming languages. As the name implies, it was originally created to autocomplete C source code. Sublime Text 2 has support for CTags with a plug-in which is called CTags.
I have not used this plug-in myself, so I hope someone can comment how well it works with Javascript autocompletion.
7. Manually generating autocompletions for your favorite Javascript project
Though not so advanced approach, this gave me a wow effect and motivation to write this blog post (instead of sitting under a palm tree sipping caipirinhas). I came across this little Python script in Three.js, a 3D engine for WebGL and Javascript.
Three.js has invented yet another Javascript class system of their own. But instead of using JsDoc @class, @module or @package like annotations they have a custom Python script which scans the Javascript codebase using regular expressions. Regexes match Three.js custom class declarations and then the script generates Sublime Text 2 autocompletion file based on the results. Crude, but apparently seems to work.
I recommend check the source code and see how you could apply this for your own little project if you are a major Sublime Text 2 user. The approach is not limited to Javascript, but should work for any dynamically typed language where you have control over how you define your namespaces.
(Note: Opinions expressed in this article and its replies are the opinions of their respective authors and not those of DZone, Inc.) | http://css.dzone.com/articles/javascript-autocompletions-and | CC-MAIN-2013-20 | refinedweb | 1,156 | 53.71 |
24 April 2012 10:07 [Source: ICIS news]
SINGAPORE (ICIS)--?xml:namespace>
The MTO unit can produce around 200,000 tonnes/year of olefins, including 100,000 tonnes/year of ethylene and 100,000 tonnes/year of propylene, according to ICIS.
Zhongyuan Petrochemical will shut its naphtha cracker a few days later, the source said, but did not specify a date. The cracker is situated at the same site as the MTO unit.
It can produce 180,000 tonnes/year of ethylene and 90,000 tonnes/year of propylene
The MTO unit and the cracker will be shut for one-and-a-half months for maintenance, the source said.
The shutdowns will have little impact on the olefins market because the cracker’s downstream units, which include a 160,000 tonne/year polypropylene (PP) unit, will be shut at the same time, market players said.
The MTO unit is operating at full rate and the naphtha cracker is operating at less than 60% | http://www.icis.com/Articles/2012/04/24/9552883/chinas-zhongyuan-petrochemical-to-shut-mto-unit-on-25.html | CC-MAIN-2015-06 | refinedweb | 163 | 67.49 |
Opened 11 years ago
Closed 10 years ago
#3372 closed (fixed)
django.contrib.auth.views.password_change is tied to the URL /accounts/login/
Description...
- password_change is decorated with Django's default login_required decorator.
- The default login_required decorator uses the (un-overridable) LOGIN_URL variable.
- The LOGIN_URL variable is set to "/accounts/login/".)?
Change History (5)
comment:1 Changed 11 years ago by
comment:2 Changed 11 years ago by
comment:3 Changed 11 years ago by
You can already change LOGIN_URL. Just put this in your project's settings.py file:
import django.contrib.auth django.contrib.auth.LOGIN_URL = '/mynew/loginurl/'
comment:4 Changed 10 years ago by
LOGIN_URL was put into
global_settings a while back
(Adding myself to CC list and un-checking "Has Patch") | https://code.djangoproject.com/ticket/3372 | CC-MAIN-2017-43 | refinedweb | 125 | 59.7 |
Extension to build alternate glyphs
I built a little extension to generate alternate versions (case, sinf, smcp, etc) of glyphs already defined in the current font. The new glyphs have a component of the selected glyph(s). Size and position of the component as well as mark-color and Suffix of the new glyphs can be set. There is an option to decompose and overwrite.
ISSUE: As far as I can tell everything works fine when the font collection is set to "All Glyphs" but does not really work when a "sub-set" is active.
I am happy for every advice, improvement or critique so please let me know.
here is the link to the extension:
great extension!
In the next version the same behavior will be added hen a glyph is added with a script as when the glyph is being added with "Add Glyphs" through the menu.
Why is the window closing after click "Build new glyphs"?
and check if the
CurrentFont()is not None :)
you can also use the build in color conversions:
from AppKit import NSColor from lib.tools.misc import rgbaToNSColor, NSColorToRgba nsColorObject = NSColor.redColor() print NSColorToRgba(nsColorObject) print rgbaToNSColor((0, 1, 0, .5))
(I know, I have to document the public internal objects)
thanks
hey,
thanks a lot for the input!
I added a check for
CurrentFont()is not None.
Also changed the color conversion.
About the closing window behavior:
I added and removed the close function a few times but I guess it is a question how the extension is used.
Personally i am happy about every click / mouse movement / typing i can avoid.
In this case I don’t really need the window anymore after the new glyphs are built.
So why not close it automatically instead of clicking once more to close it.
I commented it out in the latest version:
Just as a general question: are there any extension building guidelines (for design or behavior)?
Maybe a bit off-topic but somehow related:
In the "Add component" window the "copy metrics" is active if there is at least one outline in the glyph but turned off if there is a component. Shouldn’t "Copy metrics" be active by default only if the glyph is empty?
Just as a general question: are there any extension building guidelines (for design or behavior)?
No there is no actual guideline, but it would be nice if the UI would follow a bit the Human Interface Guidelines
see
Shouldn’t “Copy metrics” be active by default only if the glyph is empty?
Yeah, good catch, this behavior is already adjusted in the beta versions and will be available in the next release.
thanks
hi frederik,
thanks again for this and all the other replies!
I did some minor changes (like printing a better report in the output window).
The latest version can be found here:
thanks, jo | https://forum.robofont.com/topic/135/extension-to-build-alternate-glyphs | CC-MAIN-2020-24 | refinedweb | 482 | 62.98 |
> Am Fr 25.08.2006 13:59 schrieb Yasunori Goto <y-goto@jp.fujitsu.com>:> >> >>> >> > I sent a patch a while ago that gets rid of the whole namespace> >> > walking> >> > by making acpi_memoryhotplug an acpi device and making use of the> >> > .add> >> > callback function and the acpi_bus_register_driver call.> >> >> >> > I am not sure whether this is possible if you have multiple memory> >> > devices, though (if not maybe it should be made possible?)...> >> >> >> > Yasunori even tested the patch and sent an Ok:> >> >> >> >> >> > If this is acceptable I can rebase the patch on a current kernel.> >>> >> Hi. Thomas-san.> >> Did you rebase your patch?> >>> >> I'm trying to do it now too.> >> But, current code (2.6.18-rc4) seems to register handler for> >> only enable status devices at boot time.> >> So, notification is -discarded- due to no handler for new memory> >> device when hot-add event occurs. Hmmm. :-(> >No, what I see the notify handler is always installed.Hmm.Ok. Followings are current my understanding of sequencewith your patch.At boot time, acpi_memory_device_init() is called.acpi_memory_device_init() | +---> acpi_bus_register_driver() | +---> acpi_driver_attach() | +---> acpi_bus_driver_init() | +---> acpi_memory_device_add() | +---> acpi_install_notify_handler().The problem is in acpi_driver_attach(). This function is using"acpi_device_list" to call acpi_bus_driver_init().This list is registered by acpi_device_register() which is called byacpi_add_single_object().However, acpi_add_single_object() skips calling it if _STA is not on.1015 switch (type) {1016 case ACPI_BUS_TYPE_PROCESSOR:1017 case ACPI_BUS_TYPE_DEVICE:1018 result = acpi_bus_get_status(device);1019 if (ACPI_FAILURE(result) || !device->status.present) {1020 result = -ENOENT;1021 goto end;1022 }1023 break;So, notify handler is registered just for memory device which is enableat boot time.If notify event occurs for new memory device, there is no notify handlerfor it....Old code registers handler for all of memory devices even if it is notenabled.If my understanding is wrong, please let me know. ;-)Bye.-- Yasunori Goto -To unsubscribe from this list: send the line "unsubscribe linux-kernel" inthe body of a message to majordomo@vger.kernel.orgMore majordomo info at read the FAQ at | http://lkml.org/lkml/2006/8/28/138 | CC-MAIN-2017-13 | refinedweb | 323 | 51.95 |
Use library functions by a short name
This functionality does not run in MATLAB.
use(L, <Alias>, f1, f2, …) use(L, <Alias>)
use(L, f) 'exports' the public function L::f of the library L to the global namespace such that it can be accessed as f without the prefix L.
use(L) exports all public functions of the library L.
A library contains public functions which may be called by the user. The collection of these functions forms the interface of the library. (There may be other, private, functions, too, which are not intended to be called by the user directly, and are not documented.) The standard way of accessing the public function f from the library L is via L::f. When the function f is exported, it can be accessed more briefly as f. Technically, exporting means that the global identifier f is assigned the value L::f. Alternatively, when the option Alias is used, an alias is created.
Unexporting the library function f means that the value of the global identifier f is deleted. Afterwards, the library function is available only as L::f.
use(L, f1, f2, ...) exports the given functions f1, f2, ... of L. However, if one of the identifiers already has a value, the corresponding function is not exported. A warning is printed instead. An error is returned if one of the identifiers is not the name of a public library function.
use(L) exports all public functions of L.
A function that is already exported will not be exported twice.
use evaluates its first argument L, but it does not evaluate the remaining arguments f1, f2, ..., if any.
The function info displays the interface functions and the exported functions of a library.
Some libraries have functions that are always exported. These functions cannot be unexported. The function append from the library listlib is such an example.
When a function is exported, it is assigned to the corresponding global identifier. When it is unexported, the corresponding identifier is deleted.
We export the public function invphi of the library numlib and then undo the export:
numlib::invphi(4!)
use(numlib, invphi):
invphi(4!)
unuse(numlib, invphi):
invphi(4!)
We export and unexport all public functions of the library numlib:
use(numlib): invphi(100)
Warning: Identifier 'contfrac' already has a value. It is not exported. [use]
As you can see use issued a warning because contfrac already has a value. Here, the reason in the existence of a global function contfrac (which makes use of numlib::contfrac for numerical arguments).
unuse(numlib): invphi(100)
use issues a warning if a function cannot be exported since the corresponding identifier already has a value:
invphi := 17: use(numlib, invphi)
Warning: Identifier 'invphi' already has a value. It is not exported. [use]
The names of the public functions of a library L are stored in the set L::interface. This set is used by the function info and for exporting.
The names of functions exported from a library L are stored in the set L::_exported. | http://www.mathworks.com/help/symbolic/mupad_ref/use.html?nocookie=true | CC-MAIN-2014-10 | refinedweb | 508 | 58.58 |
Important: Please read the Qt Code of Conduct -
vsync: missing rendered frames
Hello,
for a scientific task, flickering areas with a stable frequency (max. 60 Hz), shall be displayed on the screen. I tried to achieve a stable stimulus visualization using Qt 5.6.
According to this blog entry and many other online recommendations, I realized three different approaches: Inheriting from QWindow Class, QOpenGLWindow Class and QRasterWindow Class. I wanted to get the accurate advantage of vsync and avoid the usage of QTimer.
The flickering area can be displayed. Also a stable time period between the frames has been measured with 16 up to 17 ms. But every few seconds some missed frames are spotted. It can be seen very clearly that there is no stable visualization of the stimulus. The same effect occurs on all three approaches.
Have I done the implementation of my code properly or do better solutions exist? If the code is adequate for its purpose do I have to assume that it is a hardware problem? Could it be that difficult then, to display a simple flickering area?
Thank you very much for helping me!
As Example you can see my code for QWindow Class here:
Window::Window(QWindow *parent) : m_context(0) , m_paintDevice(0) , m_bFlickerState(true){ setSurfaceType(QSurface::OpenGLSurface); QSurfaceFormat format; format.setDepthBufferSize(24); format.setStencilBufferSize(8); format.setSwapInterval(1); this->setFormat(format); m_context.setFormat(format); m_context.create(); } void Window::render(){ //calculating elapsed time between frames m_t1 = QTime::currentTime(); int curDelta = m_t0.msecsTo(m_t1); m_t0 = m_t1; qDebug()<< curDelta; m_context.makeCurrent(this); if (!m_paintDevice) m_paintDevice = new QOpenGLPaintDevice; if (m_paintDevice->size() != size()) m_paintDevice->setSize(size()); QPainter p(m_paintDevice); // draw using QPainter if(m_bFlickerState){ p.setBrush(Qt::white); p.drawRect(0,0,this->width(),this->height()); } p.end(); m_bFlickerState = !m_bFlickerState; m_context.swapBuffers(this); // animate continuously: schedule an update QCoreApplication::postEvent( this, new QEvent(QEvent::UpdateRequest)); }
- kshegunov Qt Champions 2017 last edited by kshegunov
Hello,
this->setFormat(format);
this is the same as:
setFormat(format)
the context (
this) is resolved automatically. This is not an error by any means, only a note.
if (!m_paintDevice) m_paintDevice = new QOpenGLPaintDevice;
this part I don't understand. Your
QWindow(if
Windowis derived from
QWindow) is already a paint device, so why do you need another? Could you provide the class declaration as well? This also goes to
Window::render, why do that. I'd derive from
QOpenGLWindowand do the painting in a
QOpenGLWindow::paintGLand implement the other needed protected methods as well - initializing the GL context and resize at least.
QCoreApplication::postEvent( this, new QEvent(QEvent::UpdateRequest));
This is the same as calling
requestUpdate().
Kind regards.
@kshegunov
(I looked it up but I couldn't see the QWindow is a paint device but QOpenGLWindow does inherit from QPaintDeviceWindow class!)
Thank you very much for the fast response!
If you would choose QOpenGLWIndow, I provide you with the declaration and Implementation of my QOpenGLWindow approach. Like I said, I have the same problem here: frames are clearly missing!
Also I can't display this class in Fullscreen-mode on another screen: This error message then is generated:
QPainter::begin(): QOpenGLPaintDevice's context needs to be current QPainter::begin(): Returned false QPainter::end: Painter not active, aborted
Here is now my full code:
mainwindow.cpp:
#include "mainwindow.h" #include "QPainter" #include <QOpenGLWindow> MainWindow::MainWindow(QOpenGLWindow *parent) : m_bFlickerState(true) { QSurfaceFormat format; format.setDepthBufferSize(24); format.setStencilBufferSize(8); format.setSwapInterval(1); setFormat(format); //continous update when frame was displayed connect(this, SIGNAL(frameSwapped()), this, SLOT(update())); } void MainWindow::resizeGL(int w, int h) { } void MainWindow::paintGL() { //calculating FPS m_t1 = QTime::currentTime(); int curDelta = m_t0.msecsTo(m_t1); m_t0 = m_t1; qDebug()<< curDelta; // QOpenGLFunctions *f = context()->functions(); // f->glClear(GL_COLOR_BUFFER_BIT | GL_DEPTH_BUFFER_BIT); // issue some native OpenGL commands QPainter p(this); // draw using QPainter if(m_bFlickerState){ //f->glClearColor(1,1,1,1); p.fillRect(0,0,100,100,Qt::white); } else{ //f->glClearColor(0,0,0,0); p.fillRect(0,0,100,100,Qt::black); } p.end(); m_bFlickerState = !m_bFlickerState; }
mainwindow.h:
#ifndef MAINWINDOW_H #define MAINWINDOW_H #include <QtCore> #include <QOpenGLPaintDevice> #include <QOpenGLFunctions> #include <QOpenGLWindow> class MainWindow : public QOpenGLWindow, protected QOpenGLFunctions { Q_OBJECT public: explicit MainWindow(QOpenGLWindow *parent = 0 ); ~MainWindow(); protected: void resizeGL(int w, int h); void paintGL(); private: QTime m_t0; QTime m_t1; bool m_bFlickerState; QOpenGLPaintDevice *m_paintDevice; QTimer timer; }; #endif // MAINWINDOW_H
main.cpp:
#include "mainwindow.h" #include <QApplication> #include <QScreen> #include <QVBoxLayout> #include <QLayout> int main(int argc, char *argv[]) { QApplication a(argc, argv); QScreen *screen = QGuiApplication::screens()[1]; //setup the window MainWindow w; w.setScreen(screen); w.showFullScreen(); return a.exec(); }
@geissenpeter said:
I looked it up but I couldn't see the QWindow is a paint device but QOpenGLWindow does inherit from QPaintDeviceWindow class!
Yes indeed, that's a mistake on my part.
I provide you with the declaration and Implementation of my QOpenGLWindow approach
It looks good to me.
Like I said, I have the same problem here: frames are clearly missing!
The only thing I could think of is that the paint events might be getting compressed and some of the updates are skipped. Perhaps you could attach an additional receiver for the
frameSwappedsignal and see if that's the case - you'd expect to see update request and then a repaint and then another update request etc. If that's not the case, then this might very well be the reason.
Kind regards.
- geissenpeter last edited by
@kshegunov said:
some of the updates are skipped
I think this can't be, because the time measured between the update calls is always about 16 to 18 ms. Could a problem with the frame buffer occur instead?
Also I have a problem with the QPainter: When my class is displayed in Fullscreen mode (like shown in the code above) then this error is generated. I have looked it up, but haven't found a solution yet
QPainter::begin(): QOpenGLPaintDevice's context needs to be current QPainter::begin(): Returned false QPainter::end: Painter not active, aborted
thank you for your fast response!
I think this can't be, because the time measured between the update calls is always about 16 to 18 ms.
This is of no consequence. Look here:
update()posts an event on the queue for later processing and this event is subject to being compressed on occasion. I don't know if you can force the repaint however.
Could a problem with the frame buffer occur instead?
I'm by no means an expert, but it seems doubtful.
Also I have a problem with the QPainter: When my class is displayed in Fullscreen mode (like shown in the code above) then this error is generated. I have looked it up, but haven't found a solution yet
Possibly you're getting a paint event when the windows is not exposed. But I'm just guessing here.
@kshegunov
I realized your approach: Every frameSwapped() signal is following an update request. So this code seems to do its job. I don't know what possible errors I could look for anymore...
Could other solutions exist for this (in my opinion) quite simple task?
I don't know what possible errors I could look for anymore...
Sadly, I don't know either.
Could other solutions exist for this (in my opinion) quite simple task?
I'm sure there are other solutions, but I don't know of any better way. Perhaps one of our more GL-versed members, like @Chris-Kawa, might take a look and suggest something.
- Chris Kawa Moderators last edited by Chris Kawa
V-sync is hard ;) Basically it's fighting with the inherent noisiness of the system. If the output shows 16-17 ms then that's the problem. 17 ms is too much. That's the skipping you see.
Couple of things to reduce that noise:
- Don't do I/O in the render loop!
qDebug()is I/O and it can block on all kinds of buffering shenanigans.
- Testing V-sync under a debugger is useless. Debugging introduces all kinds of noise into your app. You should be testing v-sync in Release mode without debugger attached.
- try not to use signals/slots/events if you can help it. They can be noisy i.e. call
update()manually at the end of
paintGL. You skip some overhead this way (not much but every bit counts).
- If all you need is a flickering screen avoid QPainter. It's not exactly slow, but drop into the
begin()method of it and see how much it actually does. OpenGL has fast, dedicated facilities to fill the buffer with a color. You might as well use it.
Not directly related, but it will make your code cleaner:
- Use QElapsedTimer instead of manually calculating time intervals. Why re-invent the wheel.
Applying these bits I was able to remove the skipping from your example. Note that the skipping will occur in some circumstances, e.g. when you move/resize the window or when OS/other apps are busy doing something . You have no control over that.
Here are the modified code bits:
//mainwindow.h ... QElapsedTimer m_timer; };
//mainwindow.cpp MainWindow::MainWindow(QOpenGLWindow *parent) : m_bFlickerState(true) { QSurfaceFormat format; format.setDepthBufferSize(24); format.setStencilBufferSize(8); format.setSwapInterval(1); setFormat(format); m_timer.start(); //note that it doesn't really start any timers, just records current time }
void MainWindow::paintGL() { int ms_elapsed = timer.restart(); //you can store it somewhere to analyze later auto f = context()->functions(); if(m_bFlickerState) f->glClearColor(1.0f, 1.0f, 1.0f, 1.0f); else f->glClearColor(0.0f, 0.0f, 0.0f, 1.0f); f->glClear(GL_COLOR_BUFFER_BIT); m_bFlickerState = !m_bFlickerState; update(); //schedules next update directly, without going through signal dispatching }
@Chris-Kawa
Chris, would running the rendering in a dedicated thread without event loop that forces rendering on a regular interval (for example a
QThreadsubclass) be beneficial in this case? Or are the waiting routines (i.e. QThread::msleep/QThread::usleep/QSemaphore::tryAcquire) not precise enough for such things?
Again I'm just curious, so don't answer if you don't have the time. :)
- Chris Kawa Moderators last edited by
@kshegunov
Any kind of sleeping/timer is no good for frame-perfect rendering. It doesn't matter in which thread you do it. There's just no solid way to synchronize these with the refresh rate.
You can't for example calculate "oh I rendered in 7ms so I have ~9.66ms left till the v-sync so I'll sleep for 9ms". That will miss most of the time. If any of these primitives is late even a microsecond for the v-sync it's all lost.
The only way to have any control over it is start drawing as soon as the v-sync is done and wait for the next one. Basically
QOpenGLContext::swapBuffersis your only tool for that (done implicitly when you exit
paintGL).
@Chris-Kawa
Fair enough. Thanks for taking the time.
Cheers! | https://forum.qt.io/topic/67103/vsync-missing-rendered-frames | CC-MAIN-2020-29 | refinedweb | 1,807 | 57.77 |
I have a 4-byte data, which is defined as:
When using MS compiler on intel PC, its rule is: bit fields are laid out from the least significant bit to the most significant bit. So in my VC++ code, I define the structure as:
#pragma pack(1)
typedef struct
{
unsigned int pixel_y_address : 10; // bits 0 - 9
unsigned int pixel_x_address : 10; // bits 10 - 19
unsigned int direction : 1; // bits 20
unsigned int unused : 3; // bits 21-23
unsigned int pixel_data : 8; // bits 24 - 31
} Image_Segment_Data;
Now I need to transfer these data to my program running on PowerPC. The operating system here is VxWorks. I found out that the rule here is reversed comparing with MS compiler: bit fields are laid out from the most significant bit to the least significant bit. So in my VxWorks code, I define the structure as:
struct image_segment_data_
{
unsigned int pixel_data : 8; /* bits 24 - 31 */
unsigned int unused : 3; /* bits 21-23 */
unsigned int direction : 1; /* bits 20 */
unsigned int pixel_x_address : 10; /* bits 10 - 19 */
unsigned int pixel_y_address : 10; /* bits 0 - 9 */
} __attribute__ ((packed));
typedef image_segment_data_ Image_Segment_Data;
But the story does not stop here. When sending out data using TCP/IP socket, the MSB in PC code is received as LSB in VxWorks code. That is, data from PC {pppp,pppp,uuud,xxxx,xxxx,xxyy,yyyy,yyyy} is parsed by VxWorks as {yyyy,yyyy,xxxx,xxyy,uuud,xxxx,pppp,pppp}. What a hell! This is because the host byte order is not the same on these two platforms. So the data must be converted before sent by PC. To facilitate this, a union is defined as:
typedef union
{
Image_Segment_Data data;
unsigned long raw;
} Image_Segment_Union;
Image_Segment_Data originData;
Image_Segment_Union originUnion;
Image_Segment_Union tempUnion;
when sending from PC:
originUnion.data = originData;
tempUnion.raw = htonl(originUnion.raw) ;
send(sd, (char *)&tempUnion.raw, sizeof(tempUnion.raw), 0);
when receiving from PowerPC:
recv(sd, (char *)&tempUnion.raw, sizeof(tempUnion.raw));
originUnion.raw = ntohl(tempUnion.raw);
originData = originaUnion.data
That’s all I figured out. Thank you, Time Finer and axiac, for pointing out my mistake on understanding this issue.
Reference: Joaquín M López Muñoz’s answer to my question "Help! About structure alignment". (No wonder I love CP so much!)
This article has no explicit license attached to it but may contain usage terms in the article text or the download files themselves. If in doubt please contact the author via the discussion board below.
A list of licenses authors might use can be found here
struct {
long timestamp; // 4 bytes
int mouseX; // 2 bytes
int mouseY; // 2 bytes
char key; // 1 byte
int alt: 1; // 1 byte total for the rest
int ctrl: 1;
int shift: 1;
int unused: 5;
};
// Not sure if this is correct, since I did not compile and run it.
inline bool isBigEndian(){
unsigned int num = x0002; // is the number 2 on a big-endian platform
return (num == 2);
}
General News Suggestion Question Bug Answer Joke Rant Admin
Use Ctrl+Left/Right to switch messages, Ctrl+Up/Down to switch threads, Ctrl+Shift+Left/Right to switch pages. | http://www.codeproject.com/Articles/1929/Structure-Bit-Ordering-Using-ntoh-and-hton-when-tr?PageFlow=FixedWidth | CC-MAIN-2015-11 | refinedweb | 512 | 51.68 |
Over the years, kernel developers have made increasing use of per-CPU data
in an effort to minimize memory contention and its associated performance
penalties. As a simple example, consider the disk operation statistics
maintained by the block layer. Incrementing a global counter for every
disk operation would cause the associated cache line to bounce continually
between processors; disk operations are frequent enough that the
performance cost would be measurable. So each CPU maintains its own set of
counters locally; it never has to contend with any other CPU to increment
one of those counters. When a total count is needed, all of the per-CPU
counters are added up. Given that the counters are queried far more rarely
than they are modified, storing them in per-CPU form yields a significant
performance improvement.
In current kernels, most of these per-CPU variables are managed with an
array of pointers. So, for example, the kmem_cache structure (as
implemented by the SLUB allocator) contains this field:
struct kmem_cache_cpu *cpu_slab[NR_CPUS];
Note that the array is dimensioned to hold one pointer for every possible
CPU in the system. Most deployed computers have fewer than the maximum
number of processors, though, so there is, in general, no point in
allocating NR_CPUS objects for that array. Instead, only the
entries in the array which correspond to existing processors are populated;
for each of those processors, the requisite object is allocated using
kmalloc() and stored into the array. The end result is an array
that looks something like the diagram on the right. In this case, per-CPU
objects have been allocated for four processors, with the remaining entries
in the array being unallocated.
A quick look at the diagram immediately shows one potential problem with
this scheme: each of these per-CPU arrays is likely to have some wasted
space at the end. NR_CPUS is a configuration-time constant; most
general-purpose kernels (e.g. those shipped by distributors) tend to have
NR_CPUS set high enough to work on most or all systems which might
reasonably be encountered. In short, NR_CPUS is likely to be quite a bit
larger than the number of processors actually present, with the result that
there will be a significant amount of wasted space at the end of each
per-CPU array.
In fact, Christoph Lameter noticed that are more problems than that; in
response, he has posted a patch
series for a new per-CPU allocator. The deficiencies addressed by
Christoph's patch (beyond the wasted
space in each per-CPU array) include:
Christoph's solution is quite simple in concept: turn all of those little
per-CPU arrays into one big per-CPU array. With this scheme, each
processor is allocated a dedicated range of memory at system initialization
time. These ranges are all contiguous in the kernel's virtual address
space, so, given a pointer to the per-CPU area for CPU 0, the area for
any other processor is just a pointer addition away.
When a per-CPU object is allocated, each CPU gets a copy obtained from its
own per-CPU area. Crucially, the offset into each CPU's area is the same,
so the address of any CPU's object is trivially calculated from the address
of the first object. So the array of pointers can go away, replaced by a
single pointer to the object in the area reserved for CPU 0. The
resulting organization looks (with the application of sufficient
imagination) something like the diagram to the right. For a given object,
there is only a single pointer; all of the other versions of that object
are found by applying a
constant offset to that pointer.
The interface for the new allocator is relatively straightforward. A new
per-CPU variable is created with:
#include <linux/cpu_alloc.h>
void *per_cpu_var = CPU_ALLOC(type, gfp_flags);
This call will allocate a set of per-CPU variables of the given
type, using the usual gfp_flags to control how the
allocation is performed. A pointer to a specific CPU's version of the
variable can be had with:
void *CPU_PTR(per_cpu_var, unsigned int cpu);
void *THIS_CPU(per_cpu_var);
The THIS_CPU() form, as might be expected, returns a pointer to
the version of the variable allocated for the current CPU. There is a
CPU_FREE() macro for returning a per-CPU object to the system.
Christoph's patch converts all users of the existing per-CPU interface and
ends by removing that API altogether.
There are a number of advantages to this approach. There's one less
pointer operation for each access to a per-CPU variable. The same pointer
is used on all processors, resulting in smaller data structures and better
cache line utilization. Per-CPU variables for a given processor are
grouped together in memory, which, again, should lead to better cache use.
All of the memory wasted in the old pointer arrays has been reclaimed.
Christoph also claims that this mechanism, by making it easier to keep
track of per-CPU memory, makes the support of CPU hotplugging easier.
The amount of discussion inspired by this patch set has been relatively
low. There were complaints about the UPPER CASE NAMES used by the macros.
The biggest complaint, though, has to do with the way the static
per-CPU areas bloat the kernel's data space. On some architectures it
makes the kernel too large to boot, and it's a real cost on all
architectures. Just how this issue will be resolved is not yet clear.
If a solution can be found, the new per-CPU code has a good chance of
getting into the mainline when the 2.6.25 merge window opens.
Better per-CPU variables
Posted Nov 17, 2007 11:59 UTC (Sat) by ms (subscriber, #41272)
[Link]
"One of the great advantages of multiprocessor computers is the fact that main memory is
available to all processors on the system."
Hah!
1) It's simply stupid to write software that assumes this as it won't scale to distributed
systems.
2) If we didn't have shared mutable memory, vast classes of bugs, typically concurrency
related, wouldn't exist.
3) The direction in which CPU architectures are moving makes it less and less likely that a
single unified address space and general shared mutable memory are a) likely and b) desirable.
Hence the endless rise of languages like Erlang and Haskell which aren't built, unlike, say C,
on an unachievable model of a computer.
Posted Nov 19, 2007 1:56 UTC (Mon) by giraffedata (subscriber, #1954)
[Link]
One of the great advantages of multiprocessor computers is the fact that main memory is
available to all processors on the system.
That's like saying one of the great advantages of a lamp is that it illuminates things. It's not just a great advantage, it's the definition.
What would make a system in which the various processors have separate memory a multiprocessor system?
1) It's simply stupid to write software that assumes this as it won't scale to distributed
systems.
It sounds like you're saying it's stupid to write software for multiprocessor systems because then it would be software for multiprocessor systems.
I'm actually a foe of multiprocessor systems. My experience makes me believe processors separated by TCP/IP, FCP, etc. links are more profitable for most things. But I can definitely see the advantages of SMP.
Posted Nov 22, 2007 7:52 UTC (Thu) by eduperez (guest, #11232)
[Link]
Posted Nov 23, 2007 6:28 UTC (Fri) by giraffedata (subscriber, #1954)
[Link]
I think ms was talking about NUMA architectures.
Everything ms says, and everything the article says, is applicable to to all multiprocessor systems, NUMA and non-NUMA alike. They all have shared memory and they all have difficulty because of that.
NUMA shares memory in a way that strikes a different balance between the difficulties and the advantages of shared memory than other multiprocessor systems, but it remains a defining characteristic, not just an incidental feature, of multiprocessor systems that they have shared memory.
Linux is a registered trademark of Linus Torvalds | http://lwn.net/Articles/258238/ | CC-MAIN-2013-20 | refinedweb | 1,357 | 50.97 |
Microsoft .NET is Microsoft's recent released development framework. Microsoft .NET not only introduces powerful languages such as C# and VB.NET, it also brings relief to other programmers including graphics, multimedia, web development and speech.
In this article, we'll see basics of GDI+ and how GDI+ is much better interface than its predecessor GDI.
GDI stands for Graphic Device Interface. In Microsoft Windows, GDI is a way to work with paining graphic objects such as painting on windows, forms or other media.
Why do you need GDI? To write GUI application, you need to write some kind of visual interface in the form of windows and controls. There is only one way to see the visual interface - through hardware, such as printer and monitor.
GDI is a set of C++ classes, which provides functionality to render data to a program to hardware devices with the help of device drivers. GDI sits between the program and the hardware and transfer data from one to other
Working with GDI objects in earlier versions of Microsoft products was a pain. I've been programming with Microsoft products (C++ and VB) for over 5 years in C++ and I know the pain of using GDI. If you've ever programmed in C++ or MFC, I bet you must be frustrated using GDI objects too. Have you ever try changing color or font of windows and controls in C++/MFC?
For example, if you want to change the font of a control in C++ (MFC), you need to create a font with its type and then call SetFont. See fig. 1.1.
CStatic *lpLabel=(CStatic *)GetDlgItem(IDC_STATIC1);
CFont LabelFont;
LabelFont.CreateFont(20,20,0,0,FW_BOLD,FALSE,FALSE,0,DEFAULT_CHARSET,
OUT_CHARACTER_PRECIS,CLIP_CHARACTER_PRECIS,DEFAULT_QUALITY,
DEFAULT_PITCH,NULL);
lpLabel->;SetFont(&LabelFont,TRUE);
Fig 1.1.
This is just a simple example. What if you want to change the background color of a toolbar? That's more pain. You need to override OnEraseBackground and get pDC object and so on.
GDI+: A Higher Level API
In Visual Studio .NET, Microsoft has taken care of most of the GDI problems and have made it easy to use. The GDI version of .NET is called GDI+.
GDI+ is next evolution of GDI. It's much better improved and easy to use version of GDI. The best thing about GDI is you don't need to know any details of drivers to render data on printers and monitors. GDI+ takes care of it for you. In other words, GDI was a low-middle level of programming API, where you need to know about devices too, while GDI+ is a higher level of programming model, which provides functions to do work for you.
For example, if you want to set background or foreground color of a control, just set ForeGroundColor property of the control. We'll see this all in more depth later in this tutorial.
Beside the fact that GDI+ API is easier and flexible than GDI, there are many more new features added to the API. Some of the new features GDI+ offers are -
It's hard to cover every thing in this article, but may be in next article of this series, I would cover some of these details.
In this article, first we'll talk about GDI+ classes (also called types in .NET) and interfaces followed by GDI+ objects and then we'll see some sample examples.
In Microsoft .NET library, all classes (types) are grouped in namespaces. A namespace is nothing but a category of similar kind of classes. For example, Forms related classes are stored in Windows.Forms namespace, database related classed are grouped in Data and its sub namespaces such as System.Data.SqlClient, System.Data.OleDb, and System.Data.Common. Similarly, GDI+ classes are grouped under six namespaces, which reside in System.Drawing.dll assembly.
namespace
System.Data.SqlClient
System.Data.OleDb
System.Data.Common
System.Drawing.dll
GDI+ is defined in the Drawing namespace and its five sub namespaces. All drawing code resides in System.Drawing.DLL assembly. These namespaces System.Drawing, System.Drawing.Design, System.Drawing.Printing, System.Drawing.Imaging, System.Drawing.Drawing2D and System.Drawing.Text namespaces.
System.Drawing.DLL
System.Drawing.Design, System.Drawing.Printing, System.Drawing.Imaging, System.Drawing.Drawing2D
System.Drawing.Text
Now let's take a quick overview of these namespaces.
The System.Drawing namespace provides basic GDI+ functionality. If contains the definition of basic classes such as Brush, Pen, Graphics, Bitmap, Font etc. The Graphics class plays a major role in GDI+ and contains methods for drawing to the display device. The following table contains some of the System.Drawing namespace classes, structures and their definition.
System.Drawing
Brush, Pen, Graphics, Bitmap, Font
Classes
Description
Bitmap, Image
Bitmap and image classes.
Brush, Brushes
Brush classes used define objects to fill GDI objects such as rectangles, ellipses, pies, polygons, and paths.
Font, FontFamily
Defines a particular format for text, including font face, size, and style attributes. Not inheritable.
Graphics
Encapsulates a GDI+ drawing surface. Not inheritable.
Pen
Defines an object used to draw lines and curves. Not inheritable.
SolidBrush, TextureBrush,
Defines a brush of a single color. Brushes are used to fill graphics shapes, such as rectangles, ellipses, pies, polygons, and paths. Not inheritable.
Structure
Color
Represents an ARGB color.
Point, PointF
Represents a 2D x- and y-coordinates. Point takes x, y values as a number. You can use PointF if you want to use floating number values.
Rectangle, RectangleF
Represents a rectangle with integer values. A rectangle represents two point pair - top, left and bottom, right. You can use floating values in RectangleF.
Size
Size of a rectangular region with an ordered pair of width and height. Size takes an integer as width and height while SizeF takes floating numbers to represent width and height.
The System.Drawing.Design namespace is somewhat smaller in compare to the System.Drawing. It xtends design-time user interface (UI) logic and drawing functionality and provides classes for customizing toolbox and editor classes. For beginners there is nothing in this namespace. At present (.NET Beta 2) it has two types of classes -
System.Drawing.Design
Editor Classes
BitmapEditor, FontEditor, and ImageEditor are the editor classes. You can use these classes to extend the functionality and provide an option in properties window to edit images and fonts.
BitmapEditor
FontEditor
ImageEditor
ToolBox Classes
ToolBoxItem, ToolBoxItemCollection are two major toolbox classes. By using these classes you can extend the functionality of toolbox and provide the implementation of toolbox items.
ToolBoxItem, ToolBoxItemCollection
This namespace consists classes and enumerations for advanced 2-dimmensional and vector graphics functionality. It contains classes for gradient brushes, matrix and transformation and graphics path. Some of the common classes and enumerations are defined in the following tables -
Class
Blend and ColorBlend
These classes define the blend for gradient brushes. The ColorBlend defines array of colors and position for multi-color gradient.
GraphicsPath
This class represents a set of connected lines and curves.
HatchBrush
A brush with hatch style, a foreground color, and a background color.
LinearGradientBrush
Provides a brush functionality with linear gradient.
Matrix
3x3 matrix represents geometric transformation.
Enumeration
CombineMode
Different clipping types
CompositingQuality
The quality of compositing
DashStyle
The style of dashed lines drawn with a Pen.
HatchStyle
Represents different patterns available for HatchBrush
QualityMode
Specifies the quality of GDI+ objects.
SmoothingMode
This namespace provides advanced GDI+ imaging functionality. It defines classes for metafile images. Other classes are encoder and decoder, which let you use any image format. It also defines a class PropertyItem, which let you store and retrieve information about the image files.
The System.Drawing.Printing namespace defines classes for printing functionality in your applications. Some of its major classes are defines in the following table -
PageSettings
Page settings
PaperSize
Size of a paper.
PreviewPageInfo
Print preview information for a single page.
PrintController
Controls document printing
PrintDocument
Sends output to a printer.
PrinterResolution
Sets resolution of a printer.
PrinterSettings
Printer settings
Even though most of the font's functionality is defined in System.Drawing namespace, this provides advanced typography functionality such as creating collection of fonts. Right now, this class has only three classes - FontCollection, InstalledFontCollection, and PrivateFontCollection. As you can see all of these classes are self-explanatory
The Graphics class is center of all GDI+ classes. After discussing graphics class, I'll discuss some common GDI+ objects and their representation and then we'll see some sample applications to apply this theory in our applications and how it works.
The Graphics class plays a vital role in GDI+. No matter where you go, you go through this class . The Graphics class encapsulates GDI+ drawing surfaces. Before drawing any object (for example circle, or rectangle ) we have to create a surface using Graphics class.
There're different of ways to get a graphics object in your application. You can either get a graphics object on your form's paint event or by overriding OnPaint() method of a form. These both have one argument of type System.Windows.Forms.PaintEventArgs. You call its Graphics member to get the graphics object in your application. For example:
protected overrides sub OnPaint(ByVal e As
System.Windows.Forms.PaintEventArgs)
Dim g As Graphics = e.Graphics
End Sub
Now you've the Graphics object. Now you can do any thing you want. The Graphics class has tons of methods to drawing graphics objects such as fonts, pens, lines, path and polygons, images and ellipse and so on. Some of the graphics class members are described in the following table -
DrawArc
This method draws an arc.
DrawBezier, DrawBeziers, DrawCurve
These methods draw a simple and bazier curves. These curvers can be closed, cubic and so on.
DrawEllipse
Draws an ellipse or circle.
DrawImage
Draws an image.
DrawLine
Draws a line.
DrawPath
Draws the path (lines with GraphicsPath )
DrawPie
Draws the outline of a pie section.
DrawPolygon
Draws the outline of a polygon.
DrawRectangle
Draws the outline of a rectangle.
DrawString
Draws a string.
FillEllipse
Fills the interior of an ellipse defined by a bounding rectangle.
FillPath
Fills the interior of a path.
FillPie
Fills the interior of a pie section.
FillPolygon
Fills the interior of a polygon defined by an array of points.
FillRectangle
Fills the interior of a rectangle with a Brush
FillRectangles
Fills the interiors of a series of rectangles with a Brush
FillRegion
Fills the interior of a Region.
Now say, if you want to draw an ellipse using the same method we've described above, you override OnPaint method and write the following code -
protected overrides sub OnPaint(ByVal e As
System.Windows.Forms.PaintEventArgs)
Dim g As Graphics = e.Graphics
Dim pn As Pen = New Pen(Color.Green, 10)
g.DrawLine(pn, 100, 10, 30, 10)
g.DrawEllipse(New Pen(Color.Red, 20), 20, 40, 20, 20)
End Sub
That will draw a ellipse. Before we see more samples, let's discuss some GDI+ objects.
The graphics objects are the objects, which you use to draw your GDI+ items such as images, lines, rectangles, and path. For example, to fill a rectangle with a color, you need a color object and type of style you want to fill such as solid, texture and so on.
There are four common GDI+ objects, which you'll be using throughout your GDI+ life to fill GDI+ items. The major objects are:
Brush
Used to fill enclosed surfaces with patterns, colors, or bitmaps.
Used to draw lines and polygons, including rectangles, arcs, and pies
Font
Used to describe the font to be used to render text
Used to describe the color used to render a particular object. In GDI+ color can be alpha blended
In GDI+, each of these object is represented by a class (also called type). Sub New(Color)
Initializes a new instance of the Pen class with the specified Brush.
Public Sub New(Brush)
Initializes a new instance of the Pen class with the specified Brush and width.
Public Sub New(Brush, Single)
Initializes a new instance of the Pen class with the
Dim pn as Pen = new Pen( Color.Blue )
or
Dim pn as Pen = new Pen( Color.Blue, 100 )
specified Color and Width.
Public Sub New(Color, Single)
Here is one example:
Some of its most commonly used properties are:
Alignment
Gets or sets the alignment for objects drawn with this Pen.
Gets or sets the Brush that determines attributes of this Pen.
Gets or sets the color of this Pen.
Width
Gets or sets the width of this Pen.
A Color structure represents an ARGB color. Here are ARGB properties of it:
A
Gets the alpha component value for this Color.
B
Gets the blue component value for this Color.. | http://www.codeproject.com/Articles/4659/Introduction-to-GDI-in-NET | CC-MAIN-2014-41 | refinedweb | 2,119 | 58.28 |
Please confirm that you want to add Mastering DNS on Windows Server 2012 R2 to your Wishlist.
What is this course about?
DNS or Domain Naming System is a mechanism for name resolution which is used worldwide in almost every type of networking environment. In this course I’ll be covering basic fundamentals of DNS and Name resolution. Gradually we’ll progress through advanced configuration of DNS and we’ll see how DNS can be integrated with Active Directory Directory Service or AD DS. Proper designing the DNS infrastructure can solve most of the name resolution and security issue. You’ll learn how to secure the DNS and implement it for internal and external namespace. At last we’ll walk-through some troubleshooting tools to identify and troubleshoot name resolution issues.
What kind of materials are used?
I’ve designed this course using Microsoft Official Curriculum (MOC), so this course will also prepare you for MS exam 70-411 as DNS is one of the topic covered in the exam. Training will be done through videos where you’ll find lectures and hands-on. I’ve also provided some hands-on and exercises based on real world scenario as supplementary materials.
What is the structure of the course?
Course is divided into five sections, I’ll be starting from basic fundamentals of DNS and gradually moving toward core or advance configuration of DNS. Every lectures includes step by step hands-on.
Why take this Course?
There are many reasons to take this course.
You have completed a section of this course, lets see what you got! You'll be given multiple choice questions as is asked in real Microsoft exam. Only one answer will be correct. If you fail to pass the quiz I'd recommend you to go through the section once again.
All the Best!!
By this time you must have learned 80% of DNS topics, lets see where you stand? You have been given a scenario and choose the best possible answer to this question.
Each option has a comment why its not a correct answer or why its a correct answer, still if you not feel confident, then I'd suggest to go through the related lecture or section or post your query in Q&A section of this course. I'd be happy to help.
All the BEST!!
Himanshu is a Consultant, primarily focused on Windows Active Directory, PKI, ADFS, SCCM, Virtualization and Microsoft Azure. He's been in this industry for past 10 years and worked on various projects for various clients.
He has worked as a corporate trainer in one of the best offshore training provider and delivered corporate trainings on various Microsoft certifications to students all over the globe.
In free time he writes on Technetlibrary, a blog helping out professionals with real world issues on windows servers, PKI and cloud computing. | https://www.udemy.com/mastering-dns-on-windows-server-2012-r2/ | CC-MAIN-2017-13 | refinedweb | 480 | 64.91 |
On Fri, 27 Aug 2010 14:02:45 -0500 Anthony Liguori <address@hidden> wrote: > On 08/27/2010 11:08 AM, Luiz Capitulino wrote: > >> It's trying to plug a sieve with a band-aid. It's certainly an > >> "improvement" but it's of question utility looking at the bigger picture. > >> > > Are you talking about the testing namespace idea? It doesn't have anything > > to do with balloon or how our interfaces are built. It would be just a way > > to play with commands that has been converted to QMP but are not available > > because they're not stable yet (eg. Jan's device_show). > > > > My point is that we shouldn't build any QMP APIs and we definitely > shouldn't try to QMP-ize monitor commands. > > Instead, we should design logical C APIs that we could consume within > QEMU that we think we can support long term and then expose those over QMP. Comments on the Python comment below. > Having a sandbox doesn't really solve the fundamental problem of making > sure the interface is consumable. It doesn't and it shouldn't. It's just a way to test commands that might not be stable yet. A very minor feature, anyway. > >> Balloon is a perfect example of where what we really need to do is build > >> interface interfaces that make sense, and then expose them in QMP. > >> > > Main question is: can we drop the stats the way they are today to do the > > Right Thing for 0.14 or not? > > > > I don't see how 0.13.0 is going to get releases with anything but the > current behavior. It's unfortunate but we're too delayed and can't > afford a change like this this late in the game. > > In terms of the stable branch, the least disruptive thing would be a > timeout. Okay. > > I think we have agreed on the internal interfaces approach. My only > > concern is whether this will conflict when extending the wire protocol > > (eg. adding new arguments to existing commands). Not a problem if the > > C API is not stable, of course. > > > > We don't do that. It's a recipe for disaster. QEMU isn't written in > Python and if we try to module our interfaces are if we were a Python > library, we're destined to fail. You mean we don't do simple protocol extensions? So, if we need an new argument to an existing command, we add a new command instead? Just because QEMU is not written in Python? > >> What's a reasonable C-level API to query statistics that potentially may > >> never return? Building in a timeout is something of a crappy API > >> because it puts policy deep in the API that is trivial to implement > >> elsewhere. What you'd probably do is something like: > >> > >> BalloonStatsRequest *query_guest_balloon_stats(CompletionCallback *cb, > >> void *opaque); > >> int cancel_guest_balloon_stats(BalloonStatsRequest *req); > >> > > Shouldn't the API provide a general cancel method? All functions that > > talk to the guest will need one. > > > > See next proposal. There's no cancel but I'd argue it's not needed. > You don't care if the request succeeds or fails so there's no point in > cancelling it. Cancellation only works best when a request has a > discrete life cycle but in the case of requesting a guest to update > stats, there is not really a well define dstart and end. > > Regards, > > Anthony Liguori > > >> void release_guest_balloon_stats(BalloonStatsRequest *req); > >> > >> Regards, > >> > >> Anthony Liguori > >> > >> > >>>> > >>>> > >>>>> Beyond fixing that regression, I agree that this command is terminally > >>>>> flawed& we need to deprecate it& provide better specified new > >>>>> replacement(s). This seems like 0.14 work to me though. > >>>>> > >>>>> > >>>> Yup. > >>>> > >>>> > >>>> > >>>>> Regards, > >>>>> Daniel > >>>>> > >>>>> [1] I know that they could already suffer if there was a bug in qemu > >>>>> that prevented it responding, even if the guest was not being > >>>>> malicious/crashed. > >>>>> > >>>>> > >>>> > >>>> > >>> > >>> > >> > > > | http://lists.gnu.org/archive/html/qemu-devel/2010-08/msg01533.html | CC-MAIN-2017-30 | refinedweb | 634 | 73.88 |
Answered by:
LocationManager OnLocationChanged don't fired
Question
- User123835 posted
Hello guys, I have this problem, I have an Activity with the following code:
public class CreateProperty : Activity, ILocationListenerIoseTuesday, June 2, 2015 11:58 PM
Answers
- User25759 posted
You could use my Geolocator plugin to call from shared code:
Also the code is here:
Also did you set your permissions correct?Thursday, June 4, 2015 4:12 AM
All replies
- User129255 posted
I think you need to set minTime and minDistance params higher than 0.Wednesday, June 3, 2015 6:08 AM
- User123835 posted
I don't think that this were the problem really, because i was debugged and the method OnLocationChanged is not fired never...Wednesday, June 3, 2015 11:44 PM
- User25759 posted
You could use my Geolocator plugin to call from shared code:
Also the code is here:
Also did you set your permissions correct?Thursday, June 4, 2015 4:12 AM
- User123835 posted
Thanks you very much @JamesMontemagno it is very nice from you give us this code to people that were started now. It work perfectly.Thursday, June 4, 2015 10:46 PM | https://social.msdn.microsoft.com/Forums/en-US/a772f112-bc3a-4693-becc-6e579c6a6a7b/locationmanager-onlocationchanged-dont-fired?forum=xamarinandroid | CC-MAIN-2021-43 | refinedweb | 188 | 54.56 |
Essay talk:Social Effects of the Theory of Evolution
Contents
A Few Things to Look Into[edit]
I don't have the sources for any of this, but here's a few things I remember from studying these topics in history class:
1. It's interesting to note that Darwin himself was influenced by Thomas Malthus who was a Capitalist, not a Communist. Indeed, many have accused certain capitalists of being "social Darwinists" but Malthus's writings came before Darwin. I'm pretty sure I've heard this more than once.
2. I remember the science historian James Burke making the assertion that Karl Marx claimed, after having written his theses on class struggle, that the theory of evolution supported what his assertions (I don't have the tape of that "connections" episode with me, so I can't cite it). However, James Burke claimed that "Darwinism" had been used to support all 20th Century ideologies (Communism, Capitalism,and "Racial hygiene"). Interesting Conservapedia never cites "Connections," probably it's not the kind of thing many religious conservatives watch. It's too subtle and complicated perhaps. O.K. so I'm stereotyping, but some of these people seem to think "Liberals" only read Harry Potter and The Da Vinchi Code.
3. According to Wikipedia (which is not the final word for refuting Conservapedia)the Soviets rejected what scientists currently believe about evolution in favor of Lysenkoism[1] which, in my view, was really just Lamarkianism under a different guise.
Hey, at least I admit I'm not sure. I'm a college student with too much else going on. Yet as I said, these are things to look into. — Unsigned, by: 64.147.210.162 / talk / contribs
In fact, I pointed out on CPs Theory of Evolution talk page that the logic used to attack evolution on the (supposed) basis of its having influenced Nazism and Communism could be used to attack Christianity on the basis of it having been used to justify slavery and racism. Since my bannning, I noticed my remarks were taken down.Alloco1 18:17, 24 March 2008 (EDT)
Redlinks[edit]
This essay contains a number of redlinks, some to articles that are on CP but not RW. Would it be ok to de wikify the CP links? Further on your side of the page in section 7 there is a redlink that goes to theistic evolution and I am not sure why you put that in. I.e. I am not sure what relevance TE has to your particular argument in this case. We will probably write a TE article at some stage, and it would be nice if your essay was enhanced by that article, but as it stands I'm not sure how that will actually occur. Thoughts? --Remarcsd 06:11, 7 October 2007 (EDT)
Cover Story nomination[edit]
Please do not archive this section
I'd like to nominate this for cover story status.--Bayesupdate 14:14, 29 January 2008 (EST)
I like it... for the obvious reasons... but if it's going to be frontpage material I'd like to scrub my name for it... I don't think anyone person should appear to be the face of the site, so while essays should definitely be frontpage candidates, perhaps they should be scrubbed of individuality, given the author's consent to the same?-αmεσ (spy) 17:49, 29 January 2008 (EST)
- OK, well, "noincluding" the essay template gets rid of that mention (I think I already did that), so all you have to do is alter that first section slightly, right? Except for not naming them on the front page, I see no problem with the "individuality" that occurs all over this site. Or pointing out that some of our editors have written well-regarded "solo" pieces. human
18:33, 29 January 2008 (EST)
- I don't really see a problem with that, either, since the cover stories are rotating. --AKjeldsenGodspeed! 19:50, 29 January 2008 (EST)
- Great article Ames, but I think we should throw it open for more editing, no? I say not until it's less of a singular opinion. DogP 21:25, 2 April 2008 (EDT)
- Human seems to think it's okay to put essays on the front page, and he's brought me around to him. But I'd be happy to move it to mainspace if people wanted edits. But I guess the real question is whether essays should be frontpaged.-αmεσ (spy) 21:31, 2 April 2008 (EDT)
- I'm ok either way. Covering it might encourage others to create good essays worthy of the honor. Or, I can see Dog's point of not wanting "first person" writing on the main page. As far as the more general cover story/essay thing - why not? It shows, strongly, that our individual editors also create works on their own here, and that some can end up being "featured". Perhaps we need more discussion on that issue first. human
21:35, 2 April 2008 (EDT)
- Since it is about a CP article anyways, if the name is scrubbed, shall we simply move it to CP namespace while we are at it? Not that I have a problem with the name on it, but perhaps let others participate as well by releasing it (mostly due to the updates in the CP article itself)? K61824I am STILL single 23:10, 21 May 2009 (UTC)
Conservapedia attempts to discredit Evolution by claiming it influenced Hitler. By the same reasoning, one should also blame Gregor Mendel, since the whole modern theory of heredity basically starts with him. But no, they won't go there because Mendel was a Christian, a Catholic monk, no less! — Unsigned, by: Alloco1 / talk / contribs
Hitler was a Christian first[edit]
Leaders in Christianity had been enslaving and killing blacks and other "inferior" races for CENTURIES before Hitler came along. They tried many times to kill off the Jews, homosexuals, Muslims, and even had a special penchant for killing other Christians who disagreed with them on exactly what the Bible says God said. Atheists, Agnostics, Freethinkers, etc. didn't stand a bloody chance in hell of surviving those 1500 years of slaughter brought by Christian Europe unless they kept their mouths shut.
Hitler was a Christian, first and foremost, who simply seized any opportunity he could to prop up the continued Christian answer to the Jewish problem (i.e. kill them all). Dragging along Evolution was just adding another tool in his mind but he certainly didn't replace Christ Insanity with it.
— Unsigned, by: Kajabla / talk / contribs 02:23, 14 January 2010 (UTC)
Namespace[edit]
Is there a reason this is in essay space rather than Conservapedia space? Frostbyte (talk) 19:44, 31 May 2014 (UTC)
- Because it's a personal essay rather than a collaborative article. ΨΣΔξΣΓΩΙÐ
Methinks it is a Weasel 19:51, 31 May 2014 (UTC) | https://rationalwiki.org/wiki/Essay_talk:Social_Effects_of_the_Theory_of_Evolution | CC-MAIN-2019-47 | refinedweb | 1,154 | 60.14 |
In addition to what’s in Anaconda, this lecture will deploy quantecon:
!pip install --upgrade quantecon
import quantecon as qe import numpy as np import matplotlib.pyplot as plt %matplotlib inline [Bar79] model along lines he suggested in Barro (1999 [Bar99], 2003 [BM03]).
Barro (1979) [Bar79] distortions.
Barro’s model can be mapped into a discounted linear quadratic dynamic programming problem.
Partly inspired by Barro (1999) [Bar99] and Barro (2003) [BM03], our generalizations of Barro’s (1979) [Bar79] model that define
As described in Markov Jump LQ dynamic programming, the idea underlying Markov jump linear quadratic dynamic programming is to replace the constant matrices defining a linear quadratic dynamic programming problem with matrices that are fixed functions of an $ N $ state Markov chain.
For infinite horizon problems, this leads to $ N $ interrelated matrix Riccati equations that pin down $ N $ value functions and $ N $ linear decision rules, applying to the $ N $ Markov states.
Public Finance Questions¶
Barro’s 1979 [Bar79] [Bar99] and 2003 [BM03]) [Bar79], the stochastic process of government expenditures is exogenous.
The government’s problem is to choose a plan for taxation and borrowing $ \{b_{t+1}, T_t\}_{t=0}^\infty $ to minimize$$ E_0 \sum_{t=0}^\infty \beta^t T_t^2 $$
subject to the constraints$$ T_t + p_{t,t+1} b_{t,t+1} = G_t + b_{t-1,t} $$$$ G_t = U_{g} z_t $$$$ z_{t+1} = A_{22} z_t + C_ $.
To begin, we assume that $ p_{t,t+1} $ is constant (and equal to $ \beta $)
- later we will extend the model to allow $ p_{t,t+1} $ to vary over time
To map into the LQ framework, M = np.array([[.
Because $ mathematical expectation of $ T_{t+1} $ conditional on time $ t $ information is$$ E_t T_{t+1} = (S-MF)(A-BF)x_t $$
Consequently, taxation is a martingale ($ E_t T_{t+1} = T_t $) if$$ (S-MF)(A-BF) = (S-MF) , $$
which holds in this case:
S - M @ F, (S - M @ F) @ (A - B @ F)
(array([[ 0.05000002, 19.79166502, 0.2083334 ]]), array([[ 0.05000002, 19.79166504, 0.2083334 ]]))
This explains the fanning out of the conditional empirical distribution of taxation across time, computing by simulation the Barro model a large number of times:
T = 500.
T = 500 for i in range(250): x, u, w = LQBarro.compute_sequence(x0, ts_length=T) plt.plot(list(range(T+1)), x[0, :]) plt.xlabel('Time') plt.ylabel('Govt Debt') a coupled system of matrix Riccati difference equations.
Optimal $ P_s,F_s,d_s $ are stored as attributes.
The class also contains a “method” for simulating the model.
Barro Model with a Time-varying Interest Rate¶ lqm = qe.LQMarkov(Π, Qs, Rs, As, Bs, Cs=Cs, Ns=Ws, beta=β) lqm.stationary_values();
The decision rules are now dependent on the Markov state:
lqm.Fs[0]
array([[-0.98437712, 19.20516427, -0.8314215 ]])
lqm.Fs[1]
array([[-1.01434301, 21.5847983 , -0.83851116]])
Simulating a large number of such economies over time reveals interesting dynamics.
Debt tends to stay low and stable but recurrently surges.
T = 2000 x0 = np.array([[1000, 1, 25]]) for i in range(250): x, u, w, s = lqm.compute_sequence(x0, ts_length=T) plt.plot(list(range(T+1)), x[0, :]) plt.xlabel('Time') plt.ylabel('Govt Debt') plt.show() | https://python-advanced.quantecon.org/tax_smoothing_1.html | CC-MAIN-2020-40 | refinedweb | 538 | 56.45 |
(also posted to freebsd-stable) I am starting work on on cache_lookup() and related functions now in DragonFly. I expect it will take at least the week to get a prototype working and I believe the resulting patch set will be fairly easy to port to FreeBSD. The first step I am taking is to make the namecache more persistent. *ALL* active vnodes accessed via lookup() will be guarenteed to have a namecache entry. I have successfully booted a test system with this change, though I am sure there are bugs :-). I am not entirely sure what to do about the filehandle functions but I am not going to worry about it for the moment. What this basically means is that vnodes cannot be recycled in the 'middle' of the topology, only at the leafs. This does not present a big problem since files are always leafs. The namecache topology will be guarenteed to remain unbroken except in cases where the namespace is deleted (e.g. removing a file with active descriptors). The second step will be to use a namecache structural pointer for our 'directory handle' in all places in the system where a directory handle is expected (e.g. 'dvp'). This will also involve getting rid of the vnode-based parent directory support (v_dd). Since the namecache structure has a pointer to the vnode this is a pretty easy step. A little harder will be to fix all the directory scanning functions to use the namecache topology instead of the vnode topology. The third step will be to use the namecache for all name-based locking operations instead of the underlying vnodes. For example, if you are renaming a/b to c/d you only need to hold locks on the namecache entry representing "b" and the one representing "d" prior to executing the rename operation. The one representing "d" will be a negative cache entry, placemarking the operation. This will not only completely solve the locking issues with rename(), remove(), and create, it also completely solves directory recursion stalls in both directions, completely solves the race to root issue, solves most of the directory lookup stalls (cache case lookups will not need a vnode lock and can run in parallel with directory operations that do need the vnode lock), gets rid of all name-related deadlock situations, and potentially allows modifying directory operations to become reentrant down the line. The fourth step will be a *BIG* Carrot... the namecache topology does not have a problem with vnodes appearing in multiple places in the filesystem. This means that (A) it will be possible to hardlink directories and (B) it will be possible to implement semi-hard links, basically softlinks that *look* like hardlinks and (C) to be able to CD forwards and backwards without the system getting confused about paths. In other words, some way cool shit. Additional optimizations are possible for the future. For example, it will be possible to cache ucred pointers in the namecache structure and thus allow namei() to *COMPLETELY* resolve a path without making any VOP calls at all, which will at least double and probably quadruple best case path lookup performance. I'll post an update after step 3, probably near the end of the week or on the weekend. I expect people will start screaming for Step 4 now that they know it is possible :-) -Matt Matthew Dillon <dillon@xxxxxxxxxxxxx> | https://www.dragonflybsd.org/mailarchive/kernel/2003-09/msg00081.html | CC-MAIN-2017-22 | refinedweb | 569 | 58.11 |
v2.0 vs v2.1 : hard crash using "reserved" var names ?
Hi there,
Going forward to 2.1 from 2.0, I have a bunch of "hard crashes" (direct go back to ios, no error, no message) when using certain var names in my scripts (working on 2.0)
I had tracked the issue and discovered that vars names like "self.target" in scene produce 100% the crash, but using "self.Target" works.
It's probably a deep exception.
Any fix possible ?
Thanks
More info, going deeper in my searches :
- It looks like to crash only if files had been created with 2.0 using the Game/Animation template. If the file is created with 2.1 with the template it works.
- If the file is edited using Sublime Text on Mac, it works after transfer (via drop box) on iPhone
It looks like a text formatting issue...
Here is the code (but should probably not produce the crash because of text copy/past from the .py file to this page):
#This guy produces an hard crash on v2.1 from scene import * import sound import random import math #import photos class MyScene (Scene): def setup(self): self.background_color = '#ffffff' self.target = SpriteNode('iob:ionic_256') self.add_child(self.target) pass def did_change_size(self): pass def update(self): pass def touch_began(self, touch): pass def touch_moved(self, touch): pass def touch_ended(self, touch): pass if __name__ == '__main__': run(MyScene(), PORTRAIT, show_fps=True)
Do other people are facing this ?
Thanks
and at least : after verification ,code copied from this page produces the crash too.
Minimal example that also crashes 2.1:
import scene class MyScene(scene.Scene): def setup(self): self.target = scene.SpriteNode('iob:alert_circled_256', parent=self) if __name__ == '__main__': scene.run(MyScene(), show_fps=False)
I've created an issue in the new bugtracker for this:.
It seems like this is a problem with some of the built-in image collections being compressed too aggressively in 2.1, which apparently leads to issues with loading OpenGL textures. I'm not exactly sure why this is, but the problem seems to go away entirely when I replace the image collections in 2.1 with those from 3.0 – the content is the same, but the size of the app will go up very slightly as a result of the fix.
I haven't always been able to reproduce the crash; it sometimes worked, and when it worked, it usually did until restarting the app (as loaded images/textures are cached). So I think the initial suspicion about certain variable names or text formatting issues might have been a red herring. | https://forum.omz-software.com/topic/3233/v2-0-vs-v2-1-hard-crash-using-reserved-var-names | CC-MAIN-2017-34 | refinedweb | 438 | 67.96 |
I'm really scratching my head on this one. I've been using SimpleDateFormats with no troubles for a while, but now, using a SimpleDateFormat to parse dates is (only sometimes) just plain ...
SimpleDateFormat
the error occur near the parsing of proj_close_date.( java.text.ParseException: Unparseable date: "09/09/2010" )
i am reading project_close_date value from database which is in string format. i want convert it in ...
SimpleDateFormat.parse() accepts the date 003/1/2011 when the format is MM/dd/yyyy. Trying with code below:
SimpleDateFormat.parse()
003/1/2011
MM/dd/yyyy
SimpleDateFormat sdf = new SimpleDateFormat("MM/dd/yyyy");
sdf.setLenient(false);
Date dt2;
try
{
dt2 = sdf.parse(_datemmddyyyy);
}
catch (ParseException e)
{
return ...
I'm doing some simple validation using SimpleDateFormat, it works fine, except one thing:
When value like '3/31/09 10:04 AM()(&^%%^$' is passed to it no ParseException is thrown. It simply ignores that ...
I am using Joda to parse dates and have a format where leading zeros are not used, e.g.:
Mon Nov 20 14:40:36 2006
Mon Nov 6 14:40:36 2006
I am using this code to parse a Date.
SimpleDateFormat formatter = new SimpleDateFormat("MM/dd/yyyy");
SimpleDateFormat formatterParse = new SimpleDateFormat("yyyy-MM-dd");
String s = formatter.format(formatterParse.parse(m.get("lastModifiedDate")));
I'm trying to parse a date string I got out of a website in Java using the SimpleDateFormat class, but something goes wrong and I can't figure out why.
The date strings ...
I'm trying to reject the parsing (through SimpleDateFormat::parse) of "18:00" from the date format HH. Is there an way to get this to happen without extra code? Does the date format ...
Dfault TimeZone GMT-3.00.
I am parsing new Date("1900/01/01").toString using the parse method of SimpleDateFormat.
The Result i get is
Sun Dec 31 23:15:16 UYT 1899
instead of
Mon Jan 01 00:00:00 ...
Background:
In my database table, I have two timestamps
timeStamp1 = 2011-08-23 14:57:26.662
timeStamp2 = 2011-08-23 14:57:26.9
Hi All, I am trying to use SimpleDateFormat to format the date, as in the following code. import java.util.Date; import java.text.SimpleDateFormat; public class DateFormatTest { public static void main(String arg[]){ String strDate = new String("2003/10/14"); String datePattern = "dd-MMM-yyyy"; SimpleDateFormat inDateFormat = new SimpleDateFormat("yyyy/mm/dd"); try{ Date theDate = inDateFormat.parse(strDate); System.out.println("Unformatted Date : "+theDate); inDateFormat.applyPattern(datePattern); System.out.println("Formatted Date : "+inDateFormat.format(theDate)); }catch(Exception dateParseExp){ dateParseExp.printStackTrace(); ...
Hi, I tried to parse the date using SimpleDateFormat DateFormat df = new SimpleDateFormat("d MMM yyyy hh:mm"); i get the date from database using resultset.getstring()method and the date (String) is String strEndDate = "2006-08-14 03:57:00.0" now i parse it as Date expiryDate = df.parse(strEndDate); but i get the exception : java.text.ParseException: Unparseable date: "2006-08-14 03:57:00.0"... i need the date in the ...
Hi, I am having a problem with the parse method in SimpleDateFormat. I would expect the code below to catch a ParseException since the String textToParse is not a valid date. However, an exception is not thrown and a Date is returned. I would like to use this code to validate user input. Any suggestions? Thanks! String textToParse = "01/02/200v"; Date ...
Hi, Parse method of SimpleDateFormat is not giving any exception when wrong month say(20) passed to it. I am not able to find any way get the exception if wrong month is passed to it. SimpleDateFormat format = new SimpleDateFormat( "MM_dd_yyyy_HH_mm_ss" ); ParsePosition pos= new ParsePosition(0); format.parse("20_12_2007_05_23_13",pos); // month is passed as 20 System.out.println("After parsing error index:"+pos.getErrorIndex()); System.out.println(" Parse index:"+pos.getIndex()); This ...
The API documentation for SimpleDateFormat says exactly what parsing will accept as a time-zone when the "Z" character is used in the format string. I don't see where it says it will accept a "Z" as a time-zone. And it doesn't mention accepting colons either. So I would say the class is working according to its published specifications.
Dfault TimeZone GMT-3.00. I am parsing new Date("1900/01/01").toString using the parse method of SimpleDateFormat. The Result i get is Sun Dec 31 23:15:16 UYT 1899 instead of Mon Jan 01 00:00:00 UYT 1900 I can't understand why is the result different. PS: If i change the TimeZone to GMT +5.30 the result is as expected.
Hi All, I am creating a date "12142007 14:30" by parsing this string with the SimpleDateFormat object. However, when I convert it back to string and ask it to spit it out it gives me a completely different date of "Sun Jun 14 14:00:00 CDT 2009". Am I missing something here ? Not sure if i have to put something in ...
/** Checks if the selected value is part of an allowed date value, * or whether the input is invalid. * * @param selectedValue I User text in the text field. * @return INVALID_VALUE if user entered something invalid, * INCOMPLETE_VALUE if potentially valid text, * ALLOWED_VALUE if complete calendar value */
The interesting thing is that the time as mentioned earlier is staying the same, since this morning I get 9:21. Even more so, when I parse "1800-01-01T00:00:00-0000", I get "Wed Jan 01 01:00:00 CET 1800". A different time, but wrong again. The app is running on Tomcat 6.0.24, and I tried it with both 1.5.0_07 and 1.6.0_20.
If this is happening in a web server application, you should be aware of the documented fact that SimpleDateFormat isn't thread-safe. So declaring it as a class-level variable exposes you to that problem. Create a new SimpleDateFormat object each time you need one and only assign it to a local variable within the method.
The date formatter doesn't feel the need to parse all the characters you give it. If it reads an acceptable date it will ignore any garbage following. The Formatter objects in java.text seem to have been designed to parse a string with multiple elements, dates, numbers, etc., each taking it's own chunk. You'll find the same with the NumberFormat objects. Also, ...
I am using FC 4 and jdk-1.5.06 Recently, I use FTPClient.listFile() provided in common-net-1.4.1 to list the file/directory in FTP server. When the timestamp of the file/directory falls into "Feb 29 00:00" to "Feb 29 23:59", FTPFile object in the returned list is "null". And, I found that SimpleDateFormat.parse() returned "null" when passing this timestamp into this function so that FTPFile ...
I am using SimpleDateFormat to both format and parse date strings. The format is working properly, but parse results in the following exception: java.text.ParseException: Unparseable date: "2007-08-31T12:05:05.651-0700" at java.text.DateFormat.parse(Unknown Source) Here is my code: SimpleDateFormat dateFormatter = new SimpleDateFormat("yyyy-MM-dd'T'kk:mm:ss.SZ"); String dateTime = dateFormatter.format(new Date()); Date test = dateFormatter.parse(dateTime); For testing purposes, I am formatting a date string, and then passing it ...
Yeah, simple mistake, but DD is Day in Year, so of course 15 would parse to Jan 15th. I'm not sure why it retains that date, unless the parsing is done from right to left. It seems as tho the first part would set the day to Jan 15, but then the MM part would set the month to nov. I ... | http://www.java2s.com/Questions_And_Answers/Java-Data-Type/SimpleDateFormat/parse.htm | CC-MAIN-2018-17 | refinedweb | 1,286 | 60.31 |
Created on 2012-05-31 22:42 by yfdyh000, last changed 2012-06-01 21:12 by haypo.
Before I use the Python 2.7.2 on Windows XP, today I tried to upgrade to the Python 2.7.3, but encountered a problem.
When running any .py file encountered "import unicodedata" or directly run the command always returns:
Traceback (most recent call last):
......
import unicodedata
ImportError: DLL load failed: 找不到指定的程序。
"找不到指定的程序" corresponding English is "Cannot find the specified program".
I unable provide more information because I am only a user rather than developer.
After that, I manually delete "C:\Python27\DLLs\unicodedata.pyd" file (this step must be, otherwise no effect), then reinstall (Repair) Python 2.7.2 the problem disappeared.
I do not believe that this is a problem in Python. Instead, it appears that your Python installation got corrupted somehow.
I recommend to run a virus scanner.
I compared downloaded python-2.7.3.msi file, it is consistent with the website published "MD5 checksums and sizes", and this time I disabled avast 7 and then reinstall Python 2.7.3, but this error still occurs.
After I installed Python 2.7.3 the MD5 signature of the C:\Python27\DLLs\unicodedata.pyd file is: AD7DFE789B1256F039406B640ACD9C0D
I have not found that I had any operational errors.
I've had the same problem on a Win64 install of EPD 7.3 (Python 2.7.3). This was after installing over the top of a 2.7.2 install. Properly removing and re-installing from clean fixed the problem. | http://bugs.python.org/issue14975 | CC-MAIN-2014-52 | refinedweb | 260 | 70.39 |
Exploring the Java String Tokenizer
String tokenization is a process where a string is broken into several parts. Each part is called a token. For example, if "I am going" is a string, the discrete parts—such as "I", "am", and "going"—are the tokens. Java provides ready classes and methods to implement the tokenization process. They are quite handy to convey a specific semantics or contextual meaning to several individual parts of a string. This is particularly useful for text processing where you need to break a string into several parts and use each part as an element for individual processing. In a nutshell, tokenization is useful in any situation where you need to disorganize a string into individual parts; something to achieve with the part for the whole and whole for the part concept. This article provides information for a comprehensive understanding of the background concepts and its implementation in Java.
String Tokenization with StringTokenizer
A token or an individual element of a string can be filtered during infusion, meaning we can define the semantics of a token when extracting discrete elements from a string. For example, in a string say, "Hi! I am good. How about you?", sometimes we may need to treat each word as a token or, at other times a set of words collectively as a token. So, a token basically is a flexible term and does not necessarily meant to be an atomic part, although it may be atomic according to the discretion of the context. For example, the keywords of a language are atomic according to the lexical analysis of the language, but they may typically be non-atomic and convey different meaning under a different context.
org.mano.example; import java.util.StringTokenizer; public class Main { public static void main(String[] args) { StringTokenizer st1 = new StringTokenizer("Hi! I am good. How about you?"); for (int i = 1; st1.hasMoreTokens(); i++) System.out.println("Token "+i+": "+st1.nextToken()); } }
The tokens are:
Token 1: Hi! Token 2: I Token 3: am Token 4: good. Token 5: How Token 6: about Token 7: you?
Now, if we change the code to the following:
StringTokenizer st1 = new StringTokenizer("Hi! I am good. How about you?", ".");
The tokens are:
Token 1: Hi! I am good Token 2: How about you?
Observe that the StringTokenizer class contains three constructors, as follows: (refer to the Java API Documentation)
- StringTokenizer(String str)
- StringTokenizer(String str, String delim)
- StringTokenizer(String str, String delim, boolean returnDelims)
when we create a StringTokenizer object with the second constructor, we can define a delimiter to split the tokens as per our need. If we do not provide any, space is taken as a default delimiter. In the preceding example, we have used "." (dot/stop character) as a delimiter. Note that the delimiting character itself is not taken into account as a token. It is simply used as a token separator without itself being a part of the token. This can be seen when the tokens are printed in the example code above; observe that "." is not printed.
So, in a situation where we want to control whether to count the delimited character also as a token or not, we may use the third constructor. This constructor takes a boolean argument to enable/disable the delimited character as a part of the token. We also can provide a delimiting character later while extracting tokens with the nextToken(String delim) method.
We may also use delimited character as " \n\r\t\f" to mean space, newline, carriage return, and line-feed character, respectively.
Accessing individual tokens is no big deal. StringTokenizer contains six methods to cover the tokens.
They are quite simple. Refer to the Java API Documentation for details about each of them.
String Tokenization with the split Method
The split method defined in the String class is more versatile in the tokenization process. Here, we can use Regular Expression to break up strings into basic tokens.
According to the Java API Documentation:
"StringTokenizer is a legacy class that is retained for compatibility reasons although its use is discouraged in new code. It is recommended that anyone seeking this functionality use the split method of String or the java.util.regex package instead."
The preceding example with StringTokenizer can be rewritten with the string split method as follows:
package org.mano.example; public class Main { public static void main(String[] args) { String[] tokens="Hi! I am good. How about you?".split("\\s"); for (int i = 0; i<tokens.length; i++) System.out.println("Token "+(i+1)+": "+tokens[i]); } }
Output:
Token 1: Hi! Token 2: I Token 3: am Token 4: good. Token 5: How Token 6: about Token 7: you?
package org.mano.example; public class Main { public static void main(String[] args) { String[] tokens="Hi! I am good. How about you?".split("\\."); for (int i = 0; i<tokens.length; i++) System.out.println("Token "+(i+1)+": "+tokens[i]); } }
Output:
Token 1: Hi! I am good Token 2: How about you?
To extract the numeric value from the string below, we may change the code as follows with regular expression.
String[] tokens="Hi! I am good. 24234y45 64 How 64565 645 about you?".split("[^0-9]+");
String Tokenization with Regular Expression
As we can see, the strength of the split method of the String class is in its ability to use Regular Expression. We can use wild cards and quantifiers to match a particular pattern in a Regular Expression. This pattern then can be used as the delimitation basis of token extraction.
Java has a dedicated package, called java.util.regex, to deal with Regular Expression. This package consists of two classes, Matcher and Pattern, an interface MatchResult, and an exception called PatternSyntaxException.
Regular Expression is quite an extensive topic in itself. Let's not deal with is here; instead, let's focus only on the tokenization preliminary through the Matcher and Pattern classes. These classes provide supreme flexibility in the process of tokenization with a complexity to become a topic in itself. A pattern object represents a compiled regular expression that is used by the Matcher object to perform three functions, such as:
- Match input string against the pattern.
- Match input string, starting at the beginning against the pattern.
- Scan and look out for the next subsequence that matches the pattern.
For tokenization, the Matcher and Pattern classes may be used as follows:
package org.mano.example; import java.util.regex.Matcher; import java.util.regex.Pattern; public class Main { public static void main(String[] args) { String s="Hi! I am good. How about you?"; Pattern pattern = Pattern.compile("[\\w]+."); Matcher matcher = pattern.matcher(s); for(int i=1; matcher.find();i++) System.out.println("Token "+i+": " + matcher.group()); } }
Output:
Token 1: Hi! Token 2: I Token 3: am Token 4: good. Token 5: How Token 6: about Token 7: you?
package org.mano.example; import java.util.regex.Matcher; import java.util.regex.Pattern; public class Main { public static void main(String[] args) { String s="Hi! I am good. How about you?"; Pattern pattern = Pattern.compile("([A-Z] [^\\.?]*[\\.!?])"); Matcher matcher = pattern.matcher(s); for(int i=1; matcher.find();i++) System.out.println("Token "+i+": " + matcher.group()); } }
Output:
Token 1: Hi! I am good. Token 2: How about you?
Conclusion
String tokenization is a way to break a string into several parts. StringTokenizer is a utility class to extract tokens from a string. However, the Java API documentation discourages its use, and instead recommends the split method of the String class to serve similar needs. The split method uses Regular Expression. There are a classes in the java.util.regex package specifically dedicated to Regular Expression, called Pattern and Matcher. The split method, though, uses Regular Expression; it is convenient to use the Pattern and Matcher classes when dealing with complex expressions. Otherwise, in a very simple circumstance, the split method is quite<< | https://www.developer.com/java/data/exploring-the-java-string-tokenizer.html | CC-MAIN-2019-04 | refinedweb | 1,320 | 52.36 |
GXT 3 context menus and dropdown lists apear behind GXT2 Windows (z-index)
GXT 3 context menus and dropdown lists apear behind GXT2 Windows (z-index)
I:
Code:
predefinedMenu.addShowHandler(new ShowHandler() { @Override public void onShow(ShowEvent event) { predefinedMenu.getElement().setZIndex(99999); } });
Any suggestions on how to fix this behavior? Thanks!
The problem is that both GXT environments have their own zIndex management (XDOM.getTopZIndex()).
There is no real solution for this.
The only real solution would be to change the code from GXT 2 and GXT 3 so the XDOM.getTopZIndex() method works against the same storage.
I'm sorry to bump this post but as the above mentioned workaround is what's getting me through this thing, I wanted to ask for help on how to implement that 'fix' for a GXT3 ComboBox since it doesn't allow me to directly set the z-index of the dropdown menu like a context menu does.
Any particular DOM element I could manipulate, or CSS style or something?
Thanks a lot!
EDIT: I was thinking something along these lines (this doesn't work):
Code:
comboBox.addShowContextMenuHandler(new ShowContextMenuHandler() { @Override public void onShowContextMenu(ShowContextMenuEvent event) { Menu menu = event.getMenu(); menu.getElement().setZIndex(99999); } });
Workaround
Workaround
This is what I've been using for a workaround any time I need to show a GXT3 field over top of a GXT2 one. The result is that the GXT3 index ends up higher than whatever the current GXT2 one is.
Code:
public static void gxtZindexHack() { com.sencha.gxt.core.client.dom.XDOM.getTopZIndex(com.extjs.gxt.ui.client.core.XDOM.getTopZIndex()); }
Thanks for sharing your workaround! However, even though it's MUCH more elegant than my "setZIndex(99999)" it basically does the same thing.
My biggest problem with this is that sometimes you need to apply the z-index fix to some popup menu, dropdown list, etc. And more often than not it is very difficult to get to the actual DOM element that needs its z-index set higher. Sometimes I apply the fix to a menu with no success, only to later find out that I actually needed to apply it to the menu's child's child or whatever. If you know what I mean.
Sometimes, I'm not quite sure which handler/listener to employ to be able to apply the fix on some particular element. A thing that comes to mind is the popup on hover of a grid's cell. I've yet to figure out a way in which I can display that popup from a gxt 3 grid on top of a gxt 2 window that contains the grid itself.
Please do share if you've encountered and solved that particular problem.
Thanks!
We're working on a change in GXT 3 that will allow you to replace the z-index code with your own wiring - this will enable you you read directly from GXT 2's z-index to configure GXT 3.
The basic issue here is that there are two sets of popups, and they have no way of knowing about each other - we can't build GXT 2 retroactively to know about GXT 3, and we do not want GXT 3 to depend on GXT 2 classes. Solutions like the one described are one option, but here is another:
Ensure you are only using one set of popups, either GXT 2 or 3. This may mean continuing to use GXT 2 Window classes as you begin your development, or better yet, as the very first step of changing to GXT 3, just go and change all of the Window instances and other popups. This will at least start you down the migration path, and will ensure that popups are layered in a consistent way. You can then tell what remains in GXT 2 code to display above all other popups - combo boxes, tooltips, etc can be pushed up to some astronomically high z-index.
With 3.1 beta released now, I'm posting again to share a way that should work to make GXT 3 use the GXT 2 z-index wiring:
First, create a XDOMImpl subclass, somewhere in your project:
Code:
public class Gxt2ZIndexXDOM extends com.sencha.gxt.core.client.dom.XDOM.XDOMImpl { public int getTopZIndex(int i) { return com.extjs.gxt.ui.client.core.XDOM.getTopZIndex(i); } }
Then, in your .gwt.xml, wire this up as the default implementation for GXT to use, somewhere after your inherits statements:
Code:
<replace-with <when-type-is </replace-with>
Success! Looks like we've fixed this one. According to our records the fix was applied for EXTGWT-2994 in 3.1 beta. | http://www.sencha.com/forum/showthread.php?255995-GXT-3-context-menus-and-dropdown-lists-apear-behind-GXT2-Windows-(z-index)&p=943432&viewfull=1 | CC-MAIN-2015-11 | refinedweb | 778 | 60.85 |
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Greetings!
Just for fun, here is a handy template for constructing Mod Python output
filters:
from mod_python import apache
from cStringIO import StringIO
def outputfilter (filter):
try:
streambuffer = filter.req.streambuffer
except AttributeError:
filter.req.streambuffer = StringIO() # See Note 1
streambuffer = filter.req.streambuffer
# See Note 2
streamlet = filter.read()
while streamlet:
# See Note 3
streambuffer.write(streamlet)
streamlet = filter.read()
if streamlet is None:
# See Note 4
filter.write(streambuffer)
filter.close()
This is as stripped-down, bare-bones as a filter can get, IMHO. Of course,
this is just an echo filter until you add your own code to it.
Note 1:
When a filter is invoked once or only a few times, there is no real
advantage in using a cStringIO buffer over a Python List buffer.
As the number of re-invocations goes up, cStringIO starts to show a speed
advantage.
Note 2:
Anything else that you may want to initialize at the start of a request
should go here, ex:
filter.req.some_variable = some_value
Note 3:
Depending on your application, you may want to hack at the raw stream before
putting it in the buffer, ex:
streambuffer.write(streamlet.replace('\r\n', '\n'))
Note 4:
At this point, streambuffer contains the entire request response and you may
go ahead and do whatever it is you wanted to accomplish, ex:
filter.write(my_tranform_function(streambuffer))
Best Regards,
Lee E. Brown
(leebrown at leebrown.org)
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*this* proposal (most downsides discussed here are inherent to any records.
Alternative update syntax: using tuple selectors
let { r.x = x'; r.y = y'; r.z = z'; } in r
If we allow tuples of selectors:
r.(x, y, z) = (r.x, r.y, r.z)
then one can simply write
let r.(x, y, z) = (x', y', z') in r definitely want to maintain f and g at the top-level, but should consider also adding through the record name-space. See related discussion below on future directions.
Compatibility with existing records
The new record system is enabled with -XNAMESPACEDATA.
- Should new modules be infectious? That is, if I turn the extension on for my module and export a record, does a user that wants to import the record also have to use the extension?
- Records from modules without this extension can be imported into a module using it.
Ideally the old record fields would now only be accessed through a namespace. Also, we would ideally be able to strip any now useless field prefixes.
module OldModule ( Record(..) ) where data Prefix = Prefix { prefixA :: String } module NewModule where import OldModule ( Prefix(..) strip prefix ) aFunc = let r = Prefix "A" in r.a
Details on the dot
This.. structure namespaces. | https://ghc.haskell.org/trac/ghc/wiki/Records/NameSpacing?version=24 | CC-MAIN-2016-30 | refinedweb | 207 | 69.48 |
Red Hat Bugzilla – Bug 624431
Fedora 13 installer fails to fetch some files from FTP mirror and installation fails, wget works ok
Last modified: 2014-01-21 18:16:13 EST
Description of problem:
Fedora 13 x86_64 installation started from CD1/5 using the "askmethod" option.
I chose URL installation method and gave "" as the installation URL.
I chose the "Minimal" installation method, and "Customize Later". Installation starts. After a while the installer fails to fetch some files from FTP mirror.
Usually it's "iputils" that gives the error.
Screenshot of the error message:
"The file iputils-20071127-10.fc13.x86_64.rpm cannot be opened. This is due to a missing file, a corrupt package or corrupted media. Please verify your installation source."
Now the weird thing is when I go to console (ctrl-alt-f2) and use wget, I can perfectly well fetch the file! I tried multiple times -> no problems fetching it to the same computer. URL I used for wget:
The error Anaconda gives is:
WARNING anaconda: Try 1/10 for failed: [Errno 12] Timeout on: (28, '')
WARNING anaconda: Failed to get from mirror 1/1, or downloaded file is corrupt
That message repeats three times. Clicking "Retry" from the installer doesn't help.
Version-Release number of selected component (if applicable):
Fedora 13
How reproducible:
Often
Steps to Reproduce:
1. Steps described above.
Actual results:
Installation fails, and there's no option to Skip the file, so the computer has to be rebooted and installation re-started using http:// installation method.
Expected results:
Installation works OK.
Additional info:
http:// installation to the same mirror works OK.
When you wget the file, can you check if its sha256sum matches what's in /mnt/sysimage/var/cache/yum/anaconda*/primary.xml.gz for that package? If that's fine, then we can proceed with trying to figure out what crazy networking problem is going on here.
Hmm, there's only "sha1sum" command available.. no sha256sum?
Also there's no primary.xml.gz in /mnt/sysimage/var/cache/yum/anaconda*/ directory.
There's a75e0184a58b95011684ff760bce2d1c868b054fc8eb17d04276611bc58aecd0-primary.sqlite though..
How do I verify the checksum?
Ok, I used scp to transfer the wget'ed iputils rpm, and /mnt/sysimage/var/cache/yum/anaconda*/ contents to a normal linux box.
I then used "sqlite3 a75e0184a58b95011684ff760bce2d1c868b054fc8eb17d04276611bc58aecd0-primary.sqlite
.dump > dump.txt" command and got the sha256sum extracted, it's: 86befd5f8432b88461dccf936fcebd7adc6b5b62b2f1a941487141e23d5c7b7f
And then:
$ sha256sum iputils-20071127-10.fc13.x86_64.rpm
86befd5f8432b88461dccf936fcebd7adc6b5b62b2f1a941487141e23d5c7b7f iputils-20071127-10.fc13.x86_64.rpm
So the checksum seems to match..
After some investigation it looks like a problem in anaconda in whatever fetches the RPM files from the FTP server..
During F13 installer if I do CTRL-ALT-F2 and use wget I can perfectly fine fetch the iputils rpm, every time.
Also if I run "python" and "import urlgrabber; urlgrabber.urlgrab('');"
That works fine too. Every time.
I captured the FTP sessions from both anaconda (or whatever it uses), and from my manual wget+urlgrabber sessions and the difference seems to be anaconda uses FTP "REST 1384" command before starting the transfer for every RPM file.. while my manual wget+urlgrabber tests don't use that.
I guess that "REST 1384" makes it to skip the rpm header? or something? Why otherwise it would "re-start the transfer at offset 1384" ? When it's actually downloading the files for the first time..
Maybe the FTP server in question (, which runs pureftpd) has some problem/bug with that REST feature?
From the wiresharp logs I can also see that anaconda starts to fetch the iputils rpm (after executing that REST 1384), data transfer happens for a small amount of time, and then it's just silence.. and around 55 seconds later the anaconda client gets logged out from the server and the filetransfer fails.
I also just verified this issue is NOT caused by NAT router. I tested with direct public ip (without any firewalls), and F13 installer failed in the same way.
The header end location should change from pkg to pkg. If anaconda is keeping one of them around that might explain the corruption.
Is there a way for me to replicate the exact FTP client functionality that anaconda uses? (or whatever tools/libs anaconda calls to do that). Using some python script or so..
Someone familiar with anaconda please let me know where to look for the FTP handling code..
I just verified the bug on a different computer, which uses also different internet connection.
I used the same FTP mirror.
So, if someone has tips how to figure out the exact ftp client functionality that anaconda uses, I'd like to debug this further and get the ftp client fixed..
anaconda uses yum which uses python-urlgrabber which uses curl.
I'd guess the problem is in curl, or if that works then in python-urlgrabber (command = urlgrabber).
Try out this code, please
import yum
my = yum.YumBase()
my.setCacheDir()
len(my.pkgSack)
r = my.repos.findRepos('fedora')[0]
p = r.sack.returnPackages()[0]
print 'Retrieving %s from %s' % (p, r.id)
r.getPackage(p)
print p.localPkg()
It seems I can't run that code from the CTRL-ALT-F2 console from the installer.
"/etc/yum.conf" is not there, required by len(my.pkgSack). If I touch the file, then findRepos() fails because there are no repositories set up.
I tried running that python code from already installed F13 box. I modified yum.repos.d and configured/enabled only mirror. Python code works OK there, no problems downloading the files using FTP.
I compared the wireshark captures, and the only difference I can see is the fact that during F13 installation I see those "REST 1384" FTP commands issued..
Wireshark capture from that python code (from a normal installed F13 box) doesn't show the REST commands.. so they are only used/enabled by the installer, somehow..
so the question is what causes those "REST 1384" commands when anaconda is running? Remember running "wget" from the installer is fine, it doesn't use those REST commands and it works ok.
Any ideas how to troubleshoot this further?
I downloaded and grepped around..
byterange.py:
class ftpwrapper(urllib.ftpwrapper):
# range support note:
# this ftpwrapper code is copied directly from
# urllib. The only enhancement is to add the rest
# argument and pass it on to
def retrfile(self, file, type, rest=None):
..
..
# Try to retrieve as a file
try:
cmd = 'RETR ' + file
conn = self.(cmd, rest)
except ftplib.error_perm, reason:
if str(reason)[:3] == '501':
# workaround for REST not supported error
fp, retrlen = self.retrfile(file, type)
fp = RangeableFileObject(fp, (rest,''))
return (fp, retrlen)
elif str(reason)[:3] != '550':
raise IOError, ('ftp error', reason), sys.exc_info()[2]
So urlgrabber definitely has some FTP REST magic.. I'll investigate further.
Pasi, I think you'll find that the above code is never called on F-13+ urlgrabber.
Here's a wireshark capture (as text) for a failing anaconda f13 installer session, for port 21 FTP traffic:
(Wireshark capture was taken from a Linux NAT-router/firewall routing the traffic for the f13 box).
192.168.0.100 is the F13 anaconda installer.
193.166.3.2 is fedora FTP mirror.
so first it tries to fetch:
- updates.img
- product.img
- install.img
- .treeinfo
- repomd.xml
- a75e0184a58b95011684ff760bce2d1c868b054fc8eb17d04276611bc58aecd0-primary.sqlite.bz2
- fce31f091be8211a394d8942fcf4f6cbeffa3d40d87b61af55a97b1a88b46987-Fedora-13-comps.xml
- 2afec9b506dd4f46bd68d674d579a6fdff4f0618c78f86c48301fca5e660130e-Fedora-13-comps.xml.gz
- 5c3ab96a2b58cb1b6ca21d59539e294bb9a95c8fdbb8ab209429e98bd2cc0853-filelists.sqlite.bz2
And after those some actual rpms:
- cronie-anacron-1.4.4-1.fc13.x86_64.rpm
- rsyslog-4.4.2-6.fc13.x86_64.rpm
- iputils-20071127-10.fc13.x86_64.rpm
and the installation fails on iputils-20071127-10.fc13.x86_64.rpm, because the FTP client gets disconnected after some 60 seconds delay from the FTP server. Anaconda installer also shows iputils rpm failure on the GUI error message.
As you can see, anaconda/yum/urlgrabber/curl definitely uses FTP "REST 1384" command on the rpms!
464.040445 192.168.0.100 -> 193.166.3.2 FTP Request: MDTM iputils-20071127-10.fc13.x86_64.rpm
464.065068 193.166.3.2 -> 192.168.0.100 FTP Response: 213 20100305092306
464.065232 192.168.0.100 -> 193.166.3.2 FTP Request: PASV
464.070863 193.166.3.2 -> 192.168.0.100 FTP Response: 227 Entering Passive Mode (193,166,3,2,136,219)
464.076726 192.168.0.100 -> 193.166.3.2 FTP Request: SIZE iputils-20071127-10.fc13.x86_64.rpm
464.082340 193.166.3.2 -> 192.168.0.100 FTP Response: 213 121012
464.082494 192.168.0.100 -> 193.166.3.2 FTP Request: REST 1384
464.088031 193.166.3.2 -> 192.168.0.100 FTP Response: 350 Restarting at 1384
464.088181 192.168.0.100 -> 193.166.3.2 FTP Request: RETR iputils-20071127-10.fc13.x86_64.rpm
464.093774 193.166.3.2 -> 192.168.0.100 FTP Response: 150-Accepted data connection
464.133559 192.168.0.100 -> 193.166.3.2 TCP 58992 > ftp [ACK] Seq=2155 Ack=6575 Win=9856 Len=0 TSV=338092 TSER=770052855
524.089983 192.168.0.100 -> 193.166.3.2 TCP 58992 > ftp [FIN, ACK] Seq=2155 Ack=6575 Win=9856 Len=0 TSV=398047 TSER=770052855
524.095679 193.166.3.2 -> 192.168.0.100 TCP ftp > 58992 [ACK] Seq=6575 Ack=2156 Win=49232 Len=0 TSV=770058855 TSER=398047
524.095928 193.166.3.2 -> 192.168.0.100 FTP Response: 150 Logout.
From the urlgrabber sources I can see the FTP REST stuff mentioned on the urlgrabber byterange code..
To me it looks like either the server or the client has some problems with that REST stuff. I have no idea what makes urlgrabber use that method..
I haven't had time to investigate more yet..
Also note (from the full capture log) that it issues the same "REST 1384" FTP command for *all* the rpm files! I have no idea why..
okay I think I know what's going on here.
anaconda downloads the pkg hdrs to check its transaction before downloading the rest of the pkg.
anaconda is just using urlgrabber to do this but for some reason it seems to be thinking that the byte offset for all of the rpms beyond their header is the same, which is.... unlikely.
ftp REST 1384 means - start reading from byte 1384
I'll look around some more to see if I can figure out where 1384 is coming from
Thanks for looking at it. Did you find anything?
Any updates? Do you want me to test something?
My bug sounds similar enough to this that I'll jump in...
Anaconda v13.21.56 (RHEL6 beta2) doesn't seem to like HTTP servers which don't support byte ranges. For example, python's own SimpleHTTPServer, when run like this:
$ python -m SimpleHTTPServer 8989
as a target for the anaconda url, works fine up to the point where the first RPM is requested:
GET /Packages/iputils-20071127-12.el6.s390x.rpm HTTP/1.1
Range: bytes=1384-18407
User-Agent: Red Hat Enterprise Linux (anaconda)/6.0
Host: <my.ip.address>
Accept: */*
at which point I see exactly the behaviour described in this bug ("rpm cannot be opened... missing file ... corrupt package". Note the popular "1384" offset again...
In /tmp/anaconda.log we get:
17:10:38,642 WARNING : Try 1/10 for http://<my.ip.address>/Packages/iputils-20071127-12.el6.s390x.rpm failed: [Errno 14] Downloaded more than max size for http://<my.ip.address>/Packages/iputils-20071127-12.el6.s390x.rpm: 19124 > 17024
17:10:38,911 WARNING : Failed to get http://<my.ip.address>/Packages/iputils-20071127-12.el6.s390x.rpm from mirror 1/1, or downloaded file is corrupt
I know that SimpleHTTPServer doesn't support Range: requests
# Python SimpleHTTPServer
curl --silent --range 0-499 | wc --bytes
122184
compared to
# Apache httpd 2.2.3
curl --silent --range 0-499 | wc --bytes
500
This all sounds very similar to bug 140387.
Thanks for jumping in! Good to hear I'm not the only one seeing this behaviour :)
This looks like a urlgrabber bug/feature. There's no obvious indication to the caller that the data returned is not what was requested, using byte ranges with a non-byte-range-supporting http server.
Within the debug shell of a running install:
>>> urlgrabber.urlread('http://' + apacheserver + '/EULA', range=[0,34])
'END USER LICENSE AGREEMENT\nRED HAT'
works fine, but
>>> urlgrabber.urlread('http://' + pythonserver + '/EULA', range=[0,34])
'END USER LICENSE AGREEMENT\nRED HAT\xc2\xae ENTERPRISE LINUX\xc2\xae AND RED HAT APPLICATIONS\n\n\nThis end user license agreement ...'
[snip]
continues to read the whole file. This is unsafe; the caller cannot tell that it receives bad data.
BTW, 1384 is the simply the header start offset for 99% of RHEL6 packages. No magic (or bugs) around this value; I expect it's similar for recent Fedora releases as well (see repodata/*primary.xml.gz).
There's a comment in bug 140387 about this being handled (at least for FTP URLs) in urlgrabber CVS:;a=commit;h=bbe5dac3c4037e87bd8e51066e7cf44b5f0f4411
There doesn't appear to be any code in that commit to handle HTTP. I might mention this on the yum-devel list and see if anyone bites (bytes, haha).
Pasi, what happens if you try the urlgrabber.urlread() fragment above against your suspect pureftpd FTP server?
James, why is the FTP REST workaround fragment never called on F13+ urlgrabber? Is there a different way that byte ranges are supposed to be handled?
> James, why is the FTP REST workaround fragment never called on F13+ urlgrabber?
> Is there a different way that byte ranges are supposed to be handled?
From this commit onwards:;a=commitdiff;h=79e1c58d08df12d8e31898e56c24ec38bb9ef71c
...urlgrabber isn't doing any of the ByteRange stuff internally, AFAIK. The pycurl based urlgrabber went into Fedora in F-13.
But it looks like we either need to fix curl, or add some code back into urlgrabber that fakes ByteRanges when they aren't supported.
Philip: Bingo. I just tried that.
- Start F13 URL installation using mirror
- Wait for the installer to fail download iputils rpm
- Go to CTRL-ALT-F2
- Execute:
python
import urlgrabber
urlgrabber.urlread('', range=[0,34])
Running that command makes it wait for around 1 minute and then it gives an error:
urlgrabber.grabber.URLGrabError: [Errno 12] Timeout on : (28, '')
Which is *exactly* the same error I see during F13 Anaconda installer when using mirror!!
I also tried:
urlgrabber.urlread('', range=[1384,1600])
And it gives the same error.
Btw that mirror is public, so everyone can try those commands, and hopefully reproduce the problem :)
And hey, is the original home of Linux, so we need to get this stuff working ;)
Ok, I just confirmed it doesn't have to be F13 installer anaconda session to reproduce this!
It also fails on a normal (installed) F13 box, like this:
[root@f13 ~]# python
Python 2.6.4 (r264:75706, Jun 4 2010, 18:20:31)
[GCC 4.4.4 20100503 (Red Hat 4.4.4-2)] on linux2
Type "help", "copyright", "credits" or "license" for more information.
>>> import urlgrabber
>>> urlgrabber.urlread('',
... range=[0,34])
Traceback (most recent call last):
File "<stdin>", line 2, in <module>
File "/usr/lib/python2.6/site-packages/urlgrabber/grabber.py", line 638, in urlread
return default_grabber.urlread(url, limit, **kwargs)
File "/usr/lib/python2.6/site-packages/urlgrabber/grabber.py", line 1019, in urlread
s = self._retry(opts, retryfunc, url, limit)
File "/usr/lib/python2.6/site-packages/urlgrabber/grabber.py", line 886, in _retry
r = apply(func, (opts,) + args, {})
File "/usr/lib/python2.6/site-packages/urlgrabber/grabber.py", line 998, in retryfunc
fo = PyCurlFileObject(url, filename=None, opts=opts)
File "/usr/lib/python2.6/site-packages/urlgrabber/grabber.py", line 1063, in __init__
self._do_open()
File "/usr/lib/python2.6/site-packages/urlgrabber/grabber.py", line 1351, in _do_open
self._do_grab()
File "/usr/lib/python2.6/site-packages/urlgrabber/grabber.py", line 1481, in _do_grab
self._do_perform()
File "/usr/lib/python2.6/site-packages/urlgrabber/grabber.py", line 1281, in _do_perform
raise err
urlgrabber.grabber.URLGrabError: [Errno 12] Timeout on : (28, '')
>>>
So now it should be very easy for others to reproduce this!
Note that wget, curl, lftp, firefox, and every other tool that I tried works OK for that url! I've only seen the problem with urlgrabber.
See:
[root@f13 ~]# curl -o /dev/null
% Total % Received % Xferd Average Speed Time Time Time Current
Dload Upload Total Spent Left Speed
100 118k 100 118k 0 0 59613 0 0:00:02 0:00:02 --:--:-- 59818
[root@f13 ~]# wget -O /dev/null
--2010-09-19 16:42:22--
=> “/dev/null”
Resolving... 193.166.3.2, 2001:708:10:9::20:2
Connecting to... connected.
Logging in as anonymous ... Logged in!
==> SYST ... done. ==> PWD ... done.
==> TYPE I ... done. ==> CWD (1) /pub/mirrors/fedora.redhat.com/pub/fedora/linux/releases/13/Fedora/x86_64/os/Packages ... done.
==> SIZE iputils-20071127-10.fc13.x86_64.rpm ... 121012
==> PASV ... done. ==> RETR iputils-20071127-10.fc13.x86_64.rpm ... done.
[ <=> ] 121,012 86.8K/s in 1.4s
2010-09-19 16:42:24 (86.8 KB/s) - “/dev/null” saved [121012]
Any chances for a fix before F14 goes GA ?
The bug/problem is very easy to reproduce with the steps described above.. maybe I should try patching the problem myself.. :)
Not likely. It's not a blocker for f14 and it is not likely to impact a lot of people.
Ok. I'm now able to reproduce this bug with just 'curl':
[root@f13 ~]# curl -o foo.test --range 1384-1400
% Total % Received % Xferd Average Speed Time Time Time Current
Dload Upload Total Spent Left Speed
100 17 0 17 0 0 0 0 --:--:-- 0:01:00 --:--:-- 0
curl: (28) FTP response timeout
Removing the "--range" option makes it work OK.
So it's definitely a bug in curl. Urlgrabber uses PyCurl, which uses curl.
I opened a bug against curl:
This bug has now been fixed in curl.
I've tried Fedora 14 anaconda with fixed curl, and the problem is solved.
Note the default Fedora 14 anaconda installer still has old/buggy curl.. | https://bugzilla.redhat.com/show_bug.cgi?id=624431 | CC-MAIN-2018-26 | refinedweb | 3,035 | 67.55 |
digitalmars.D.bugs - [Issue 1875] New: &null[x] compiles and runs, giving x
- d-bugmail puremagic.com Feb 27 2008
- d-bugmail puremagic.com Feb 27 2008
- "Lionello Lunesu" <lionello lunesu.remove.com> Feb 27 2008
- d-bugmail puremagic.com Feb 27 2008
- d-bugmail puremagic.com Feb 27 2008
- d-bugmail puremagic.com Feb 27 2008
- d-bugmail puremagic.com Feb 28 2008
- d-bugmail puremagic.com Feb 28 2008 Summary: &null[x] compiles and runs, giving x Product: D Version: 1.027 Platform: PC OS/Version: Windows Status: NEW Keywords: accepts-invalid, spec Severity: trivial Priority: P5 Component: DMD AssignedTo: bugzilla digitalmars.com ReportedBy: matti.niemenmaa+dbugzilla iki.fi import std.stdio; void main() { writefln(&null[42]); } The above prints "002A" - i.e. the hexadecimal representation of 42, the value used to index null. This is, I'm fairly certain, unspecified behaviour, but I think you'd be hard pressed to argue that this makes sense in any way. I'm marking this as "accepts-invalid" but also as "trivial" since I honestly hope that nobody else has ever dreamed of doing something like this. :-) The issue is essentially: why does null[x] return a void type, and why is taking its address a valid operation? In addition, why is indexing null valid in the first place? Trying the same with [][x] results in out-of-bounds errors at compile time. Note that this works even at runtime, for any value of x. --
Feb 27 2008 ------- Comment #1 from shro8822 vandals.uidaho.edu 2008-02-27 17:11 ------- &null[47] -> &(null[47]) -> (null + 47) -> (0 + 47) -> 47 Why is that unexpected? What should it do? if that null is not a literal the only way to check would be to do a read but that can have problems of it's own. also; null is a pointer. all pointers are indexable. -> null is indexable* also it it's a way to avoid a cast for constant pointers. (Not saying it's a good idea...) void* HW_ptr = &null[0xf000]; * the phrasing is so classic I couldn't resist the last bit. --
Feb 27 2008
also; null is a pointer. all pointers are indexable. -> null is indexable*
Apparently they are, but should they be? void main() { void* va; auto x = &va[2]; } This compiles just fine (2.011) but should indexing a void* (and therefor: null) even be allowed? L.
Feb 27 2008 ------- Comment #2 from matti.niemenmaa+dbugzilla iki.fi 2008-02-28 00:54 ------- I don't think it makes sense for void pointers to be indexable, just like they aren't in C. For that matter, I think indexing pointer constants in general deserves a warning, at least. For the case of null, it should be an error: why is indexing cast(int[])null an array bounds error, but indexing null as a pointer isn't? In both cases, you know there are no valid elements there - that's the definition of the null pointer. You'll note that the results are unpredictable: &null[420] is 420, but &(cast(int*)null)[420] is 1680 - that's int.sizeof * 420. And similarly, for a long, you get 3360. --
Feb 27 2008 matti.niemenmaa+dbugzilla iki.fi changed: What |Removed |Added ---------------------------------------------------------------------------- Severity|trivial |enhancement Keywords|accepts-invalid, spec |diagnostic OS/Version|Windows |All Platform|PC |All Summary|&null[x] compiles and runs, |Dereferencing void pointers |giving x |is allowed ------- Comment #3 from matti.niemenmaa+dbugzilla iki.fi 2008-02-28 01:04 ------- Hmm, no: the more I think about this the more I think I'm wrong. I shouldn't file bugs at midnight. I'll leave this as an enhancement request for a warning on dereferencing void pointers. --
Feb 27 2008 ------- Comment #4 from braddr puremagic.com 2008-02-28 01:28 ------- Um.. at no point in this code has anything been dereferenced. The only thing occurring here is pointer math (against 0, but still just math). Further, it actually _is_ legal in both c and c++. In fact, the offsetof macro is built around that capability: #define offsetof(TYPE, MEMBER) ((size_t) &((TYPE *)0)->MEMBER) --
Feb 27 2008 ------- Comment #5 from matti.niemenmaa+dbugzilla iki.fi 2008-02-28 08:51 ------- Which is why I said I was wrong. I realize that. However, I do think there's a dereference going on - even if it's undone by the & to the point that the dereference isn't in the resulting binary. "& (null[x])" is "& *(null + x)" which means that, essentially, "null + x" is being dereferenced. Your code is different: that's not a void pointer, it's a type-casted null pointer. GCC gives a "warning: dereferencing 'void *' pointer" for the following C code: #include <stdlib.h> int main() { return (int)&NULL[42]; } Which is all I ask for. Feel free to mark as WONTFIX if you think that's not going to happen. --
Feb 28 2008 bugzilla digitalmars.com changed: What |Removed |Added ---------------------------------------------------------------------------- Status|NEW |RESOLVED Resolution| |WONTFIX ------- Comment #6 from bugzilla digitalmars.com 2008-02-28 22:40 ------- I don't agree there's a dereference going on unless the result of a folded expression actually does a dereference. At best, it is just an intermediate state in a calculation. Since it's a difference of opinion, I'll just mark it as 'wontfix'. --
Feb 28 2008 | http://www.digitalmars.com/d/archives/digitalmars/D/bugs/Issue_1875_New_null_x_compiles_and_runs_giving_x_13430.html | CC-MAIN-2015-11 | refinedweb | 891 | 68.16 |
Re: Pulling info from accounting software to do Invoice reviews
- From: "Albert D. Kallal" <PleaseNOOOsPAMmkallal@xxxxxxx>
- Date: Mon, 26 May 2008 02:00:58 -0600
"TinaC" <TinaC@xxxxxxxxxxxxxxxxxxxxxxxxx> wrote in message
news:DA121C92-10D5-4A02-9DD6-F9BF1A1346FA@xxxxxxxxxxxxxxxx
My company currently uses an access database to run queries, reports, etc.
from our accounting system CODA because CODA is not user friendly. My
first
question is "Is it possible?"
Your statement is little bit contradictory, your first sentence says you
currently use an access database to run reports from your accounting system,
and the last sentence you ask is it possible? so which is it?
From the main database form I would like to bring up the clients
informations, Once the form is open I would like to choose a period of
invoices to bring up in a subform (April, 2008). That part I believe I
can
do...
The above says yes to me that you have some kind of interface to this
accounting package, and you're able to pull data out from it using
ms-access.
If you not actually pulling data directly from the accounting system, then
you're gonna have to talk to the software vendor of that accounting package
and ask then any interface technology that allows external products to
connect to and pull data from that system. the most common interface these
days for these types assistance is what we call ODBC (open database
connectivity). I would simply ask the company is it possible to get a
connection to the database through ODBC, and if the answer is yes, then you
should be able to accomplish your goals.
The only part that can get really difficult and complex in this system, is
often these accounting systems have many many normalized tables of data, so
a simple listing of a customer might involve fifteen or twenty normalized
tables of data that you have to build and desing to pull the data out in a
meaningful fashion. however, were getting ahead of ourselves here. If the
vendor the software package doesn't offering external interface to their
accounting software, then you're not gonna be able to use MS access in this
scenario (unless you use some the exporting abilities of the accounting
package, and perhaps export of excel, or perhaps export as a comma delimited
file, and then import that data into MS access).
This is not really an access question, because we don't really know if we
can use MS access here, and you'll have to talk to the vendor or your IT
department if this is possible .
The next week I update the spread***
again, sort by input date, and copy anything after the last date into the
working file. I would like my subform to be the same concept.
Well is no question you can import the data from the spreadsheets to inside
that of MS access. So if you're looking for the vendor (customer) lists, and
the accounting package can export that vendor list, then should be able to
import it into MS access. If the ledger/accounting information you export
from the accounting pccakge has some kind of customer ID that you can link
back to this vendors list, then you should be able to accomplish your goal.
--
Albert D. Kallal (Access MVP)
Edmonton, Alberta Canada
pleaseNOOSpamKallal@xxxxxxx
.
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Details
Description.
Activity
- All
- Work Log
- History
- Activity
- Transitions
In this patch:
- I included the list of LocatedBlock directly into DFSFileInfo, rather than overloading the class.
- removed redundant members in DFSFileInfo
- ClientProtocol.open(src, length) takes 2 parameters now: the file name and the length of the starting segment
of the file for which block locations must be returned
- Old open(src) is deprecated. I've seen many servlets used it directly. I replaced those calls by
getBlockLocations() in hadoop servlets, but there might be others.
- new ClientProtocol.getBlockLocations() method is introduced
- DFSInputStream during initialization fetches only 10 blocks, subsequent blocks are requested and
cached during the regular read().
- pread first tries to use already cached blocks, then requests block locations from the name-node.
- DFSClient.getHints() now calls getBlockLocations(), I removed redundant getHints() from ClientProocol and NameNode
- many existing tests verify new functionality, I added one more case to TestPread, which ensures pread correctly
reads both cached and uncached blocks.
- checked style and checked JavaDoc.
-1, new javadoc warnings
The javadoc tool appears to have generated warning messages when testing the latest attachment against trunk revision r534624.
Test results:
Console output:
Please note that this message is automatically generated and may represent a problem with the automation system and not the patch.
One issue we discussed earlier: The ClientProtocol open method used to take a path name. It was of the form:
public LocatedBlock[] open(String src)
This patch changes it to
public DFSFileInfo open(String src, long length)
The modified "open" API is not very intuitive because it is taking a "length" parameter. If we want to keep the ClientProtocol elegant and simple, we might want to remove the "length" parameter from call. The server is free to send back as many block locations as it deems fit. Typically, the server will be send one or two block locations.
Removed JavaDoc warning. Applied to the current trunk..
+1 applied and successfully tested against trunk revision r534624.
Test results:
Console output:
I think it's strange to put LocatedBlocks in DFSFileInfo. You're trying to optimize the protocol, so that a separate call isn't required to get the length, right? So let's make that explicit by returning the file length along with the list of blocks, rather than hacking DFSFileInfo.
public LocatedBlocks{ private LocatedBlock[] blocks; private long fileLength; }
public LocatedBlocks getBlockLocations(String file, long start, long length);
Then we don't need the open() method at all. getBlockLocations() replaces it altogether. This also has the benefit that someone can open a file in the middle with a single RPC.
I was just about to comment that open(...) is a convenience call, which combines 2 calls
DFSFileInfo getListing(src) and getBlockLocations(src, 0, length).
DFSFileInfo.fileLength if the only field that is widely used in current implementation.
So if folks can live without other fields like blockSize and blockReplication I am removing open().
I don't think we should remove open() just yet.
Long term it would be nice to have the POSIX semantics of a files blocks not being removed while it is held open by a client even though the namespace entry for the file is removed. In this situation, a client calling open() on a file sets the expectation that it will need the files data until it either calls close() or loses it's lease. We'd need the open() call to track open files. I don't think getBlockLocations() alone is sufficient, it is ok to call getBlockLocations() in order to get placement information for scheduling without opening the file.
I looked at
HADOOP-1298. Sounds like open() will need to return more metadata then it does now.
I am planning to have DFSFileInfo open(src) - with one parameter, and remove open(src, length) as Dhruba described.
And I'm planning to keep LocatedBlock list inside DFSFileInfo.
When we open a file we don't need anything in return except the length, since we can call getBlockLocations() afterwards. If we want some block locations returned from open(), as an optimization, then we should pass a start and length, giving the range of the file whose blocks we'd initially like, and return those with the length.
HADOOP-1298 will add more fields to DFSFileInfo, things we don't need when opening. So HADOOP-1298 argues that we should not return a DFSFileInfo at open. Also, other users of DFSFileInfo don't need a LocatedBlockList, so I really don't think it belongs there.
Adding 'start' and 'length' parameters to the Namenodes 'open' RPC doesn't seem to add a lot of value. It won't be used unless we expose it through fs.FileSystem or dfs.DistributedFileSystem and adding an 'open and seek' kind of call just seems like API bloat.
On the other hand, having the locations of the first few block of a file is useful in many cases. In particular when a client is working with small files or wants to read the files header before seeking (as MR tasks processing sequence files do). Why not just have open default to returning the first few block locations?
Summarizing:
- LocatedBlocks open(String src);
- LocatedBlocks getBlockLocations(String file, long start, long length);
- open() always returns first 10 blocks as decided by the name-node.
Does that work for everybody?
Sameer: you're right, our current public API would not take advantage of an open with start and length, so it may be overkill. And in many cases we also read a file header from the first block before we seek anyway. Long-term, this might be a good optimization, to be able to open a file directly at a position, without touching the first block, and to be able to disable the reading of headers.'. But I wouldn't veto open(length). That's also a fine API and is more minimal, a good thing.
Konstantin: Does LocatedBlocks contain the length of the file? We need that too, don't we? Also, why have an open() method at all, rather than just using open(start,length), letting the client pass start=0 and length=${hdfs.initial.bytes}
?
Yes. LocatedBlocks contains file length and a List of block locations.
I initially implemented open(src, length) because it is more general, and deprecated old open(src).
Dhruba finds it "not very intuitive" and Sameer says it does not "add a lot of value".
I cannot implement open(start,length) with the start > 0 right now, because in order to do that I will
need to write an offset-to-block map for cached blocks in the client. I was planning to do it in the next
iteration, but it was supposed to be used mostly in pread() that is for getBlockLocations(), not in open().
I don't see how we can benefit from introducing the start parameter, but I definitely support adding length.
So currently it's a tie 2:2. We need more votes to resolve the issue.
>'.
Fair enough, open(start, length) is more general and future compatible and we should implement it. The public APIs don't change for now and the client always passes 0 for start and ${hdfs.initial.bytes}
for length. Maybe we use a default of 256MB and get the first 2-8 blocks depending on which of the common block sizes (32, 64 or 128MB) applies to the file.
hdfs.initial.bytes - is it a configuration parameter?
> hdfs.initial.bytes - is it a configuration parameter?
Yes, and it probably needs a better name.
Do we really want it configurable? I was trying to avoid that. In my view the parameter is not significant enough
in order to include it into the configuration. I currently use a constant instead.
No necessarily, we might want to start out with a reasonable default and introduce a configuration variable when it appears to be needed.
> start out with a reasonable default and introduce a configuration variable when it appears to be needed
Two other options:
1. Make it configurable but don't document it in hadoop-default.xml.
2. Make it configurable but document it as an "expert" parameter. (We should really go through hadoop-default.xml and mark things that most folks should leave alone as expert.)
More precisely, the length that I pass to open() is 10 *{dfs.block.size}
, that is 10 default block sizes.
So it is in a sense configurable, but not as a separate parameter.
> the length that I pass to open() is 10 *{dfs.block.size}
It's too bad we don't support expressions in config files.. In the meantime, adding it as a config variable with no value in hadoop-default.xml, or a commented-out value. Perhaps we should change Configuration so that if the value for a numeric field is "" then the default is used...
Also, 2 would be a better default for mapreduce inputs.
In this patch:
- open takes three parameters open(src, offset, length)
- there is an undocumented config parameter "dfs.read.prefetch.size" that defines the range within which
we want all block locations to be fetch from the name-node during the open call.
- I kept 10*defaultBlockSize as the default, because 2 vs 10 does not improve much communication or name-node
performance, but in most cases 10 will be ALL blocks for the majority of files.
- Implemented block location caching for reads and preads.
- Included more test cases in TestPread
-1, could not apply patch.
The patch command could not apply the latest attachment as a patch to trunk revision r538318.
Console output:
Please note that this message is automatically generated and may represent a problem with the automation system and not the patch.
Synchronized with the trunk.
+1 applied and successfully tested against trunk revision r538318.
Test results:
Console output:
Moving to 0.14 as this is not a bug.
This patch no longer cleanly applies to trunk. Sorry! Can you please update it. Thanks!
Updated the patch.
+0 applied and successfully tested against trunk revision r540271,
but there appear to be new Findbugs warnings introduced by this patch.
Findbugs output:
Test results:
Console output:
Fixed FindBugs warnings.
This was actually useful.
+1 applied and successfully tested against trunk revision r540359.
Test results:
Console output:
I just committed this. Thanks, Konstantin!
I understand the problem as that a lot of clients are opening the same file and read the first block of it,
e.g. in streaming, and then each reads a specific part of the file. So each client does not need to receive
a block map for the whole file, but rather needs to get block locations in a specified range.
I propose to modify ClientProtocol.open() to{ LocatedBlock[ numBlocks ]; }
OpenFileInfo open( String src, int numBlocks )
where
src - is the path;
numBlocks - is the number of blocks, which locations the client wants to be calculated by the open()
@returns
OpenFileInfo : extends DFSFileInfo
DFSFileInfo contains file information including file length and replication.
ClientProtocol should also contain
public LocatedBlock[] getBlockLocations(String src, int offset, int length) throws IOException;
offset - is the starting offset in the file
length - is the number of bytes the client is supposed to read
class LocatedBlock should include an additional field
+ long startFrom; which determines the offset within the block to the desired region of bytes.
Then we will need to reimplement seeks and reads for DFSInputStream using that API.
What would be a good default for the number of blocks that getBlockLocations()
would fetch per call if the file is read from start to finish? | https://issues.apache.org/jira/browse/HADOOP-894?focusedCommentId=12495118&page=com.atlassian.jira.plugin.system.issuetabpanels:comment-tabpanel | CC-MAIN-2015-35 | refinedweb | 1,928 | 64.61 |
Microsoft .
What gets generated from the source file is a PE (Portable Executable) which will run on the CLR. Despite the advantages it offers, this mechanism faces a severe drawback of the MSIL which can get decompiled to the actual source code.Microsoft tool ILDASM.EXE adds up to this problem by giving an option to output an .IL from an assembly, this file contains code resembling the actual source code hence posing a sever threat to the intelletual property of the company.Lets understand this problem with an example
Class1.vb imports system
Namespace mynamespace Class mclassShared Sub main()console.writeline("hi from main")End SubPublic Function SayHi() As StringSayHi = "Hi from Function"End FunctionEnd ClassEnd methodCan an IL be reverse-engineered ?
Well, i think u must have guessed by now that reverse engineering code from IL is fairly straight forward.
Is there a way to protect the assembly from getting disassembled ?
Well, yes as for now the only method.
Protecting IL Code from unauthorised Disassembling
.NET Security in C# | http://www.c-sharpcorner.com/UploadFile/mbmehta/ProtectILCode11232005013513AM/ProtectILCode.aspx | crawl-003 | refinedweb | 171 | 58.89 |
Python binding for the Socialtext REST API
Project description
This is a client for Socialtext’s REST API. The goal of this project is to provide an extensible library that helps you focus on building applications that leverage the power of Socialtext instead of worrying about HTTP methods and status codes.
You can read the documentation at:
Contents:
Installation
You can install python-socialtext using pip or easy_install:
pip install python-socialtext # or easy_install python-socialtext
The tests use nose and can be run using:
python setup.py test # or nosetests
You can use Sphinx to build the documentation locally:
cd docs make html # windows: use make.bat # open the _build/index.html document in your browser
Python API
Quick start:
from socialtext import Socialtext st = Socialtext(url=ST_URL, username=USERNAME, password=PASSWORD) st.signals.create("This is a signal from the API!") <Signal: 1234> signal.delete() st.pages.list("ws-name") <Page: test_page>, <Page: test_page_2>, <Page: test_page_3> ws = st.workspaces.get("ws-name") st.pages.list(ws) <Page: test_page>, <Page: test_page_2>, <Page: test_page_3>
Contributing
Development takes place on Github. You can file bug reports and pull requests there.
Project details
Release history Release notifications
Download files
Download the file for your platform. If you're not sure which to choose, learn more about installing packages. | https://pypi.org/project/python-socialtext/ | CC-MAIN-2018-51 | refinedweb | 216 | 56.76 |
Getting Started with Rails 4.x on Heroku
Last updated 15 November 2017
Table of Contents
The latest version of Rails available is Rails 5. If you are starting a new application we recommend you use the most recently released version.
Ruby on Rails is a popular web framework written in Ruby. This guide covers using Rails 4 on Heroku. For information about running previous versions of Rails on Heroku, see Getting Started with Rails 3.x on Heroku.
If you are already familiar with Heroku and Rails, reference the simplifed Rails 4 on Heroku guide instead. For general information on how to develop and architect apps for use on Heroku, see Architecting Applications for Heroku.
For this guide you will need:
- Basic Ruby/Rails knowledge
- Locally installed version of Ruby 2.0.0+, Rubygems, Bundler, and Rails 4+
-. You will also need Ruby and Rails installed.
Once installed, you’ll have access to the
$ heroku command from your command shell. Log in using the email address and password you used when creating your Heroku account:
Note that
$ symbol before commands indicates they should be run on the command line, prompt, or terminal with appropriate permissions. Do not copy the
$ symbol.
$ heroku login Enter your Heroku credentials. Email: schneems
To run on Heroku your app must be configured to use the Postgres database, have all dependencies declared in your
Gemfile, and have the
rails_12factor gem in the production group of your
Gemfile
You may be starting from an existing app, if so upgrade to Rails 4 before continuing. If not, a vanilla Rails 4 app will serve as a suitable sample app. To build a new app make sure that you’re using the Rails 4.x using
$ rails -v. You can get the new version of rails by running,
$ gem install rails -v 4.2.9 --no-ri --no-rdoc Successfully installed rails-4.2.9 1 gem installed
Note: There may be a more recent version of Rails available, we recommend always running the latest. You may want to run Rails 5 on Heroku.
Then create a new app:
Then move into your application directory.
$ cd myapp
If you experience problems or get stuck with this tutorial, your questions may be answered in a later part of this document. Once you experience a problem try reading through the entire document and then going back to your issue. It can also be useful to review your previous steps to ensure they all executed correctly.
If already have an app that was created without specifying
--database=postgresql you allready on your system.
Now re-install your dependencies (to generate a new
Gemfile.lock):
$ bundle install
You can get more information on why this change is needed and how to configure your app to run postgres locally see why you cannot use Sqlite3 on Heroku.
In addition to using the
pg gem, you’ll also need to ensure the
config/database.yml is using the
postgresql adapter.
The development section of your
config/database.yml file should look something like this:
$' # default: &default adapter: postgresql encoding: unicode # For details on connection pooling, see rails configuration guide # pool: 5
Be careful here, if you omit the
sql at the end of
postgresql in the
adapter section your application will not work.
Welcome page
Rails 4 no longer has a static index page in production. have
Heroku integration has previously relied on using the Rails plugin system, which has been removed from Rails 4. To enable features such as static asset serving and logging on Heroku please add
rails_12factor gem to your
Gemfile.
At the end of
Gemfile add:
gem 'rails_12factor', group: :production
Then run:
$ bundle install
We talk more about Rails integration on our Ruby Support page.
Specify Ruby version in app
Rails 4 requires Ruby 1.9.3 or above. Heroku has a recent version of Ruby installed by default, however you can specify an exact version by using the
ruby DSL in your
Gemfile. For this guide we’ll be using Ruby 2.
At the end of
Gemfile add:
ruby "2.3.4"
You should also be running the same version of Ruby locally. You can verify by running
$ ruby -v. You can get more information on specifying your Ruby version on Heroku here.
Store your App in Git
Heroku relies on git, a distributed source control managment tool, for deploying your project. If your project is not already in git first verify that
git is on your system:
$ git --help usage: git [--version] [--help] [-C <path>] [-c name=value] [--exec-path[=<path>]] [--html-path] [--man-path] [--info-path] [-p | --paginate | --no-pager] [--no-replace-objects] [--bare] [--git-dir=<path>] [--work-tree=<path>] [--namespace=<name>] <command> [<args>]
If you don’t see any output or get
command not found you will need to install it on your system, verify that the Heroku toolbelt is installed.
Once you’ve verified that git works, first make sure you are in your Rails app directory by running
$ ls:
The output should look like this:
$ ls Gemfile Gemfile.lock README.rdoc Rakefile app bin config config.ru db lib log public test tmp vendor
Now run these commands in your Rails app directory to initialize and commit your code to git:
$ git init $ git add . $ git commit -m "init"
You can verify everything was committed correctly by running:
$ git status On branch master, secret-taiga-10886 |
You can verify that the remote was added to your project by running
$ git config --list | grep heroku remote.heroku.url= remote.heroku.fetch=+refs/heads/*:refs/remotes/heroku/*
If you see
fatal: not in a git directory then you are likely not in the correct directory. Otherwise you may deploy your code. After you deploy your code, you will need to migrate your database, make sure it is properly scaled and use logs to debug any issues that come up.
Deploy your code:
$ git push heroku master remote: Compressing source files... done. remote: Building source: remote: remote: -----> Ruby app detected remote: -----> Compiling Ruby/Rails remote: -----> Using Ruby version: ruby-2.3.4 remote: -----> Installing dependencies using bundler 1.15.2 remote: Running: bundle install --without development:test --path vendor/bundle --binstubs vendor/bundle/bin -j4 --deployment remote: Warning: the running version of Bundler (1.15.2) is older than the version that created the lockfile (1.15.4). We suggest you upgrade to the latest version of Bundler by running `gem install bundler`. remote: Fetching gem metadata from.......... remote: Fetching version metadata from.. remote: Fetching dependency metadata from. remote: Fetching rake 12.0.0 remote: Fetching i18n 0.8.6 remote: Fetching minitest 5.10.3 remote: Installing i18n 0.8.6 remote: Installing rake 12.0.0 remote: Installing minitest 5.10.3 remote: Fetching thread_safe 0.3.6 remote: Installing thread_safe 0.3.6 remote: Fetching builder 3.2.3 remote: Fetching erubis 2.7.0 remote: Installing builder 3.2.3 remote: Fetching mini_portile2 2.2.0 remote: Installing erubis 2.7.0 remote: Installing mini_portile2 2.2.0 remote: Fetching rack 1.6.8 remote: Fetching mime-types-data 3.2016.0521 remote: Installing rack 1.6.8 remote: Installing mime-types-data 3.2016.0521 remote: Fetching arel 6.0.4 remote: Installing arel 6.0.4 remote: Using bundler 1.15.2 remote: Fetching coffee-script-source 1.12.2 remote: Installing coffee-script-source 1.12.2 remote: Fetching execjs 2.7.0 remote: Fetching thor 0.20.0 remote: Installing execjs 2.7.0 remote: Fetching concurrent-ruby 1.0.5 remote: Installing thor 0.20.0 remote: Fetching ffi 1.9.18 remote: Installing concurrent-ruby 1.0.5 remote: Fetching multi_json 1.12.1 remote: Installing multi_json 1.12.1 remote: Fetching json 1.8.6 remote: Installing json 1.8.6 with native extensions remote: Fetching pg 0.21.0 remote: Installing ffi 1.9.18 with native extensions remote: Installing pg 0.21.0 with native extensions remote: Fetching rails_serve_static_assets 0.0.5 remote: Installing rails_serve_static_assets 0.0.5 remote: Fetching rails_stdout_logging 0.0.5 remote: Installing rails_stdout_logging 0.0.5 remote: Fetching rb-fsevent 0.10.2 remote: Installing rb-fsevent 0.10.2 remote: Fetching rdoc 4.3.0 remote: Installing rdoc 4.3.0 remote: Fetching tilt 2.0.8 remote: Installing tilt 2.0.8 remote: Fetching turbolinks-source 5.0.3 remote: Installing turbolinks-source 5.0.3 remote: Fetching tzinfo 1.2.3 remote: Installing tzinfo 1.2.3 remote: Fetching nokogiri 1.8.0 remote: Installing nokogiri 1.8.0 with native extensions remote: Fetching mime-types 3.1 remote: Installing mime-types 3.1 remote: Fetching rack-test 0.6.3 remote: Installing rack-test 0.6.3 remote: Fetching coffee-script 2.4.1 remote: Installing coffee-script 2.4.1 remote: Fetching uglifier 3.2.0 remote: Installing uglifier 3.2.0 remote: Fetching sprockets 3.7.1 remote: Installing sprockets 3.7.1 remote: Fetching rails_12factor 0.0.3 remote: Installing rails_12factor 0.0.3 remote: Fetching turbolinks 5.0.1 remote: Installing turbolinks 5.0.1 remote: Fetching activesupport 4.2.9 remote: Installing activesupport 4.2.9 remote: Fetching rb-inotify 0.9.10 remote: Installing rb-inotify 0.9.10 remote: Fetching mail 2.6.6 remote: Installing mail 2.6.6 remote: Fetching rails-deprecated_sanitizer 1.0.3 remote: Installing rails-deprecated_sanitizer 1.0.3 remote: Fetching globalid 0.4.0 remote: Installing globalid 0.4.0 remote: Fetching activemodel 4.2.9 remote: Installing activemodel 4.2.9 remote: Fetching jbuilder 2.7.0 remote: Installing jbuilder 2.7.0 remote: Fetching sass-listen 4.0.0 remote: Installing sass-listen 4.0.0 remote: Fetching activejob 4.2.9 remote: Installing activejob 4.2.9 remote: Fetching activerecord 4.2.9 remote: Installing activerecord 4.2.9 remote: Fetching sass 3.5.1 remote: Installing sass 3.5.1 remote: Fetching rails-dom-testing 1.0.8 remote: Fetching loofah 2.0.3 remote: Installing rails-dom-testing 1.0.8 remote: Installing loofah 2.0.3 remote: Fetching rails-html-sanitizer 1.0.3 remote: Installing rails-html-sanitizer 1.0.3 remote: Fetching sdoc 0.4.2 remote: Fetching actionview 4.2.9 remote: Installing sdoc 0.4.2 remote: Installing actionview 4.2.9 remote: Fetching actionpack 4.2.9 remote: Installing actionpack 4.2.9 remote: Fetching railties 4.2.9 remote: Fetching actionmailer 4.2.9 remote: Fetching sprockets-rails 3.2.0 remote: Installing sprockets-rails 3.2.0 remote: Installing actionmailer 4.2.9 remote: Installing railties 4.2.9 remote: Fetching jquery-rails 4.3.1 remote: Fetching rails 4.2.9 remote: Fetching coffee-rails 4.1.1 remote: Installing coffee-rails 4.1.1 remote: Fetching sass-rails 5.0.6 remote: Installing sass-rails 5.0.6 remote: Installing jquery-rails 4.3.1 remote: Installing rails 4.2.9 remote: Bundle complete! 13 Gemfile dependencies, 58 gems now installed. remote: Gems in the groups development and test were not installed. remote: Bundled gems are installed into ./vendor/bundle. remote: The latest bundler is 1.15.4, but you are currently running 1.15.2. remote: To update, run `gem install bundler` remote: Bundle completed (27.77s) remote: Cleaning up the bundler cache. remote: -----> Installing node-v6.11.1-linux-x64 remote: -----> Detecting rake tasks remote: -----> Preparing app for Rails asset pipeline remote: Running: rake assets:precompile remote: I, [2017-08-22T14:43:37.636715 remote: I, [2017-08-22T14:43:37.637329 .gz remote: I, [2017-08-22T14:43:37.648501 remote: I, [2017-08-22T14:43:37.648845 .gz remote: Asset precompilation completed (5.59s) remote: Cleaning assets remote: Running: rake assets:clean remote: remote: ###### WARNING: remote: No Procfile detected, using the default web server. remote: We recommend explicitly declaring how to boot your server process via a Procfile. remote: remote: remote: -----> Discovering process types remote: Procfile declares types -> (none) remote: Default types for buildpack -> console, rake, web, worker remote: remote: -----> Compressing... remote: Done: 40.5M remote: -----> Launching... remote: Released v5 remote: deployed to Heroku remote: remote: Verifying deploy... done. To * [new branch] master -> master will be executed on a Heroku dyno. You can obtain an interactive shell session by running
$ heroku run bash. Free dyno hours quota remaining this month: 996h 46m (99%) For more information on dyno sleeping and how to upgrade, see: === web (Free): bin/rails server -p $PORT -e $RAILS_ENV (1) web.1: starting 2017/08/22 09:43:52 -0500 (~ 6s ago)
Here, one dyno is running.
We can now visit the app in our browser with
heroku open.
$ heroku open
You should now see the “Hello World” text we inserted above.
Heroku gives you a default web url for simplicty while you are developing. When you are ready to scale up and use Heroku for production you can add your own Custom Domain.
View the logs
If you run into any problems getting your app to perform properly, you will need to check the logs.
You can view information about your running app using one of the logging commands,
heroku logs:
$ heroku logs 2017-08-22T14:42:54.468569+00:00 app[api]: Release v1 created by user developer@example.com 2017-08-22T14:42:54.468569+00:00 app[api]: Initial release by user developer@example.com 2017-08-22T14:42:54.685326+00:00 app[api]: Enable Logplex by user developer@example.com 2017-08-22T14:42:54.685326+00:00 app[api]: Release v2 created by user developer@example.com 2017-08-22T14:42:57.000000+00:00 app[api]: Build started by user developer@example.com 2017-08-22T14:43:48.157491+00:00 app[api]: Set LANG, RACK_ENV, RAILS_ENV, RAILS_SERVE_STATIC_FILES, SECRET_KEY_BASE config vars by user developer@example.com 2017-08-22T14:43:48.157491+00:00 app[api]: Release v3 created by user developer@example.com 2017-08-22T14:43:51.934541+00:00 app[api]: Release v4 created by user developer@example.com 2017-08-22T14:43:51.934541+00:00 app[api]: Attach DATABASE (@ref:postgresql-polished-22293) by user developer@example.com 2017-08-22T14:43:52.475133+00:00 app[api]: Deploy 867eb0fa by user developer@example.com 2017-08-22T14:43:52.494644+00:00 app[api]: Scaled to console@0:Free rake@0:Free web@1:Free worker@0:Free by user developer@example.com 2017-08-22T14:43:52.475133+00:00 app[api]: Release v5 created by user developer@example.com 2017-08-22T14:42:57.000000+00:00 app[api]: Build succeeded 2017-08-22T14:43:55.571309+00:00 heroku[web.1]: Starting process with command `bin/rails server -p 26139 -e production` 2017-08-22T14:43:59.605221+00:00 app[web.1]: [2017-08-22 14:43:59] INFO WEBrick 1.3.1 2017-08-22T14:43:59.605237+00:00 app[web.1]: [2017-08-22 14:43:59] INFO ruby 2.3.4 (2017-03-30) [x86_64-linux] 2017-08-22T14:43:59.605560+00:00 app[web.1]: [2017-08-22 14:43:59] INFO WEBrick::HTTPServer#start: pid=4 port=26139 2017-08-22T14:43:59.989962+00:00 heroku[web.1]: State changed from starting to up
You can also get the full stream of logs by running the logs command with the
--tail flag option like this:
$ heroku logs --tail.
$ heroku ps:scale web=1 irb(main):001:0> puts 1+1 2
Rake
Rake can be run as an attached process exactly like the console:
$ heroku run rake db:migrate
Webserver
By default, your app’s web process runs
rails server, which uses Webrick. This is fine for testing, but for production apps you’ll want to switch to a more robust webserver. On Cedar, we recommend Puma as the webserver. Regardless of the webserver you choose, production apps should always specify the webserver explicitly in the
Procfile.
First, add Puma to your application
Gemfile:
At the end of
Gemfile add:
gem 'puma'
Then run
$ bundle install
Now you are ready to configure your app to use Puma. For this tutorial we will use the default settings of Puma, but we recommend generating a
config/puma.rb file and reading more about configuring your application for maximum performance by reading the Puma documentation
Finally you will need to tell Heroku how to run your Rails app by creating a
Procfile in the root of your application directory.
Procfile
Change the command used to launch your web process by creating a file called Procfile and entering this:
In file
Procfile write:
web: bundle exec puma -t 5:5 -p ${PORT:-3000} -e ${RACK_ENV:-development}
Note: The case of
Procfile matters, the first letter must be uppercase.
We recommend generating a puma config file based on our Puma documentation for maximum performance.=3000" >> .env
You’ll also want to add
.env to your
.gitignore since this is for local enviroment setup.
$ echo ".env" >> .gitignore $ git add .gitignore $ git commit -m "add .env to .gitignore"
Test your Procfile locally using Foreman:
$ gem install foreman
You can now start your web server by running
$ foreman start 18:24:56 web.1 | I, [2013-03-13T18:24:56.885046 #18793] INFO -- : listening on addr=0.0.0.0:5000 fd=7 18:24:56 web.1 | I, [2013-03-13T18:24:56.885140 #18793] INFO -- : worker=0 spawning... 18:24:56 web.1 | I, [2013-03-13T18:24:56.885680 #18793] INFO -- : master process ready 18:24:56 web.1 | I, [2013-03-13T18:24:56.886145 #18795] INFO -- : worker=0 spawned pid=18795 18:24:56 web.1 | I, [2013-03-13T18:24:56.886272 #18795] INFO -- : Refreshing Gem list 18:24:57 web.1 | I, [2013-03-13T18:24:57.647574 #18795] INFO -- : worker=0 ready
Looks good, so press Ctrl-C to exit and you can deploy your changes to Heroku:
$ git add . $ git commit -m "use puma via procfile" $ git push heroku master
Check
ps, you’ll see the web process uses your new command specifying Puma as the web server
$ heroku ps Free dyno hours quota remaining this month: 996h 46m (99%) For more information on dyno sleeping and how to upgrade, see: === web (Free): bundle exec puma -t 5:5 -p ${PORT:-3000} -e ${RACK_ENV:-development} (1) web.1: starting 2017/08/22 09:44:31 -0500 (~ 3 4. Also, any failure in asset compilation will now cause the push to fail. For Rails 4 asset pipeline support see the Ruby Support page.
Troubleshooting
If you push up your app and it crashes (
heroku ps shows state
crashed), check your logs to find out what went wrong. Here are some common problems.
Runtime dependencies on development/test gems
If you’re.
Done
You now have your first application deployed to Heroku. The next step is to deploy your own application. If you’re interested in reading more you can read more about Ruby on Heroku at the Devcenter. | https://devcenter.heroku.com/articles/getting-started-with-rails4 | CC-MAIN-2018-05 | refinedweb | 3,184 | 61.93 |
Red Hat Bugzilla – Bug 196709
anaconda improperly puts console=ttyS0 in elilo.conf
Last modified: 2007-11-30 17:11:36 EST
Description of problem:
When using serial console install (text mode or VNC) of recent rawhide builds it
appears that "console=ttyS0" is being placed into the elilo.conf even though
anaconda was never told any console= info. On recent kernels (i.e. 2.6.16 and
later) the HP Integrity console is typically NOT ttyS0 as it was back in the
RHEL4 days. These kernels are able to automatically determine the proper
console device so unless the system is set up with a non standard configuration
console= should not be specified at all.
So, the proper behavior would be:
If the user specified a console= argument at install bootup time that argument
should be added to the append line in the generated elilo.conf.
If the user did not specify a console= argument then no console argument should
be generated.
Version-Release number of selected component (if applicable):
rawhide-20060626
anaconda-11.1.0.48-1
How reproducible:
100%
This then breaks other cases. Inconsistent kernel behavior is *BAD*. We had to
add the support for doing this previously because of weird ia64 behavior.
What _is_ the console device on these systems now?
What was the weird ia64 behavior? Would that have been the other BZ I filed
(191087)? If so then the 2 are not contradictory. That BZ just says that if
the user DID specify a console= argument then that info should be carried
forward into the newly created elilo.conf on the installed system.
The console on these systems varies. The kernel determines what device the
console is on during bootup. You will see a messages like this during boot:
Adding console on ttyS1 at MMIO 0xf8050000 (options '9600n8')
I imagine there is some way to determine what the console is via /proc. I will
check with our serial console expert in HP to see how anaconda can easily
determine what the console is.
No, this is from way back in 2002 when we did AS/AW 2.1 for ia64. And it also
ties in with things done for RHEL4 so that we would appropriately decide that
you are on a serial console and set the behavior throughout the install
appropriately.
If there's a good way to determine what the serial console actually being used
is, I'm more than glad to adjust the code to take advantage of that. But
parsing dmesg just isn't the way (it's not reliable enough given that it could
be out of the buffer by the time we need it). As it stands, we fall back to
ttyS0 purely out of "nothing better to autopick if you're serial console but not
console="
I agree we don't want to parse dmesg output, was just using that to demonstrate
how the kernel automagically determines the console device.
It really seems the way to go would be to just see what the user passed in
during the inital boot by looking at /proc/cmdline. If a console= argument was
needed then the user would have had to supply it here and that info should be
used by anaconda. If the user did not supply a console= argument here then it
is either not needed or if it is needed the user won't see any console output so
they won't be able to install and will say "oops I forgot my console= argument".
Keep in mind a LOT has changed since RHEL 2.1 and quite a bit has changed since
RHEL4 in this area (starting with 2.6.10). This is documented in the kernel
source tree at:
Documentation/ia64/serial.txt
This describes why the console numbering changed and how it determines what
console tty port to use.
If the user passes something, we use it. It's just when they don't that we have
to be tricky. And while ia64 may have some new magic here, I guarantee that's
not the case on all arches. I guess we could make this not happen just on ia64,
but I'd want confirmation that it's not going to break non-HP ia64 platforms.
I understand the concern about potentially breaking non HP ia64 platforms but
with the current setup we are breaking 95% of HP ia64 platforms. I see now that
we get this behavior on the RHEL5 alpha now as well.
If you verify that changing it doesn't break the HP platforms, I'm fine with
making the change on an ia64-only basis -- updates.img that can be used to test
is at.
But I'm not just going to go and irresponsibly break all other ia64 systems.
*** Bug 196976 has been marked as a duplicate of this bug. ***
Jeremy,
Sorry for the RHEL5 dup, I was asked to file one there for RHEL5 tracking. I
don't mean to create busy work.
Not sure what to do with the updates-ia64-serial.img file. What is this? I
will test this ASAP once I know what to do with this.
thanks,
- Doug
OK, clumens told me about the updates= boot arg so I could test this. It
appears to have a typo in it:
Traceback (most recent call last):
File "/usr/bin/anaconda", line 604, in ?
import dispatch
File "/usr/lib/anaconda/dispatch.py", line 31, in ?
from bootloader import writeBootloader, bootloaderSetupChoices
File "/usr/lib/anaconda/bootloader.py", line 31, in ?
import booty
File "/usr/lib/booty/booty.py", line 28, in ?
from bootloaderInfo import *
File "/tmp/updates/bootloaderInfo.py", line 509
if device is None and rhpl.getArch() != "ia64"::
^
SyntaxError: invalid syntax
I have now tested this update. (thanks Chris for your help getting this going)
I did 2 installs, one where I did not specify a console= argument and let the
kernel determine this on it's own and another where I explicitly set the
console= (which is ttyS1 in this case) and both cases work perfectly.
I will discuss this with Prarit tomorrow who should be able to raise any
potential concerns regarding SGI ia64 hardware but I have a very high level of
confidence that this will not case any problems on non HP hardware.
I really appreciate the attention paid to this issue, thanks.
- Doug
Doug, what's the status on this? Did you discuss with Prarit? Has it gone into
anaconda proper at this point?
Aron,
Just talked to Prarit and Jeremy. Sounds like we should be able to get this in
soon.
- Doug
Fixed in booty-0.79 | https://bugzilla.redhat.com/show_bug.cgi?id=196709 | CC-MAIN-2017-39 | refinedweb | 1,108 | 73.37 |
Migrating to next-gen Convenience Images
Overview
In 2020 CircleCI introduced the next generation (next-gen) of convenience images. These new images are designed to replace the legacy convenience images that were released during the announcement of CircleCI 2.0. The next-gen CircleCI convenience images are designed from the ground up for a CI/CD environment. They are designed to be faster, more efficient, and most importantly, more reliable. You can learn more about all of the features on our blog post. As we begin to deprecate the legacy images, this document provides information on the migration process.
Moving from a legacy to next-gen image requires a change to the namespace. All legacy images have a Docker namespace of
circleci, while next-gen images have a Docker namespace of
cimg. For example, migrating from the legacy Ruby or Python image to the respective next-gen image can be done as follows:
circleci/ruby:2.3.0 -> cimg/ruby:2.3.0 circleci/python:3.8.4 -> cimg/python:3.8.4
Changes
Deprecated images
Several changes are being made to existing images. The following images will be deprecated without next-gen equivalents:
buildpack-deps
JRuby
DynamoDB
If you are using the
buildpack-deps image, the suggestion is to use the new CircleCI Base image,
cimg/base. For the other two images, you can install the software yourself in the base image or use a 3rd-party image instead.
Also, the following image will be renamed:
- The Go image will be changed from
golangto
go
All Legacy to Next-Gen image changes are captured below in this table:
Browser Testing
With legacy images, there were 4 different variant tags you could use to get browser testing for a particular image. For example, if you were doing browser testing with the Python v3.7.0 image, you might have used Docker image: circleci/python:3.7.0-browsers. These 4 tags have now been consolidated into a single tag designed to be used together with the CircleCI Browser Tools orb.
The new, single browsers variant tag includes Node.js, common utilities to use in browser testing such as Selenium, but not the actual browsers. Please note the browsers are no longer pre-installed. Instead, browsers such as Google Chrome and Firefox, as well as their drivers Chromedriver and Gecko, are installed via the
browsers-tools orb. This provides the flexibility to mix and match the browser versions you need in a build rather than using strictly what CircleCI provides. You can find examples of how to use this orb here.
Using Ubuntu as the Single Base OS
Legacy images had variant tags for several different base operating systems. Some images were versions of Debian and Ubuntu, while other images provided several different bases. This is no longer the case. All CircleCI next-gen images are based on the latest LTS release of Ubuntu.
With the base image, at least two LTS releases and non-EOL’d standard releases will be supported.
Troubleshooting
When migrating to a next-gen image, there might be some software issues. Common issues include:
- A library you were using now has a different version.
- An apt package is no longer pre-installed. In this scenario simply install that package using:
sudo apt-get update && sudo apt-get install -y <the-package>
Each image has its own GitHub repository. You can find them here. These repositories are where you can learn more about an image, what makes up the image, open GitHub issues, and contribute PRs. If you are having an issue with an image, especially if it is a migration issue, you can open up a GitHub issue and ask questions. You can also open a support ticket or reach out on CircleCI Discuss.. | https://circleci.com/docs/2.0/next-gen-migration-guide/ | CC-MAIN-2021-39 | refinedweb | 628 | 54.63 |
5 jQuery.each() Function ExamplesBy Florian Rappl
This is quite an extensive overview of the jQuery
each() function. This function is one of jQuery’s most important and most used functions. In this article we’ll find out why and look into its details to see how you can use it.
More from this author
What is jQuery
.each()
jQuery’s
each() function is used to loop through each element of the target jQuery object. In case you’re not really experienced in jQuery, I remind you that a jQuery object is an object that contains one or more DOM elements, and exposes all jQuery functions. It’s very useful for multi-element DOM manipulation, looping arbitrary arrays, and object properties. In addition to this function, jQuery provides a helper function with the same name that can be called without having previously selected or created DOM elements. Let’s find out more in the next sections.
jQuery’s
.each() Syntax
Let’s see the different modes in action.
The following example selects every
div on the web page and outputs the index and the ID of each of them. A possible output is: “div0:header”, “div1:body”, “div2:footer”. This version uses jQuery’s
each() function as opposed to the utility function.
// DOM ELEMENTS $('div').each(function (index, value) { console.log('div' + index + ':' + $(this).attr('id')); });
The next example shows the use of the utility function. In this case the object to loop over is given as the first argument. In this example I show how to loop over an array:
// ARRAYS var arr = [ 'one', 'two', 'three', 'four', 'five' ]; $.each(arr, function (index, value) { console.log(value); // Will stop running after "three" return (value !== 'three'); }); // Outputs: one two three
In the last example I want to present loops through the properties of an object:
// OBJECTS var obj = { one: 1, two: 2, three: 3, four: 4, five: 5 }; $.each(obj, function (index, value) { console.log(value); }); // Outputs: 1 2 3 4 5
It all boils down to provide a proper callback. The callback’s context,
this, will be equal to the second argument, which is the current value. However, since the context will always be an object, primitive values have to be wrapped. Therefore, strict equality between the value and the context may not be given. The first argument is the current index, which is either a number (for arrays) or string (for objects).
1. Basic
jQuery.each() Function Example
Let’s see how the
each() function helps us in conjunction with a jQuery object. The first example selects all the
a elements in the page and outputs their
href attribute.
$('a').each(function (index, value){ console.log($(this).attr('href')); });
The second example outputs every external
href on the web page (assuming the HTTP protocol only):
$('a').each(function (index, value){ var link = $(this).attr('href'); if (link.indexOf('http://') === 0) { console.log(link); } });
Let’s say that in the page we had the following links:
<a href="">JQUERY4U</a> <a href="">PHP4U</a> <a href="">BLOGOOLA</a>
The second example would output:
We should note that DOM elements from a jQuery object need to be wrapped again when used inside a jQuery
each(). The reason is that jQuery is in fact just a wrapper around an array of DOM elements. By using jQuery
each() this array is iterated in the same way as an ordinary array would be. Therefore, we don’t get wrapped elements out of the box.
2.
jQuery.each() Array Example
Let’s have another look at how an ordinary array can be handled.
var numbers = [1, 2, 3, 4, 5, 6]; $.each(numbers , function (index, value){ console.log(index + ':' + value); });
This snippet outputs:
0:1,
1:2,
2:3,
3:4,
4:5, and
5:6.
Nothing special here. An array features numeric indices, hence we obtain numbers starting from 0 and going up to N – 1, where N is the number of elements in the array.
3.
jQuery.each() JSON Example
We may have more complicated data structures, such as arrays in arrays, objects in objects, arrays in objects, or objects in arrays. Let’s see how
each() can help us in such scenarios.
var json = [ { 'red': '#f00' }, { 'green': '#0f0' }, { 'blue': '#00f' } ]; $.each(json, function () { $.each(this, function (name, value) { console.log(name + '=' + value); }); });
This example outputs
red=#f00,
green=#0f0,
blue=#00f.
We handle the nested structure with a nested call to
each(). The outer call handles the array of the variable
JSON, the inner call handles the objects. In this example each object has only one key, however, in general any number could be attacked with the provided code.
4.
jQuery.each() Class Example
This example shows how to loop through each element with assigned class
productDescription given in the HTML below.
<div class="productDescription">Red</div> <div>Pink</div> <div class="productDescription">Orange</div> <div class="generalDescription">Teal</div> <div class="productDescription">Green</div>
We use the
each() helper instead of the
each() method on the selector.
$.each($('.productDescription'), function (index, value) { console.log(index + ':' + $(value).text()); });
In this case the output is
0:Red,
1:Orange,
2:Green.
We don’t have to include index and value. These are just parameters which help determine on which DOM element we are currently iterating. Furthermore, in this scenario we can also use the more convenient
each method. We can write it like this:
$('.productDescription').each(function () { console.log($(this).text()); });
And we’ll obtain on the console:
Red Orange Green
Again, we need to wrap the DOM element in a new jQuery instance. We use the
text() method to obtain the element’s text for output.
5. jQuery
.each() Delay Example
In the next example, when the user clicks the element with the ID 5demo all list items will be set to orange immediately. After an index-dependent delay (0, 200, 400, … milliseconds) we fade out the element.
$('#5demo').bind('click', function (e) { $('li').each(function (index) { $(this).css('background-color', 'orange') .delay(index * 200) .fadeOut(1500); }); e.preventDefault(); });
Conclusions
We should make use of the
each() function as much as we can. It’s quite efficient and it’ll save us heaps of time! Thinking outside of jQuery we may want to prefer using the
forEach() function of any ECMAScript 5 array.
Remember:
$.each() and
$(selector).each() are two different methods defined in two different ways. | https://www.sitepoint.com/jquery-each-function-examples/ | CC-MAIN-2017-30 | refinedweb | 1,065 | 66.54 |
Find Live Running Status of a train in Python
Ever been frustrated while having to open the Indian Railways website multiple times to check the status of trains? If yes, then it’s time to automate that using our favorite programming language – Python. This tutorial creates a program to find the live running status of a train in Python using the pyinrail API.
Installation
Python makes it easy to install these modules and run them on our computers. A simple ‘pip install’ command is all that is required.
Type the following in Command Prompt:
pip install pyinrail
Importing the module
In order to use this module in our application, we need to import it. This we do by adding following code at the beginning of our program.
from pyinrail import pyinrail
Create Inquiry Object
Now, to access the various functionalities of this particular module, we create an object of class Railway Inquiry in the following manner.
enq = pyinrail.RailwayEnquiry(src='kolkata', dest='mumbai', date='07-06-2020'
Here the parameters are:
src – source of journey
dest -destination of journey
date – date of journey
List of trains
Next to get the list of all the trains available under the given conditions, we use the following piece of code:
data = enq.get_trains_between_stations(as_df=True) print(data)
The as_df parameter returns the query in the form of a Python data frame which makes it very easy to read.
Seat availability
This is the best feature of the pyinrail API. It lets you see the seats available in a particular train without having to scroll through numerous web pages and ads. A simple command and you voila! you can start planning your trip.
data = enq.get_seat_availability(12958, classc='2A', as_df=True)
The variables are train number and coach type.
Find the Live Running Status of a train in Python
This function gives you the live status of any train i.e if it is on time, how much late it is running, and the related details, all in a concise manner.
train_detail = enq.get_train_status(12958, as_df=True)
These are all the tools you need to make your own application to determine the status of your train. Feel free to play around with this module and find the various other methods available.
What are you waiting for then? Start planning your next trip now! | https://www.codespeedy.com/find-live-running-status-of-a-train-in-python/ | CC-MAIN-2020-29 | refinedweb | 389 | 62.07 |
Hi, I'm pretty new to Unity so this may sound like a dumb question, but I'm stuck. Currently I am working on a simple block racing game, that uses a constant force to push the block forward. I want to create an area on the map which would give the player a speed boost while in the area (kinda like the arrows on the ground in Mario Kart). I figured I could do this by creating an empty game object, giving it a box collider, and writing OnTriggerEnter() script, so that when the player enters that zone, the force and therefore the speed of the player will increase. The problem isn't that the player doesn't speed up, it's that the boost activates at the start of the level, not when the player collides with the game object that is the speed boost area. Here is the code I used (in C#).
using System.Collections;
using System.Collections.Generic;
using UnityEngine;
public class speedBoost1 : MonoBehaviour {
public GameObject Player;
private PlayerMovement otherScriptToAccess;
public float boostAmount = 2000f;
// Use this for initialization
void Start ()
{
}
private void OnTriggerEnter(Collider other)
{
//accesses the script that stores the forces acting on the player
otherScriptToAccess = Player.GetComponent<PlayerMovement>();
//accesses the variable in that script called forwardForce
otherScriptToAccess.forwardForce = otherScriptToAccess.forwardForce + boostAmount;
Debug.Log("BOOST!");
}
void OnTriggerExit(Collider other)
{
otherScriptToAccess.forwardForce = otherScriptToAccess.forwardForce - boostAmount;
Debug.Log("normal");
}
// Update is called once per frame
void Update () {
}
}
Any help would be much appreciated!
Answer by Iarus
·
May 30, 2018 at 01:50 AM
In the OnTriggerEnter, the 'other' variable is the thing that just entered your speed boost zone. You are meant to verify if this object is a thing that you want to give a boost to or not. And then apply a force to it.
What you are doing is "as soon as something touches me whatever it might be, boost the player." If you debug your game and put a breakpoint at the beginning of the method and inspect the value, you'll probably see that 'other' is the racing track.
What is the trigger?
2
Answers
Build and Run is breaking my triggers!
1
Answer
Some problems with triggers?
1
Answer
Need help with setting all items of a specific tag to "inactive" when i die.
1
Answer
Run a Prefab while ONLY in the trigger zone.
1
Answer | https://answers.unity.com/questions/1512184/speed-boost-using-ontriggerenter.html | CC-MAIN-2019-39 | refinedweb | 397 | 63.39 |
Tcl_TraceVar, Tcl_TraceVar2, Tcl_UntraceVar, Tcl_UntraceVar2, Tcl_Var-
TraceInfo, Tcl_VarTraceInfo2 - monitor accesses to a variable
informa-
tion.
Tcl_VarTraceProc *proc (in) Procedure to invoke when-
ever one of the traced
operations occurs.
ClientData prevClientData (in) If non-NULL, gives last
value returned by
Tcl_VarTraceInfo or
Tcl_VarTraceInfo2, so
this call will return
information about next
trace. If NULL, this
call will return informa-
tion about first trace.
_________________________________________________________________ isn
Must not be specified at the same time as |
TCL_TRACE_RESULT_DYNAMIC.);
The clientData and interp parameters will have the same values as those
passed to Tcl_TraceVar when the trace was created. ClientData typi-
cally vari-
able being accessed is a global one not accessible from the current
level of procedure call: the trace procedure will need to pass this
flag back to variable-related procedures like Tcl_GetVar if it attempts
to access the variable. The bit TCL_NAMESPACE_ONLY will be set when-
ever the variable being accessed is a namespace informa-
tion may be useful to proc so that it can clean up its own internal
data structures ). The trace procedure's return value should
normally be NULL; see ERROR RETURNS below for information on other
possibilities.
Tcl_UntraceVar may be used to remove a trace. If the variable speci-
fied) and its trace procedure must the same as.
When read tracing has been specified for a variable, the trace proce-
dure proce-
dure vari-
able par-
tially-formed result in the interpreter's result area. If the trace
procedure does anything that could damage this result (such as calling
Tcl_Eval) then it must save the original values of the interpreter's
result and freeProc fields and restore them before it returns.
invoked when only a single element of an array is unset.
When an interpreter is destroyed, unset traces are called for all of
its variables..
Tcl doesn't do any error checking to prevent trace procedures from mis-
using the interpreter during traces with TCL_INTERP_DESTROYED set.
Array traces are not yet integrated with the Tcl "info exists" command,
nor is there Tcl-level access to array traces.
clientData, trace, variable
Tcl 7.4 Tcl_TraceVar(3) | http://www.syzdek.net/~syzdek/docs/man/.shtml/man3/Tcl_TraceVar.3.html | crawl-003 | refinedweb | 348 | 52.39 |
Name:
[011] John Montgomery
Member: 99 months
Authored: 21 videos
Description: I'm a C/C++, Java and Python programmer living in Hove, UK. ...
Using Python's CGIHTTPServer module to run CGI scripts [ID:646] (2/6)
in series: Introduction to Python web-programming: CGI
video tutorial by John Montgomery, added 04/08
> demonstrate how you can use Python's CGIHTTPServer module to run a simple web server that will handle CGI (wikipedia) scripts.
I then proceed to create a simple "Hello World" Python CGI script and show it being run via a web browser.
from CGIHTTPServer import CGIHTTPRequestHandler from BaseHTTPServer import HTTPServer server_address=('',8000) httpd = HTTPServer(server_address, CGIHTTPRequestHandler) httpd.serve_forever()
Got any questions?
Get answers in the ShowMeDo Learners Google Group.
Video statistics:
- Video's rank shown in the most popular listing
- Video plays: 229 . That helped. I had a bit of trouble understanding some of the spoken words. Perhaps you could intentionally speak more slowly when technical phrases or terms-of-art are being used, instead of speeding up through them.
Great video!
Really good!
Woops. I meant to post a comment here and instead posted it on video 1. Any thoughts on why the page won't load in Chrome? I realize this may not be very relevant to the tutorial, no obligation to answer unless you have an easy already known response.
Very simple and to the point video. Just what I was looking for!
here's an answer to my question above:
Hi John, thanks for the great vids.
I understand the simple python server isn't for "real world" usage, but what if we do want to use python in a production setting? Is there an apache module? How do you set it up?
thanks,
takayuki
@RyanHunter
Well if you wanted to use Python CGI stuff in the "real world" you probably wouldn't run it via the little Python server used before. It'd be ok if you were just using it at home or similar, but it's probably not suitable for wider use. Also in terms of hosting you'd be more likely to be able to run CGI scripts via apache (which helps avoid having to open up different ports etc).
As for security - well this style of web programming provides very little baked-in security. As a very direct way of doing stuff you have to consider the fact that anything that you write could go wrong. So when you read information from the user you have to make sure you've validated it.
In particular you have to be careful when reading/writing files, starting new processes, talking to databases and outputting html to the user. There are plenty of guides out there to web programming security, but key types to investigate are:
* SQL Injection
* Cross-site scripting exploit
* Cross-site request forgery
There are other types to worry about, but these will give you an idea of things to watch out for. They are also not specific to Python and/or CGI programming - all web-programming has to deal with these kinds of exploits.
Wow! I had no idea that Python was so powerful, that I could run a simple web server in basically 5 lines of code. I was able to take a large .html page I had made before, and stick sections of the text in string variables (like strVar = ''' my text '''), and have an entire web page recreated on the fly from the variables. I learnt a lot in basically just 15 minutes, and only 2 videos! Excellent. I can't wait to finish the series, but I have to leave for home now.
Please discuss more on the security risks of this type of easy server. I want to do a lot of work with this type of quick server.
Hi Steve,
you'll need to enter the full URL directly. e.g.
Basically by default the server won't let you list the contents of the /cgi-bin/ directory, so you'll have to go direct to the relevant file.
cheers,
John
Problem in lesson 2 using Win XP. I start the webserver running CGIServer.py. I then input into the browser and can see the folders in the browser. However, if I click on the cgi-bin folder, I get the following error response:
Error code 403.
Message: CGI script is not a plain file ('/cgi-bin/').
Error code explanation: 403 = Request forbidden -- authorization will not help.
This is the content of hello.py in the folder cgi-bin:
#!C:/Python25/python.exe
print "HTTP/1.0 200 OK"
print "Content-Type: text/html"
print "<b>"
print "Hello World!"
print "</b>"
What am I doing wrong???
Steve Rose
cool! works easily on xp. I didn't realize I could run a little cgi server on xp. I don't know its limitations and how fully it simulates serverside situation. But for this type of example, it is easier and less annoying than uploading little py test progs to my website & running them.
Solid video. I would have liked seeing you show us the source code that the browser actually renders.
Lucas
Video published, thanks for contributing to ShowMeDo | http://showmedo.com/videotutorials/video%3Fname%3D2170010 | CC-MAIN-2014-15 | refinedweb | 867 | 72.97 |
In this recipe, we will learn how to put multiple operations on the same computational graph.
It's important to know how to chain operations together. This will set up layered operations in the computational graph. For a demonstration we will multiply a placeholder by two matrices and then perform addition. We will feed in two matrices in the form of a three-dimensional
numpy array:
import tensorflow as tf sess = tf.Session()
It is also important to note how the data will change shape as it passes through. We will feed in two
numpy arrays of size 3x5. We will multiply each matrix by a constant of size 5x1, which will result in a matrix of size 3x1. We will then multiply this by 1x1 matrix resulting ...
No credit card required | https://www.oreilly.com/library/view/tensorflow-machine-learning/9781786462169/ch02s03.html | CC-MAIN-2019-30 | refinedweb | 132 | 66.84 |
Before we get too bogged down in theory, let’s create a Web Forms page and then examine what it is and how it works. Our first example will be a simple calculator application, but you’ll be able to see in action some of the principles we’ve been looking at.
We’ll begin by creating a Web application project in Visual Studio .NET. To do so, follow these steps:
Open Visual Studio .NET. From the File menu, choose New and then choose Project to open the New Project dialog box.
Under Project Types, select Visual C# Projects, and under Templates, select ASP.NET Web Application.
In the Location box, delete the name WebApplication1 and instead name your project VisualCSharpCorRef. (If you’re not using IIS locally, substitute the appropriate server name for localhost.) The full path will look something like this:
Click OK.
Visual Studio .NET creates your new Web application by generating a folder with the application name under the IIS default folder (usually \inetpub\wwwroot) and having IIS set a virtual folder pointing to that location. Visual Studio .NET also populates the new project with a handful of files. Of these, only three—WebForm1.aspx, WebForm1.aspx.cs, and WebForm1.aspx.resx—are actually Web Forms files. The rest are files used to manage the Web application.
Visual Studio .NET creates a default Web Forms page (WebForm1) for you, but it’s helpful to understand how to create a page from scratch. To do so, follow the steps below.
Close WebForm1.aspx.
From the Project menu, choose Add Web Form to open the Add New Item dialog box.
Under Templates, make sure that Web Form is selected.
In the Name box, type the name Calculator1 and click Open. A new blank Web Forms page named Calculator1.aspx is created and displayed in Web Forms Designer. In Solution Explorer, right-click Calculator1.aspx, and choose Set As Start Page from the shortcut menu. This makes the page the opening form in your application.
You add controls to a Web Forms page in much the way you add controls to a Windows Form. By default, Web Forms pages are set to use a grid layout (xy-coordinates), so you can drag controls anywhere on the page. To add controls to the page, follow these steps:
From the View menu, choose Toolbox.
From the Web Forms tab of the Toolbox, drag the following controls onto the page and name them as indicated in the following table.
Notice that each control has a small green arrow in the upper-left corner; this symbol tells you that the element is a control, not a static HTML element.
Figure 20-2 shows what the page will look like when you’ve finished dragging controls onto it. We’ll look at how to add the static HTML text shown in this figure in the next section.
In addition to controls, you can add static HTML text to the page. Static HTML text is text that you don’t need to program, so it doesn’t need to be in a control. To add HTML text to your page, follow these steps:
From the HTML tab of the Toolbox, drag a Label control onto the form and position it as a label for the first text box you added earlier.
Select this new label, and then click it once. (Don’t double-click it.) The label is now in edit mode, as indicated by the cross-hatched border.
Edit the label’s text to read Number 1, and then click in a blank area of the page to unselect the label.
Repeat steps 1 through 3 to add a label above the second text box. Edit the text to read Number 2.
Create one more label like this, position it to the left of the ResultLabel control, and set its text to = (equal sign).
The distinction between a control and static HTML text is an important one in Web Forms pages, and a difference that you don’t find in Windows Forms. We’ll go into this in more detail later in this chapter, in the section “Web Forms Controls.”
To add functionality to the page, you need to add event handlers to the buttons. In the Visual Studio .NET Web Forms Designer, this process is similar to working with Windows Forms. To add event handlers to the button controls in our page, follow these steps:
Double-click the AddButton control. The Calculator1.aspx.cs file will open in the Code Editor, and the insertion point will be in a new, blank method (AddButton_Click).
Add the following lines of code:
private void AddButton_Click(object sender, System.EventArgs e) { ResultLabel.Text = (double.Parse(Number1TextBox.Text) + double.Parse(Number2TextBox.Text)).ToString(); OpLabel.Text = "+"; }
This code is relatively straightforward: it gets the values of the two TextBox controls, casts the values as doubles, adds them together, casts the result back to a string, and then sets the Text property of the ResultLabel control to the result of this operation. The code also displays an operator by setting the Text property of the OpLabel control.
Add handlers for the SubtractButton, MultiplyButton, and DivideButton controls by double-clicking each and adding code to perform the appropriate operation. You might also add code to ensure that users don’t try to divide by zero. When you’ve finished, the three handlers will look like this:
private void SubtractButton_Click(object sender, System.EventArgs e) { ResultLabel.Text = (double.Parse(this.Number1TextBox.Text) - double.Parse(Number2TextBox.Text)).ToString(); OpLabel.Text = "-"; } private void MultiplyButton_Click(object sender, System.EventArgs e) { ResultLabel.Text = (double.Parse(Number1TextBox.Text) * double.Parse(Number2TextBox.Text)).ToString(); OpLabel.Text = "x"; } private void DivideButton_Click(object sender, System.EventArgs e) { if((double.Parse(Number2TextBox.Text) != 0)) { ResultLabel.Text = (double.Parse(Number1TextBox.Text) / double.Parse(Number2TextBox.Text)).ToString(); OpLabel.Text = "/"; } else { ResultLabel.Text = "Can't divide by zero!"; } }
Add a handler for the ClearButton control’s Click event to reset the text boxes and operator label to empty strings, as shown here:
private void ClearButton_Click(object sender, System.EventArgs e) { Number1TextBox.Text = ""; Number2TextBox.Text = ""; OpLabel.Text = ""; }
Now you’re ready to run the page. To do so, press Ctrl+F5, which builds the project and runs it.
The browser opens with your page in it. Enter numbers in the text boxes, and click the operator buttons. If you watch the page’s status bar, you’ll see that each time you click a button, the page is reloaded—that is, it makes a round-trip to the server.
Now that you’ve created a Web Forms page, let’s examine it more closely to learn how Web Forms work. In this section, we’ll look separately at the .aspx file (the visible part of the page) and at the code for the page.
The Web Forms page you just created is similar to an HTML page. If you open the Calculator1.aspx file in the Web Forms Designer and switch to HTML view by clicking the HTML tab at the bottom of the designer, you can see the “raw” HTML-like text of the .aspx file, which will be similar to Figure 20-3.
The .aspx file differs from a standard HTML file in the following ways:
The file extension is .aspx rather than .htm or .html. The extension is the trigger for a Web Forms page; when IIS sees that extension, it hands the page off to ASP.NET, which processes the page and your code.
At the top of the page is an @ Page element, which is an ASP.NET processing directive. This links the .aspx file to the corresponding code file. See the next section for further details.
The body contains a Form element, which was generated automatically by Visual Studio .NET. ASP.NET can process only the elements inside the Form element.
The runat attribute of the Form element is set to "server". This attribute is the key to server programming with ASP.NET. For ASP.NET to “see” any element, that element’s start tag must contain runat="server". ASP.NET treats anything in the page without runat="server", including static HTML, as opaque text and simply passes the text on to the browser.
The controls you added to the form aren’t standard HTML elements. Instead, they’re declared as asp:TextBox, asp:Label, and asp:Button elements. These are the Web Forms controls recognized only by ASP.NET. These elements also have the attribute runat="server".
The elements all have an ID attribute. This attribute provides the instance name by which you can refer to the element in code. For example, to refer to the label element in code, you use its ID (Label1).
The HTML labels are declared as DIV elements. Unlike the controls, these elements don’t have the attribute runat="server". They’re static HTML elements, invisible to (and not programmable in) ASP.NET.
The .aspx file defines the visible elements of the page. The code for the page is in a separate file, Calculator1.aspx.cs. You can see the Calculator.aspx.cs file by clicking the Show All Files toolbar button in Solution Explorer and then opening the node for the Calculator1.aspx file. Open the Calculator1.aspx.cs file by double-clicking the file name in Solution Explorer. By looking at the code that the Web Forms Designer generates and the code that you’ve added, you can get a clear sense of how Web Forms pages are processed.
The most interesting thing to note is that your Web Forms page is a class (Calculator1) that inherits from the base Page class defined in System.Web.UI, as follows:
namespace VisualCSharpCorRef { public class Calculator1 : System.Web.UI.Page { } }
The class’s namespace corresponds to your project—in this case, VisualCSharpCorRef.
When the page runs, ASP.NET creates an instance of your page class and runs it. As with any class, the page goes through an initialization process, performs its processing, and is then disposed of. As we’ve seen, the page goes through this cycle each time it’s called—that is, with each round-trip.
In the Code Editor, open the node labeled Web Form Designer Generated Code. The page includes an override of the OnInit method. This method is called so that the page can initialize itself, which it does by calling a private InitializeComponent method. In the initialization code, shown here, you’ll see statements that perform event wireup—that is, they bind page and control events to specific event handling methods. The keyword this refers to the current page instance.
private void InitializeComponent() { this.DivideButton.Click += new System.EventHandler(this.DivideButton_Click); this.MultiplyButton.Click += new System.EventHandler(this.MultiplyButton_Click); this.Load += new System.EventHandler(this.Page_Load); }
You don’t have to write event wireup code yourself because when you use the Web Forms Designer in Visual Studio .NET, the event wireup code is part of the code that’s generated when you double-click a control to create a handler.
When you compile a Web Forms page at design time in Visual Studio .NET, only the code-behind file is compiled. The .aspx file doesn’t become part of the project assembly .dll file. When you deploy a Web Forms page, therefore, you deploy the .aspx file as-is. At run time, when the page is called, there’s a second compilation step. In this second compilation, ASP.NET creates a new, temporary class from the .aspx file and code-behind files combined (specifically, the .aspx file inherits from the compiled code-behind file), and that’s what actually runs. | http://etutorials.org/Programming/visual-c-sharp/Part+V+ASP.NET+and+Web+Services/Chapter+20+Web+Forms/Creating+a+Basic+Web+Forms+Page/ | CC-MAIN-2019-22 | refinedweb | 1,943 | 66.94 |
Around Easter last year, I finished writing the second edition of Advanced Perl Programming, a task that had been four years in the making. The aim of this new edition was to reflect the way that Perl programming had changed since the first edition. Much of what Sriram wrote in the original edition was still true, but to be honest, not too much of it was useful anymore--the Perl world has changed dramatically since the original publication.
The first edition was very much about how to do things yourself; it operated at a very low level by current Perl standards. With the explosion of CPAN modules in the interim, "advanced Perl programming" now consists of plugging all of the existing components together in the right order, rather than necessarily writing the components from scratch. So the nature of the book had to change a lot.
However, CPAN is still expanding, and the Perl world continues to change; Advanced Perl Programming can never be a finished book, but only a snapshot in time. On top of all that, I've been learning more, too, and discovering more tricks to get work done smarter and faster. Even during the writing of the book, some of the best practices changed and new modules were developed.
The book is still, I believe, an excellent resource for learning how to master Perl programming, but here, if you like, I want to add to that resource. I'll try to say something about the developments that have happened in each chapter of the book.
Advanced Perl
I'm actually very happy with this chapter. The only thing I left out of the first chapter which may have been useful there is a section on
tie; but this is covered strongly in Programming Perl anyway.
On the other hand, although it's not particularly advanced, one of the things I wish I'd written about in the book was best practices for creating object-oriented modules. My fellow O'Reilly author Damian Conway has already written two books about these topics, so, again, I didn't get too stressed out about having to leave those sections out. That said, the two modules I would recommend for building OO classes don't appear to get a mention in Perl Best Practices.
First, we all know it's a brilliant idea to create accessors for our data members in a class; however, it's also a pain in the neck to create them yourself. There seem to be hundreds of CPAN modules that automate the process for you, but the easiest is the
Class::Accessor module. With this module, you declare which accessors you want, and it will automatically create them. As a useful bonus, it creates a default
new() method for you if you don't want to write one of those, either.
Instead of:
package MyClass; sub new { bless { %{@_} }, shift; } sub name { my $self = shift; if (@_) { $self->{name} = shift; } $self->{name} } sub address { my $self = shift; if (@_) { $self->{address} = shift; } $self->{address} }
you can now say:
package MyClass; use base qw(Class::Accessor); MyClass->mk_accessors(qw( name address ));
Class::Accessor also contains methods for making read-only accessors and for creating separate read and write accessors, and everything is nicely overrideable. Additionally, there are subclasses that extend
Class::Accessor in various ways:
Class::Accessor::Fast trades off a bit of the extensibility for an extra speed boost,
Class::Accessor::Chained returns the object when called with parameters, and
Class::Accessor::Assert does rudimentary type checking on the parameter values. There are many, many modules on the CPAN that do this sort of thing, but this one is, in my opinion, the most flexible and simple.
Speaking of flexibility, one way to encourage flexibility in your modules and applications is to make them pluggable--that is, to allow other pieces of code to respond to actions that you define.
Module::Pluggable is a simple but powerful little module that searches for installed modules in a given namespace. Here's an example of its use in
use Module::Pluggable search_path => "Email::FolderType", require => 1, sub_name => 'matchers';
This looks for all modules underneath the
requires them, and assembles a list of their classes into the
matchers method. The module later determines the type of an email folder by passing it to each of the recognizers and seeing which of them handles it, with the moral equivalent of:
sub folder_type { my ($self, $folder) = @_; for my $class ($self->matchers) { return $class if $class->match($folder); } }
This means you don't need to know, when you're writing the code, what folder types you support; you can start off with no recognizers and add them later. If a new type of email folder comes along, the user can install a third-party module from CPAN that deals with it, and
Parsing
Perhaps the biggest change of heart I had between writing a chapter and its publication was in the parsing chapter. That chapter had very little about parsing HTML, and what it did have was not very friendly. Since then, Gisle Aas and Sean Burke's
HTML::TreeBuilder and the corresponding
XML::TreeBuilder have established themselves as much simpler and more flexible ways to navigate HTML and XML documents.
The basic concept in
HTML::TreeBuilder is the HTML element, represented as an object of the
HTML::Element class:
$a = HTML::Element->new('a', href => ''); $html = $a->as_HTML;
This creates a new element that is an anchor tag, with an
href attribute. The HTML equivalent in
$html would be
<a href=""/>.
Now you can add some content to that tag:
$a->push_content("The Perl Homepage");
This time, the object represents
<a href=""> The Perl Homepage </a>.
You can ask this element for its tag, its attributes, its content, and so on:
$tag = $a->tag; $link = $a->attr("href"); @content = $a->content_list; # More HTML::Element nodes
Of course, when you are parsing HTML, you won't be creating those elements manually. Instead, you'll be navigating a tree of them, built out of your HTML document. The top-level module
HTML::TreeBuilder does this for you:
use HTML::TreeBuilder; my $tree = HTML::TreeBuilder->new(); $tree->parse_file("index.html");
Now
$tree is a
HTML::Element object representing the
<html> tag and all its contents. You can extract all of the links with the
extract_links() method:
for (@{ $tree->extract_links() || [] }) { my($link, $element, $attr, $tag) = @$_; print "Found link to $link in $tag\n"; }
Although the real workhorse of this module is the
look_down() method, which helps you pull elements out of the tree by their tags or attributes. For instance, in a search engine indexer, indexing HTML files, I have the following code:
for my $tag ($tree->look_down("_tag","meta")) { next unless $tag->attr("name"); $hash{$tag->attr("name")} .= $tag->attr("content"). " "; } $hash{title} .= $_->as_text." " for $tree->look_down("_tag","title");
This finds all
<meta> tags and puts their attributes as name-value pairs in a hash; then it puts all the text inside of
<title> tags together into another hash element. Similarly, you can look for tags by attribute value, spit out sub-trees as HTML or as text, and much more, besides. For reaching into HTML text and pulling out just the bits you need, I haven't found anything better.
On the XML side of things,
XML::Twig has emerged as the usual "middle layer," when
XML::Simple is too simple and
XML::Parser is, well, too much like hard work.
Templating
There's not much to say about templating, although in retrospect, I would have spent more of the paper expended on
HTML::Mason talking about the Template Toolkit instead. Not that there's anything wrong with
HTML::Mason, but the world seems to be moving away from templates that include code in a specific language (say, Perl's) towards separate templating little languages, like TAL and Template Toolkit.
The only thing to report is that Template Toolkit finally received a bit of attention from its maintainer a couple of months ago, but the long-awaited Template Toolkit 3 is looking as far away as, well, Perl 6.
Natural Language Processing
Who would have thought that the big news of 2005 would be that Yahoo is relevant again? Not only are they coming up with interesting new search technologies such as Y!Q, but they're releasing a lot of the guts behind what they're doing as public APIs. One of those that is particularly relevant for NLP is the Term Extraction web service.
This takes a chunk of text and pulls out the distinctive terms and phrases. Think of this as a step beyond something like
Lingua::EN::Keywords, with the firepower of Yahoo behind it. To access the API, simply send a HTTP
POST request to a given URL:
use LWP::UserAgent; use XML::Twig; my $uri = ""; my $ua = LWP::UserAgent->new(); my $resp = $ua->post($uri, { appid => "PerlYahooExtractor", context => <<EOF Two Scottish towns have seen the highest increase in house prices in the UK this year, according to new figures. Alexandria in West Dunbartonshire and Coatbridge in North Lanarkshire both saw an average 35% rise in 2005. EOF }); if ($resp->is_success) { my $xmlt = XML::Twig->new( index => [ "Result" ]); $xmlt->parse($resp->content); for my $result (@{ $xmlt->index("Result") || []}) { print $result->text; } }
This produces:
north lanarkshire scottish towns west dunbartonshire house prices coatbridge dunbartonshire alexandria
Once I had informed the London Perl Mongers of this amazing discovery, Simon Wistow immediately bundled it up into a Perl module called
Lingua::EN::Keywords::Yahoo, coming soon to a CPAN mirror near you.
Unicode
The best news about Unicode over the last year is that you should not have noticed any major changes. By now, the core Unicode support in Perl just works, and most of the CPAN modules that deal with external data have been updated to work with Unicode.
If you don't see or hear anything about Unicode, that's a good thing: it means it's all working properly.
POE
The chapter on POE was a great introduction to how POE works and some of the things that you can do with it, but it focused on using POE for networking applications and for daemons. This is only half the story. Recently a lot of interest has centered on using POE for graphical and command-line applications: Randal Schwartz takes over from the RSS aggregator at the end of the chapter by integrating it with a graphical interface in "Graphical interaction with POE and Tk." Here, I want to consider command-line applications.
The
Term::Visual module is a POE component for creating applications with a split-screen interface; at the bottom of the interface, you type your input, and the output appears above a status line. The module handles all of the history, status bar updates, and everything else for you. Here's an application that uses
Chatbot::Eliza to provide therapeutic session with everyone's favorite digital psychiatrist.
First, set up the chatbot and create a new
Term::Visual object:
#!/usr/bin/perl -w use POE; use POSIX qw(strftime); use Term::Visual; use Chatbot::Eliza; my $eliza = Chatbot::Eliza->new(); my $vt = Term::Visual->new( Alias => "interface" );
Now create the window, which will have space on its status bar for a clock:
my $window_id = $vt->create_window( Status => { 0 => { format => "[%8.8s]", fields => ["time"] } }, Title => "Eliza" );
You also need a
POE::Session, which will do all the work. It will have three states; the first is the
_start state, to tell
Term::Visual what to do with any input it gets from the keyboard and to update the clock:
POE::Session->create (inline_states => { _start => sub { $_[KERNEL]->post( interface => send_me_input => "got_term_input" ); $_[KERNEL]->yield( "update_time" ); },
Updating the clock is simply a matter of setting the
time field declared earlier to the current time, and scheduling another update at the top of the next minute:
update_time => sub { $vt->set_status_field( $window_id, time => strftime("%I:%M %p", localtime) ); $_[KERNEL]->alarm( update_time => int(time() / 60) * 60 + 60 ); },
Finally, you need to handle the input from the user. Do that in a separate subroutine to make things a big clearer:
got_term_input => \&handle_term_input, } ); $poe_kernel->run();
When
Term::Visual gets a line of text from the user, it passes it to the state declared in the
_start state. The code takes that text, prints it to the terminal as an echo, and then passes it through Eliza:
sub handle_term_input { my ($heap, $input) = @_[HEAP, ARG0]; if ($input =~ m{^/quit}i) { $vt->delete_window($window_id); exit; } $vt->print($window_id, "> $input"); $vt->print($window_id, $eliza->transform($input)); }
In just a few lines of code you have a familiar interface, similar to many IRC or MUD clients, with POE hiding all of the event handling away.
Testing
Advanced Perl Programming showed how to write tests so that we all can be more sure that our code is doing what it should. How do you know your tests are doing enough? Enter Paul Johnson's
Devel::Cover!
Devel::Cover makes a record of each time a Perl operation or statement is executed, and then compares this against the statements in your code. So when you're running your tests, you can see which of the code paths in your module get exercised and which don't; if you have big branches of code that never get tested, maybe you should write more tests for them!
To use it on an uninstalled module:
$ cover -delete $ HARNESS_PERL_SWITCHES=-MDevel::Cover make test $cover
This will give you a textual summary of code coverage;
cover -report html produces a colorized, navigable hypertext summary, useful for showing to bosses.
This ensures that your code works--or at least, that it does what your tests specify. The next step is to ensure that your code is actually of relatively decent quality. Because "quality" is a subjective metric when it comes to the art of programming, Perl folk have introduced the objective of "Kwalitee" instead, which may or may not have any bearing on quality.
All modules on CPAN have their Kwalitee measured as part of the CPANTS (CPAN Testing Service) website. One way to test for and increase your Kwalitee is to use the
Module::Build::Kwalitee module; this copies some boilerplate tests into your distribution that ensure that you have adequate and syntactically correct documentation, that you
use strict and
warnings, and so on.
All of this ought to go a fair way to improving the Kwalitee of your code, if not its actual quality!
Inline
One of the things that has come over into Perl 5 from Perl 6 development is the concept of the Native Call Interface (NCI). This hasn't fully been developed yet, but chromatic (yes, the editor of this very site) has been working on it.
The idea is that, instead of having something like Inline or XS that creates a "buffer" between Perl and C libraries, you just call those libraries directly. At the moment, you need to compile any XS module against the library you're using. This is particularly awkward for folk on cut-down operating systems that do not ship a compiler, such as Palm OS or Windows.
The strength of NCI is that it doesn't require a compiler; instead, it uses the operating system's normal means of making calls into libraries. (Hence "Native Call.") It uses Perl's
DynaLoader to find libraries, load them, and then find the address of symbols inside of the library. Then it calls a generic "thunk" function to turn the symbol's address into a call. For instance:
my $lib = P5NCI::Library->new( library => 'nci_test', package => 'NCI' ); $lib->install_function( 'double_int', 'ii' ); my $two = NCI::double_int( 1 );
These lines find the
nci_test shared library and get ready to put its functions into the
NCI namespace. It then installs the function
double_int, which is of signature
int double_int(int) (hence
ii). Once this is done, you can call the function from Perl. It's not much trickier than Inline, but without the intermediate step of compilation.
NCI isn't quite there yet, and it only supports very simple function signatures. However, because of its portability, it's definitely the one to watch for Perl-C interfaces in the future.
Everything Else
The last chapter is "Fun with Perl." Now, much has happened in the world of Perl fun, but much has happened all over Perl. There were many other things I wanted to write about, as well: CPAN best practices for date/time handling and email handling, Perl 6 and Pugs, the very latest web application frameworks such as Catalyst and Jifty, and so on. But all these would fill another book--and if I ever finished that, it too would require an update like this one. So I hope this is enough for you to be getting on with! | https://www.perl.com/pub/2006/01/26/more_advanced_perl.html | CC-MAIN-2017-39 | refinedweb | 2,817 | 54.15 |
During the years, I went through my entire music collection in iTunes and rated everything. 1-5 stars.
My problem? I had a non-apple laptop for a year. Ubuntu. So no iTunes. I kept the iTunes Music Library.xml file with all the file and rating information and retained the existing folder structure on ubuntu with ubuntu’s player.
I retained the .xml file as I guessed I could use it to get my ratings back.
Problem: nope, whatever I tried, I couldn’t get my ratings back. I wrote a small script to read my old .xml file and my current one. I mapped tracks in both of them based on filenames and set ratings based on the old ones. I copied the resulting .xml file over the real iTunes Music Library.xml and restarted iTunes. No effect.
The reason: iTunes doesn’t use that file itself, it is only there to provide information to other programs that might need to grab the music library info! It uses some unreadable .itl database.
I got it working in the end by using a hint I found. The trick is to make playlists per rating. One for 1 star, one for 2 star items, etc.
So I modified my script to not change the ratings, but to add 5 playlists, one for each rating. And to assign the tracks for which I wanted to set the rating to the correct playlists.
In itunes, there’s a “File - Library - Import library...” menu option. I gave it my newly generated .xml file and got my 5 playlists!
I then went to each of the playlists, selected everything, right clicked and gave them all the correct rating. Success!
Turns out that Python can read those apple .xml “plist” files out of the box with plistlib. Real handy. A plist file is more or less an XML version of a JSON file.
I had my original .xml file and a copy of iTunes current one in the same directory as the script. The output, updated.xml was what I imported into iTunes.
Anyway, here is the script. I also added it as a github gist in case that’s handier. There’s a lot to refactor, but obviously I didn’t bother once I got it working: it is a one-time-only script. I added a couple of comments to make the usage clearer:
from collections import defaultdict import plistlib # I copied files locally. # NEW is what gets written. # CURRENT is the current "iTunes Library.xml" file (or rather, my copy). # OLD is an old backup with lots of good ratings. OLD = 'itunes.xml' CURRENT = 'itunes_2012.xml' NEW = 'updated.xml' # I match based on filenames. IDs are different, sigh. # But I needed to compensate for a new iTunes folder structure. OLD_PREFIX = '' CURRENT_PREFIX = '' def main(): # Read in the old tracks and grab the ratings. old = plistlib.readPlist(OLD) old_tracks = old['Tracks'] print "Found {} old tracks".format(len(old_tracks)) old_ratings = {} for track in old_tracks.values(): filename = track['Location'].replace(OLD_PREFIX, '') rating = track.get('Rating') if rating is None: continue old_ratings[filename] = rating print "Found {} old ratings".format(len(old_ratings)) # Same with the current ratings. If we've rated something, we want to # keep that rating. current = plistlib.readPlist(CURRENT) current_tracks = current['Tracks'] print "Found {} current tracks".format(len(current_tracks)) current_ratings = {} for track in current_tracks.values(): filename = track['Location'].replace(CURRENT_PREFIX, '') rating = track.get('Rating') if rating is None: continue current_ratings[filename] = rating print "Found {} current ratings".format(len(current_ratings)) # Figure out which old ratings we want to move over. new_ratings = {} for filename in old_ratings: if filename not in current_ratings: new_ratings[filename]= old_ratings[filename] print "This means {} new ratings".format(len(new_ratings)) # Create a dict {rating: tracks} for the new ratings I want to set. new_playlists = defaultdict(list) for track in current_tracks.values(): filename = track['Location'].replace(CURRENT_PREFIX, '') new_rating = new_ratings.get(filename) if new_rating is None: continue track_id = track['Track ID'] new_playlists[new_rating].append(track_id) # Create a playlist per rating. You can set the playlist's items to # the correct rating in iTunes just fine. playlists = [] for rating, track_ids in new_playlists.items(): print rating, len(track_ids) new_playlist = {} new_playlist['Name'] = str(rating) + ' points' new_playlist['Visible'] = True new_playlist['Playlist ID'] = 8000 + rating new_playlist['All Items'] = True new_playlist['Playlist Items'] = [{'Track ID': track_id} for track_id in track_ids] playlists.append(new_playlist) # Zap the existing ones, otherwise you end up with double items. current['Playlists'] = playlists plistlib.writePlist(current, NEW) if __name__ == '__main__':): | http://reinout.vanrees.org/weblog/2012/12/30/restore-itunes-ratings.html | CC-MAIN-2015-06 | refinedweb | 742 | 70.6 |
JSF 2 fu, Part 1
Streamline Web application development
Simplify navigation, eliminate XML configuration, and easily access resources with JSF 2
Content series:
This content is part # of # in the series: JSF 2 fu, Part 1
This content is part of the series:JSF 2 fu, Part 1
Stay tuned for additional content in this series.
There's an ongoing debate over the best birthplace for Web application frameworks: ivory towers — where eggheads put their heads together — versus the real world, where frameworks are born out of crucibles of burning need. It seems rather intuitive that crucibles of burning need win out over eggheads, and I suppose that intuition stands up well to closer inspection.
JSF 1 was developed in an ivory tower, and the results, arguably, were less than spectacular. But JSF got one thing right — it let the marketplace come up with lots of real-world innovations. Early on, Facelets made its debut as a powerful replacement for JavaServer Pages (JSP). Then came Rich Faces, a slick JSF Ajax library; ICEFaces, a novel approach to Ajax with JSF; Seam; Spring Faces; Woodstock components; JSF Templating; and so on. All of those open source JSF projects were built by developers who needed the functionality they implemented.
The JSF 2.0 Expert Group essentially standardized some of the best features from those open source projects. Although JSF 2 was indeed specified by a bunch of eggheads, it was also driven by real-world innovation. In retrospect, the expert group's job was relatively easy because we were standing on the shoulders of giants such as Gavin King (Seam), Alexandr Smirnov (Rich Faces), Ted Goddard (ICEFaces), and Ken Paulson (JSF Templating). In fact, all of those giants were on the JSF 2 Expert Group. So in many respects, JSF 2 combines the best aspects of ivory tower and real world. And it shows. JSF 2 is a vast improvement over its progenitor.
This is the first article in a three-part series that has two goals: to show you exciting JSF 2 features, and to show you how to best use those features, so that you can take advantage of what JSF 2 offers. I will crosscut those two concerns by illustrating the use of JSF 2 with some tips for best using JSF. Here are the tips for this article:
- Tip 1: Get rid of XML configuration
- Tip 2: Simplify navigation
- Tip 3: Use Groovy
- Tip 4: Take advantage of resource handling
First, though, I'll introduce the example application that I use throughout this article series. The application source code for this article is available for download.
The obligatory mapping-based Web services mashup example
Figure 1 shows a JSF mashup — I'll refer to it as the places application — that uses Yahoo! Web services to convert addresses into maps with zoom levels and weather forecasts:
Figure 1. Viewing maps and weather information from Yahoo! Web Services
To create a place, you fill in the address form, activate the Go button, and the application passes the address to two Web services: Yahoo! Maps and Yahoo! Weather.
The Map service returns 11 map URLs pointing to maps of the address, at varying zoom levels, on the Yahoo! server. The Weather service passes back a chunk of preassembled HTML. Both image URLs and chunks of HTML are easily displayed in a JSF view, thanks to
<h:graphicImage> and
<h:outputText>, respectively.
The places application lets you enter as many addresses as you like. You can even use the same address more than once, as indicated by Figure 2, which is really meant to illustrate zoom levels:
Figure 2. Zoom levels
The gist of the application
The places application has four managed beans, listed in Table 1:
Table 1. The managed beans in the places application
The application stores a list of
Places, depicted in Figure 1, in session scope and maintains a
Place in request scope. The application also provides simple APIs into Yahoo!'s map and weather Web services with the application-scoped
mapService and
weatherService managed beans, respectively.
Creating places is simple. Listing 1 shows the code for the address form contained in Figure 1's view:
Listing 1. The address form
<h:form> <h:panelGrid #{msgs.streetAddress} <h:inputText #{msgs.city} <h:inputText #{msgs.state} <h:inputText #{msgs.zip} <h:inputText <h:commandButton </h:panelGrid> </h:form>
When the user activates the Go button and submits the form, JSF invokes the button's action method:
place.fetch(). That method sends information from the Web services to
Place.addPlace(), which creates a new
Place instance, initializes it with the data passed to the method, and stores it in request scope.
Listing 2 shows
Place.fetch():
Listing 2. The
Place.fetch() method
public class Place { ... private String[] mapUrls private String weather ... public String fetch() { FacesContext fc = FacesContext.getCurrentInstance() ELResolver elResolver = fc.getApplication().getELResolver() // Get maps MapService ms = elResolver.getValue( fc.getELContext(), null, "mapService") mapUrls = ms.getMap(streetAddress, city, state) // Get weather WeatherService ws = elResolver.getValue( fc.getELContext(), null, "weatherService") weather = ws.getWeatherForZip(zip, true) // Get places Places places = elResolver.getValue( fc.getELContext(), null, "places") // Add new place to places places.addPlace(streetAddress, city, state, mapUrls, weather) return null } }
Place.fetch() uses JSF's variable resolver to find the
mapService and
weatherService managed
beans, and it uses those managed beans to get map and weather information from the Yahoo! Web services. Then
fetch() calls
places.addPlace(), which uses the map and weather information, along with the address, to create a new
Place in request scope.
Notice that
fetch() returns
null. Because
fetch() is an action method associated with a button, that
null return value causes JSF to reload the same view, which displays all of the places in the user's session, as shown in Listing 3:
Listing 3. Showing places in a view
<ui:composition <h:form> <!-- Iterate over the list of places --> <ui:repeat <div class="placeHeading"> <h:panelGrid <!-- Address at the top --> <h:panelGroup> <div style="padding-left: 5px;"> <i><h:outputText</i>, <h:outputText <h:outputText <hr/> </div> </h:panelGroup> <!-- zoom level prompt and drop down --> <h:panelGrid <!-- prompt --> <div style="padding-right: 10px;margin-bottom: 10px;font-size:14px"> #{msgs.zoomPrompt} </div> <!-- dropdown --> <h:selectOneMenu <f:selectItems </h:selectOneMenu> </h:panelGrid> <!-- The map --> <h:graphicImage </h:panelGrid> <!-- The weather --> <div class="placeMap"> <div style="margin-top: 10px;width:250px;"> <h:outputText </div> </div> </div> </ui:repeat> </h:form> </ui:composition>
The code in Listing 3 uses the Facelets
<ui:repeat> tag to loop over the list of places stored in the user's session. For each place, the output is similar to Figure 3:
Figure 3. A place shown in a view
Changing zoom levels
The zoom menu (see Figure 3 and Listing 3) has an
onchange="submit()" attribute, so the JavaScript
submit() function submits the menu's surrounding form when the user selects a zoom level. As a result of that form submission, JSF calls the menu's associated value change listener — the
Place.zoomChanged() method shown in Listing 4:
Listing 4.
Place.zoomChanged()
public void zoomChanged(ValueChangeEvent e) { String value = e.getComponent().getValue() zoomIndex = (new Integer(value)).intValue() }
Place.zoomChanged() stores the zoom level in a member variable of the
Place class named
zoomIndex. Because navigation is unaffected for this trip to the server, JSF reloads the same page, and the map is updated with the new zoom level, like this:
<h:graphicImage. When the image is drawn, JSF calls
Place.getMapUrl(), which returns the map URL for the current zoom level, as shown in Listing 5:
Listing 5.
Place.getMapUrl()
public String getMapUrl() { return mapUrls == null ? "" : mapUrls[zoomIndex] }
A dash of Facelets
If you've used JSF 1, you probably noticed some subtle differences in the JSF 2 code in
this article. First, I'm using JSF 2's new display technology — Facelets
— instead of JSP. As you will see in the subsequent articles in this series, Facelets provides many powerful features to help you implement robust, flexible, and extensible user interfaces. But in the preceding code listings, I'm not tapping into much of that power. One of the many minor improvements that Facelets brings to JSF, however, is the ability to put JSF value expressions directly into your XHTML page; for example, in Listing 1, I've put expressions such as
#{msgs.city} directly in the page. With JSF 1, you must wrap that expression in an
<h:outputText>, like this:
<h:outputText. Be aware, however, that you must always escape text that comes from user input for security reasons, so for example, in Listing 3 I use
<h:outputText>, which escapes its text by default, to display place information.
One other thing to note, from a Facelets perspective, is the
<ui:composition> tag in Listing 3. That tag signifies that the XHTML page in Listing 3 is meant to be included by other XHTML pages. Facelets compositions are a central component of Facelets templating, which is similar to the popular Apache Tiles framework. In a subsequent article in this series, I will discuss Facelets templating and show you how to structure your views according to the Composed Method Smalltalk pattern.
So far, other than using Facelets, the preceding code isn't radically different from JSF 1. Now I'll show you some of the more significant differences. The first major difference is the amount of XML configuration you will write for JSF 2 applications.
Tip 1: Get rid of XML configuration
XML configuration for Web applications was always suspect — it's tedious and error prone, and it's best delegated to a framework, perhaps through annotations, conventions, or domain-specific languages. As developers, we should be able to concentrate on getting stuff done, instead of having to crank out minutiae in verbose XML.
As a case in point, Listing 6 shows the 20 lines of XML necessary for declaring managed beans in the places application with JSF 1:
Listing 6. Managed-bean declarations for JSF 1
<managed-bean> <managed-bean-class>com.clarity.MapService</managed-bean-class> <managed-bean-name>mapService</managed-bean-name> <managed-bean-scope>application</managed-bean-scope> </managed-bean> <managed-bean> <managed-bean-class>com.clarity.WeatherService</managed-bean-class> <managed-bean-name>weatherService</managed-bean-name> <managed-bean-scope>application</managed-bean-scope> </managed-bean> <managed-bean> <managed-bean-class>com.clarity.Places</managed-bean-class> <managed-bean-name>places</managed-bean-name> <managed-bean-scope>session</managed-bean-scope> </managed-bean> <managed-bean> <managed-bean-class>com.clarity.Place</managed-bean-class> <managed-bean-name>place</managed-bean-name> <managed-bean-scope>request</managed-bean-scope> </managed-bean>
With JSF 2, the XML vanishes, and you annotate your classes instead, as shown in Listing 7:
Listing 7. Managed-bean annotations for JSF 2
@ManagedBean(eager=true) public class MapService { ... } @ManagedBean(eager=true) public class WeatherService { ... } @ManagedBean() @SessionScoped public class Places { ... } @ManagedBean() @RequestScoped public class Place { ... }
By convention, the name of a managed bean is the same as the class name, with the first
letter of the class name converted to lowercase. So, for example, the managed beans created from Listing 7, from top to bottom, are:
mapService,
weatherService,
places, and
place. You can also explicitly specify a managed bean name with the
name attribute of the
ManagedBean annotation, like this:
@ManagedBean(name = "place").
In Listing 7, I use the
eager attribute for the
mapService and
webService managed beans. When the
eager attribute is
true, JSF creates the managed bean at startup and places it in application scope.
You can also set managed bean properties with the
@ManagedProperty annotation. Table 2 shows the complete list of JSF 2 managed bean annotations:
Table 2. JSF 2 managed bean annotations (
@...Scoped annotations are only valid with
@ManagedBean)
Removing managed bean declarations from faces-config.xml significantly reduces your XML, but you can get rid of virtually all of it with JSF 2 through either annotations, as I'm doing for managed beans, or with convention, as is the case for JSF 2's simplified navigation handling.
Tip 2: Simplify navigation
In JSF 1, navigation was specified in XML. For example, to go from login.xhtml to places.xhtml, you might use the navigation rule in Listing 8:
Listing 8. Navigation configuration rules and cases for JSF 1
<navigation-rule> <navigation-case> <from-view-id>/pages/login.xhtml</from-view-id> <outcome>places</outcome> <to-view-id>/pages/places.xhtml</to-view-id> </navigation-case> </navigation-rule>
To get rid of the XML in Listing 8, you can take advantage of JSF 2's navigation convention: JSF adds .xhtml to the end of a button's action and loads that file. That means you don't need annotations or anything other than convention to get out of the navigation-rule-writing business entirely. In Listing 9, the button's action is
places, so JSF loads places.xhtml:
Listing 9. Navigation by convention
<h:commandButton
No navigation XML is required for Listing 9. The button in Listing 9 loads places.xhtml, but only if the file is in the same directory as the file in which the button resides. If the action doesn't begin with a forward slash (
/), JSF assumes that it's a relative path. If you want to be more explicit, you can specify an absolute path, as shown in Listing 10:
Listing 10. Navigation with absolute paths
<h:commandButton
When the user activates the button in Listing 10, JSF loads the /pages/places.xhtml file.
By default, JSF forwards from one XHTML page to another, but you can redirect instead by specifying the
faces-redirect parameter, as illustrated in Listing 11:
Listing 11. Navigation by redirect
<h:commandButton
Tip 3: Use Groovy
The best thing about Java technology is not the Java language, but the Java virtual machine (JVM). Powerful, new, and innovative languages such as Scala, JRuby, and Groovy run on the JVM, giving you other dimensions in which to write code. Groovy — an ineptly named but highly capable blend of Ruby, Smalltalk, and the Java language — is one of the more popular of these languages (see Related topics).
There are many reasons to use Groovy, starting with the fact that it is much less verbose and much more powerful than its second cousin, the Java language. Two more reasons: no semicolons and no casting required.
You may not have noticed, but Listing 2, for the
Place class, is written in Groovy. The lack of semicolons is a subtle clue, but also notice this line of code:
MapService ms = elResolver.getValue(...). With Java code, I would have to cast the result of
ElResolver.getValue(), because that method returns type
Object. Groovy does the cast for me.
You can use Groovy for any JSF artifacts that you might normally write in Java code — for example, components, renderers, validators, and converters. In fact, this is nothing new to JSF 2 — because Groovy source files compile to Java bytecode, you can just use the Groovy-generated .class files as though they were generated by
javac. Of course, as soon as you've got that working, you'll want to know how to hot-deploy Groovy source code, and for Eclipse users, the answer is simple: download and install the Groovy Eclipse plug-in (see Related topics). Mojarra, which is Sun's JSF implementation, has had explicit support for Groovy since version 1.2_09 (see Related topics).
Tip 4: Use resource handlers
JSF 2 provides a standard mechanism for defining and accessing resources. You put your resources under a top-level directory named resources, and use some JSF 2 tags to access those resources in your views. For example, Figure 4 shows the resources for the places application:
Figure 4. The places application's resources
The only requirement for a resource is that it reside in the resources directory or a subdirectory thereof. You can name subdirectories of the resources directory anything you want.
In your view code, you can access resources with a couple of JSF 2 tags:
<h:outputScript> and
<h:outputStylesheet>. Those tags work in concert with JSF 2's
<h:head> and
<h:body> tags, as shown in Listing 12:
Listing 12. Accessing resources in XHTML
<html xmlns="" xmlns: <h:head> ... </h:head> <h:body> <h:outputStylesheet <h:outputScript ... </h:body> </html>
The
<h:outputScript> and
<h:outputStylesheet> tags have two attributes that identify the script or stylesheet, respectively:
library and
name. The
library name corresponds to the directory, under the resources directory, in which the resource resides. For example, if you have a stylesheet in a resources/css/en directory, the
library would be
css/en. The
name attribute is the name of the resource itself.
Relocatable resources
It's important that developers can specify where in a page they want their resource to appear. For example, if you put JavaScript in the body of a page, the browser will execute the JavaScript when the page loads. On the other hand, if you place JavaScript in the head of a page, that JavaScript will only be executed when called. Because a resource's location can affect how it's used, you need to be able to specify where you want resources to end up.
JSF 2 resources are relocatable, meaning you can specify the location in the page where you want them placed. You specify that location with the
target attribute; for example, in Listing 12, I put CSS in the body and JavaScript in the head.
Sometimes you'll need to access a resource using the JSF expression language (EL). For example, Listing 13 shows how you can access an image with
<h:graphicImage>:
Listing 13. Accessing resources with the JSF expression language
<h:graphicImage
The syntax for accessing resources within an EL expression is
resource['LIBRARY:NAME'], where
LIBRARY and
NAME correspond to the
library and
name attributes of the
<h:outputScript> and
<h:outputStylesheet> tags.
Still to come
I've barely scratched the surface of JSF 2 features so far, with managed bean annotations, simplified navigation, and support for resources. In the remaining two articles in this series, I will explore Facelets, JSF 2's composite components, and built-in support for Ajax.
Downloadable resources
- PDF of this content
- Source code (jsf2fu1.zip | 1.9MB)
Related topic
- Practically Groovy (Andrew Glover and Scott Davis, developerWorks): Get up to speed with Groovy. | https://www.ibm.com/developerworks/java/library/j-jsf2fu1/index.html?S_TACT=105AGX02&S_CMP=EDU | CC-MAIN-2018-30 | refinedweb | 3,061 | 55.64 |
(updated:
{
}
}
Because my picture control Add-in does not show any data from the backend server and does not communicate with it, I have chosen the base class WinFormsControlAddInBase, which has no pre-built support for any of these behaviors.
Hi Christian,
I tried your example but when i run the page i get the following error:
The page contains a control add-in that is not permitted. Contact your system administrator.
Double checked the public key, replaced the picturebox with a panel control. Still same message.
Any ideas please?
By the way, i used our companies license that was updated for nav 2009, perhaps i need a update for sp1?
Thanks in advance for your time.
This situation appears typically when the Add-in has not been registered in the "Client Add-Ins" table in the database. You can enter the information manually or use my Registration Tool.
()
This post is very helpful for beginners.I am getting the following error when I run the page which has field with ControAddin property. Please suggest me the solution.
Could not locate the add-in library for ‘AddinSample2;PublicKeyToken=b67ed1865dcb7ad4’.
The message like "Could not locate the add-in library for ‘AddInSample2;PublicKeyToken=…’ appears in the UI of the RoleTailored client for the field where the ConrolAddIn has been set but:
an Add-In class with the specified Name (‘AddInSample2’ in this sample) set as an Attribute [ControlAddInExport("AddInSample2")]could not be found on a public class in one of the libraries in the "Add-Ins" directory of the "RoleTailored Client" in Program Files (or any subdirectory of that), where the library has also been strong name signed with a keypair of which the public key is the same as in "PublicKeyToken".
Hi ChrisAbeln,
I understand the mistake I did. I should have used the name specified in the [ControlAddInExport(“AddInSample2”)]. It worked. Thanks…
Nice blog! Keep it going! Greetings
It's a nice place for beginners to NAV 2009. Thank You!
Hi Chris,
i've found your post very usefull, but I've an issue with my add-in height.
In my case I've used a webbrowser object and I would like to fit it to the 100% of the Nav window, but at the moment I'm only able to specify a fixed height.
Do you have any suggestion about? I have tried also with the wb.parent height, but without success
Many thanks
Adriano
Here is my code:
wb = new WebBrowser();
Size wbh= new Size();
wbh.Height=650;
wb.MinimumSize = wbh;
return wb;
Hi Adrino,
you should use the property MaximunSize and MinimumSize. Setting the Size property has no impact, because the layout engine will take control over the Size.
this.myWebBrowser = new WebBrowser
{
Dock = DockStyle.Fill,
MaximumSize = new System.Drawing.Size(int.MaxValue, int.MaxValue),
MinimumSize = new System.Drawing.Size(600, 400) // in case you would want a minimum size
};
If you then utilize a PageType (like List, ListPlus, ListPart) that is designed for a filling control, you can have a page / part filling WebBrowser control easily.
Good luck!
Christian Abeln
I want to show the customer table in AddIn ? Can anyone let me know how to do this? | https://blogs.msdn.microsoft.com/cabeln/2009/05/06/add-ins-for-the-roletailored-client-of-microsoft-dynamics-nav-2009-sp1-part1/ | CC-MAIN-2016-44 | refinedweb | 533 | 64.61 |
Introduction
This is a tutorial for perimeter of shapes in java. The program calculates perimeter and prints it. The program is extendable. Go enjoy the program. Lets begin……….
Program for perimeter of circle in java.
//import Scanner as we require it. import java.util.Scanner; // the name of our class its public public class Perimeter { //void main public static void main (String[] args) { //declare float float r,peri; //print message System.out.println("Enter radius of circle:"); //Take input Scanner input = new Scanner(System.in); r = input.nextFloat(); //calculate peri = 2*3.142f*r; //print the perimeter System.out.println("Perimeter = "+peri); } }
Output
Enter radius of circle:
2
Perimeter = 12.568
Program for perimeter of rectangle in java.
[code language=”java”]
//import Scanner as we require it.
import java.util.Scanner;
// the name of our class its public
public class Perimeter {
//void main
public static void main (String[] args)
{
//declare float
float a,b,peri;
//print message
System.out.println(“Enter length and breadth of rectangle:”);
//Take input
Scanner input = new Scanner(System.in);
a = input.nextFloat();
b = input.nextFloat();
//calculate
peri = (a+b)*2;
//print the perimeter
System.out.println(“Perimeter = “+peri);
}
}
[/code]
Output
Enter length and breadth of rectangle:
2
1
Perimeter = 6.0
How it works
- The program prints the message to enter required inputs.
- The user enters inputs.
- Perimeter is calculated
- The perimeter is printed.
Extending it
The program can be extended by using more different shapes of geometry. You can take the necessary inputs and calculate the perimeter of the given geometry.
Explanation.
- Import the Scanner.
- Declare the class as public
- Add the void main function
- Add system.out.println() function with the message to enter required inputs.
- Declare input as Scanner.
- Take the inputs and save it in variable.
- Calculate perimeter and save it in other variable.
- Add system.out.println() function to print the calculated perimeter.
At the end.
You learnt creating the Java program for Perimeter of different shapes . So now enjoy the program.
Please comment on the post and share it.
And like it if you liked. | https://techtopz.com/java-programming-perimeter-of-shapes/ | CC-MAIN-2019-43 | refinedweb | 346 | 63.05 |
Hi
I am getting this error while compiling the project.it shows the error in Temporary ASP.NET Files .however i tried to delete these files.but they automatically generate next time i compile.
i am using vs2005.
Error 2 'UserControl_abouSiteControl' is ambiguous. C:\WINDOWS\Microsoft.NET\Framework\v2.0.50727\Temporary ASP.NET Files\election\81d77567\cbb8e53f\App_Web_dd7seee7.0.vb 52
View Complete Post
Hi,
I took the usercontrol in my WPF project and trying to add that usercontrol in WPF xmal form. But i am getting the following error.
Error 1 The tag 'UserControl1' does not exist in XML namespace 'clr-namespace:InvokeWinForm;assembly=InvokeWinForm'. Line 11 Position
I have namespace for whole project is "InvokeWinForm" and the assembley name is also InvokeWinForm.
In WPF i am adding the usercontrol like as below
xmlns:uc="clr-namespace:InvokeWinForm;assembly=InvokeWinForm"
And calling the usercontrol like as below
<uc:UserControl1></uc:UserControl1>
I am not getting that what do i wrong. Can anyone help me out ?
Thanks,
--Jai Odious ambiguous overloads, part two There were a number of ideas in the comments for what we should do about the unfortunate situation I described yesterday. We considered all of these options and more. I thought I might talk a bit about the pros and cons of?
Hall of Fame Twitter Terms of Service Privacy Policy Contact Us Archives Tell A Friend | http://www.dotnetspark.com/links/64033-ambiguous-usercontrol-error.aspx | CC-MAIN-2017-30 | refinedweb | 231 | 50.33 |
What is the difference between a process, a container, and a VM?
Many people ask “What is the difference between a VM and a container?”, but in my opinion a more interesting question is …
“What is the difference between a process and a container?”
When containers started gaining popularity back in 2013, it was common to hear “Containers are like mini VMs”. This statement made sense because people where using containers instead of VMs, but in my opinion a more technically appropriate statement would be to say that a container is a process.
This post will describe what a process is, what a container is, and also what a VM is. Then go on to compare the three.
TL;DR
In reality, a container is like a VM and also not like a VM. It just depends on what you are evaluating.
Here we evaluate two different things to display this:
- What problem does each technology solve; how does the end user/end system interact with it. This addresses how “containers are like a VM”.
- How the implementation of the technology differs. Mainly looking deeper into how each technology is isolated from the operating system. This addresses how “containers are not like a VM”.
Overview
The following sections of this post include:
- What is a process, why do we need them.
- What is a container, what are they used for.
- What is a virtual machine, what are their use cases.
- Compare a process to a container to a virtual machine.
What is a process?
A process represents a running program; it is an instance of an executing program. A process consists of memory and a set of data structures. The kernel uses these data structures to store important information about the state of the program.
What problem is a process solving? Why do we need them?
The CPU can only execute one program at a time, therefore it must share the CPU with many programs and task switch between them. The CPU needs to remember where it left off in the execution of the program (among other things). The process is the abstraction that stores that state of the running program.
Isolation for a process
By default a process has pretty minimal isolation from the operating system resources. For example, you can easily get an error if you try to run multiple services on the same port. There are two main things that are isolated by default for processes:
- A process gets its own memory space.
- A process has restricted privileges. A process gets the same privileges as the user that created the process.
What is a container?
There are a bunch of definitions of what a container is.
Nigel Poulton’s definition is an “Isolated area of an OS with resource limits usage applied.”
The Wikipedia’s definition says “containers is a generic term for an operating system level virtualization. … There are a number of such implementations including Docker, lxc, and rkt.”
In the Unix/Linux System Admin book they describe a container to be an isolated group of processes that are restricted to a private root filesystem and process namespace.
My personal definition of a container is a group of processes with some cool kernel features sprinkled on top that allow the processes to pretend that they’re running on their own separate machine. While the host machine knows that the container is actually a process, the container thinks that it is a separate machine. These awesome kernel features that make this possible are:
- namespaces = Namespaces are the feature that make the container look and feel like it is an entirely separate machine.
- cgroups = A way to group processes together in the kernel and limit resources for that grouping. These were developed at Google in 2006 and were first called “process containers”.
- capabilities = A list of the superuser privileges that can be enabled or disabled for a process.
My favorite kernel features are the namespaces. There are 7 different linux namespaces, each for a different resource. The Linux man page has a great description for a namespace:
A namespace wraps a global system resource in an abstraction that makes it appear to the processes within the namespace that they have their own isolated instance of the global resource.
Namespaces are my favorite because they allow the container to have the look and feel of being their own separate machine. The 7 different types of namespaces relate to 7 different resources that get their own isolated instance in a container:
- cgroups — isolates the root directory
- IPC — isolates interprocess communication
- Network — isolates the network stack
- Mount — isolates mount points
- PID — isolates process IDs
- User — isolates User and Group IDs
- UTS — isolates hostnames and domain names
If you want to get a deeper explanation of this content, I highly recommend watching the “What is a Container?” section on Wes Higbee’s course Containers and Images: The Big Picture.
What problem is a container solving?
Containers allow many applications to run on one server, but is a pseudo-isolated environment. The container is pretending to be its own operating system. It can run a group of processes in, what it thinks is, an isolated environment. Since the container runs on the same OS as the host machine, the container has less resource overhead than say a VM.
Container Isolation
As a recap, to create a container, cgroups are used to group together processes into namespaces. The cgroups limits what resources (i.e CPU, memory) are available to the group. While namespaces create isolated instances of seven different resources (i.e. network stack, hostname, mounts, etc) giving the container the impression its a separate operating system.
What is a virtual machine (VM)?
A “virtual machine” was originally defined by Popek and Goldberg as “an efficient, isolated duplicate of a real computer machine.” VMs are a type of server virtualization. When talking about VMs there are a few important parts: 1) the hypervisor and 2) the actual VM (aka Guest OS). The hypervisor is the software that runs the VMs. It provides a layer of abstraction between the hardware and the VM allowing for more portability and better use of the host’s hardware resources.
What problem is a VM solving?
VMs make it possible to run many different types of operating system instances on a single machine. Additionally, VMs make it possible to run multiple applications on one server in a safe and secure manner making more efficient use of the computer’s physical resources. Virtualization makes it possible to convert the physical hardware into a shareable form. Back in the day before VMs, businesses typically ran one application per server. This meant there would often be tons of idle CPU on these server, over 90% idle sometimes! The VM technology made it possible to run many VMs and therefor many applications and reduce unused system resources.
VM Isolation
A VM has full isolation from the host’s operating system, it only shares the hardware. This level of isolation is much more isolated than processes and containers, since both of those rely on the host OS. Keep in mind that this full isolation comes with a tradeoff, it uses more resources to do so. So it is more isolated, more secure, but uses more of the host’s resources to run it’s own OS.
If you want a great explanation of this, I highly recommend the “What are Containers?” section on Nigel Poulton’s course Docker Containers — The Big Picture.
Process vs Container vs VM
If we are evaluating the technology implementation, it seems more appropriate to say a container is more like a process than a VM.
However if we are talking about the use case and how an end user interacts with the product, a container is more like a VM solving the same problem of providing an isolated environments to run many applications on one server.
Looking through the lens of how the technology is implemented, the level of isolation from the host system is the main aspect to evaluate:
- Processes have little default isolation at the operating system (OS) level, mainly they only have isolated memory space and user privileges.
- A container is a process (or a groups of processes), but with more isolation from the OS than your run-of-the-mill process. BUT with less isolation than a VM, which comes with the tradeoff of less security.
- Virtual Machines have full isolation at the OS level, meaning they create a complete new operating system on top of the host’s hardware. The full isolation comes at the tradeoff of more resource usage to run a VM.
Looking through the lens of what problem the technology is solving, how the end user/end system interacts with the technology is good to evaluate:
- Process: CPU needs a construct to store state about running programs, that is what a process is.
- Containers: Create isolated environments to run applications.
- VMs: Provides a way to run different operating systems on the same host machine and in turn run many applications in fully isolated environments.
So it turns out a container is similar to a process, similar to a VM, but also not similar to a process and a VM, it depends on what you are looking at.
References
- UNIX and Linux System Administration Handbook (5th Edition).
- Wes Higbee’s course: Containers and Images: The Big Picture .
- The Linux man pages: namespaces, cgroups, and capabilities.
- Linux Programming Interface book.
- Nigel Poulton’s course: The Big Picture and Docker Deep Dive. | https://medium.com/@jessgreb01/what-is-the-difference-between-a-process-a-container-and-a-vm-f36ba0f8a8f7 | CC-MAIN-2020-29 | refinedweb | 1,588 | 63.19 |
[SOLVED] Calling methods every n seconds in scene.update()
Hi, I want to know if it is possible to call a method every n seconds (example: every 1 second) in scene.update.
If this is possible, can you please provide the right way of going about this?
Thank you, and God bless you all abundantly in Jesus Christ!!!
@cvp
@musicman305 Haha brother, God just helped me figure that out myself! Thank you very much though for your answer! God bless you abundantly and may peace be with you!!!
Nice meeting you brother!
why are you deleting you goal/score label every frame! instead of just updating the text?
@JonB Hey, can I ask you to show me an example of calling a method containing args using the example you gave me above?
use lambda, or functools.partial.
i.e Action.call(lambda arg1:self.some_method(arg1) )
@themusicman Haha brother, God just helped me figure that out myself! Thank you very much though for your answer! God bless you abundantly and may peace be with you!!!
Nice meeting you brother!
You're very welcome matey...
@JonB Concerning your question above: Can you show me how to update the text? This is my first time using the scene module.
Also, say I have two args, and the function is out of the MyScene class: How would I tackle this?
see my example, the .text attribute is used to update text.
note, you probably want to set the anchor_point=(0,0) for left justification, unless you want the text centered.
Lambdas accept multiple args
lambda arg1,arg2:some_function(arg1, arg2)
If you do a lot of these types of things, I (once again) promote the scripter, which works with views and scenes, for example like this:
from scene import * from scripter import * class MyScene (Scene): def setup(self): self.ship = SpriteNode('spc:PlayerShip1Orange') self.ship.position = self.size / 2 self.add_child(self.ship) self.do_a_thing_every_second() @script def do_a_thing_every_second(self): while(True): print('do the thing') yield 1.0 run(MyScene())
@mikael Hi friend, I am having trouble with importing scripter? It says that this is invalid syntax:
from scripter import *
@Splefix, as an unfortunate barrier to entry, you need to download
scripter.pyfrom the link and place it in your site-packages.
@mikael Hey sorry man, I am new to Pythonista, especially concerning the installation you are talking about. Can you please help me install scripter? If it isn’t too much trouble. I haven’t worked with github before either. | https://forum.omz-software.com/topic/5543/solved-calling-methods-every-n-seconds-in-scene-update | CC-MAIN-2020-29 | refinedweb | 418 | 77.03 |
Background
Method overloading and method overriding are two important concepts in Java. It is very crucial to know the way they are work and the way they are used.
The main motive of this post is to understand Method overriding and it's usage. Lets quickly understand what both terms mean and move on to the overriding part for details.
Method OverloadingMethod or Function overloading means two or more functions with same name but different number and type of arguments(Signature). The purpose of this is to provide common functionality but in different possible scenarios. Example -
public void setEmployeeInfo(String name); public void setEmployeeInfo(String name, int age); public void setEmployeeInfo(String name, int age, String id);
Name of the function remains the same but the number and type of arguments changes.
Note : return type has noting to do with overloading. In fact return type of a method is not a part of it's signature. Only the function name and the arguments form a part of method signature. Also as we know that two methods with same signature are not allowed following scenario is not allowed -
public String getEmployee(String name); public Employee getEmployee(String name);
Note : Also keep in mind method overloading is a compile time phenomenon. Which if the overloaded method is to be executed is decided at compile time based the method signature.
Method overloading has some resolution rules that decides which method to pick up at compile time. Compilation will fail if no methods are matched. For example consider following methods -
- public void getData(String dataName)
- public void getData(Object dataName)
Method Overriding
Method overriding comes into picture only when there is inheritance involved. If there is a method in a super class then a sub class can override it. Let us first see an example and then dive into various aspects of it.
Lets say we have a Animal class in a package called worldEnteties. It has a move method as follows.
package worldEnteties; public class Animal { public void move() { System.out.println("Animal is moving"); } }
Also we have a Dog class which extends this Animal class. In this Dog class we override the move() method to do some different movement(Dog specific).
package worldEnteties;
public class Dog extends Animal { @Override public void move(){ System.out.println("Dog is moving"); } }
Now when you create a normal Animal object and call move() on it, it will simply execute the function in Animal class.
Code :
public static void main(String args[]) { Animal animal = new Animal(); animal.move(); }
Output :
Animal is moving
Now when we create a Dog object and call move() on it, it will execute the corresponding move() function.
Code :
public static void main(String args[]) { Dog dog = new Dog(); dog.move(); }
Output :
Dog is moving
Now the question may arise -
Q ) What if I wast to invoke move() in Animal when move() in Dog is invoked? After all Dog is an Animal.
Ans ) The answer is you can call super.move() inside the overridden function to call corresponding function in the superclass. Yes it happens by default in constructors but in normal functions you have to explicitly invoke super.functionName() call. A sample code would be as follows -
Modify the overridden move() method in Dog class as follows
package worldEnteties; public class Dog extends Animal { @Override public void move(){ super.move(); System.out.println("Dog is moving"); } }
Now execute the following code and examine the results -
Code :
public static void main(String args[]) { Dog dog = new Dog(); dog.move(); }
Output :
Animal is moving
Dog is moving
Dog is moving
Method Overriding is a runtime phenomenon!!!!
So far so good!! Now lets involve polymorphism in it and lets see what makes method overriding a runtime phenomenon.[Always remember polymorphism as superclass reference to subclass object] Consider the following code(No super call just plain simple inheritance and explained in the 1st case above) -
code :
public static void main(String args[]) { Animal dog = new Dog(); dog.move(); }
Output:
Dog is moving
How it works?
At compile time all that java compiler knows is the reference type Animal in our case. All compiler does is check whether move() method is present(or at-least declared) in the Animal class(If not compilation error will occur). As in our case it is present and code compiles fine. Now When we run the code, it is at this time the JVM will know the runtime class of the object [You can also print it using dog.getClass()] which is class Dog in our case. Now JVM will execute the function in Dog and we get our output.
Code Snap :
Another important point to note is that the access modifier of the overriding function can be liberal! Meaning if access modifier of super class is private than modifier of overriding method is subclass can be default(no modifier), protected or public. It cannot be the other way around(overriding method cannot have more strict access modifier).
Rules for method overriding
For overriding, the overridden method has a few rules:
- The access modifier must be the same or more accessible.
- The return type must be the same or a more restrictive type, also known as covariant return types.
- If any checked exceptions are thrown, only the same exceptions or subclasses of those
exceptions are allowed to be thrown.
- The methods must not be static. (If they are, the method is hidden and not
overridden.) | http://opensourceforgeeks.blogspot.com/2013_10_11_archive.html | CC-MAIN-2019-43 | refinedweb | 903 | 54.93 |
Archives
Inheritance with EF Code First: Part 2 – Table per Type (TPT)
Inheritance with EF Code First: Part 1 – Table per Hierarchy (TPH)
Associations in EF Code First CTP5: Part 2 – Shared Primary Key Associations
Associations in EF Code First CTP5: Part 1 – Complex Types
public class Address
{
public string Street { get; set; }
public string City { get; set; }
public string PostalCode { get; set; }
}
My First Blog Post
Finally, here I am, starting my weblog.
My name is Morteza Manavi. I am going to blog here mostly about technologies that I am passionate about. They are Core C#, Entity Framework, WCF and ASP.Net MVC as well as software design and architecture.
A special thanks to Joe Stagner, who was kind enough to help me get this blog. | https://weblogs.asp.net/manavi/archive/2010/12 | CC-MAIN-2017-30 | refinedweb | 127 | 58.62 |
Working on a program for the Euclidian algorithm, and it's giving me a bit of trouble. I think I have the math and such down, but it's giving me an unusual error. I believe I know what it's trying to tell me, but I can't figure out exactly what I've done wrong for the life of me!
Ahem. My code so far (not complete, might I add)
The 17th line:The 17th line:Code:#include <iostream> using namespace std; void prompt(int&, int&); int gcf (int, int); int reduce (int, int); void main() { int num1 = 0; int num2 = 0; int gcf = 0; prompt (num1, num2); cout << "Fraction so far: " << num1 << "/" << num2 << endl; gcf (num1, num2); } void prompt(int &a, int &b) { cout << "Enter your numerator: "; cin >> a; cout << "Enter your denominator: "; cin >> b; } int gcf (int num1, int num2) { int remainder=1; int gcf; while (remainder!=0) { remainder=num1%num2; gcf=num2%remainder; } return gcf; }
is giving me trouble. As far as I know, it's correct for my purposes, but the compiler justi sn't happy with it. What have I missed?is giving me trouble. As far as I know, it's correct for my purposes, but the compiler justi sn't happy with it. What have I missed?Code:gcf (num1, num2); | https://cboard.cprogramming.com/cplusplus-programming/74621-term-does-not-evaluate-function-taking-2-arguments-bugger.html?s=77b60c8103d54a44282e00186f3133d1 | CC-MAIN-2020-40 | refinedweb | 220 | 78.69 |
- Python’ s Regular Expression Language
- The Regular Expression Module.1
Regexes are used for four main purposes:
- Validation: checking whether a piece of text meets some criteria, for example, contains “: ” or “=” is encountered
rad
ar, short-hand forms—these are shown in Table12.1.With one exception the shorthands can be used inside character sets, so for example, the regex
[\dA-Fa-f] matches any hexadecimal digit. The exception is . which is a shorthand outside a character class but matches a literal . inside a character class.
Table 12 32 767. All the quantifiers are shown in Table 12.2.-zero.
Table 12.2 Regular Expression Quantifiers.2 12 12.5 on page 460, and the syntaxes for using them are described at the end of this subsection and are shown in the next section.) And if we also want to strip leading and trailing whitespace and use named captures, the full regex becomes:
^[ }).
Table 12.3 Regular Expression Assertions it if it is present. Here is the revised regex:
src=(["'])?([^"'>]+)(?(1)\1). We did not provide a no_exp since there is nothing to match if no quote is given. Now we are ready to put the regex in context—here is a simpler but subtler alternative:
src=(["']?)([^"'>]+)\1. Here, if there is a starting quote character it is captured into capture group 1 and matched after the nonquote characters. And if there is no starting quote character, group 1 will still match—an empty string since it is completely optional (its quantifier is zero or one),), where each function is given a regex as its first argument. Each function converts the regex into an internal format—a process called compiling—and then does its work. This is very convenient for one-off uses, but if we need to use the same regex repeatedly we can avoid the cost of compiling it at each use by compiling it once using the
re.compile() function. We can then call methods on the compiled regex object as many times as we like. The compiled regex methods are listed in Table 12.6.
match = re.search(r"#[\dA-Fa-f]{6}\b", text)
This code snippet shows the use of an re module function. The regex matches HTML-style colors (such as
#C0C0AB). If a match is found the re.search() function returns a match object; otherwise, it returns None. The methods provided by match objects are listed in Table 12.7
If we were going to use this regex repeatedly, we could compile it once and then use the compiled regex whenever we needed it:
color_re = re.compile(r"#[\dA-Fa-f]{6}\b") match = color_re.search(text)
As we noted earlier, we use raw strings to avoid having to escape backslashes. Another way of writing this regex would be to use the character class
[\dA-F] and pass the
re.IGNORECASE flag as the last argument to the
re.compile() call, or to use the regex
(?i)#[\dA-F]{6}\b which starts with the ignore case flag.
If more than one flag is required they can be combined using the OR operator (|), for example,
re.MULTILINE|re.DOTALL, or
(?ms) if embedded in the regex itself.
We will round off this section by reviewing some examples, starting with some of the regexes shown in earlier sections, so as to illustrate the most commonly used functionality that the re module provides. Let’s start with a regex to spot duplicate words:
double_word_re = re.compile(r"\b(?P<word>\w+)\s+(?P=word)(?!\w)", re.IGNORECASE) for match in double_word_re.finditer(text): print("{0} is duplicated".format(match.group("word")))
The regex is slightly more sophisticated than the version we made earlier. It starts at a word boundary (to ensure that each match starts at the beginning of a word), then greedily matches one or more “word” characters, then one or more whitespace characters, then the same word again—but only if the second occurrence of the word is not followed by a word character.
If the input text was “win in vain”, without the first assertion there would be one match and two captures:
win in vain. The use of the word boundary assertion ensures that the first word matched is a whole word, so we end up with no match or capture since there is no duplicate word. Similarly, if the input text was “one and and two let’s say”, without the last assertion there would be two matches and two captures:
one and and two let's say. The use of the lookahead assertion means that the second word matched is a whole word, so we end up with one match and one capture:
one and and two let's say.
The
for loop iterates over every match object returned by the
finditer() method and we use the match object’s
group() method to retrieve the captured group’s text. We could just as easily (but less maintainably) have used
group(1)—in which case we need not have named the capture group at all and just used the regex
(\w+)\s+\1(?!\w). Another point to note is that we could have used a word boundary
\b at the end, instead of
(?!\w).
Another example we presented earlier was a regex for finding the filenames in HTML image tags. Here is how we would compile the regex, adding flags so that it is not case-sensitive, and allowing us to include comments:
image_re = re.compile(r""" <img\s+ # start of tag [^>]*? # non-src attributes src= # start of src attribute (?P<quote>["'])? #. Since the case insensitivity applies only to
img and
src, we could drop the
re.IGNORECASE flag and use
[Ii][Mm][Gg] and
[Ss][Rr][Cc] instead. Although this would make the regex less clear, it might make it faster since it would not require the text being matched to be set to upper-(or lower-) case—but it is likely to make a difference only if the regex was being used on a very large amount of text.
One common task is to take an HTML text and output just the plain text that it contains. Naturally we could do this using one of Python’s parsers, but a simple tool can be created using regexes. There are three tasks that need to be done: delete any tags, replace entities with the characters they represent, and insert blank lines to separate paragraphs. Here is a function (taken from the html2text.py program) that does the job:
def html2text(html_text): def char_from_entity(match): code = html.entities.name2codepoint.get(match.group(1), 0xFFFD) return chr(code) text = re.sub(r"<!--(?:.|\n)*?-->", "", html_text) #1 text = re.sub(r"<[Pp][^>]*?(?!</)>", "\n\n", text) #2 text = re.sub(r"<[^>]*?>", "", text) #3 text = re.sub(r"&#(\d+);", lambda m: chr(int(m.group(1))), text) text = re.sub(r"&([A-Za-z]+);", char_from_entity, text) #5 text = re.sub(r"\n(?:[ \xA0\t]+\n)+", "\n", text) #6 return re.sub(r"\n\n+", "\n\n", text.strip()) #7
The first regex,
<!--(?:.|\n)*?-->, matches HTML comments, including those with other HTML tags nested inside them. The re.sub() function replaces as many matches as it finds with the replacement—deleting the matches if the replacement is an empty string, as it is here. (We can specify a maximum number of matches by giving an additional integer argument at the end.)
We are careful to use nongreedy (minimal) matching to ensure that we delete one comment for each match; if we did not do this we would delete from the start of the first comment to the end of the last comment.
The. The second call to the re.sub() function uses this regex to replace opening paragraph tags with two newline characters (the standard way to delimit a paragraph in a plain text file).
The third regex,
<[^>]*?>, matches any tag and is used in the third re.sub() call to delete all the remaining tags.
HTML entities are a way of specifying non-ASCII characters using ASCII characters. They come in two forms:
&name; where name is the name of the character—for example,
© for ©, and
&#digits; where digits are decimal digits identifying the Unicode code point—for example,
¥ for ¥. The fourth call to re.sub() uses the regex
&#(\d+);, which matches the digits form and captures the digits into capture group 1. Instead of a literal replacement text we have passed a
lambda function. When a function is passed to re.sub() it calls the function once for each time it matches, passing the match object as the function’s sole argument. Inside the
lambda function we retrieve the digits (as a string), convert to an integer using the built-in
int() function, and then use the built-in chr() function to obtain the Unicode character for the given code point. The function’s return value (or in the case of a
lambda expression, the result of the expression) is used as the replacement text.
The fifth re.sub() call uses the regex
&([A-Za-z]+); to capture named entities. The standard library’s html.entities module contains dictionaries of entities, including
name2codepointwhose keys are entity names and whose values are integer code points. The re.sub() function calls the local
char_from_entity() function every time it has a match. The
char_from_entity() function uses dict.get() with a default argument of
0xFFFD (the code point of the standard Unicode replacement character—often depicted as ? ). This ensures that a code point is always retrieved and it is used with the chr() function to return a suitable character to replace the named entity with—using the Unicode replacement character if the entity name is invalid.
The sixth re.sub() call’s regex,
\n(?:[ \xA0\t]+\n)+, is used to delete lines that contain only whitespace. The character class we have used contains a space, a nonbreaking space (which
entities are replaced with in the preceding regex), and a tab. The regex matches a newline (the one at the end of a line that precedes one or more whitespace-only lines), then at least one (and as many as possible) lines that contain only whitespace. Since the match includes the newline, from the line preceding the whitespace-only lines we must replace the match with a single newline; otherwise, we would delete not just the whitespace-only lines but also the newline of the line that preceded them.
The result of the seventh and last re.sub() call is returned to the caller. This regex,
\n\n+, is used to replace sequences of two or more newlines with exactly two newlines, that is, to ensure that each paragraph is separated by just one blank line.
In the HTML example none of the replacements were directly taken from the match (although HTML entity names and numbers were used), but in some situations the replacement might need to include all or some of the matching text. For example, if we have a list of names, each of the form Forename Middlename1 ... MiddlenameN Surname, where there may be any number of middle names (including none), and we want to produce a new version of the list with each item of the form Surname, Forename Middlename1...MiddlenameN, we can easily do so using a regex:
new_names = [] for name in names: name = re.sub(r"(\w+(?:\s+\w+)*)\s+(\w+)", r"\2, \1", name) new_names.append(name)
The first part of the regex,
(\w+(?:\s+\w+)*), matches the forename with the first
\w+ expression and zero or more middle names with the
(?:\s+\w+)* expression. The middle name expression matches zero or more occurrences of whitespace followed by a word. The second part of the regex,
\s+(\w+), matches the whitespace that follows the forename (and middle names) and the surname.
If the regex looks a bit too much like line noise, we can use named capture groups to improve legibility and make it more maintainable:
name = re.sub(r"(?P<forenames>\w+(?:\s+\w+)*)" r"\s+(?P<surname>\w+)", r"\g<surname>, \g<forenames>", name)
Captured text can be referred to in a
sub() or
subn() function or method by using the syntax
\i or
\g<id> where i is the number of the capture group and id is the name or number of the capture group—so
\1 is the same as
\g<1>, and in this example, the same as
\g<forenames>. This syntax can also be used in the string passed to a match object’s
expand() method.
Why doesn’t the first part of the regex grab the entire name? After all, it is using greedy matching. In fact it will, but then the match will fail because although the middle names part can match zero or more times, the surname part must match exactly once, but the greedy middle names part has grabbed everything. Having failed, the regular expression engine will then backtrack, giving up the last “middle name” and thus allowing the surname to match.en. This satisfies the first part of the regex but leaves nothing for the surname part to match, and since the surname is mandatory (it has an implicit quantifier of 1), the regex has failed. Since the middle names part is quantified by *, it can match zero or more times (currently it is matching twice, “.
When we use alternation (|) with two or more alternatives capturing, we don’t know which alternative matched, so we don’t know which capture group to retrieve the captured text from. We can of course iterate over all the groups to find the nonempty one, but quite often in this situation the match object’s
lastindex attribute can give us the number of the group we want. We will look at one last example to illustrate this and to give us a little bit more regex practice.
Suppose we want to find out what encoding an HTML, XML, or Python file is using. We could open the file in binary mode, and read, say, the first 1000 bytes into a bytes object. We could then close the file, look for an encoding in the
bytes, and reopen the file in text mode using the encoding we found or using a fallback encoding (such as UTF-8). The regex engine expects regexes to be supplied as strings, but the text the regex is applied to can be a
str,
bytes, or
bytearray object, and when bytes or bytearray objects are used, all the functions and methods return bytes instead of strings, and the re.ASCII flag is implicitly switched on.
For HTML files the encoding is normally specified in a <meta> tag (if specified at all), for example,
<meta http-. XML files are UTF-8 by default, but this can be overridden, for example,
<?xml version="1.0"encoding="Shift_JIS"?>. Python 3 files are also UTF-8 by default, but again this can be overridden by including a line such as
#encoding: latin1 or #-*-coding: latin1 -*- immediately after the shebang line.
Here is how we would find the encoding, assuming that the variable binary is a bytes object containing the first 1000 bytes of an HTML, XML, or Python file:
match = re.search(r"""(?<![-\w]) #1 (?:(?:en)?coding|charset) #2 (?:=(["'])?([-\w]+)(?(1)\1) #3 |:\s*([-\w]+))""".encode("utf8"), binary, re.IGNORECASE|re.VERBOSE) encoding = match.group(match.lastindex) if match else b"utf8"
To search a bytes object we must specify a pattern that is also a bytes object. In this case we want the convenience of using a raw string, so we use one and convert it to a
bytes object as the re.search() function’s first argument.
Table 12.7 Match Object Attributes and Methods
The first part of the regex itself is a lookbehind assertion that says that the match cannot be preceded by a hypen or a word character. The second part matches “encoding”, “coding”, or “charset” and could have been written as
(?:encoding|coding|charset). We have made the third part span two lines to emphasise the fact that it has two alternating parts,
=(["'])?([-\w]+)(?(1)\1) and
:\s*([-\w]+), only one of which can match. The first of these matches an equals sign followed by one or more word or hyphen characters (optionally enclosed in matching quotes using a conditional match), and the second matches a colon and then optional whitespace followed by one or more word or hyphen characters. (Recall that a hyphen inside a character class is taken to be a literal hyphen if it is the first character; otherwise, it means a range of characters, for example,
[0-9].)
We have used the
re.IGNORECASE flag to avoid having to write
(?:(?:[Ee][Nn])? [Cc][Oo][Dd][Ii][Nn][Gg]|[Cc][Hh][Aa][Rr][Ss][Ee][Tt]) and we have used the
re.VERBOSE flag so that we can lay out the regex neatly and include comments (in this case just numbers to make the parts easy to refer to in this text).
There are three capturing match groups, all in the third part: (["'])? which captures the optional opening quote, ([-\w]+) which captures an encoding that follows an equals sign, and the second (
[-\w]+) (on the following line) that captures an encoding that follows a colon. We are only interested in the encoding, so we want to retrieve either the second or third capture group, only one of which can match since they are alternatives. The
lastindex attribute holds the index of the last matching capture group (either 2 or 3 when a match occurs in this example), so we retrieve whichever matched, or use a default encoding if no match was made.
We have now seen all of the most frequently used re module functionality in action, so we will conclude this section by mentioning one last function. The
re.split() function (or the regex object’s
split() method) can split strings based on a regex. One common requirement is to split a text on whitespace to get a list of words. This can be done using
re.split(r"\s+", text) which returns a list of words (or more precisely a list of strings, each of which matches
\S+). Regular expressions are very powerful and useful, and once they are learned, it is easy to see all text problems as requiring a regex solution. But sometimes using string methods is both sufficient and more appropriate. For example, we can just as easily split on whitespace by using
text.split() since the
str.split() method’s default behavior (or with a first argument of
None) is to split on
\s+.
Summary
Regular expressions offer a powerful way of searching texts for strings that match a particular pattern, and for replacing such strings with other strings which themselves can depend on what was matched.
In this chapter we saw that most characters are matched literally and are implicitly quantified by
{1}. We also learned how to specify character classes—sets of characters to match—and how to negate such sets and include ranges of characters in them without having to write each character individually.
We learned how to quantify expressions to match a specific number of times or to match from a given minimum to a given maximum number of times, and how to use greedy and nongreedy matching. We also learned how to group one or more expressions together so that they can be quantified (and optionally captured) as a unit.
The chapter also showed how what is matched can be affected by using various assertions, such as positive and negative lookahead and lookbehind, and by various flags, for example, to control the interpretation of the period and whether to use case-insensitive matching.
The final section showed how to put regexes to use within the context of Python programs. In this section we learned how to use the functions provided by the
re module, and the methods available from compiled regexes and from match objects. We also learned how to replace matches with literal strings, with literal strings that contain backreferences, and with the results of function calls or
lambda expressions, and how to make regexes more maintainable by using named captures and comments. | http://www.linuxjournal.com/content/book-excerpt-programming-python-3?quicktabs_1=2 | CC-MAIN-2014-23 | refinedweb | 3,369 | 70.43 |
Red Hat Bugzilla – Bug 737935
implement alternate guest uuid upload method
Last modified: 2016-11-30 19:29:52 EST
Description of problem:
Facts in candlepin database is limited to 255 characters. virt-who stores list of UUIDs of virtual machines in the fact virt.guests. More then 6 virtual guests present means that list of UUIDs is longer then 255 characters and can't be written to database.
How reproducible:
Try to store fact longer than 255 characters to candlepin database (run virt-who with more then 6 virtual guests)
Actual results:
rhsm.connection.RestlibException: Runtime Error could not insert collection: [org.fedoraproject.candlepin.model.Consumer.facts#8a90f8c6325fd85c013262a532911990] at org.postgresql.jdbc2.AbstractJdbc2Statement$BatchResultHandler.handleError:2,598
Expected results:
Fact is successfully written to database.
Radek,
There are some technical limitations on the length of facts, like DB column length. Instead, given the number of UUIDs that might be reported by a host, we made a new rest call for reporting guest UUIDs associated with a consumer.
The change to virt-who should be relatively straightforward, and will avoid some of the issues we ran into when using facts (for example,).
The new calls are as such:
get a list of all UUIDs:
GET /consumers/#{consumer_id}/guests
add a UUID to a consumer:
PUT /consumers/#{consumer_id}/guests/#{guest_id}
remove a UUID from a consumer:
DELETE /consumers/#{consumer_id}/guests/#{guest_id}
If you need more info, we can supply a patch for virt-who to alter it for the new calls, just let us know.
Chris,
is this feature already implemented? I doesn't work for me with current master branch from git on fedorahosted.
Try again, It just got pushed a few minutes ago.
hash is a6fcfb08cf32ce128c41caf85d578bf0ada4aea6
We've been discussing this afternoon, we're thinking that an explicit add/remove is going to be too error prone and easy to miss an event. We'd like to switch to pushing the entire list instead on each update.
Additionally I was wondering if virt-who will only do this when it detects an added/removed guest? Should/can it also do this periodically?
We were wondering about he risk of a missed add/remove event somehow, and if we should also mix in a periodic update as well. (if not virt-who, then perhaps by subscription-manager, who would get the list of guests from virt-who)
Thoughts?
virt-who has 3 modes of running:
1) get list of guests, send them to candlepin and exit
2) on system with libvirt (not available with vdsm) it can listen for guest events (add/remove) and send only when needed
3) send guest list in specified interval
Since virt-who can run in 1) mode, it always reads the list of guest UUIDs from candlepin before updating it. When there is no change, no update is send.
If some add/remove event get lost somehow, in mode 2) next update can take very long time (until some libvirt event happens).
Which would you prefer as the most resilient and easiest to work with on our end:
- Add/Remove one guest ID at a time.
- Submit entire guest ID list. (whenever we detect add/remove events, or at an interval)
9fbbe091c23f35c7782cf31f892ed5ea0159ae11 master 0.97.2+
75c647a RHEL6.2 0.97.13+
in order to test this, you can do a PUT call to the consumer resource with the following (any UUIDs will work):
{"guestIds": ["53dddf75-9aba-bb66-ee79-fca18a0406aa", "58cb255e-2707-8ef3-4913-405bb4b7e58e", "7700b88b-561d-3eaa-2a6c-dd774612ac30", "86e9f8cc-95f5-8a8e-5f19-ca0e2da1f1e4", "cec855c2-6eb3-c7a6-831f-2339db1b7c92"]}
Then, you should see the UUIDs in cp_consumer_guest table.
Due to dev design change, the appropriate component for this bug is entitlements/candlepin since this is now all a Candlepin API call (not python-rhsm nor subscription-manager). changing now component now...
move to MODIFIED/ON_QA when the code gets merged to candlpin master. I'm told it is currently in wottop-virt-guest branch.
The patch for virt-who is ready, just waiting for exception+. Bug:
Hi,
candlepin has only "PUT /consumers/{consumer_uuid}/guests/{guest_uuid}" REST API define. However, python-rhsm's current code doesn't match it. Is there any plan to update it?
//candlepin
$ git show a6fcfb08cf32ce128c41caf85d578bf0ada4aea6
+ @PUT
+ @Path("/{consumer_uuid}/guests/{guest_uuid}")
+ public void addGuest(
+ @PathParam("consumer_uuid") @Verify(Consumer.class) String consumerUuid,
+ @PathParam("guest_uuid") String guestId) {
+ if (guestId == null) {
+ throw new BadRequestException(i18n.tr("You must supply a guest UUID"));
+ }
+ Consumer consumer = verifyAndLookupConsumer(consumerUuid);
+ consumer.addGuestId(guestId);
+ consumerCurator.merge(consumer);
+ }
//python-rhsm
//connection.py
def updateConsumer(self, uuid, facts=None, installed_products=None,
guest_uuids=None):
"""
Update a consumer on the server.
Rather than requiring a full representation of the consumer, only some
information is passed depending on what we wish to update.
Note that installed_products and guest_uuids expects a certain format,
example parsing is in subscription-manager's format_for_server() method.
"""
params = {}
if installed_products != None:
params['installedProducts'] = installed_products
if guest_uuids != None:
params['guestIds'] = guest_uuids
if facts != None:
params['facts'] = facts
method = "/consumers/%s" % self.sanitize(uuid)
ret = self.conn.request_put(method, params)
return ret
There has been some design change. "PUT /consumers/{consumer_uuid}/guests/{guest_uuid}" is old and is removed in wottop-virt-guest branch.
Guests will be added via the updateConsumer Candlepin API call.
OK. virt-who functional testing then have to wait till the code is merged into master and pushed to stage env.
Marking all community bugs modified or beyong as closed. | https://bugzilla.redhat.com/show_bug.cgi?id=737935 | CC-MAIN-2017-51 | refinedweb | 902 | 56.66 |
Java program to create a temporary file :
In this tutorial, we will learn how to create a temporary file in Java. We can create a temp file either in the default temporary file location folder or in a specific folder. To handle this, we have two different static methods in the File class. Let’s take a look into them first :
Methods to create temporary file :
public static File createTempFile(String prefix, String suffix)
- This method creates an empty temp-file in the default temporary file directory. It returns the File object reference using which we can find out the location of the file.
- The prefix and suffix strings are used to create the final name of the file. The length of the prefix should be atleast 3 character long. suffix can be null . If it is null , “.tmp” is used.
- It may throw IllegalArgumentException if the prefix contains less than 3 characters, IOException if the file could not be created or SecurityException if any security related problem arises while creating the file.
Now, let’s try to implement it on code :
Java progarm to create temporary file in Default directory :
import java.io.File; import java.io.IOException; public class Main { public static void main(String[] args) { try { File file1 = File.createTempFile("firstTempFile", null); System.out.println("First temp file path " + file1.getAbsolutePath()); File file2 = File.createTempFile("myTempFile", ".tempSuffix"); System.out.println("Second temp file path " + file2.getAbsolutePath()); } catch (IOException e) { e.printStackTrace(); } } }
On my machine it prints something like below :
First temp file path C:\Users\codevscolor\AppData\Local\Temp\firstTempFile11508172464695340971.tmp Second temp file path C:\Users\codevscolor\AppData\Local\Temp\myTempFile8770312155696418897.tempSuffix
The output will be different on your system. We can see that the first file has a suffix of .tmp since we are passing null in the second parameter. But the second file uses the same suffix that we have passed i.e. .tempSuffix.
One different method is available to create temp-file in a specific directory :
public static File createTempFile(String prefix, String suffix, File directory)
It create an empty file in the specified directory. Everything is same as above. The prefix should be at-least 3 characters long. If it is too long, then it will be truncated but first three letters will be same. Same for postfix. If postfix is too long, it will also be truncated. If it is starts with a period, then the period and first 3 characters will be preserved. If suffix is null then .tmp is used. directory variable holds the directory in which the file need to be created. If it is null then the default directory is used. Same as the above method,it may throw IllegalArgumentException,IOException and SecurityException.
Java program to create temp file in a folder :
import java.io.File; import java.io.IOException; public class Main { public static void main(String[] args) { try { File file = File.createTempFile("firstTempFile", null,new File("C:\myFolder\")); System.out.println("First temp file path " + file.getAbsolutePath()); } catch (IOException e) { e.printStackTrace(); } } }
This will create a temp file inside the myFolder . The name of the file will be different as the above example.
The default temp directory lies inside /tmp or /var/tmp in UNIX system. On windows, it lies inside a Temp folder in C drive.
Similar tutorials :
- Java BufferedReader and FileReader example read text file
- Java program to print all files and folders in a directory in sorted order
- Java Program to get the last modified date and time of a file
- Java program to replace string in a file
- Java example to filter files in a directory using FilenameFilter
- Read json content from a file using GSON in Java | https://www.codevscolor.com/java-program-create-temporary-file | CC-MAIN-2020-40 | refinedweb | 617 | 59.7 |
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Arrays 101: All you need to know about them!
TheDcoder posted a topic in AutoIt Technical DiscussionHello Guys! I wanted to share all my knowledge on arrays! Hope may enjoy the article , Lets start! Declaring arrays! Declaring arrays is a little different than other variables: ; Rules to follow while declaring arrays: ; ; Rule #1: You must have a declarative keyword like Dim/Global/Local before the declaration unless the array is assigned a value from a functions return (Ex: StringSplit) ; Rule #2: You must declare the number of dimensions but not necessarily the size of the dimension if you are gonna assign the values at the time of declaration. #include <Array.au3> Local $aEmptyArray[0] ; Creates an Array with 0 elements (aka an Empty Array). Local $aArrayWithData[1] = ["Data"] _ArrayDisplay($aEmptyArray) _ArrayDisplay($aArrayWithData) That's it Resizing Arrays Its easy! Just like declaring an empty array! ReDim is our friend here: #include <Array.au3> Local $aArrayWithData[1] = ["Data1"] ReDim $aArrayWithData[2] ; Change the number of elements in the array, I have added an extra element! $aArrayWithData[1] = "Data2" _ArrayDisplay($aArrayWithData) Just make sure that you don't use ReDim too often (especially don't use it in loops!), it can slow down you program. Best practice of using "Enum" You might be wondering what they might be... Do you know the Const keyword which you use after Global/Local keyword? Global/Local are declarative keywords which are used to declare variables, of course, you would know that already by now , If you check the documentation for Global/Local there is a optional parameter called Const which willl allow you to "create a constant rather than a variable"... Enum is similar to Const, it declares Integers (ONLY Integers): Global Enum $ZERO, $ONE, $TWO, $THREE, $FOUR, $FIVE, $SIX, $SEVEN, $EIGHT, $NINE ; And so on... ; $ZERO will evaluate to 0 ; $ONE will evaluate to 1 ; You get the idea :P ; Enum is very useful to declare Constants each containing a number (starting from 0) This script will demonstrate the usefulness and neatness of Enums : ; We will create an array which will contain details of the OS Global Enum $ARCH, $TYPE, $LANG, $VERSION, $BUILD, $SERVICE_PACK Global $aOS[6] = [@OSArch, @OSType, @OSLang, @OSVersion, @OSBuild, @OSServicePack] ; Now, if you want to access anything related to the OS, you would do this: ConsoleWrite(@CRLF) ConsoleWrite('+>' & "Architecture: " & $aOS[$ARCH] & @CRLF) ConsoleWrite('+>' & "Type: " & $aOS[$TYPE] & @CRLF) ConsoleWrite('+>' & "Langauge: " & $aOS[$LANG] & @CRLF) ConsoleWrite('+>' & "Version: " & $aOS[$VERSION] & @CRLF) ConsoleWrite('+>' & "Build: " & $aOS[$BUILD] & @CRLF) ConsoleWrite('+>' & "Service Pack: " & $aOS[$SERVICE_PACK] & @CRLF) ConsoleWrite(@CRLF) ; Isn't it cool? XD You can use this in your UDF(s) or Program(s), it will look very neat! Looping through an Array Looping through an array is very easy! . There are 2 ways to loop an array in AutoIt! Simple Way: ; This is a very basic way to loop through an array ; In this way we use a For...In...Next Loop! Global $aArray[2] = ["Foo", "Bar"] ; Create an array ; This loop will loop 2 times because our $aArray contains 2 elements. For $vElement In $aArray ; $vElement will contain the value of the elements in the $aArray... one element at a time. ConsoleWrite($vElement & @CRLF) ; Prints the element out to the console Next ; And that's it! Advanced Way: ; This is an advanced way to loop through an array ; In this way we use a For...To...Next Loop! Global $aArray[4] = ["Foo", "Bar", "Baz", "Quack"] ; Create an array ; This loop will loop 2 times because our $aArray contains 2 elements. For $i = 0 To UBound($aArray) - 1 ; $i is automatically created and is set to zero, UBound($aArray) returns the no. of elements in the $aArray. ConsoleWrite($aArray[$i] & @CRLF) ; Prints the element out to the console. Next ; This is the advanced way, we use $i to access the elements! ; With the advanced method you can also use the Step keyword to increase the offset in each "step" of the loop: ; This will only print every 2nd element starting from 0 ConsoleWrite(@CRLF & "Every 2nd element: " & @CRLF) For $i = 0 To UBound($aArray) - 1 Step 2 ConsoleWrite($aArray[$i] & @CRLF) Next ; This will print the elements in reverse order! ConsoleWrite(@CRLF & "In reverse: " & @CRLF) For $i = UBound($aArray) - 1 To 0 Step -1 ConsoleWrite($aArray[$i] & @CRLF) Next ; And that ends this section! For some reason, many people use the advance way more than the simple way . For more examples of loops see this post by @FrancescoDiMuro! Interpreting Multi-Dimensional Arrays Yeah, its the most brain squeezing problem for newbies, Imagining an 3D Array... I will explain it in a very simple way for ya, so stop straining you brain now! . This way will work for any array regardless of its dimensions... Ok, Lets start... You can imagine an array as a (data) mine of information: ; Note that: ; Dimension = Level (except the ground level :P) ; Element in a Dimension = Path ; Level 2 ----------\ ; Level 1 -------\ | ; Level 0 ----\ | | ; v v v Local $aArray[2][2][2] ; \-----/ ; | ; v ; Ground Level ; As you can see that $aArray is the Ground Level ; All the elements start after the ground level, i.e from level 0 ; Level 0 Contains 2 different paths ; Level 1 Contains 4 different paths ; Level 2 Contains 8 different paths ; When you want too fill some data in the data mine, ; You can do that like this: $aArray[0][0][0] = 1 $aArray[0][0][1] = 2 $aArray[0][1][0] = 3 $aArray[0][1][1] = 4 $aArray[1][0][0] = 5 $aArray[1][0][1] = 6 $aArray[1][1][0] = 7 $aArray[1][1][1] = 8 ; Don't get confused with the 0s & 1s, Its just tracing the path! ; Try to trace the path of a number with the help of the image! Its super easy! :D I hope you might have understand how an array looks, Mapping your way through is the key in Multi-Dimensional arrays, You take the help of notepad if you want! Don't be shy! Frequently Asked Questions (FAQs) & Their answers Q #1. What are Arrays? A. An Array is an datatype of an variable (AutoIt has many datatypes of variables like "strings", "integers" etc. Array is one of them). An Array can store information in a orderly manner. An Array consist of elements, each element can be considered as a variable (and yes, each element has its own datatype!). AutoIt can handle 16,777,216 elements in an Array, If you have an Array with 16,777,217 elements then AutoIt crashes. Q #2. Help! I get an error while declaring an Array!? A. You tried to declare an array like this: $aArray[1] = ["Data"] That is not the right way, Array is a special datatype, since its elements can be considered as individual variables you must have an declarative keyword like Dim/Global/Local before the declaration, So this would work: Local $aArray[1] = ["Data"] Q #3. How can I calculate the no. of elements in an array? A. The UBound function is your answer, Its what exactly does! If you have an multi-dimensional Array you can calculate the total no. of elements in that dimension by specifying the dimension in the second parameter of UBound Q #4. Why is my For...Next loop throwing an error while processing an Array? A. You might have done something like this: #include <MsgBoxConstants.au3> Local $aArray[10] = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10] Local $iMyNumber = 0 For $i = 0 To UBound($aArray) ; Concentrate here! $iMyNumber += $aArray[$i] Next MsgBox($MB_OK, "Sum of all Numbers!", $iMyNumber) Did you notice the mistake? UBound returns the no. of elements in an array with the index starting from 1! That's right, you need to remove 1 from the total no. of elements in order to process the array because the index of an array starts with 0! So append a simple - 1 to the statment: #include <MsgBoxConstants.au3> Local $aArray[10] = [1, 2, 3, 4, 5, 6, 7, 8, 9, 10] Local $iMyNumber = 0 For $i = 0 To UBound($aArray) - 1 $iMyNumber += $aArray[$i] Next MsgBox($MB_OK, "Sum of all Numbers!", $iMyNumber) Q #5. Can an Array contain an Array? How do I access an Array within an Array? A. Yes! It is possible that an Array can contain another Array! Here is an example of an Array within an Array: ; An Array can contain another Array in one of its elements ; Let me show you an example of what I mean ;) #include <Array.au3> Global $aArray[2] $aArray[0] = "Foo" Global $aChildArray[1] = ["Bar"] $aArray[1] = $aChildArray _ArrayDisplay($aArray) ; Did you see that!? The 2nd element is an {Array} :O ; But how do we access it??? ; You almost guessed it, like this: ; Just envolope the element which contains the {Array} (as shown in _ArrayDisplay) with brackets (or parentheses)! :D ConsoleWrite(($aArray[1])[0]) ; NOTE the brackets () around $aArray[1]!!! They are required or you would get an syntax error! ; So this: $aArray[1][0] wont work! More FAQs coming soon!
Maps 101: All you need to know about them!
TheDcoder posted a topic in AutoIt Technical DiscussionHello | https://www.autoitscript.com/forum/tags/datatype/ | CC-MAIN-2020-16 | refinedweb | 1,529 | 63.29 |
When you design classes, you do so without a crystal ball. Classes are designed based on the available knowledge of who the consumers of the class likely could be, and the data types those developers would like to use with your class.
While developing a system, you may have a need to develop a class that stores a number of items of the integer type. To meet the requirement, you write a class named Stack that provides the capability to store and access a series of integers:
using System;
public class Stack
{
int[] items;
public void Push (int item) {...};
public int Pop() {...};
}
Suppose that at some point in the future, there is a request for this same functionality, only the business case requires the support for the double type. This current class will not support that functionality, and some changes or additions need to be made.
One option would be to make another class, one that provided support for the double type:
public class DoubleStack
{
double[] items;
public void Push (double item) {...};
public int Pop() {...};
}
But doing that is not ideal. It leaves you with two classes, and the need to create others if requests to support different types arise in the future.
The best case would be to have a single class that was much more flexible. In the .NET 1.x world, if you wanted to provide this flexibility, you did so using the object type:
using System;
public class Stack
{
object[] items;
public void Push (object item) {...};
public int Pop() {...};
}
This approach provides flexibility, but that flexibility comes at a cost. To pop an item off the stack, you needed to use typecasting, which resulted in a performance penalty:
double d = (double)stack.Pop;
In addition, that class allowed the capability to write and compile the code that added items of multiple types, not just those of the double type.
Fortunately, with version 2.0 of the .NET Framework, Generics provide us a more palatable solution. So what are Generics? Generics are code templates that allow developers to create type-safe code without referring to specific data types.
The following code shows a new generic, GenericStack<M>. Note that we use a placeholder of M in lieu of a specific type:
public class GenericStack<M>
{
M[] items;
void Push(M input) { }
public M Pop() {}
}
The following code shows the use of GenericStack<M>. Here, two instances of the class are created, stack1 and stack2. stack1 can contain integers, whereas stack2 can contain doubles. Note that in place of M, the specific type is provided when defining the variables:
class TestGenericStack
{
static void Main()
{
// Declare a stack of type int
GenericStack<int> stack1 = new GenericStack<int>();
// Declare a list of type double
GenericStack<double> stack2 = new GenericStack<double>();
}
}
This provides support for us to use the functionality for the types we know we must support today, plus the capability to support types we'll be interested in in the future. If in the future, you create a class named NewClass, you could use that with a Generic with the following code:
// Declare a list of the new type
GenericStack<NewClass> list3 = new GenericStack<NewClass>();
In GenericStack<M> class, M is what is called a generic-type parameter. The type specified when instantiating the GenericStack<M> in code is referred to as a type argument. In the code for the TestGenericStack class, int and double, are both examples of type arguments.
In the preceding example, there was only one generic-type parameter, M. This was by choice and not because of a limitation in the .NET Framework. The use of multiple generic-type parameters is valid and supported, as can be seen in this example:
class Stock<X, Y>
{
X identifier;
Y numberOfShares;
...
}
Here are two examples of how this could then be used in code. In the first instance, the identifier is an int, and the number of shares a double. In the second case, the identifier is a string, and the number of shares is an int:
Stock<int,double> x = new Stock<int,double>();
Stock<string,int> y = new Stock<string,int>();
In these examples, we've also used a single letter to represent our generic-type parameter. Again, this is by choice and not by requirement. In the Stock class example, X and Y could have also been IDENTIFIER and NUMBEROFSHARES.
Now that you've learned the basics of generics, you may have a few questions: What if I don't want to allow just any type to be passed in, and want to make sure that only types deriving from a certain interface are used? What if I need to ensure that the type argument provided refers to a type with a public constructor? Can I use generic types in method definitions?
The good news is that the answer to each of those questions is yes.
There will undoubtedly be instances in which you will want to restrict the type arguments that a developer may use with the class. If, in the case of the Stock<X, Y> generic, you wanted to ensure that the type parameter provided for X was derived from IStockIdentifier, you could specify this, as shown here:
public class Stock<X, Y> where X:IStockIdentifier
Although this example uses a single constraint that X must derive from IStockIdentifier, additional constraints can be specified for X, as well as Y.
In regard to other constraints for X, you may want to ensure that the type provided has a public default constructor. In that way if your class has a variable of type X that creates a new instance of it in code, it will be supported.
By defining the class as
public class Stock<X, Y> where X:new()
you ensure that you can create a new instance of X within the class:
X identifier = new X();
As mentioned earlier, you can specify multiple constraints. The following is an example of how to specify that the Stock class is to implement both of the constraints listed previously:
public class Stock<X, Y> where X:IStockIdentifier, new()
In the GenericStack<M> example, you saw that there were Push and Pop methods:
Push and Pop are examples of generic methods. In that code, the generic methods are inside of generic types. It is important to note that they can also be used outside of generic types, as seen here:
public class Widget
{
public void WidgetAction<M>(M m)
{...}
}
Note
It should be noted that attempts to cast a type parameter to the type of a specific class will not compile. This is in keeping with the purpose of genericscasting to a specific type of class would imply that the generic-type paremeter is, in fact, not generic. You may cast a type parameter, but only to an interface.
Inheritance is the last area we'll cover on Generics in this chapter. Inheritance is handled in a very straightforward mannerwhen defining a new class that inherits from a generic, you must specify the type argument(s).
If we were to create a class that inherited from our Stock class, it would resemble the following code:
public class Stock<X,Y>
{...}
public class MyStock : Stock<string | http://codeidol.com/community/dotnet/generics/10169/ | CC-MAIN-2017-39 | refinedweb | 1,201 | 59.43 |
view raw
When running this program, I receive the error "TypeError: only length-1 arrays can be converted to Python scalars", specifically referring to line 9, where the x1-variable is assigned.
I'm kind of clueless here what it means in this context. I worked with a very similar piece of code for a previous assignment, where it all worked fine. I took in a vector as an argument to the function and computed all the values simultaneously.
Note: After I removed the floating it seems to work fine, but I have no clue why. Can anyone explain?
import matplotlib.pyplot as plt
import numpy as np
g = 9.78
p = 1000
h = 50
s = 7.9 * 10**-2
def water_wave_speed(l):
x1 = float(g * l/(2 * np.pi))
x2 = 1 + s * float((4 * np.pi**2)/(p * g * l**2))
x3 = float((2 * np.pi * h)/l)
c = np.sqrt(x1 * x2 * np.tanh(x3))
return c
l_values = np.linspace(0.001, 0.1, 10)
c_values = water_wave_speed(l_values)
plt.plot(l_values, c_values)
plt.show()
Drop all of those
float calls and your code should work (as floats). You're trying to coerce numpy arrays into single float values which isn't going to work. | https://codedump.io/share/uhqxw93252c9/1/quotonly-length-1-arrays-can-be-converted-to-python-scalarsquot-error-with-float-conversion-function | CC-MAIN-2017-22 | refinedweb | 206 | 78.65 |
The preexisting PDFs, but also works with ReportLab
- PDFMiner – Extracts text from PDFs
There are several more Python PDF-related packages, but those four are probably the most well known. One common task of working with PDFs is the need for merging or concatenating multiple PDFs into one PDF. Another common task is taking a PDF and splitting out one or more of its pages into a new PDF.
You will be creating a graphical user interface that does both of these tasks using PyPDF2.
The full code for this tutorial can be found on Github in the chapter 10 folder.
Installing PyPDF2
The PyPDF2 package can be installed using pip:
pip install pypdf2
This package is pretty small, so the installation should be quite quick.
Now that PyPDF2 is installed, you can design your UI!
Designing the Interface
This application is basically two programs contained in one window. You need a way of displaying a merging application and a splitting application. Having an easy way to switch between the two would be nice. You can design your own panel swapping code or you can use one of wxPython’s many notebook widgets.
To keep things simpler, let’s use a wx.Notebook for this application.
Here is a mockup of the merging tab:
You will be loading up PDF files into a list control type widget. You also want a way to re-order the PDFs. And you need a way to remove items from the list. This mockup shows all the pieces you need to accomplish those goals.
Next is a mockup of the splitting tab:
Basically what you want is a tool that shows what the input PDF is and what page(s) are to be split off. The user interface for this is pretty plain, but it should work for your needs.
Now let’s create this application!
Creating the Application
Let’s put some thought into your code’s organization. Each tab should probably be in its own module. You should also have a main entry point to run your application. That means you can reasonably have at least three Python files.
Here is what you will be creating:
- The main module
- The merge panel module
- The split panel module
Let’s start with the main module!
The Main Module
As the main entry point of your application, the main module has a lot of responsibility. It will hold your other panels and could be a hub between the panels should they need to communicate. Most of the time, you would use pubsub for that though.
Let’s go ahead and write your first version of the code:
# main.py import wx from merge_panel import MergePanel from split_panel import SplitPanel
The imports for the main module are nice and short. All you need is wx, the MergePanel and the SplitPanel. The latter two are ones that you will write soon.
Let’s go ahead and write the MainPanel code though:
class MainPanel(wx.Panel): def __init__(self, parent): super().__init__(parent) main_sizer = wx.BoxSizer(wx.VERTICAL) notebook = wx.Notebook(self) merge_tab = MergePanel(notebook) notebook.AddPage(merge_tab, 'Merge PDFs') split_tab = SplitPanel(notebook) notebook.AddPage(split_tab, 'Split PDFs') main_sizer.Add(notebook, 1, wx.ALL | wx.EXPAND, 5) self.SetSizer(main_sizer)
The MainPanel is where all the action is. Here you instantiate a wx.Notebook and add the MergePanel and the SplitPanel to it. Then you add the notebook to the sizer and you’re done!
Here’s the frame code that you will need to add:
class MainFrame(wx.Frame): def __init__(self): super().__init__(None, title='PDF Merger / Splitter', size=(800, 600)) self.panel = MainPanel(self) self.Show() if __name__ == '__main__': app = wx.App(False) frame = MainFrame() app.MainLoop()
As usual, you construct your frame, add a panel and show it to the user. You also set the size of the frame. You might want to experiment with the initial size as it may be too big or too small for your setup.
Now let’s move on and learn how to merge PDFs!
The merge_panel Module
The merge_panel module contains all the code you need for creating a user interface around merging PDF files. The user interface for merging is a bit more involved than it is for splitting.
Let’s get started!
# merge_panel.py import os import glob import wx from ObjectListView import ObjectListView, ColumnDefn from PyPDF2 import PdfFileReader, PdfFileWriter wildcard = "PDFs (*.pdf)|*.pdf"
Here you need to import Python’s os module for some path-related activities and the glob module for searching duty. You will also need ObjectListView for displaying PDF information and PyPDF2 for merging the PDFs together.
The last item here is the wildcard which is used when adding files to be merged as well as when you save the merged file.
To make the UI more friendly, you should add drag-and-drop support:
class DropTarget(wx.FileDropTarget): def __init__(self, window): super().__init__() self.window = window def OnDropFiles(self, x, y, filenames): self.window.update_on_drop(filenames) return True
You may recognize this code from the Archiver chapter. In fact, it’s pretty much unchanged. You still need to subclass wx.FileDropTarget and pass it the widget that you want to add drag-and-drop support to. You also need to override OnDropFile() to have it call a method using the widget you passed in. For this example, you are passing in the panel object itself.
You will also need to create a class for holding information about the PDFs. This class will be used by your ObjectListView widget.
Here it is:
class Pdf: def __init__(self, pdf_path): self.full_path = pdf_path self.filename = os.path.basename(pdf_path) try: with open(pdf_path, 'rb') as f: pdf = PdfFileReader(f) number_of_pages = pdf.getNumPages() except: number_of_pages = 0 self.number_of_pages = str(number_of_pages)
The __init__() is nice and short this time around. You set up a list of pdfs for holding the PDF objects to be merged. You also instantiate and add the DropTarget to the panel. Then you create the main_sizer and call create_ui(), which will add all the widgets you need.
Speaking of which, let’s add create_ui() next:
def create_ui(self): btn_sizer = wx.BoxSizer() add_btn = wx.Button(self, label='Add') add_btn.Bind(wx.EVT_BUTTON, self.on_add_file) btn_sizer.Add(add_btn, 0, wx.ALL, 5) remove_btn = wx.Button(self, label='Remove') remove_btn.Bind(wx.EVT_BUTTON, self.on_remove) btn_sizer.Add(remove_btn, 0, wx.ALL, 5) self.main_sizer.Add(btn_sizer)
The create_ui() method is a bit long. The code will be broken up to make it easier to digest. The code above will add two buttons:
- An Add file button
- A Remove file button
These buttons go inside of a horizontally-oriented sizer along the top of the merge panel. You also bind each of these buttons to their own event handlers.
Now let’s add the widget for displaying PDFs to be merged:
move_btn_sizer = wx.BoxSizer(wx.VERTICAL) row_sizer = wx.BoxSizer() self.pdf_olv = ObjectListView( self, style=wx.LC_REPORT | wx.SUNKEN_BORDER) self.pdf_olv.SetEmptyListMsg("No PDFs Loaded") self.update_pdfs() row_sizer.Add(self.pdf_olv, 1, wx.ALL | wx.EXPAND)
Here you add the ObjectListView widget to the row_sizer and call update_pdfs() to update it so that it has column labels.
You need to add support for reordering the PDFs in the ObjectListView widget, so let’s add that next:
move_up_btn = wx.Button(self, label='Up') move_up_btn.Bind(wx.EVT_BUTTON, self.on_move) move_btn_sizer.Add(move_up_btn, 0, wx.ALL, 5) move_down_btn = wx.Button(self, label='Down') move_down_btn.Bind(wx.EVT_BUTTON, self.on_move) move_btn_sizer.Add(move_down_btn, 0, wx.ALL, 5) row_sizer.Add(move_btn_sizer) self.main_sizer.Add(row_sizer, 1, wx.ALL | wx.EXPAND, 5)
Here you add two more buttons. One for moving items up and one for moving items down. These two buttons are added to a vertically-oriented sizer, move_btn_sizer, which in turn is added to the row_sizer. Finally the row_sizer is added to the main_sizer.
Here’s the last few lines of the create_ui() method:
merge_pdfs = wx.Button(self, label='Merge PDFs') merge_pdfs.Bind(wx.EVT_BUTTON, self.on_merge) self.main_sizer.Add(merge_pdfs, 0, wx.ALL | wx.CENTER, 5) self.SetSizer(self.main_sizer)
These last four lines add the merge button and get it hooked up to an event handler. It also sets the panel’s sizer to the main_sizer.
Now let’s create add_pdf():
def add_pdf(self, path): self.pdfs.append(Pdf(path))
You will be calling this method with a path to a PDF that you wish to merge with another PDF. This method will create an instance of the Pdf class and append it to the pdfs list.
Now you’re ready to create load_pdfs():
def load_pdfs(self, path): pdf_paths = glob.glob(path + '/*.pdf') for path in pdf_paths: self.add_pdf(path) self.update_pdfs()
This method takes in a folder rather than a file. It then uses glob to find all the PDFs in that folder. You will loop over the list of files that glob returns and use add_pdf() to add them to the pdfs list. Then you call update_pdfs() which will update the UI with the newly added PDF files.
Let’s find out what happens when you press the merge button:
def on_merge(self, event): """ TODO - Move this into a thread """ objects = self.pdf_olv.GetObjects() if len(objects) < 2: with wx.MessageDialog( None, message='You need 2 or more files to merge!', caption='Error', style= wx.ICON_INFORMATION) as dlg: dlg.ShowModal() return with wx.FileDialog( self, message="Choose a file", defaultDir='~', defaultFile="", wildcard=wildcard, style=wx.FD_SAVE | wx.FD_CHANGE_DIR ) as dlg: if dlg.ShowModal() == wx.ID_OK: path = dlg.GetPath() if path: _, ext = os.path.splitext(path) if '.pdf' not in ext.lower(): path = f'{path}.pdf' self.merge(path)
The on_merge() method is the event handler that is called by your merge button. The docstring contains a TODO message to remind you to move the merging code to a thread. Technically the code you will be moving is actually in the merge() function, but as long as you have some kind of reminder, it doesn't matter all that much.
Anyway, you use GetObjects() to get all the PDFs in the ObjectListView widget. Then you check to make sure that there are at least two PDF files. If not, you will let the user know that they need to add more PDFs! Otherwise you will open up a wx.FileDialog and have the user choose the name and location for the merged PDF.
Finally you check if the user added the .pdf extension and add it if they did not. Then you call merge().
The merge() method is conveniently the next method you should create:
def merge(self, output_path): pdf_writer = PdfFileWriter() objects = self.pdf_olv.GetObjects() for obj in objects: pdf_reader = PdfFileReader(obj.full_path) for page in range(pdf_reader.getNumPages()): pdf_writer.addPage(pdf_reader.getPage(page)) with open(output_path, 'wb') as fh: pdf_writer.write(fh) with wx.MessageDialog(None, message='Save completed!', caption='Save Finished', style= wx.ICON_INFORMATION) as dlg: dlg.ShowModal()
Here you create a PdfFileWriter() object for writing out the merged PDF. Then you get the list of objects from the ObjectListView widget rather than the pdfs list. This is because you can reorder the UI so the list may not be in the correct order. The next step is to loop over each of the objects and get its full path out. You will open the path using PdfFileReader and loop over all of its pages, adding each page to the pdf_writer.
Once all the PDFs and all their respective pages are added to the pdf_writer, you can write out the merged PDF to disk. Then you open up a wx.MessageDialog that lets the user know that the PDFs have merged.
While this is happening, you may notice that your UI is frozen. That is because it can take a while to read all those pages into memory and then write them out. This is the reason why this part of your code should be done in a thread. You will be learning about that refactor later on in this chapter.
Now let's create on_add_file():
def on_add_file(self, event): paths = None with wx.FileDialog( self, message="Choose a file", defaultDir='~', defaultFile="", wildcard=wildcard, style=wx.FD_OPEN | wx.FD_MULTIPLE ) as dlg: if dlg.ShowModal() == wx.ID_OK: paths = dlg.GetPaths() if paths: for path in paths: self.add_pdf(path) self.update_pdfs()
This code will open up a wx.FileDialog and let the user choose one or more files. Then it returns them as a list of paths. You can then loop over those paths and use add_path() to add them to the pdfs list.
Now let's find out how to reorder the items in the ObjectListView widget:
def on_move(self, event): btn = event.GetEventObject() label = btn.GetLabel() current_selection = self.pdf_olv.GetSelectedObject() data = self.pdf_olv.GetObjects() if current_selection: index = data.index(current_selection) new_index = self.get_new_index( label.lower(), index, data) data.insert(new_index, data.pop(index)) self.pdfs = data self.update_pdfs() self.pdf_olv.Select(new_index)
Both the up and down buttons are bound to the on_move() event handler. You can get access to which button called this handler via event.GetEventObject(), which will return the button object. Then you can get the button's label. Next you need to get the current_selection and a list of the objects, which is assigned to data. Now you can use the index attribute of the list object to find the index of the current_selection.
Once you have that information, you pass the button label, the index and the data list to get_new_index() to calculate which direction the item should go. Once you have the new_index, you can insert it and remove the old index using the pop() method. Then reset the pdfs list to the data list so they match. The last two steps are to update the widget and re-select the item that you moved.
Let's take a look at how to get that new index now:
def get_new_index(self, direction, index, data): if direction == 'up': if index > 0: new_index = index - 1 else: new_index = len(data)-1 else: if index < len(data) - 1: new_index = index + 1 else: new_index = 0 return new_index
Here you use the button label, direction, to determine which way to move the item. If it's "up", then you check if the index is greater than zero and subtract one. If it is zero, then you take the entire length of the list and subtract one, which should move the item back to the other end of the list.
If you user hit the "down" button, then you check to see if the index is less than the length of the data minus one. In that case, you add one to it. Otherwise you set the new_index to zero.
The code is a bit confusing to look at, so feel free to add some print functions in there and then run the code to see how it works.
The next new thing to learn is how to remove an item:
def on_remove(self, event): current_selection = self.pdf_olv.GetSelectedObject() if current_selection: index = self.pdfs.index(current_selection) self.pdfs.pop(index) self.pdf_olv.RemoveObject(current_selection)
This method will get the current_selection, pop() it from the pdfs list and then use the RemoveObject() method to remove it from the ObjectListView widget.
Now let's take a look at the code that is called when you drag-and-drop items onto your application:
def update_on_drop(self, paths): for path in paths: _, ext = os.path.splitext(path) if os.path.isdir(path): self.load_pdfs(path) elif os.path.isfile(path) and ext.lower() == '.pdf': self.add_pdf(path) self.update_pdfs()
In this case, you loop over the paths and check to see if the path is a directory or a file. They could also be a link, but you will ignore those. If the path is a directory, then you call load_pdfs() with it. Otherwise you check to see if the file has an extension of .pdf and if it does, you call add_pdf() with it.
The last method to create is update_pdfs():
def update_pdfs(self): self.pdf_olv.SetColumns([ ColumnDefn("PDF Name", "left", 200, "filename"), ColumnDefn("Full Path", "left", 250, "full_path"), ColumnDefn("Page Count", "left", 100, "number_of_pages") ]) self.pdf_olv.SetObjects(self.pdfs)
This method adds or resets the column names and widths. It also adds the PDF list via SetObjects().
Here is what the merge panel looks like:
Now you are ready to create the split_panel!
The split_panel Module
The split_panel module is a bit simpler than the merge_panel was. You really only need a couple of text controls, some labels and a button.
Let's see how all of that ends up laying out:
# split_panel.py import os import string import wx from PyPDF2 import PdfFileReader, PdfFileWriter wildcard = "PDFs (*.pdf)|*.pdf"
Here you import Python's os and string modules. You will also be needing PyPDF2 again and the wildcard variable will be useful for opening and saving PDFs.
You will also need the CharValidator class from the calculator chapter.
It is reproduced for you again here:
class CharValidator(wx.Validator): ''' Validates data as it is entered into the text controls. ''' def __init__(self, flag): wx.Validator.__init__(self) self.flag = flag self.Bind(wx.EVT_CHAR, self.OnChar) def Clone(self): '''Required Validator method''' return CharValidator(self.flag) def Validate(self, win): return True def TransferToWindow(self): return True def TransferFromWindow(self): return True def OnChar(self, event): keycode = int(event.GetKeyCode()) if keycode < 256: key = chr(keycode) if self.flag == 'no-alpha' and key in string.ascii_letters: return if self.flag == 'no-digit' and key in string.digits: return event.Skip()
The CharValidator class is useful for validating that the user is not entering any letters into a text control. You will be using it for splitting options, which will allow the user to choose which pages they want to split out of the input PDF.
But before we get to that, let's create the SplitPanel:
class SplitPanel(wx.Panel): def __init__(self, parent): super().__init__(parent) font = wx.Font(12, wx.SWISS, wx.NORMAL, wx.NORMAL) main_sizer = wx.BoxSizer(wx.VERTICAL)
The first few lines of the __init__() create a wx.Font instance and the main_sizer.
Here's the next few lines of the __init__():
row_sizer = wx.BoxSizer() lbl = wx.StaticText(self, label='Input PDF:') lbl.SetFont(font) row_sizer.Add(lbl, 0, wx.ALL | wx.CENTER, 5) self.pdf_path = wx.TextCtrl(self, style=wx.TE_READONLY) row_sizer.Add(self.pdf_path, 1, wx.EXPAND | wx.ALL, 5) pdf_btn = wx.Button(self, label='Open PDF') pdf_btn.Bind(wx.EVT_BUTTON, self.on_choose) row_sizer.Add(pdf_btn, 0, wx.ALL, 5) main_sizer.Add(row_sizer, 0, wx.EXPAND)
This bit of code adds a row of widgets that will be contained inside of row_sizer. Here you have a nice label, a text control for holding the input PDF path and the "Open PDF" button. After adding each of these to the row_sizer, you will then add that sizer to the main_sizer.
Now let's add a second row of widgets:
msg = 'Type page numbers and/or page ranges separated by commas.' \ ' For example: 1, 3 or 4-10. Note you cannot use both commas ' \ 'and dashes.' directions_txt = wx.TextCtrl( self, value=msg, style=wx.TE_MULTILINE | wx.NO_BORDER) directions_txt.SetFont(font) directions_txt.Disable() main_sizer.Add(directions_txt, 0, wx.ALL | wx.EXPAND, 5)
These lines of code create a multi-line text control that has no border. It contains the directions of use for the pdf_split_options text control and appears beneath that widget as well. You also Disable() the directions_txt to prevent the user from changing the directions.
There are four more lines to add to the __init__():
split_btn = wx.Button(self, label='Split PDF') split_btn.Bind(wx.EVT_BUTTON, self.on_split) main_sizer.Add(split_btn, 0, wx.ALL | wx.CENTER, 5) self.SetSizer(main_sizer)
These last few lines will add the "Split PDF" button, bind it to an event handler and add the button to a sizer. Then you set the sizer for the panel.
Now that you have the UI itself written, you need to start writing the other methods:
def on_choose(self, event): path = None with wx.FileDialog( self, message="Choose a file", defaultDir='~', defaultFile="", wildcard=wildcard, style=wx.FD_OPEN | wx.FD_CHANGE_DIR ) as dlg: if dlg.ShowModal() == wx.ID_OK: path = dlg.GetPath() if path: self.pdf_path.SetValue(path)
The on_choose() event handler is called when the user presses the "Open PDF" button. It will load a wx.FileDialog and if the user chooses a PDF, it will set the pdf_path text control with that user's choice.
Now let's get to the meat of the code:
def on_split(self, event): output_path = None input_pdf = self.pdf_path.GetValue() split_options = self.pdf_split_options.GetValue() if not input_pdf: message='You must choose an input PDF!' self.show_message(message) return
When the user presses the "Split PDF" button, on_split() is called. You will start off by checking if the user has chosen a PDF to split at all. If they haven't, tell them to do so using the show_message() method and return.
Next you need to check to see if the PDF path that the user chose still exists:
if not os.path.exists(input_pdf): message = f'Input PDF {input_pdf} does not exist!' self.show_message(message) return
If the PDF does not exist, let the user know of the error and don't do anything.
Now you need to check if the user put anything into split_options:
if not split_options: message = 'You need to choose what page(s) to split off' self.show_message(message) return
If the user didn't set the split_options then your application won't know what pages to split off. So tell the user.
The next check is to make sure the user does not have both commas and dashes:
if ',' in split_options and '-' in split_options: message = 'You cannot have both commas and dashes in options' self.show_message(message) return
You could theoretically support both commas and dashes, but that will make the code more complex. If you want to add that, feel free. For now, it is not supported.
Another item to check is if there is more than one dash:
if split_options.count('-') > 1: message = 'You can only use one dash' self.show_message(message) return
Users are tricky and it is easy to bump a button twice, so make sure to let the user know that this is not allowed.
The user could also enter a single negative number:
if '-' in split_options: page_begin, page_end = split_options.split('-') if not page_begin or not page_end: message = 'Need both a beginning and ending page' self.show_message(message) return
In that case, you can check to make sure it splits correctly or you can try to figure out where in the string the negative number is. In this case, you use the split method to figure it out.
The last check is to make sure that the user has entered a number and not just a dash or comma:
if not any(char.isdigit() for char in split_options): message = 'You need to enter a page number to split off' self.show_message(message) return
You can use Python's any builtin for this. You loop over all the characters in the string and ask them if they are a digit. If they aren't, then you show a message to the user.
Now you are ready to create the split PDF file itself:
with wx.FileDialog( self, message="Choose a file", defaultDir='~', defaultFile="", wildcard=wildcard, style=wx.FD_SAVE | wx.FD_CHANGE_DIR ) as dlg: if dlg.ShowModal() == wx.ID_OK: output_path = dlg.GetPath()
This bit of code will open the save version of the wx.FileDialog and let the user pick a name and location to save the split PDF.
The last piece of code for this function is below:
if output_path: _, ext = os.path.splitext(output_path) if '.pdf' not in ext.lower(): output_path = f'{output_path}.pdf' split_options = split_options.strip() self.split(input_pdf, output_path, split_options)
Once you have the output_path, you will check to make sure the user added the .pdf extension. If they didn't, then you will add it for them. Then you will strip off any leading or ending white space in split_options and call split().
Now let's create the code used to actually split a PDF:
def split(self, input_pdf, output_path, split_options): pdf = PdfFileReader(input_pdf) pdf_writer = PdfFileWriter() if ',' in split_options: pages = [page for page in split_options.split(',') if page] for page in pages: pdf_writer.addPage(pdf.getPage(int(page))) elif '-' in split_options: page_begin, page_end = split_options.split('-') page_begin = int(page_begin) page_end = int(page_end) page_begin = self.get_actual_beginning_page(page_begin) for page in range(page_begin, page_end): pdf_writer.addPage(pdf.getPage(page)) else: # User only wants a single page page_begin = int(split_options) page_begin = self.get_actual_beginning_page(page_begin) pdf_writer.addPage(pdf.getPage(page_begin))
Here you create a PdfFileReader object called pdf and a PdfFileWriter object called pdf_writer. Then you check split_options to see if the user used commas or dashes. If the user went with a comma separated list, then you loop over the pages and add them to the writer.
If the user used dashes, then you need to get the beginning page and the ending page. Then you call the get_actual_beginning_page() method to do a bit of math because page one when using PyPDF is actually page zero. Once you have the normalized numbers figured out, you can loop over the range of pages using Python's range function and add the pages to the writer object.
The else statement is only used when the user enters a single page number that they want to split off. For example, they might just want page 2 out of a 20 page document.
The last step is to write the new PDF to disk:
# Write PDF to disk with open(output_path, 'wb') as out: pdf_writer.write(out) # Let user know that PDF is split message = f'PDF split successfully to {output_path}' self.show_message(message, caption='Split Finished', style=wx.ICON_INFORMATION)
This code will create a new file using the path the user provided. Then it will write out the pages that were added to pdf_writer and display a dialog to the user letting them know that they now have a new PDF.
Let's take a quick look at the logic you need to add to the get_actual_beginning_page() method:
def get_actual_beginning_page(self, page_begin): if page_begin < 0 or page_begin == 1: page_begin = 0 if page_begin > 1: # Take off by one error into account page_begin -= 1 return page_begin
Here you take in the beginning page and check if the page number is zero, one or greater than one. Then you do a bit of math to avoid off-by-one errors and return the actual beginning page number.
Now let's create show_message():
def show_message(self, message, caption='Error', style=wx.ICON_ERROR): with wx.MessageDialog(None, message=message, caption=caption, style=style) as dlg: dlg.ShowModal()
This is a helpful function for wrapping the creation and destruction of a wx.MessageDialog. It accepts the following arguments:
- caption
- style flag
Then it uses Python's with statement to create an instance of the dialog and show it to the user.
Here is what the split panel looks like when you are finished coding:
Now you are ready to learn about threads and wxPython!
Using Threads in wxPython
Every GUI toolkit handles threads differently. The wxPython GUI toolkit has three thread-safe methods that you should use if you want to use threads:
- wx.CallAfter
- wx.CallLater
- wx.PostEvent
You can use these methods to post information from the thread back to wxPython.
Let's update the merge_panel so that it uses threads!
Enhancing PDF Merging with Threads
Python comes with several concurrency-related modules. You will be using the threading module here. Take the original code and copy it into a new folder called version_2_threaded or refer to the pre-made folder in the Github repository for this chapter.
Let's start by updating the imports in merge_panel:
# merge_panel.py import os import glob import wx from ObjectListView import ObjectListView, ColumnDefn from pubsub import pub from PyPDF2 import PdfFileReader, PdfFileWriter from threading import Thread wildcard = "PDFs (*.pdf)|*.pdf"
The only differences here are this import line: from threading import Thread and the addition of pubsub. That gives us ability to subclass Thread.
Let's do that next:
class MergeThread(Thread): def __init__(self, objects, output_path): super().__init__() self.objects = objects self.output_path = output_path self.start()
The MergeThread class will take in the list of objects from the ObjectListView widget as well as the output_path. At the end of the __init__() you tell the thread to start(), which actually causes the run() method to execute.
Let's override that:
def run(self): pdf_writer = PdfFileWriter() page_count = 1 for obj in self.objects: pdf_reader = PdfFileReader(obj.full_path) for page in range(pdf_reader.getNumPages()): pdf_writer.addPage(pdf_reader.getPage(page)) wx.CallAfter(pub.sendMessage, 'update', msg=page_count) page_count += 1 # All pages are added, so write it to disk with open(self.output_path, 'wb') as fh: pdf_writer.write(fh) wx.CallAfter(pub.sendMessage, 'close')
Here you create a PdfFileWriter class and then loop over the various PDFs, extracting their pages and adding them to the writer object as you did before. After a page is added, you use wx.CallAfter to send a message using pubsub back to the GUI thread. In this message, you send along the current page count of added pages. This will update a dialog that has a progress bar on it.
After the file is finished writing out, you send another message via pubsub to tell the progress dialog to close.
Let's create a progress widget:
class MergeGauge(wx.Gauge): def __init__(self, parent, range): super().__init__(parent, range=range) pub.subscribe(self.update_progress, "update") def update_progress(self, msg): self.SetValue(msg)
To create a progress widget, you can use wxPython's wx.Gauge. In the code above, you subclass that widget and subscribe it to the update message. Whenever it receives an update, it will change the gauge's value accordingly.
You will need to put this gauge into a dialog, so let's create that next:
class MergeProgressDialog(wx.Dialog): def __init__(self, objects, path): super().__init__(None, title='Merging Progress') pub.subscribe(self.close, "close") sizer = wx.BoxSizer(wx.VERTICAL) lbl = wx.StaticText(self, label='Merging PDFS') sizer.Add(lbl, 0, wx.ALL | wx.CENTER, 5) total_page_count = sum([int(obj.number_of_pages) for obj in objects]) gauge = MergeGauge(self, total_page_count) sizer.Add(gauge, 0, wx.ALL | wx.EXPAND, 5) MergeThread(objects, output_path=path) self.SetSizer(sizer) def close(self): self.Close()
The MergeProgressDialog subscribes the dialog to the "close" message. It also adds a label and the gauge / progress bar to itself. Then it starts the MergeThread. When the "close" message gets emitted, the close() method is called and the dialog will be closed.
The other change you will need to make is in the MergePanel class, specifically the merge() method:
def merge(self, output_path, objects): with MergeProgressDialog(objects, output_path) as dlg: dlg.ShowModal() with wx.MessageDialog(None, message='Save completed!', caption='Save Finished', style= wx.ICON_INFORMATION) as dlg: dlg.ShowModal()
Here you update the method to accept the objects parameter and create the MergeProgressDialog with that and the output_path. Note that you will need to change on_merge() to pass in the objects list in addition to the path to make this work. Once the merge is finished, the dialog will automatically close and destroy itself. Then you will create the same wx.MessageDialog as before and show that to the user to let them know the merged PDF is ready.
You can use the code here to update the split_panel to use threads too if you would like to. This doesn't have to happen necessarily unless you think you will be splitting off dozens or hundreds of pages. Most of the time, it should be quick enough that the user wouldn't notice or care much when splitting the PDF.
Wrapping Up
Splitting and merging PDFs can be done using PyPDF2. You could also use pdfrw if you wanted to. There are plenty of ways to improve this application as well.
Here are a few examples:
- Put splitting into a thread
- Add toolbar buttons
- Add keyboard shortcuts
- Add a statusbar
However you learned a lot in this chapter. You learned how to merge and split PDFs. You also learned how to use threads with wxPython. Finally this code demonstrated adding some error handling to your inputs, specifically in the split_panel module. | https://www.blog.pythonlibrary.org/2019/09/10/wxpython-creating-a-pdf-merger-splitter-utility/ | CC-MAIN-2020-10 | refinedweb | 5,414 | 68.47 |
The WholeNote - September 2011
Volume 17 issue #1
Baroque Orchestra and Chamber Choir Jeanne Lamon, Music Director | Ivars Taurins, Director, Chamber Choir Concert Season A regal season opener! 11.12 NEXT CONCERT Music Fit for a King Visit the baroque courts of Poland, Wed Sept 21 at 7pm Sweden, England, France, Germany, Thurs Sept 22, Fri Sept 23, Spain, Russia and Austria with the Sat Sept 24 at 8pm Tafelmusik Baroque Orchestra. Sun Sept 25 at 3:30pm A magnificent concert of music Trinity-St. Paul's Centre for courtly celebrations. Directed by Jeanne Lamon Sponsored by COMING SO ON Glorious Bach & Zelenka Dorothee Mields Fri Oct 14, Sat Oct 15 at 8pm Sun Oct 16 at 3:30pm Wed Oct 19 at 7pm Thurs Oct 20 at 8pm Trinity-St. Paul's Centre Directed by Ivars Taurins Dorothee Mields, soprano Matthew White, countertenor Andrew Mahon, baritone Tafelmusik Chamber Choir and Orchestra "The Missa votiva is nothing less than a lost masterpiece." JAMES MANHEIM, ALLMUSIC.COM Glorious choral music by two sublime masters of the baroque: Zelenka's vibrant Missa votiva, and Bach's joyous motet Singet dem Herrn ein neues Lied (Sing unto the Lord a new song). Oct 15 & 19 supported by Oct 20 sponsored by Lynda Hamilton Photo of Dresden Frauenkirche ceiling by Baccharus Tickets On Sale Sept 6 Season Presenting Sponsor Tickets: 416.964.6337 | tafelmusik.org Smartphone users: m.tafelmusik.org & SAVE PICK 5 CONCERTS Music Fit for a King At Trinity-St. Paul's Centre 427 Bloor Street West PICK 5 Bach and the Violin Rachel Podger, Guest Director and Violin Soloist Baroque Splendour: Virtuoso Vivaldi Marion Verbruggen, recorder Wed, Sept 21 at 7pm The Golden Age of Dresden Thurs-Sat, Sept 22-24 at 8pm Alfredo Bernardini, Guest Director and Oboe Soloist Sun Sept 25 at 3:30pm Thurs-Sat, Dec 1-3 at 8pm Sun Dec 4 at 3:30pm Glorious Bach Thurs-Sat, Feb 23-25 at 8pm Sun Feb 26 at 3:30pm Wed, May 2 at 7pm Thurs-Sat, May 3-5 at 8pm Sun May 6 at 3:30pm and Zelenka Fri-Sat, Oct 14-15 at 8pm Sun Oct 16 at 3:30pm Wed Oct 19 at 7pm Thurs Oct 20 at 8pm House of Dreams Conceived, scripted, and programmed by Alison Mackay Narrated by Blair Williams Choral Spectacular Celebrating 30 Years of the Tafelmusik Chamber Choir Mozart and Friends Thurs-Sat, Nov 10-12 at 8pm Sun Nov 13 at 3:30pm Wed Feb 8 at 7pm Thurs-Sat, Feb 9-11 at 8pm Sun Feb 12 at 3:30pm Thurs-Sat, March 29-31 at 8pm Sun April 1 at 3:30pm Pick 5 Concerts & call 416.964.6337 Or buy single tickets online beginning Se pt. 6 tafe lmusik.org 3@KOERNER HALL AT THE TELUS CENTRE FOR PERFORMANCE AND LEARNING, THE ROYAL CONSERVATORY NEW SERIES HANDEL MESSIAH HANDEL HERCULES BEETHOVEN EROICA Buy all 3 for as little as $115 (discounts for 65+/30 and under) Dec 14-17 Jan 19-22 May 24-27 Call 416.408.0208 rcmusic.ca We gratefully acknowledge the following partners for their support: Season Presenting Sponsor Baroque Orchestra and Chamber Choir Jeanne Lamon, Music Director | Ivars Taurins, Director, Chamber Choir MarIINSKY OrCHESTra VaLErY GErGIEV, conductor Alexander Toradze, piano FrI OCT 21, 8PM rOY THOMSON HaLL Stravinsky: Firebird Suite (1919 version) Prokofiev: Piano Concerto No. 3 Shostakovich: Symphony No. 1 The legendary Mariinsky Orchestra of St. Petersburg, established over 200 years ago, is "a perfectly balanced, impeccably blended virtuoso instrument." Artistic powerhouse Valery Gergiev and his illustrious ensemble, who have toured the world to sold-out houses and standing ovations, return to Toronto for one night only to perform a spectacular program of Russian masterworks. Sponsored by TICKETS ONLINE BY PHONE roythomson.com 416-872-4255 Creative: Endeavour Volume 17 No 1 | September 1 � October 7, 2011 FOR OPENERS 6. Fable Manners | DAVID PERLMAN FEATURES 8. Robert Carsen: The Way I Direct | PAMELA MARGLES In memory of Bruce Haynes (1942-2011) BEAT BY BEAT 14. Classical & Beyond | SHARNA SEARLE 18. In With the New | DAVID PERLMAN 21. Early Music | SIMONE DESILETS 23. Choral Scene | BENJAMIN STEIN 26. World View | ANDREW TIMAR 28. On Opera | CHRISTOPHER HOILE 30. Jazz Notes | JIM GALLOWAY 32. Bandstand | JACK MACQUARRIE 47. Jazz in the Clubs | ORI DAGAN LISTINGS 34. A | Concerts in the GTA 46. C | In the Clubs (Mostly Jazz) 49. D | The ETCeteras ACD2 2168 43. B | Beyond the GTA MUSICAL LIFE 12. We Are All Music's Children | MJ BUELL 58. Bookshelf | PAMELA MARGLES DISCOVERIES: RECORDINGS REVIEWED 59. Editor's Corner | DAVID OLDS 60. Vocal 60. Classical & Beyond 62. Strings Attached | TERRY ROBBINS 62. Modern & Contemporary 64. Jazz & Improvised Music 65. It's our Jazz | GEOFF CHAPMAN 66. Something in the Air: Guelph Jazz Festival 2011 | KEN WAXMAN 68. Old Wine, New Bottles | BRUCE SURTEES In memory of the Canadian oboist Bruce Haynes who recently passed away, ATMA is re-issuing Fran�ois Couperin's Concerts royaux, which was first released in 1999. Haynes is accompanied by Susie Napper on viola da gamba and Arthur Haas on harpsichord. Bruce Haynes was one of the pioneers of the 20th-century renaissance of Baroque wind instruments. For the past 50 years he was an indefatigable explorer of historical musical performance as a musician, instrument maker, professor, and researcher. MORE 6. Contact Information & Deadlines 33. Index of Advertisers 54. Classified Ads In This Issue DOWNLOAD DIRECTLY AT ATMACLASSIQUE.COM Select ATMA titles now on sale GLENN BUHR page 18 September 1� October 7, 2011 WARREN VACH� page 30 OFRA HARNOY page 12 thewholenote.com 5 FOR OPENERS / DAVID PERLMAN Fable Manners J ust about everyone I know has, somewhere tucked away inside their brain, some version of the fable of the grasshopper and the ant. You know the one: the grasshopper spends the warm months singing away, while the ants (and even sometimes the uncles) work like the dickens, planting, reaping, harvesting. Come the winter the shivering grasshopper, dying of hunger, asks for food and instead gets the moral of the story rammed down its throat. Growing up, I had a talent for standing stories on their head, like the one in the bible about the bratty kid with the slingshot picking on the big lumpy guy with the thyroid problem. But I don't think it ever occurred to me to question that the angels were on the side of the ants, and the grasshopper got what he (or more often she, especially in the paintings) deserved. So, it's a fable that's always been particularly tough on me, especially at this time of year. Here at The WholeNote, you see, we've just put out a combined July/August issue instead of the habitual one a month. We took a whole two weeks off -- a veritable binge of idleness ... tainted almost from day one with the certainty that, as for the grasshopper, there would be a deadly reckoning somewhere up ahead. It's always tough to enjoy the gentle slipping of summer into fall when one has a chronic case of G.A.S. (grasshopper apprehension syndrome). But it's ten times worse at a historic moment like this when, as happens from time to time, it's the ants that are in government at almost every political level. There they go in their ugly black limo carapaces, quivering in anticipation at the thought of all the tongue lashings they will get to deliver once the legislature or house or hall reconvenes in the fall; looking forward to taking down a peg or two the indigent and the artists -- all those who don't know what "real" work is. It's time I think to stand this story on its head too. In my new ending the ant waggles its antennae at the grasshopper and makes its speech about "Idleness bringing want," and how "To work today is to eat tomorrow." And the grasshopper says to the ant, in the vernacular, "F**k off and die, dude. Here I spend the whole goddamn summer playing my mandola so you have music to work to, and now you tell me to go get a job!?" So all hail the pickers and players and singers, slip-sliding your way from summer to fall, rejuiced and rejuvenated and ready to roll! Rest assured, there's an extra seat at the just society's table for anyone who can sing for their supper as sweetly as you-all do. And may all your seats be full of bums. --David Perlman, publisher@thewholenote.com The WholeNoteTM The Toronto Concert-Goer's Guide THANKS TO THIS MONTH'S CONTRIBUTORS Upcoming Dates & Deadlines Free Event Listings Deadline 6pm Thursday September 15 Display Ad Reservations Deadline 6pm Thursday September 15 Advertising Materials Due 6pm Saturday September 17 Publication Date Friday September 30 Next issue, Volume 17 No 2 covers October 1 to November 7, 2011 Cover Photo VOLUME 17 NO 1 | SEPTEMBER 1 � OCTOBER 7, 2011 Dan Rest Beat Columns 720 Bathurst St, Suite 503, Toronto ON M5S 2R4 BANDSTAND | Jack MacQuarrie MAIN TELEPHONE 416-323-2232 BOOKSHELF | Pamela Margles FAX 416-603-4791 CLASSICAL & BEYOND | Sharna Searle SWITCHBOARD & GENERAL INQUIRIES Ext 21 CHORAL SCENE | Benjamin Stein DISCOVERIES | David Olds Chairman of the Board EARLY MUSIC | Simone Desilets Allan Pulker IN THE CLUBS | Ori Dagan directors@thewholenote.com IN WITH THE NEW | David Perlman JAZZ NOTES| Jim Galloway Publisher/Editor In Chief | David Perlman publisher@thewholenote.com MUSICAL LIFE | mJ buell OPERA | Christopher Hoile CD Editor | David Olds discoveries@thewholenote.com WORLD MUSIC | Andrew Timar Event Advertising/Membership Features Karen Ages | members@thewholenote.com Pamela Margles Advertising/Production Support/Operations CD Reviewers Jack Buell | adart@thewholenote.com Geoff Chapman, Janos Gardonyi, James Harley, Listings Team Richard Haskell, Tiina Kiik, Roger Knox, Sharna Searle | Listings Editor John Laroque, Peter Kristian Mose, Cathy Riches, listings@thewholenote.com Terry Robbins, Michael Schwartz, Bruce Surtees, Ori Dagan | Jazz Listings, The ETCeteras Robert Tomas, Ken Waxman, Dianne Wells jazz@thewholenote.com, etc@thewholenote.com Proofreading Karen Ages, Ori Dagan, Sharna Searle Website Bryson Winchester | systems@thewholenote.com Listings Ori Dagan, Sharna Searle Circulation, Display Stands & Subscriptions Chris Malcolm | circulation@thewholenote.com Layout & Design Patrick Slimmon | patrick@thewholenote.com Brian Cartwright (cover), Uno Ramat SUBSCRIPTIONS WholeNote Media Inc. accepts no responsibility or liability for claims made for any product or service reported on or advertised in this issue. Printed in Canada Couto Printing & Publishing Services Circulation Statement September 2011: 30,000 printed & distributed. Canadian Publication Product Sales Agreement 1263846 ISSN 14888-8785 WHOLENOTE Publications Mail Agreement #40026682 $30 per year + HST (10 issues) Return undeliverable Canadian addresses to: WholeNote Media Inc. 503�720 Bathurst Street Toronto ON M5S 2R4 COPYRIGHT � 2011 WHOLENOTE MEDIA INC 6 thewholenote.com September 1� October 7, 2011 SN BIANCA THE FILM MUSIC OF PHILIP GLASS Saturday, September 17, 2011 - 8pm The Glenn Gould Studio, 250 Front St. W. with the Manitoba Chamber Orchestra featuring Anne Manson, conductor Michael Riesman, piano The Manitoba Chamber Orchestra performs Philip Glass V VFRUHV IURP WKH �OPV The Hours and Dracula. Also on the program: Glass's Symphony no. 3. Philip Glass Thursday, October 6, 2011 - 8pm The Glenn Gould Studio, 250 Front St. W. with the NUMUS Chamber Orchestra featuring Sarah Slean, mezzo-soprano Adam Luther, tenor Kimberly Barber, mezzo-soprano The Penderecki String Quartet Programme: Das Lied von der Erde by Gustav Mahler Red Sea (Song of the Earth) by Glenn Buhr SONG OF THE EARTH Sarah Slean joins the NUMUS Chamber Orchestra to perform Glenn Buhr's new song cycle about our suffering earth. The orchestra also performs the Sch�nberg arrangement of Mahler's masterpiece with Kimberly Barber, mezzo-soprano and Adam Luther, tenor. Paul Pulford conducts. Sarah Slean Gustav Mahler To order tickets: ZZZFEFFDJOHQQJRXOG NUMUS Concerts: LQIR#QXPXVRQFD ZZZQXPXVRQFD Robert Carsen: The Way I Direct PAMEL A MARGLES American mezzo-soprano Susan Graham in the 2006 Lyric Opera of Chicago production of Iphigenia in Tauris. Below: Robert Carsen. hen robert carsen came to Toronto last spring to direct Gluck's Orfeo ed Euridice for the Canadian 1RGTC %QORCP[ KV YCU VJG TUV VKOG JG JCF YQTMGF, UKPEG KV JCF DGGP TUV RTGUGPVGF CV %JKECIQ .[TKE 1RGTC KP CPF had been revived elsewhere a number of times. Carsen was born in Toronto in 1954 and lived here until he was 20, YJGP JG OQXGF VQ 'PINCPF *G UVC[GF KP 'WTQRG NKXKPI KP .QPFQP O[ TUV GZRGTKGPEGU KP QRGTC ENCUUKECN OWUKE FCPEG VJGCVTG GXGT[thing, were in Toronto. So it was formative. I was lucky because my parents loved different art forms, so my brother and I were exposed to GXGT[VJKPI + YCU VCMGP VQ VJG QRGTC YJGP + YCU UGXGP #V TUV + WUGF VQ IQ UQ VJCV + EQWNF UVC[ WR NCVG + IWTGF QWV VJCV KV YCU C IQQF YC[ %QNNGIG VJGP PKUJGF JKIJ UEJQQN CV C %CPCFKCP UEJQQN KP 5YKV\GTNCPF W IQKPI VQ .QPFQP + JCF PGXGT GXGP DGGP VQ 'PINCPF CPF +. #V TUV + VJQWIJV JG YCU VT[KPI VQ VGNN OG + YCU C VGTTKDNG CEVQT DWV in fact he was saying, `I." .QV /CPUQWTK DTQWIJV JKO DCEM VQ %CPCFC YJGP JG YCU VQ YQTM at the COC as assistant director on Tristan und Isolde. "But the person YJQ ICXG OG O[ TUV TGCN LQD JGTG YCU 0KMK )QNFUEJOKFV + FKTGEVGF two shows for him at the Guelph Spring Festival, The Lighthouse by Peter Maxwell Davies, with the young and very brilliant Ben Heppner, and Benjamin Britten's The Prodigal Son." September 1� October 7, 2011 8 thewholenote.com GREAT CHAMBER MUSIC DOWNTOWN When Brian Dickie took over the COC, Carsen directed two productions, Katya Kabanov� RTQFWEVKQPU + JCF FQPG YKVJ FGUKIPGT /KEJCGN .GXKPG .GXKPG had designed the Ring HQT $TCFUJCY CPF FKTGEVGF VJG TUV QRGTC in the cycle, Das Reingold.) "Since Michael and I are both from Toronto, and we've done well over 20 productions together, we both thought how nice it would be to bring various productions of ours here. But it never happened." QRGTC ECPQP CU VJG TUV QH )NWEM U TGHQTO QRGTCU CPF Iphigenia in Tauris is Gluck's masterpiece. It's a fabulous, fantastic opera, one of my favourites." So the pairing of the two operas makes a kind of mini-cycle, he points out. "I call it a bi-cycle." Just as these two works are radically different, so are his productions of them, though he uses the same design team for DQVJ + VJKPM YJGP [QW UGG VJGO DQVJ KV YQWNF DG SWKVG FKH EWNV VQ KP C COGURGYKPI HCEVQT[ YJKEJ DNQYU WR CV VJG GPF Katya Kabanov�, one of his most exquisite, takes place on a series of movable docks set KP C UVCIG QQFGF YKVJ YCVGT VQ TGRTGUGPV VJG 8QNIC TKXGT *KU Manon Lescaut is set in a shopping mall, providing a fair comment on the title character, while Tosca and Capriccio take place in theatres. His most PQVQTKQWU QWTKUJ UQ HCT JCU DGGP VQ UGPF QWV QP VJG UVCIG QH Candide a chorus of dancing politicos, wearing masks to represent then-current world leaders like Bush, Putin and Berlusconi and dressed in boxer UJQTVU OCFG HTQO VJG CIU QH VJGKT TGURGEVKXG EQWPVTKGU (QT Candide he rewrote the libretto -- though not, he emphasizes, the lyrics. Since the libretto had always been problematic, and had already been rewritten, he was able to obtain the approval of the estate of the composer, .GQPCTF $GTPUVGKP PGXGT ;GV GXGP YJGP KV CRRGCTU VJCV JG KU UCETK EKPI VJG OWUKE HQT C dramatic effect, it inevitably turns out that he is actually illuminating September 1� October 7, 2011 Opening Night of our 40th season THE TOKYO QUARTET with MARKUS GROH, pianist and a new work from Composer Adviser Jeffrey Ryan ROBERT KUSEL Thursday, September 15 at 8 pm MARKUS GROH in recital Schumann, Chopin, Brahms Tuesday, September 20 at 8 pm W Canadian Patrimoine Heritage canadien at 416-366-7723 l 1-800-708-6754 order online at 9 thewholenote.com 2011 / 2012 CREATIVE Presented at Theatre Passe Muraille Main Space: DEVELOPMENT SEASON OPERA BRIEFS September 23 & 24, 2011 7:30pm Ernest Balmer Studio, Distillery Historic District: PUB OPERAS November 10, 11 & 12, 2011 DAVID BROCK, LIBRETTIST GARETH WILLIAMS, COMPOSER THE TAPESTRY SONGBOOK January 28, 2012 March 2012 NEW OPERA SHOWCASE WAYNE STRONGMAN MANAGING ARTISTIC DIRECTOR The Enslavement and Liberation of OKSANA G. (WORKSHOP CONT'D) June 2012 COLLEEN MURPHY, LIBRETTIST A ARON GERVAIS, COMPOSER STUDIO PASSES ON SALE NOW $1 15 tapestrynewopera.com PURCHASE ONLINE AT OR CALL 416.537.6066 x222 HST INCLUDED SINGLE $30 PUB OPERAS TICKETS $25 ALL OTHER PERFORMANCES ROGER D. MOORE THE JOHN MCKELLAR CHARITABLE FOUNDATION You can find us on Visit tapestrynewopera.com for updates on the 2011/2012 Season and to follow our current works in development Photo of Marcus Nance by Brian Mosoff 10 the music. As an example he mentions how, when Ren�e Fleming starts singing the extended aria Ah, mio cor in his production of Alcina with 9KNNKCO %JTKUVKG CPF .GU #TVU (NQTKUUCPVU UJG KU CV VJG DCEM QH VJG FKTGEVGF VYQ UJQYU D[ #PFTGY .NQ[F 9GDDGT Sunset Boulevard and The Beautiful Game. A show that he wrote and directed 20 years ago, Buffalo Bill's Wild West Show, is still playing at Disneyland Paris. He has FQPG C 4KPI E[ENG C ,CP��GM E[ENG C 2WEEKPK E[ENG C 8GTFK5JCMGURGCTG trilogy, plenty of Strauss, bel canto (except for Rossini, the only composer who doesn't "The way I direct, I feel like I'm the interest him), some Britten, including a camera ... I want the audience to stylish Midsummer follow the story in a certain way."m�lites FGUKIPGF D[ .GXKPG KU RNCPPGF TUV VKOG FGUKIPKPI VJG UGVU CPF EQUVWOGU YKVJ .WKU %CTXCNJQ CU YGNN, "Boh�mes,", `Well,, 9GNN [QW F DGVVGT TG VJGO + F UC[ +V U PQV HQT OG "There are so many other factors. But whether the theatre is large or small is not one of them. Of course it's great to work at big companies NKMG VJG /GV %QXGPV )CTFGP .C 5ECNC CPF VJG 8KGPPC 5VCVG 1RGTC." continued on page 70 September 1� October 7, 2011 N E W OPE R A thewholenote.com 2011 ~ 2012 Subscription Series GREAT CHAMBER MUSIC DOWNTOWN QUARTETS $323, $294 TOKYO QUARTET with MARCUS GROH pianist 40 th Anniversary Season PIANO $206, $188 MARCUS GROH Tu. Sept 20 Th. Sept. 15 LAFAYETTE QUARTET Th. Jan. 19 JERUSALEM QUARTET Th. Oct. 13 LISE DE LA SALLE Tu. Nov. 8 TOKYO QUARTET Th. Mar. 15 GRYPHON TRIO Th. Nov. 17 LOUISE BESSETTE Tu. Dec. 6 QUATUOR BOZZINI ST. LAWRENCE QUARTET Th. Dec. 1 Th. Apr 5 RICHARD GOODE Tu. Mar. 6 ARTEMIS QUARTET Tu. Mar. 27 MARC-ANDR� HAMELIN Th. May 3 DISCOVERY $55, including HST LESLIE NEWMAN, flutist, with ERICA GOODMAN, harpist Th. Jan.12 V�RONIQUE MATHIEU, violinist with pianist ANDR�E-ANNE PERRAS-FORTIN Th. Mar. 22 WALLIS GIUNTA, mezzo soprano with STEVEN PHILCOX, pianist Th. Mar. 1 Subscriptions on sale now. Single tickets on sale Sept. 6 at 416-366-7723 l 1-800-708-6754 order online at W Canadian Patrimoine Heritage canadien 5REHUW &RRSHU &0 DUWLVWLF GLUHFWRU We Are All Music's Children Expect something different... 1 *-41->-" ) 0WTWKI][\ 7ZI\WZQW .WZ <WLIa %\ DZDUGZLQQLQJ &DQDGLDQ FRPSRVHU =DQH =DOLV %DVHG RQ VWRULHV VKDUHG ZLWK 0U =DOLV E\ +RORFDXVW VXUYLYRUV , %HOLHYH WHOOV DQ LQVSLUHG VWRU\ RI WKH LQH[WLQJXLVKDEOH ZLOO WR VXUYLYH +0:1;<5); _Q\P ),:1)66$Q HYHQLQJ RI VHDVRQDO FKHHU IHDWXULQJ $GULDQQH 3LHF]RQND RQH RI WKH ZRUOG�V PRVW VWXQQLQJ RSHUDWLF VRSUDQRV LQ 7RURQWR�V SUHPLHU FRQFHUW YHQXH .RHUQHU +DOO 7XHVGD\ 2FWREHU 5R\ 7KRPVRQ +DOO :HGQHVGD\ 'HFHPEHU .RHUQHU +DOO *--<07>-6 *->)6 )6, <0- *):, 7KH SUHPLHUH RI 1R 0RUWDO %XVLQHVV E\ $OODQ %HYDQ EOHQGV FKRLU RUFKHVWUD DQG QDUUDWLRQ E\ *HUDLQW :\Q 'DYLHV LQWR D O\ULFDO ODUJH VFDOH FUHDWLRQ 3DLUHG ZLWK %HHWKRYHQ�V 0DVV LQ & 0DMRU 41/0< IVL 2)BBA 5I[[ -`XTWZI\QWV 2USKHXV EUHDNV RXW RI WKH ER[ ZLWK 7RURQWR SUHPLHUHV RI LQQRYDWLYH PDVVHV E\ +XQJDULDQ FRPSRVHU *\|UJ\ 2UEiQ DQG /LWKXDQLD�V 9\WDXWDV 0L�NLQLV 2USKHXV LV MRLQHG E\ D MD]] WULR IRU DQ HYHQLQJ RI PXVLF WKDW VSLULWV WKH VSDFH September's Child Ofra Harnoy What would you say now to the Ofra in the childhood photo of you we published in The WholeNote last month? 6XQGD\ 0DUFK 0HWURSROLWDQ 8QLWHG &KXUFK 6DWXUGD\ 0D\ &KULVW &KXUFK 'HHU 3DUN Fasten your seatbelt, it's going to be a wild ride! )RU PRUH LQIRUPDWLRQ DQG WR EX\ WLFNHWV YLVLW ZZZRUSKHXVFKRLUWRURQWRFRP RU FDOO TORONTO COU NC I L O RTS GRAMMY Lifetime Achievement Award Winners Juilliard String Quartet "A fluid, high-energy performance... the difference between a polished walkthrough and a thoughtful interpretation." (The New York Times) Juilliard String Quartet is the definitive classical quartet in North America who have consistently demonstrated the strength of their interpretations, purity of melodic line, contrapuntal exactitude and structural clarity. Joseph Lin (violin), Joel Krosnick (cello), Ronald Copes (violin), Samuel Rhodes (viola), present two intimate programs which include Haydn's "Quartet in G Major, Op. 54, No. 1", Elliot Carter's "Quartet No. 5"*, Donald Martino's "Quartet No. 5"** and Beethoven's "Quartet in B-flat Major, Op. 130 with Grosse Fuge". fra harnoy was born in Hadera, Israel QP ,CPWCT[ UV *GT OQVJGT played the piano and her father played the violin. They travelled a lot during her childhood: Harnoy lived in Israel, France, England and then Canada. She attended an alternative independent high school in Canada called Aisp, which allowed her to tour while being in school. She studied with her father, Vladimir Orloff and with William Pleeth, and later participated in master classes with Mstislav Rostropovich, Pierre Fournier and Jacqueline du Pr�. Harnoy's solo debut with The Boyd Neel Orchestra (at 10) was followed by solo engagements with the Toronto and Montreal Symphony Orchestras. At 17 she was the youngest ever to win an International Concert Artists Guild award, followed by concerto and recital debuts in Carnegie Hall. In 1983 she was named Young Musician of the Year by Musical America magazine. She was 18 years old, and the "wild ride" was already well underway. About a decade ago, in the midst of a vigorous international career, with her name on dozens of highly-regarded recordings, Ofra Harnoy gave up performing in public. On September 25th at Toronto's Walter Hall she will make her long-awaited return to the Toronto stage for the opening of Mooredale Concerts season. What do you think of when you look at that childhood photo? Wednesday, March 28 Markham Theatre** Markham, ON, 905-305-7469 12 Friday, March 30 Centre for the Arts, Brock University* St. Catharines, ON, 1-866-617-3257 thewholenote.com Now looking at this picture, it looks almost exactly like my daughter! I don't actually remember it being taken but it brings back strong memories of playing piano trios with my parents in our living room ... continued on page 57 September 1� October 7, 2011 "A Feast for the Ears and the Eyes!" - Classical 96.3FM GIDON KREMER TRIO Friday, October 14, 2011 8pm Koerner Hall World-renowned Latvian violinist Gidon Kremer and his trio perform works by Bach and Shostakovich alongside a new work celebrating composer Sofia Gubaidulina's 80th birthday. ARC ENSEMBLE Sunday, September 11, 2011 4pm Mazzoleni Concert Hall The twice Grammy-nominated ARC Ensemble (Artists of The Royal Conservatory) performs Finzi, Mendelssohn, Ben-Haim, and Elgar with "passion, polish and vitality." (The New York Times) THE ENGLISH CONCERT Friday, October 21, 2011 8pm Koerner Hall One of the finest Baroque orchestras in the world makes its Toronto debut with a performance that includes works by Purcell, Telemann, and Vivaldi, under artistic leadership of harpsichordist Harry Bicket. SMITHSONIAN CHAMBER PLAYERS & FRIENDS WITH RUSSELL BRAUN Saturday, October 22, 2011 8pm Koerner Hall Baritone Russell Braun and an ensemble of virtuosi artists honour the centenary of Mahler's death with Das Lied von der Erde and Kindertotenlieder. SUSAN HOEPPNER AND SIMON WYNBERG Sunday, October 23, 2011 2pm Mazzoleni Concert Hall "An expressive and articulate flutist" (The Washington Post) Susan Hoeppner and guitarist Simon Wynberg present works by Marin Marais, Toru Takemitsu, Robert Beaser, and Astor Piazzolla. ROYAL CONSERVATORY ORCHESTRA CONDUCTED BY JOHANNES DEBUS Friday, October 28, 2011 8pm Koerner Hall Johannes Debus conducts the RCO and pianist Connie Kim-Sheng in a performance of Little Suite by Lutosawski, Piano Concerto No. 2 by Rachmaninov, and Symphony No. 8 by Dvo �k. TICKETS ON SALE NOW! rcmusic.ca 416.408.0208 273 Bloor St. W. (Bloor & Avenue Road) Toronto September 1� October 7, 2011 thewholenote.com 13 Beat by Beat / Classical & Beyond Summer On,Fall In SHARNA SEARLE F inally, you say, the fall concert season has arrived! No more lovely, warm, breezy ... windblown, rain-drenched, too-hot/ too-cold, outdoor venues, right? Time to put away your festival folding chairs, straw hats and sunscreen and head for the comfort of the concert hall. Not so fast. There remain a few summer series and festivals "in the game," reminding us, in the words of Yogi Berra that, "It ain't over 'til it's over." However, for those of you itching to put away your daypack of festival gear, do not despair; there's a JCPFHWN QH RTGUGPVGTU QHH VQ C [KPI UVCTV YKVJ VJGKT EQPEGTV seasons, ready to lure you inside. FALL FLYERS Mooredale Concerts' September 25 season opener at Walter Hall will be a milestone moment in Canadian music history. It will mark the return of celebrated cellist Ofra Harnoy to the concert stage after a 10-year hiatus. For The WholeNote's "On the Road" project, Mooredale's artistic director, Anton Kuerti, himself an eminent pianist, told us this when asked about his plans beyond the summer: "I will perform at the opening Mooredale Concert ... with the extraordinary cellist Ofra Harnoy, who has not performed in Canada for about 10 years, and whom I have long admired but never played with." Now is his chance. At 3:15pm, Harnoy will begin the programme with Bach's Unaccompanied Cello Suite No.3 in C Major. Kuerti will then join her in a performance of Beethoven's Cello Sonata in A Major Op.69 and C�sar Franck's Cello Sonata. Earlier, at 1:15pm, Harnoy and Kuerti will offer an JQWTNQPI KPVGTCEVKXG /WUKE CPF 6TWH GU EQPEGTV IGCTGF VQYCTF 5 to 15 year olds. Welcome back Ofra! In contrast to Harnoy's 10-year sabbatical, distinguished actor Christopher Plummer has continued to grace the stage, non-stop, HQT ENQUG VQ [GCTU *G YKNN ITCEG 4Q[ 6JQOUQP *CNN CU PCTTCVQT when the Toronto Symphony Orchestra opens its season with a RGTHQTOCPEG QH 9KNNKCO 9CNVQP U OWUKE HQT VJG NO Henry V, on September 22. Music Toronto marks the beginning of its 40th season on September 15 with the Tokyo String Quartet and pianist Markus Groh performing works by Brahms, Debussy and a world premiere by MT composer advisor Jeffrey Ryan; (and then, cannily, invites Groh back for a solo recital on September 20). 1XGT VJG .CDQWT &C[ NQPI YGGMGPF [QW OKIJV YCPV VQ EQPUKFGT the Kitchener-Waterloo Chamber Music Society's opening concert on September 4. KWCMS begins its jam-packed season with pianist #PPG .QWKUG 6WTIGQP CPF WVKUV 4QP -QTD KP YQTMU D[ 2TQMQ GX 4CEJOCPKPQHH .KU\V -QTD CPF QVJGTU &KF + UC[ LCORCEMGF! 0QV only does KWCMS produce eight concerts in September, alone; it presents over 70 a year! And they're held in the KWCMS Music Room -- a large room in a private home in Waterloo, with an 1887 Toronto Music Garden. 14 thewholenote.com September 1� October 7, 2011 GERA DILLON Sunday September 25, 2011 Introduction 715 � Concert 8pm Opening Gala Concert at Glenn Gould Studio � 250 Front St. West Joseph Macerollo and Ina Henning accordions Accordes quartet � Gregory Oh piano � Ryan Scott solo percussion Xin Wang soprano � NMC Ensemble � Robert Aitken direction Ann Southam (Canada 1937�2010) Quintet for piano and strings (1986) N Andrew Staniland (Canada 1977) Pentagrams: 5 Pieces for 2 accordions (2010) N Alice Ping Yee Ho (Hong Kong/Canada 1960) Ballade for An Ancient Warrior (2011) N Nicolaus A. Huber(Germany 1939) Auf Fl�geln der Harfefor accordion (1985) Hope Lee (Taiwan/Canada 1953) Secret of the Seven Stars (2011) N World premiere | N NMC commission AN INCOMPARABLE OPERA SEASON SUBSCRIPTIONS FROM $130 ON SALE NOW VERDI RIGOLETTO A FLORENTINE TRAGEDY/ GIANNI SCHICCHI ZEMLINSKY/PUCCINI OFFENBACH SAARIAHO THE TALES OF HOFFMANN LOVE FROM AFAR SEMELE HANDEL PUCCINI TOSCA GLUCK IPHIGENIA IN TAURIS coc.ca September 1� October 7, 2011 416-363-8231 thewholenote.com 15 Rachel Harnisch, Love from Afar, Vlaamse Opera, 2010. Photo: Annemie Augustijns. Creative: Endeavour Steinway. Is there a nicer way to hear chamber music? #PF JGTG U QPG PCN NQXGN[ HCNN UGCUQP QRGPGT (QT VJG TUV GXGPV of the Canadian Opera Company's 2011/12 Free Concert Series, on September 27, artists of the COC Orchestra will perform music by Debussy, Mozart and Puccini, in a tribute to their late, great and DGNQXGF OWUKE FKTGEVQT 4KEJCTF $TCFUJCY KP VJG OCIPK EGPV amphitheatre that bears his name. SUMMER REFRAIN And now back to summer. The one series that braves the elements in September is Summer Music in the Garden, hosting its 12th season in the enchanting Toronto Music Garden. The series winds up with three concerts in September; there's one on the 8th, followed by two 5WPFC[ CHVGTPQQPU +PVGTGUVKPIN[ VJG TUV EQPEGTV HGCVWTGU DCTQSWG cellist, Kate Bennett Haynes, performing Bach's Unaccompanied Cello Suite No.1 in G Major, the piece that was the inspiration for the design of the Toronto Music Garden! (. com/thewaterfront/parks/musicgarden.cfm) Music Mondays has four concerts on offer this month, in downtown Toronto's acoustically superb Church of the Holy Trinity, bringing their extended 20th anniversary season to a close on 5GRVGODGT ,GTQOG 5WOOGTU ENCTKPGV 5JCTQP -CJCP WVG and Angela Park, piano, perform works by Debussy, Shostakovich and Bizet. The following summer festivals serve up an impressive array of chamber music and all three take place beyond the GTA, where the EJWTEJGU QH $CTTKG .GKVJ 1YGP 5QWPF CPF 2KEVQP CTG CNKXG YKVJ VJG sound of music festivals in September! For its 10-day event (September 23 to October 2), Barrie's Colours of Music has assembled outstanding recitalists and chamber musicians in ensembles ranging from duos to orchestras. A few highlights: the Ames Piano Quartet plays works by Saint-Sa�ns, (CWT� CPF *CJP QP VJG VJ XKQNKPKUV $TKCP .GYKU CPF RKCPKUV Valerie Tryon will tackle Milhaud, Brahms and Schumann on 5GRVGODGT CPF VJG PCNG C %QPEGTVQ %GNGDTCVKQP HGCVWTGU Tryon and Sinfonia Toronto in works by Turina, Vaughan Williams, &XQ �M CPF /GPFGNUUQJP 5GG YYYEQNQWTUQHOWUKEECUEJGFWNGJVON for more. With the "dream team" of artistic director/violinist Mark Fewer and guest directors, cellist Roman Borys and clarinetist James Campbell, programming this year's SweetWater Music Festival, you MPQY KV U IQKPI VQ DG C UVGNNCT GXGPV 1XGT VJTGG FC[U 5GRVGODGT VQ KP .GKVJ CPF 1YGP 5QWPF VJG[ YKNN DG LQKPGF D[ XKQNKPKUV Annalee Patipatanakoon and pianist John Novacek, and others, to perform works by Dohnanyi, Schulhoff, Messiaen, Bach, Mozart, Tchaikovsky, Turina and Cam Wilson's A Tribute to 20th Century Jazz Violin. Over in Picton, the Prince Edward County Music Festival RTGUGPVU UGXGP EQPEGTVU DGVYGGP 5GRVGODGT CPF YKVJ #PC Sokolovic as composer-in residence. On September 23, at the Oeno )CNNGT[ KP $NQQO GNF VJG QPN[ PQP2KEVQP EQPEGTV [QW NN DG CDNG to catch SweetWater's Fewer, again, this time with the SuperNova String Quartet, playing Ravel's String Quartet and Beethoven's String Quartet Op. 59 No.3; another SuperNova member, recently named TSO concertmaster, Jonathan Crow, will also be in $NQQO GNF #PF QP 5GRVGODGT /CTKG $�TCTF EQPEGTVOCUVGT of the COC orchestra, will join the ubiquitous Fewer and his other two SuperNova mates, violist Douglas McNabney and cellist Denise &LQMKE CNQPI YKVJ 2'%/( U CTVKUVKE FKTGEVQT 5V�RJCPG .GOGNKP QP RKCPQ HQT &XQ �M U Piano Quintet in A Major. Clearly, there is much from which to choose in these latter days of summer and early days of autumn. Can't decide? Here's a suggestion: Drop everything, right now, hang a "GONE FISHIN'" sign QP [QWT QH EG FQQT VJGP JGCF WR VQ $CTTKG VQ ECVEJ VJG %QNQWTU QH Music's concert of the same name. It includes works by Gershwin. With any luck, maybe they'll play Summertime. Sharna Searle trained as a musician and lawyer, practised a lot more piano than law and is Listings Editor on The WholeNote team. She can be contacted at classicalbeyond@thewholenote.com. 16 thewholenote.com September 1� October 7, 2011 30 Artistic Directors: Stephen Ralls and Bruce Ubukata Years Celebrating the Art of Song Sixteen of our starriest singers join us to celebrate: Colin Ainsworth, Benjamin Butterfield, Michael Colvin, Tyler Duncan, Gerald Finley, Gillian Keith, Shannon Mercer, Nathalie Paulin, Susan Platts, Brett Polegato, Catherine Robbin, Lauren Segal, Krisztina Szab�, Giles Tomkins, Monica Whicher, Lawrence Wiliford Visit rcmusic.ca or call 416.408.0208 (after September 19) The 30th Anniversary Gala Sunday, February 19, 2:30 pm Koerner Hall, TELUS Centre for Performance and Learning, 273 Bloor Street West, Toronto 8 The 30th Anniversary Sunday Series October 16: Clair de lune (songs of Gabriel Faur�) November 27: The Great Comet (Franz Liszt at 200) March 18: Schubert and the Esterh�zys April 29: A Country House Weekend (an English idyll) All concerts at 2:30 pm in Walter Hall, Edward Johnson Building, 80 Queen's Park Visit aldeburghconnection.org or call 416.735.7982 September 1� October 7, 2011 thewholenote.com 17 Beat by Beat / In With the New A Good Glass House? DAVID PERLMAN ver the past 15 QT [GCTU YG XG UGGP 6QTQPVQ U PGY OWUKE community taking a wider and wider detour around the 11 days (September 8�18) during which the Toronto International Film Festival is the biggest circus in town. Some sneak in ahead, NKMG +PVGT5GEVKQP VJKU [GCT U HVJ CPPWCN 0GY /WUKE /CTCVJQP which runs noon till 10pm, Saturday September 3 at Yonge/Dundas Square. (We'll be there!) But after that, with one notable exception, it's mostly bits of this and that until New Music Concerts' Opening Gala on September 25. After which it's into October before some of the other local heavyweights like Soundstreams and Esprit kick into action. The notable exception is Kitchener-Waterloo based presenter NUMUS Concerts, which rolls into town September 17 -- the day before TIFF folds its tents -- with a Glenn Gould Studio concert HGCVWTKPI VJG /CPKVQDC %JCODGT 1TEJGUVTC KP C RTQITCO QH VJG NO music of Philip Glass. Founded in the mid-80s by composer Peter Hatch, NUMUS has become a catchword in Kitchener-Waterloo, where the organization is associated with contemporary music productions, occasionally on the wild side, like Jeremy Bell's production -- Nude Show -- a few years ago. "The poster for that concert," says current artistic director, composer Glenn Buhr, "showed composer Omar Daniel shirtless and hanging upside down from a trapeze pole while he manipulated some electronics. That was our all time best seller." Toronto audiences Glenn Buhr. may also remember their more recent "Battle of the Bands" concert last January at the Music Gallery. "I curated that show," says Buhr, "and it featured my progressive jazz/blues ensemble the Ebony Tower Trio (Rich Brown, electric bass, Daniel Roy, drums, and myself on piano) doing battle with the Penderecki String Quartet. The idea was to contrast contemporary music with roots in old Europe alongside new music with roots in the blues and jazz traditions of North America. I think it's still there on CBC's Concerts on Demand." I joked with Buhr about invading Toronto during TIFF. The plan, I suggested, was a) crazy like a fox, b) just plain crazy, or c) a stroke of genius. But he refused to rise to the bait. "NUMUS is a presenter as well as a producer," he said, "so I'm always looking for projects to buy in to our season. I was approached by the Manitoba Chamber Orchestra about the Philip Glass program. I was particularly interested in the new Piano Concerto CFCRVGF D[ /KEJCGN 4KGUOCP HTQO )NCUU U OWUKE HQT VJG NO The Hours. Riesman has been playing those Philip Glass arpeggios for quite a while and has developed a formidable technique." "So my answer is neither. It's pure accident. The MCO wanted to tour this material in preparation for a recording and was looking for a presenter. The fee was so reasonable that we decided to present them in Toronto and Guelph as well as Kitchener-Waterloo. The overlap with TIFF is serendipity; this was the only possible date for the MCO. I have no idea if TIFF will work in our favour or otherwise." 6JG 5GRVGODGT EQPEGTV YKNN DG VJG TUV QH VYQ 07/75 XKUKVU to the Glenn Gould Studio within this issue's listings period. The UGEQPF 1EVQDGT YKNN CNUQ TKPI DGNNU HQT 6QTQPVQ CWFKGPEGU 6KVNGF O 18 thewholenote.com September 1� October 7, 2011 Relax and enjoy the fine cuisine for which The Old Mill Inn is renowned with a full course dinner created for your dining pleasure... featured wines by Vincor Canada... valuable Raffle Fall in for September Songs ... We invite you to join us for our 13th Anniversary and our first ever autumn celebration of Prizes... and non-stop entertainment provided by some of the greatest musicians on the International Jazz Party circuit... 5.00 p.m. 5.00 - 6.00 p.m. Doors Open Complimentary Sparkling Autumn Cocktail Reception generously sponsored by Vincor Canada with live music by a string trio featuring violinist, Drew Jurecka 6.00 p.m. Gala Dinner and Swinging Jazz Party Cash Bar 7.00 p.m. Grand Raffle Prize Draws 10.00 p.m. Special Donor Draws 10.15 - 11.00 p.m. Grand Finale Tickets are $170 (substantially tax deductible) Reserve by calling Anne Page at 416-515-0200 or e-mail anne@kenpagememorialtrust.com Make cheques payable to: The Ken Page Memorial Trust 55 Charles Street West, Suite 3104 Toronto ON M5S 2W9 A service charge will apply for credit card payments. The Ken Page Memorial Trust Annual Fundraising Gala and Swinging Jazz Party presented by JAZZ.FM91 `Canada's Premiere Jazz Station' and taking place for a third year in the historic charm of The Old Mill Inn, 21 Old Mill Road, Toronto Thursday, September 15th, 2011 5:00 to 11:00 p.m. Under the musical direction of Jim Galloway and hosted by Master of Ceremonies, Ted O'Reilly, we are delighted to welcome both new and returning friends: USA: George Masso, trombone, Houston Person, saxophone, Allan Vach�, clarinet, Warren Vach�, cornet. Canada: Guido Basso, trumpet/flugelhorn, Jim Galloway, saxophone, Laurie Bower, trombone, Terry Clarke, drums, Alastair Kay, trombone, John MacLeod, trumpet, Reg Schwager, guitar, John Sherwood, piano, Neil Swainson, bass, Kevin Turcotte, trumpet. ...s u p p o r t i ng Ja zz & Jazz A r t i st s a c r o s s Ca n ad a ... Charitable Registration No. 87276 8106 RR0001 September 1� October 7, 2011 thewholenote.com 19 Water," at Gallery 345, with Wallace "Song of the Earth," it was presented Halladay, saxophone, Mary-Katherine August 10, 2010, at Walter Hall -- one Finch, cello, Ryan Scott, percussion and QH #IPGU )TQUUOCPP U PCN RTQITCOU Allison Wiebe, piano. as artistic director of Toronto Summer Once the curtain falls on TIFF, the Music. It paired a new commission, pace picks up: Friday September 23 Song of the Earth, by Buhr himself, with Tapestry New Opera's "Opera Briefs" Mahler's master work. "Yes. I vowed gets under way at the Theatre Passe to repeat that program if I was given Muraille Main Space, with new works the opportunity," says Buhr, "because I HTQO VJGKT CPPWCN %QORQUGT.KDTGVVKUV felt that it could be curated a bit differ.CD #PF VJG UCOG FC[ VJG 6QTQPVQ ently -- by ending with the contemporary Heliconian Club presents Emily, The work and beginning with the Mahler. Way You Are, a one-woman opera celeAlso, we've hired popular songstress Sarah Slean. brating the life and work of Emily Carr, Sarah Slean to sing, and also record my with music by Jana Skarecky and libretto by Di Brandt. work. I'm more interested in contemporary singing styles than I am The following day, Sunday September 25, will see many of us in European classical singing, and I've worked with Sarah before. back at the Glenn Gould for the opening gala concert of New Music She was soloist in my third symphony (a choral symphony). Her presence on stage, and also the Margaret Sweatman libretto -- which Concerts' 41st season -- a concert titled "Secret of the Seven Stars" that will showcase not only NMC's stellar players, but a numinous alludes to the Gulf of Mexico oil disaster in 2010 -- puts the Mahler masterpiece into a more contemporary context. The new work is still constellation of Canadian composers and works. Friday September 30 and Saturday October 1 bring two concerts a `Song of the Earth,' but it poetically underlines our more current concerns." You can read more about NUMUS at. by AIM Toronto in their "Interface Series" at Gallery 345, featuring Sylvie Courvoisier, piano and composer. To close, it would be remiss of me not to mention several out of OTHER TIFF TAMERS town festivals that not only extend the summer well into September, Though it's fun to think of NUMUS as the only new music mouse but pay more attention to new music than one might expect. The brave enough to bell the TIFF cat, I don't want to overstate the 2TKPEG 'FYCTF %QWPV[ /WUKE (GUVKXCN 5GRVGODGT VQ JCU case. There is new music throughout the middle of the month, if Ana Sokolovic as composer-in-residence; and Barrie's Colours of you pick your spots. Sunday September 11, the Music Gallery's Music, September 23 to October 2, has the forward looking Ames Pop Avant series presents Esmerine with guest Muh-he-con. Music Quartet on board, and several other notably adventurous programs Toronto's Thursday September 15 season opener (the Tokyo String on display. Quartet with Markus Groh, piano) features a world premiere of a new work by Music Toronto's composer advisor Jeff Ryan. And on September 18, Contact Contemporary Music presents "Walk on David Perlman can be reached at publisher@thewholenote.com. ; $9$17 1(: 086,& )(67,9$/ 9, TM BACK TO LESSONS AND STUDIO SPECIALS FOR TEACHERS AND STUDENTS! PIANISTS - WE'VE GOT THE REPERTOIRE YOU NEED! Teachers - register for our private studio discounts and stay tuned for exciting changes in our Print Music Department. Korg 88-key electric pianos starting at only $589.00 Full selection of "newer used" woodwinds & brass starting at only $199.00 Student level Stentor Solid Top 4/4 Violins with deluxe case/bow starting at $209! 415 Queen St, West, Toronto store: (416) 593-8888 educational@stevesmusic.com 20 7252172 2&72%(5 FEATURING MICHAEL GORDON & TIM BRADY (COMPOSERS IN RESIDENCE) | OVAL | TIM HECKER LEE RANALDO & LEAH SINGER | BUKE & GASS | LORI FREEDMAN MANTRA PERCUSSION | CONTACT | GLOBAL CITIES ENSEMBLE w w w. m u s i c g a l le r y. o rg thewholenote.com September 1� October 7, 2011 IVAN OTIS Schola Launch SIMONE DESILETS nd so a new season begins. From late summer's vantage point, I can already see a huge range of early music activities shaping up in the coming year, from Scaramella's "Hit and Run" in November, featuring triple harp and clown among other things, to the Royal Conservatory's presentation of French sopranistcountertenor Philippe Jaroussky with Cleveland's baroque orchestra Apollo's Fire, also in November; to Tafelmusik's period performance of Beethoven's Eroica Symphony in May; to Nadina Mackie ,CEMUQP U FGXGNQRKPI RTQLGEV 8KXCNFK U .QUV )KTNU C EGNGDTCVKQP QH 8KXCNFK DCUUQQP EQPEGTVQU CPF OWEJ KP DGVYGGP $WV TUV VQ VJG events of the present month. A SCHOLA MAGDALENA A small ensemble of six women's voices, expressive and pure in intonation, produces an ethereal sound not too often heard in concert. Schola Magdalena is just such an ensemble, founded in 2007 and based in 6JG XG QTKIKPCN OGODGTU QH 5EJQNC Toronto. You can Magdalena. Not pictured: Gillian Howard. hear them twice in the coming month, as they'll be launching a new CD at their home venue of the Church of St. Mary Magdalene and then performing at Barrie's Colours of Music. The group's director, Stephanie Martin, is organist and director of three choirs at St. Mary Magdalene, director of Pax Christi Chorale and a professor at York University. Interested in knowing what prompted her to add yet another ensemble to her very busy life, I asked her to talk a bit about Schola Magdalena's formation and its projects. Schola Magdalena gives her great satisfaction, she told me, "because it is a democratic group. My other ensembles require a leader/ HQNNQYGT OQFGN CPF CNVJQWIJ C VQVCNKVCTKCP U[UVGO KU GH EKGPV KV ECP be an undue burden on the leader. I enjoy solving musical problems with Schola Magdalena since we work as peers. Everyone is a leader; everyone is a follower ... Six voices allow us to sing early polyphony which is often three parts; that gives us a nice balance of two voices on each part ... Coming up with our interpretation takes a while, but we arrive at an interpretation we all like. It's a great model for problem solving." Regarding plans for the future: "We'd like to tour back to Quebec where many of our French-speaking supporters are. We've included notes and translations in French in the CD booklet because we often sing to French-Canadian audiences -- often Roman Catholic church choirs, who have a deep connection to Gregorian chant. We JCXG CP KPXKVCVKQP VQ XKUKV 5RCKP DWV YG PGGF VQ PF DCD[ UKVVGTU HQT six children!" And as for that above-mentioned CD, titled Virgo Splendens, it includes "quite a bit of Hildegard, some wonderful early English RQN[RJQP[ C UGVVKPI QH VJG /CIPK ECV UQOG VTCFKVKQPCN )TGIQTKCP chants which we still use in our liturgy at St. Mary Magdalene. There are also fragments from a mass by Dufay. One important element is the recording of the four "Marian anthems" that are sung throughout the liturgical year." Both the CD launch on September 24 and the Barrie concert on October 1 feature a selection of the above repertoire. And September 1� October 7, 2011 Early Music Inn DW WKH 6DWXUGD\ 2FWREHU 1RRQ WR SP Montgomery's Inn 'XQGDV 6WUHHW :HVW DW ,VOLQJWRQ ,Q SDUWQHUVKLS ZLWK WKH 7RURQWR (DUO\ 0XVLF &HQWUH 3DUW RI &XOWXUH 'D\V )5(( $'0,66,21 WRURQWRFDPXVHXPVHYHQWV thewholenote.com 21 besides the beauty of the music on this disc, you'll treasure it also for its cover: a reproduction of a beautiful icon -- Madonna and Child -- lurking obscurely in the Church of St. Mary Magdalene. A RANDOM MENTION OF OTHERS: annual luncheon October 23, 2011, 12:00 pm featuring Mary Lou Fallis Mississaugua Golf & Country Club Reservations: 905-278-7059 mcsluncheon@gmail.com 2XU �UVW WZR FRQFHUWV RI %HQH�W &RQFHUW in support of The Compass Food Bank Saturday, November 5, 2011, 7:30 pm First United Church, Mississauga Messiah G F Handel "MCS Tradition of Joy" Sunday, November 27, 2011, 3:00 pm St. Patrick's Catholic Church, Mississauga mcs-on.ca or 905-278-7059 Two concerts highlighting English music for voices occur this month: 1P 5GRVGODGT #TCFKC 'PUGODNG U /WUKE QH VJG 'PINKUJ %JCRGNU Royal" presents anthems from the time of Charles II -- music by 2WTEGNN 6WTPGT $NQY .QEMG CPF *WOHTG[ 1P 5GRVGODGT CPF VJG XQKEG %CPVGOWU 5KPIGTU QHHGT C RTQITCOOG ECNNGF 4WNG Britannia" -- madrigals, motets and bar songs from the times of Henry VIII all the way to George I's reign. From September 21 to 25, you can hear music for courtly celebrations at the baroque courts of Poland, Sweden, England, France, Germany, Spain, Russia and Austria, presented by Tafelmusik Baroque Orchestra. On September 10 in Waterloo: Nota Bene Baroque holds a "Fundraising Extravaganza" to celebrate its 10th Anniversary Season and the launching of its new name, with mini-concerts, Baroqueinspired refreshments, an instrument petting zoo, and guest, baroque dancer Daniel Gariepy. At the Toronto Music Garden: On September 8, you can let dusk fall over you joyfully, as baroque cellist Kate Bennett Haynes inaugurates a cycle of Bach's Six Suites for Unaccompanied Cello with Suite No.1 in G Major. On September 18, the Vesuvius Ensemble closes the season with "I canti a Maria -- Music for the Madonna," passionate traditional songs to the Madonna from some of the many sanctuaries in the region of Naples. There's more! Do peruse The WholeNote's listings to discover all that's out there. Simone Desilets is a long-time contributor to The WholeNote in several capacities who plays the viola da gamba. She can be contacted at earlymusic@thewholenote.com. 22 thewholenote.com September 1� October 7, 2011 Royal sing song. Royal Rant BENJAMIN STEIN S urveying the first group of concerts out of the gate this fall, I notice that three of them have a royal theme. Considering the degree to which Western choral music is intertwined with the history of European royalty, this kind of theme might be considered obvious, even uninventive. But the degree to which pretty much the entire world raptly followed the latest House of Windsor wedding last April (followed by the new couple's tour of Canada) gives these concerts an added resonance. It makes us enjoy anew not only the thoroughly inventive music of the master composers that found employment at royal courts, but raises questions as to what the meaning of royalty is at the beginning of a new century. For some, the very existence of a British royal family is worse than an anachronism in a democratic world -- it is an insult to the idea of human equality, a desecration to the memory of the legions of innocent people that perished over the centuries through royal exploitation, neglect, intrigue and war. To others, it is a fun diversion, well worth the generous stipend paid to the royal family. Canadian writer Robertson Davies saw modern royalty in archetypical terms -- a connection to a collective past that combines historical reality with myth and legend. What does this mean in terms of music? The English royal court was a fecund ground for composers and performers well into the 18th century. The resurgence that began with Elgar and culminated with Britten continues strongly with the work of Tavener. A strong argument can also be made against the received wisdom that British music died in the 19th century; modern church musicians continue VQ PF XCNWG KP VJG EJQTCN YQTMU QH 2CTT[ CPF 5VCPHQTF PETER MAHON Sales Representative 416-322-8000 pmahon@trebnet.com DOMINIC LIPINSKI, WPA POOL/GETTY IMAGES September 1� October 7, 2011 thewholenote.com 23 LYDIA ADAMS . Conductor & Artistic Director SEASON 2011/12 November 12, 2011 at 8:00pm Metropolitan United Church The Amadeus Choir and the Hannaford Street Silver Band present Karl Jenkins' masterwork The Armed Man: A Mass for Peace. The Armed Man: A Mass for Peace . Glorious Sounds of the Season . December 17, 2011 at 7:30pm Yorkminster Park Baptist Church Celebrate the 25th anniversary of our Seasonal Song-Writing Competition. Featuring the winning compositions with other holiday favourites. Special guests The Bach Children's Chorus. February 3, 2012 at 8:00pm Koerner Hall Rodion Shchedrin's hypnotic choral opera The Sealed Angel is one of the most important Russian works of the 20th century. Performed by Toronto's Elmer Iseler Singers and the Amadeus Choir and featuring ProArteDanza. The Sealed Angel. Music of the Spheres . April 21, 2012 at 8:00pm Ontario Science Centre Join us as we celebrate Dr. Roberta Bondar's 20th anniversary of flight in space. The Amadeus Choir and Elmer Iseler Singers combine their voices for a stunning presentation of two world premieres by Lydia Adams and Jason Jestadt. . 416-446-0188 SUBSCRIBE NOW AND SAVE! 1P 5GRVGODGT -GXKP /CNNQP U #TCFKC 'PUGODNG YKNN RGTHQTO "Music of the English Chapels Royal," with verse anthems by .QEMG *WOHTG[ CPF 2WTEGNN COQPI QVJGTU 8GTUG CPVJGOU CTG C particular sub-species of choral composition in which full choruses alternate with solo passages. English composers of the Reformation found both contemplative and dramatic elements inherent in this form and the challenge for choirs is to execute them in a manner which avoids the monochromatic sound that is the bane of church music performance. The Cantemus Singers is a relatively new Toronto choir, conducted by Michael Erdman. They specialize in secular music of the Renaissance, though for their "Rule Britannia" concert on September 24 and 25 they will be performing sacred works by Taverner and Gibbons as well as secular music by familiar Elizabethan composers. They will also be performing rounds by Purcell, fun and rowdy works that are most enjoyable in a live setting. From September 21 to 25, Tafelmusik Baroque Orchestra and Chamber Choir perform "Music Fit for a King." This concert takes a pan-national approach to regality, showcasing music that YCU RCTV QH VJG (TGPEJ EQWTV QH .QWKU :+8 CPF VJG 8KGPPGUG EQWTV QH 'ORGTQT .GQRQNF + CU YGNN CU VJG OWUKE QH 2WTEGNN CPF VJCV QH Frederick the Great, who wrote at a time when we prized royalty for their artistic talent rather than their polo skills or their shapeliness in a bikini. One historical source reports that Frederick the Great received a standing ovation from the audience every time a composition of his was performed. This seems entirely plausible to me. What critic would dare risk royal censure by remaining seated? Still, the source in which I found this information is a comic book published in the 1970s, so I can't vouch for its accuracy with complete certainty. As the makeup of Canadian society changes and our connection to our British Commonwealth past becomes increasingly remote, will we see less of concerts with a royal theme? In the meantime, what A Night of Brahms Wednesday November 9, 2011 KOERNER HALL Noel Edison A R T I S T I C D I R E C TO R 11/12 season Festival of Carols Wednesday December 7, 2011 YORKMINSTER PARK BAPTIST CHURCH Handel's Messiah with the TSO Wednesday December 14, 2011 ROY THOMSON HALL Sacred Music for a Sacred Space Good Friday, April 6, 2012 ST. PAUL'S BASILICA Belshazzar's Feast Wednesday May 23, 2012 KOERNER HALL TMC and Festival Orchestra perform Mozart in Koerner Hall, Telus Centre for Performance and Learning, May 2011 24 Subscriptions from only $123 BoxOffice 416-598-0422, x24 thewholenote.com September 1� October 7, 2011 PHOTOGRAPHY FRANK NAGY GRAPHIC DESIGN ROSSIGNOL & ASSOCIATES explains our ongoing fascination with the recent royal marriage? Was it simply part of our People Magazine-fueled general preoccupation with those we consider rare and glamorous? Or, watching the union of what may be our future king and queen, did we enact a connection with our ancestors -- peasants, for the vast majority of us -- that approached something 4QDGTVUQP &CXKGU primal and ancient? .GV VJG NCUV YQTF KP VJKU TUV EQNWOP QH CWVWOP DGNQPI VQ VJG Canadian writer mentioned above who was by no means uncritical of either royalty or privilege, but who also had a keen eye for the hypocrisy that can underpin even the best of modern egalitarian intentions. In High Spirits, his wonderful, humorous collection of ghost stories, Robertson Davies describes a meeting between himself and the spirit of one of the current English queen's most illustrious ancestors: "I am a democrat. All my family have been persons of peasant QTKIKP YJQ JCXG YTWPI C OGCITG UWH EKGPE[ HTQO C JCTUJ YQTNF by the labour of their hands. I acknowledge no one my superior on grounds of a more fortunate destiny, a favoured birth. I did what any such man would do when confronted by Queen Victoria; I fell immediately to my knees." Ben Stein is a Toronto tenor and theorbist. He can be contacted at choralscene@thewholenote.com. Pax Christi Chorale 25 Anniversary Season 2011-2012 TH GREG TJEPKEMA Pax Christi Chorale: Stephanie Martin, Artistic Director Daniel Norman: Assistant Conductor Pax Christi Youth Choir: Lynn Janes, Conductor Bruce Kirkpatrick Hill: Accompanist SALIERI - MASS IN D-MAJOR Sunday, October 23, 2011 � 3:00 pm Pre-concert chat at 2:15 pm Grace Church on-the-Hill, 300 Lonsdale Rd., Toronto With orchestra and soloists: Melanie Conly, soprano Nina Scott-Stoddart, mezzo-soprano Graham Thomson, tenor Benjamin Covey, baritone BRITTEN - SAINT NICOLAS Saturday, December 3, 2011 � 7:30 pm Sunday, December 4, 2011 � 3:00 pm Grace Church on-the-Hill, 300 Lonsdale Rd., Toronto With orchestra and special guests: James McLean, tenor Havergal College girls' choir Bruce Ubukata & Stephen Ralls, duo pianists of The Aldeburgh Connection Canadian Children's Opera Chorus boy soloists ELGAR - THE KINGDOM Sunday, May 6, 2012 � 3:00 pm Koerner Hall, TELUS Centre for Performance and Learning 273 Bloor Street West, Toronto With orchestra and soloists: Shannon Mercer, soprano Krisztina Szab�, mezzo-soprano Keith Klassen, tenor Special guest British baritone Roderick Williams THE CHILDREN'S MESSIAH Saturday, December 10, 2011 � 4:00 pm � 5:00 pm Church of Saint Mary Magdalene, 477 Manning Ave, Toronto Pay what you can at the door. To order single or subscription tickets, call (416) 491-8542. For more information or to audition for Pax Christi Chorale or Youth Choir, visit our website at September 1� October 7, 2011 thewholenote.com 25 Aloha,CNE ANDREW TIMAR eptember has come around again, yet many of us are eager to squeeze as much summer as possible out of this swing season month. While the fall concert season in the past has typically begun this month, in recent years it seems the lines between summer CPF HCNN UGCUQPU CTG DGEQOKPI NGUU FG PGF An example of this is the CNE. This quintessential end-of summer celebration for generations of Ontarians has for decades been the Canadian National Exhibition, affectionately known as the "Ex." Founded in 1879, this year it continues until September 5. Those of us who associate it with fond childhood fairground memories may have missed the news that these days, in addition to the midway, fair food and pavilions, the Ex hosts more than 80 performances of music and dance from around the world. The concerts mounted on the Transat Holidays International Stage located in Hall B of the Direct Energy Centre feature both local and visiting acts. In the words of the CNE, their programming "represents Canada's vibrant cultural mosaic." The majority of the concerts take place in August but I found a few this month, which are of inVGTGUV VQ YQTNF OWUKE C EKQPCFQU On Saturday, September 3 at RO *CYCKKCP 2CEK E /CIKE a music and dance troupe, will take you on a tour of Polynesian culture. Their repertoire includes the Hawaiian hula along with its ancient chants, the magic poi dances of New Zealand and the drum-driven performance arts of Tahiti (the otea), Fiji and Samoa. I've experienced some of these performances on their home turf and when done with skill and passion they leave tacky Hollywood and TV stereotypes in the sand. There has long been a special place in my heart for this music and dance -- a longing that only the island spirit of aloha ECP NN 5CFN[ KV U C DCNO OWEJ VQQ TCTG KP QWT VQYP and I'll be sure to dip into it on this occasion. On Sunday September 4 at 3pm, $T[CPV CPF (C[G .QRG\ CRRGCT CU "Tango Soul" on the Transat Holidays International Stage. They will be dancing the Argentine tango to the virtuosic and emotive music which bonds so completely with this archetypal couple dance that it's S :KHUH WKH 0XVLF %HJLQV 5HJLVWHU )RU 0XVLF /HVVRQV 7RGD\ Guitar, Piano, Drums, Bass, Voice, Violin, Cello, Mandolin, Uke, and more. :K\ &KRRVH /RQJ 0F4XDGH" Music lessons for all ages, stages and styles. Professional instructors make learning fun. Convenient lesson times for busy families. Affordable Instrument Rentals. No Registration Fees. 26 thewholenote.com September 1� October 7, 2011 impossible to determine which accompanies which. Tango is a thrill to watch, only exceeded by the thrill experienced by those performing. Frank disclosure: I fall into the former armchair category. +H + YGTG KP VQYP QP VJG TUV YGGMGPF QH 5GRVGODGT CPF IQV C JCPMGTKPI HQT .CVKP EWNVWTG + F XKUKV VJG *KURCPKE (KGUVC PQY KP KVU VJ [GCT CV 0QTVJ ;QTM U /GN .CUVOCP 5SWCTG 6JG (KGUVC features the music, dance and food of 20 different Spanish-speaking countries, and boasts over 300 local and international performers. Over the years the Fiesta has quietly garnered a reputation as one of the best-organized ethnic festivals in Toronto. Hafez Nazeri, among Iran's younger generation of composers, is currently based in Toronto. His "Rumi Symphony Project," based on VJG RQGVT[ QH VJG HCOQWU 2GTUKCP 5W bard, is marking its Canadian debut at the Sony Centre for the Performing Arts on September 10. The project has received glowing reviews from leading American dailies. Hafez Nazeri will perform alongside an international ensemble of musicians including his father, the noted vocalist Shahram Nazeri. The concert will also feature the world premiere of new compositions pairing the classical music of Iran and the West, from his upcoming album on Sony Classical. The composer aims to create a new IGPTG VJCV WPK GU From left clockwise: Faye and Bryant Lopez; these two distinct &CXKF $WEJDKPFGT cultures and Hafez Nazeri at the Sony Centre. their musics. .CVGT QP KP VJG OQPVJ QP 5GRVGODGT C PGY OWUKE RTQLGEV called "Andalusia to Toronto" launches at the Royal Conservatory's Koerner Hall. This concert, presented in partnership with Small World Music, mixes traditional and jazz-accented Arabic, Jewish and Afro-Cuban music, each of which celebrates roots on the Iberian Peninsula. Some of Toronto's leading exponents of these genres CTG KPXQNXGF KPENWFKPI &CXKF $WEJDKPFGT VTWORGV CPF WIGNJQTP Bassam Bishara, vocals and oud; Michal Cohen, vocals; Amanda Martinez, vocals; Hilario Dur�n, piano; Aleksandar Gajic, violin; Roberto Occhipinti, double bass; Jamie Haddad, percussion; and Roula Said, dance and voice. My bet is that this outstanding group of musicians will take their audience on a thought-provoking and exhilarating multi-cultural OWUKECN GZEWTUKQP + RNCP VQ DG VJGTG +V YKNN DG C PG YC[ VQ mentally prepare for the crisp fall weather coming all too soon. Andrew Timar is a Toronto musician and music writer. He can be contacted at worldmusic@thewholenote.com. with pianist Serouj Kradjian October 21, 8 pm "A soprano voice that combines lyricism with remarkable dramatic instincts" ~ Time presents 171 Town Centre Blvd., Markham, ON Canada's Bechstein Selection Centre Young Chang Piano Gallery World Class Repairs a to all musical instruments n 10 Via Renzo Drive, Richmond Hill (east side of Leslie St., just north of Major Mackenzie Dr.) 905.770.5222 1.800.463.3000 cosmomusic.ca September 1� October 7, 2011 thewholenote.com 27 Guillermo Silva-Marin, General Director At a Glance CHRISTOPHER HOILE S DISCOVER THE SOUND! DISCOVER THE VOICE! A Thrilling Voyage of Discovery! A collaboration of superstar mezzo-soprano Kimberly Barber, pianist Peter Tiefenbach, percussionist Carol Bauman and exciting young accordionist Mary-Lou Vetere. L'ACCORD�ONISTE: LATIN HEAT! October 2 at 2:30 p.m. LES HUGUENOTS G IACOMO MEYERBEER Michael Rose, Music Director and Pianist Laura Whalen, Edgar Ernesto Ram�rez, Alain Coulombe, Iasmina Pataca November 27 at 2:30 p.m. OBERTO GIUSEPPE VERDI Alison d'Amato, Music Director and Pianist Giles Tomkins, Joni Henson, Mich�le Bogdanowicz, Romulo Delgado March 4 at 2:30 p.m. DIE FREUNDE VON SALAMANKA FRANZ SCHUBERT Kevin Mallon, Music Director and Conductor James McLean, Michael Ciufo Toronto Chamber Orchestra April 1 at 2:30 p.m. Robert Cooper, C.M. and the Opera in Concert Chorus Subscribe and Save up to 30% 416-366-7723 or 1-800-708-6754 28 of the pinnacles of o far over 35 "Silver Age" Viennese productions have operetta. In February been announced for KV YKNN RTGUGPV VJG TUV the 2011/12 opera season. professional staging of Since so many of these John Beckwith's opera are Toronto premieres Taptoo!, an opera with a or unfamiliar repertoire War of 1812 theme given this looks to be quite an its world premiere by the exciting season. University of Toronto The Canadian Opera Division in Opera Company has 2003. Toronto Masque several fascinating ofTheatre coincidentally ferings. The fall season will stage another opera opens with Gluck's by Beckwith, also to a Iphig�nie en Tauride libretto by James Reaney, (1779) starring Susan Crazy to Kill (1989), Graham -- the world's earlier in November. foremost Iphig�nie. For more information The production, runsee. ning September 22 to com and 15, continues masquetheatre.com. Robert Carsen's series of Normally, the double interpretations of Gluck bill of Mascagni's that began last season Cavalleria Rusticana with his highly acclaimed CPF .GQPECXCNNQ U Orfeo ed Euridice. Pagliacci (1892) would February brings the First time around: Tenor Keith Klassen and soprano not count as unusual, Canadian premiere of Carla Huhtanen in Oksana G., except that the COC last Love from Afar (L'Amour March 2006. staged this traditional de loin) (2000) by RCKTKPI YC[ DCEM KP 5KPEG VJGP VJG Finnish composer Kaija Saariaho. This company has yoked one or the other to continues COC General Director Alexander various parts of Puccini's Il Trittico (1918). Neef's plan to include a contemporary work This season, those who would like to "Cav GXGT[ UGCUQP CPF KV YKNN CNUQ OCTM VJG TUV time the COC has staged a work by a female and Pag" together have three choices: 1RGTC .[TC 1VVCYC JCU UEJGFWNGF VJGO composer. In April, the COC will mount A Florentine Tragedy KVU TUVGXGT QRGTC for September 10 to 17; Opera Belcanto presents them October 19 and 21; and Opera by Alexander Zemlinsky, on a double bill with Puccini's Gianni Schicchi. And in May, Hamilton has them on April 21 and 23. See, VJG EQORCP[ YKNN UVCIG KVU TUVGXGT Semele (1744) by George Frideric Handel. For more and for more. The tradition of presenting operas in information visit. concert has immeasurably widened our Opera Atelier's season premieres a new knowledge of works now rarely staged. This production of Mozart's Don Giovanni, year two companies offer some especially October 29, and remounts Jean-Baptiste unusual items. Opera in Concert has planned .WNN[ U Armide KP #RTKN NCUV UGGP Giacomo Meyerbeer's once-popular Les in 2005. Toronto has to count itself as very Huguenots HQT 0QXGODGT 8GTFK U spoiled to have a second chance to see an TUV QRGTC Oberto (1839) for March 4 and for opera like Armide. In January, Opera Atelier April 1, Franz Schubert's virtually unknown Co-Artistic Director Marshall Pynkoski Die Freunde von Salamanka (written in 1815 will direct a concert production of Handel's but not performed until 1928). Meanwhile, oratorio Hercules (1744) with Tafelmusik Opera by Request has scheduled Handel's at Koerner Hall. For more see www. Orlando (1733) for October 21, Massenet's operaatelier.com and. H�rodiade (1881) for November 4 and Toronto Operetta Theatre charts new Giancarlo Menotti's The Saint of Bleecker ITQWPF YKVJ KVU TUVGXGT UVCIKPI QH +OTG Street HQT 0QXGODGT .QQM HQT K�lm�n's Die Cs�rd�sf�rstin (1915), in more information at. late December. The TOT has presented com and. other K�lm�n works but strangely not Tapestry New Opera has three unusual The Gypsy Princess (as it is known in offerings. Its season opener, "Opera Briefs," English), even though it's regarded as one thewholenote.com September 1� October 7, 2011 MICHAEL COOPER September 1� October 7, 2011 thewholenote.com 29 #!"""# $! /..20-3/.1 #10/,*3 Zarzuela Gold $2,/,31.13%-,!20+ #$1+3 $ gives us exciting new The Sealed Angel (1988) a works from the Composer liturgical work by Russian .KDTGVVKUV .CDQTCVQT[ composer Rodion Shchedrin .KDNCD 5GRVGODGT that will be staged at and 24, at Theatre Passe Koerner Hall as choral Muraille. In November, opera with choreography it presents Pub Operas D[ .CTU 5EJTGKDGT CPF UWPI by Gareth Williams that by the combined forces of premiered in Glasgow in the Elmer Iseler Singers July earlier this year. The and the Amadeus Choir. libretto (by David Brock) See is based on the stories of for more. the patrons of Sloan's Bar, The 2011/12 season Glasgow's oldest pub, that ends with a bang with has played host to the citthe Canadian premiere of izens' betrothals, weddings, Philip Glass's seminal 20thchristenings and wakes. century opera Einstein at Composer Kaija Saariaho. Then in June 2012, it will the Beach 6JKU VJG OQWPV VJG TUV HWNN YQTMUJQR RTQFWEVKQP QH 0QTVJ #OGTKECP RTGOKGTG QH VJG TUV PGY The Enslavement and Liberation of Oksana production of the work in 20 years, will be G. by Aaron Gervais and Colleen Murphy, VJG EGPVTGRKGEG QH .WOKPCVQ VJCV TWPU excerpts of which have been tantalizing from June 8 to 17. More information will audiences for several seasons now. See become available.. a for more. Those with a taste for ground-breaking Christopher Hoile is a Toronto-based new operas will have much to cheer them. writer on opera and theatre. He can be On February 2, Soundstreams will present contacted at opera@thewholenote.com. The Gypsy Princess /23%)0") 0)+/, (&3/ 1 20231+2 1013%/2/2/!*3 ./1(2+'322.20*3 2/+'3.1))2,*3 1,3/$)-, Lights,Camera, Jazz JIM G ALLOWAY has some of the best clips of the 1925�1933 RGTKQF 6JG OQUV HCOQWU UQECNNGF LC\\ NO ith the Toronto International Film of the period is Paul Whiteman's The King Festival coming up I thought it would be good timing to have a look Of Jazz. There is a short sequence showing 2, -3/- violinist Joe Venuti and guitarist Eddie CV UQOG CURGEVU QH LC\\ QP NO .CPI DWV QXGTCNN VJG OQXKG KU FKUCRRQKPVKPI It would seem that even back in 1927 (&3057 45 Also worth looking for is the pioneering there was some confusion about what 1," 0 1929 black movie Hallelujah which in one constitutes jazz. Why else would they have 202&3 10" called the movie The Jazz #/!'12.3&(&*3#/!'12.31002++*3 -(20+3-,- Singer when its star, Al American jazz great Warren Vach�. Jolson -- certainly a great . ###%#&#' entertainer -- was no more The Bedolfe a jazz singer than W.C. Foundation Fields was a spokesman for the temperance movement. But long before that, a less well-known fact is that (&36 the group known as The Original Dixieland Jazz -(20+3%--$20%#*3 Band showed up in a rare 2)./23 ,,301".2&*3%'0/)+-$'203#1&2..*3 #10/-,321,*32/+'3112*31/"3 "/ NO VKVNGF The Good For Nothing. It was, of + #% #& #( #) #* course, a silent movie so the ODJB could be seen but not heard; but pianist Eubie Blake and singer Noble Sissle made some experimental short sound NOU KP VJG GCTN[ U %"'$''((#$ -03")!!(!)'(&% The remarkable video %1..331+3%"'*###*"# collection At The Jazz -0313 ()!0/$+/-,30-!' 02 Band Ball (Yazoo Video) , #)$!$" 0 %'() SOUND JUDGEMENT Taptoo! W HMS Pinafore 30 thewholenote.com September 1� October 7, 2011 COURTESY OF WARREN VACH� MAARIT KYT�HARJU Mention of The Gig and Warren Vach� gives me a natural lead-in nightclub segment features Curtis Mosby's Blue Blowers on had to the fact that Vach� and an all-star line-up of Canadian and US purchased a Panoram machine, a full 1,889 soundies were released. musicians will be in Toronto for The Ken Page Memorial Trust Add to this number the jukebox shorts made by the producers of Gala on September 15. The KPMT supports Canadian jazz and jazz other presentation systems and the number of shorts is well over musicians with an emphasis on education. It will be held again at 2,000. It is the most complete audiovisual picture available of 6JG 1NF /KNN CPF [QW ECP PF CNN VJG FGVCKNU KP VJG CF KP VJKU KUUWG popular music in the 1940s. Obviously a sound investment. of The WholeNote. Please check it out and I'll hope to see you there $WV VJG TUV OGTIKPI QH C OQVKQP RKEVWTG RTQLGEVQT YKVJKP C for this worthy cause. jukebox device was developed KP D[ .QU #PIGNGU FGPVKUV Gordon Keith Woodard and Jim Galloway is a saxophonist, band leader and VGUVGF KP UGXGTCN .QU #PIGNGU CTGC former artistic director of Toronto Downtown Jazz. He taverns. In fact, over the next can be contacted at jazznotes@thewholenote.com. few years close to 30 projection U[UVGOU CPFQT NO RTQFWEVU YGTG on the market. Along with television came Snader telescriptions in 1950, OCFG URGEK ECNN[ CU NNKP RTQITCOOKPI 68 U XGT[ TUV music videos. They were around for three or four years and all of the top jazz/pop/country stars made these three and four minute NOU KP VJG VJQWUCPFU CPF CNOQUV CNN QH VJGO YGTG NOGF YKVJ multi-cameras and live mics. No The Jazz Singer (1927). playbacks or lip-syncing! Moving into the 40s, Hollywood gave us Birth of the Blues (1941) which features the Jack Teagarden band; Cabin in the Sky (1943) YKVJ 'VJGN 9CVGTU CPF .GPC *QTPG &WMG 'NNKPIVQP U OWUKE CPF .QWKU #TOUVTQPI CPF Stormy Weather YKVJ .GPC *QTPG Bojangles, Cab Calloway, Fats Waller and the Nicholas Brothers. In the 50s along came the bio-pic: Young Man with a Horn (1950), loosely based on the life of Bix Beiderbecke; The Glenn Miller Story (1953); The "Benny Goodman Story (1955); The Five Pennies (1959), CDQWV .QTKPI 4GF 0KEJQNU CPF The Gene Krupa Story (1959). 6JG[ YGTG CNN JKIJN[ EVKQPCNK\GF DWV RTQDCDN[ FKF KPVTQFWEG C NQV QH at St. Philip's Anglican Church | Etobicoke people to jazz. Somewhat closer to reality were The Gig (1985) with Warren Vach�, Round Midnight CPF Bird (1987). .KOKVCVKQPU QH URCEG OGCP VJCV + ECP QPN[ UETCVEJ VJG UWTHCEG of this fascinating topic, but mention should be made of a few of VJG OCP[ UKIPK ECPV FQEWOGPVCTKGU The Last of the Blue Devils, a feature-length portrait of Kansas City's old-time jazzmen made by Bruce Ricker, who died in May of this year; and a couple by Toronto A casual, relaxing hour of prayer and NOOCMGT $TKIKVVG $GTOCP BIX (1981) and Time Is All You've great music with the city's finest musicians Got CDQWV #TVKG 5JCY YJKEJ TGEGKXGF CP #ECFGO[ #YCTF Sunday, September 11, 4:00 pm for Best Documentary. Nowadays, there is a vast amount of jazz Mariachi | Mexico Amigo Band available on the internet. All you need is time. Sunday, September 25, 4:00 pm vespers Klezmer | the Yiddish Swingtet Sunday, October 2, 4:00 pm Jazz | Lara Solnicki Quartet with Pat LaBarbera, Reg Schwager, + Neil Swainson Sunday, October 16, 4:00 pm Jazz | Laura Fernandez Quartet Sunday, October 30, 4:00 pm Jazz | Kate Schutt Sunday, November 13, 4:00 pm Jazz | Jorge Lopez Trio Sunday, November 27, 4:00 pm Jazz | Mike Murley Quartet Sunday, December 11, 4:00 pm Jazz | Graham Howes Quartet St. Philip's Anglican Church | Etobicoke 25 St. Phillips Road (near Royal York & Dixon) September 1� October 7, 2011 thewholenote.com 31 Have Shell Will Travel JACK MACQUARRIE s i sit down VQ RWV RGP VQ RCRGT QT PIGTU VQ MG[DQCTF VJG days are getting shorter and fall is almost on the horizon. There could be a temptation to do a bit of crystal ball gazing about what musical treats may be looming on the fall horizon. On the other hand, there are still several more weeks left before fall QH EKCNN[ CTTKXGU UQ NGV U UVC[ KP VJG RTGUGPV HQT EQOOWPKV[ OWUKE in the summer. For the most part, community orchestras take the summer off while for most community bands, public performance activity increases during the summer. Having resisted the strong temptation to look at what may be on the fall horizon, I decided to get retrospective. How has the role of community bands evolved over the past century, and, in particular, JQY JCXG VJGKT CEVKXKVKGU EJCPIGF UKPEG + TUV RTQFWEGF UQWPFU QP CP KPUVTWOGPV QWV KP RWDNKE! .GV U NQQM CV RGTHQTOCPEG XGPWGU DCPF CEVKXKVKGU DCPF OGODGTUJKR FTGUU KP WGPEGU QH VGEJPQNQI[ and repertoire. #NVJQWIJ EQPEGTVU YGTG C RCTV QH QWT CEVKXKVKGU YJGP + TUV UVCTVGF in the band world, parades and tattoos were a much bigger part. During the summer months our band participated in many small VQYP VCVVQQU DWV TCTGN[ OQWPVGF C UVCIG HQT C EQPEGTV .QECN VCVVQQU are almost a thing of the past, except for major ones such those in Quebec City and Halifax. With a few notable exceptions, most community bands today would decline any invitations to parade. They are "concert bands," and many members would consider parading to be demeaning. So! Where do they perform their summer concerts? #U HQT DCPF OGODGTUJKR VJCV JCU EJCPIGF FTCOCVKECNN[ /[ TUV band was a "boys' band" as were most junior bands. As a rule, girls A didn't play in bands, but ours was an exception. We had two girls; it did help a bit that their father was the bandmaster. A century ago most towns in this country had a town bandstand, most often in the style of a gazebo open on all sides. At some point some clever architect decided that it would be possible to focus the music and direct the sounds towards the audience. Eureka! The DCPFUJGNN YCU DQTP 9JGP! + EQWNF PF PQ NKVGTCVWTG QP YJGP QT YJGTG VJG TUV DCPFUJGNN YCU DWKNV 6JG GCTNKGUV VJCV + EQWNF PF KP this part of the world was opened in Cobourg in 1934. The most prominent bandshell in Canada, the great Art Deco structure at the Canadian National 'ZJKDKVKQP QRGPGF KP +V featured daily performances by the band of Knellar Hall, The Royal Military School of Music. With the exception of the years during WWII, daily band concerts on the shell were /CTMJCO U PGY KP CVCDNG DCPFUJGNN JKIJNKIJVU QH VJG %0' &WTKPI VJG U CPF KPVQ VJG U VJGTG were four concerts a day on the shell. Two of these were by featured bands from around the world and two each day were by local bands. 6JCV GPFGF UQOGVKOG KP VJG U +P VJG YQTFU QH C %0' QH EKCN the role of the bandshell shifted to "pop culture." This year, instead of four band concerts a day, there are only two scheduled for the entire period of the CNE. These, by a Canadian Forces Band, are for the opening ceremonies and on Warriors Day. Personally, this summer I performed at two shells and attended a concert at a third. 6JG TUV QH VJGUG YCU CP CHVGTPQQP RGTHQTOCPEG KP VJG VQYP QH /CTMJCO U PGY RQTVCDNG KP CVCDNG DCPFUJGNN .CVGT VJCV UCOG FC[ I travelled to one of the best known shells in Ontario, The Orillia Aqua Theatre. The Markham event warrants special attention. The brainchild of Markham Band members Peter Ottensmeyer and John Webster, the Toronto 32 thewholenote.com September 1� October 7, 2011 "Sunday Afternoon Band Series," referred to as "Concerts, Cakes and Coffee," encourages people to listen to the concert and then stroll through the older Markham Village to visit the shops, galleries and restaurants. Full concert programs available at the shell include discount coupons and a map showing all participating merchants. 6JG DTKIJV [GNNQY CPF ITGGP KP CVCDNG UJGNN YCU HWPFGF VJTQWIJ CP Ontario Trillium grant. From a performer's vantage point, it was not possible to evaluate its acoustic properties but people in the audience spoke very favourably of the new shell. Changing technology has transformed many aspects of the activities of a modern community band. Who could JCXG KOCIKPGF CP KP CVCDNG bandshell when the Cobourg bandshell was erected? Now many bands not only have websites, they post recordings Oshawa's bandshell. of their current repertoire so that members may practice at home by playing along with the TGEQTFKPIU *GNRHWN RGTJCRU DWV JQY FQGU VJCV KP WGPEG VJGKT UKIJV reading skills? Alternatively, a concert that I played a week ago was TGEQTFGF CPF KU CXCKNCDNG HQT OG CU CP /2 NG VQ FQYPNQCF VQ UGG how we sounded. Finally, on the technological front, the Uxbridge Community Concert Band is having a video documentary produced that will focus on the preparation of a new work by local composer Don Coakley, commissioned to celebrate the band's 20th season. I had intended to take a look at the changes in how bands present themselves both in terms of dress and repertoire. However, the space limitations have caught up with me. That will be grist for the mill in a future edition. DEFINITION DEPARTMENT This month's lesser known musical term is Placebo Domingo: a faux tenor. We invite submissions from readers. COMING EVENTS Please see the listings section. Jack MacQuarrie plays several brass instruments and has performed in many community ensembles. He can be contacted at bandstand@thewholenote.com. INDEX OF ADVERTISERS Aldeburgh Connection 17 Alexander Kats 56 Amadeus Choir 24 AMICI 22 Amoroso 59 Aradia Ensemble 37 Art of Time 17 ATMA 5 Bel Canto Singers 54 Brock University Centre for the Arts 12 Bryson Winchester 55 Canadian Children's Opera Company 25 Canadian Men's Chorus 42 Canadian Opera Company 15 Cantemus 39 Cathedral Bluffs Symphony Orchestra 41 Christ Church Deer Park Jazz Vespers 31 City of Toronto Historic Museums 21 Civic Light Opera Company 29, 36 Civic Light Opera Company 36 Classical 96 69 Colours of Music 45 Cosmo Music 27 DeAngelis Entertainment / U of T, Faculty of Music 39 Early Childhood Music Association 52 Elmer Iseler Singers 23, 42 September 1� October 7, 2011 ESPRIT 71 Gallery 345 36 George Heinl 27 Grand Salon Orchestra 56 Greater Toronto Philharmonic Orchestra 26 Gryphon Trio 41 Hannaford Street Silver Band 19 Hear Toronto 58 Heliconian Hall 53 High Park Choirs 54 I Furiosi 21 Jubilate Singers 54 Judy Young 54 Kitchener Waterloo Symphony Orchestra 43 La Plume Moderne 56 Laura McAlpine 42 Leon Belov 55 Liz Parker 56 LIZPR 53 Lockwood ARS 55 Long & McQuade 26 Long & McQuade / New Horizons 32 Lorne Park Baptist Church 53 Margot Rydall 55 Markham Theatre 27 Mary Lou Fallis 57 Metropolitan United Church 26 JACK MACQUARRIE Mississauga Choral Society 22 Mississauga Symphony 16 Mooredale Concerts 40 Music Gallery 20 Music Mondays 34 Music Toronto 9, 36, 38 New Music Concerts 15, 40 Nocturnes in the City 38 Norm Pulker 55 NUMUS 7 Oakham House Choir 54 Off Centre Music Salon 18 Opera BelCanto of South Simcoe 29 Opera in Concert 28 Opera Is � Learning 49 Opera Is � Travel 51 Orpheus Choir 12 Pasquale Bros 56 Pattie Kelly 55 Pax Christie Chorale 25 Peter Mahon 23 Philharmonic Music LTD. 56 Prince Edward County Music Festival 43 Roland Canada 37 Roy Thomson Hall & Massey Hall 4 Royal Canadian College of Organists 50 Royal Conservatory 13 Schola Magdalena 39 Sinfonia Toronto 33 St Olave's Church 40 St. Philip's Anglican Church Jazz Vespers 31 St. Stephen in-the-Fields Anglican Church 53 Steve's Music Store 20 Sue Crowe Connolly 55 Sunrise Records 59 Tafelmusik 2, 3, 38 Tapestry New Opera 10 The Singing Voice Studio 54 The Sound Post 31 Toronto Centre for the Arts 53 Toronto Concert Orchestra 52 Toronto Consort 29 Toronto Jazz Society 19 Toronto Mendelssohn Choir 24 Toronto Operetta Theatre 30 Toronto Philharmonia 38 Toronto Symphony Orchestra 72 University of Toronto Faulty of Music 35 Vicki St Pierre 55 Village Voices 52 Viva! Youth Singers 54 Women's Musical Club of Toronto 14, 40 Yamaha Music School 55 thewholenote.com 33 The WholeNote Listings The WholeNote listings are arranged in four sections this issue: A. Concerts in the GTA Thursday September 01 Brampton Concert Band Investors Group Thursday Night Concert Series: Coming Home: A Tribute to Our Veterans .CUV 2QUV 4GXGKNNG 1XGT VJG 4CKPDQY CPF QVJGT UGNGEVKQPU .KPFUG[ &WIICP XQECNU CPF QDQG IWGUVU 6JG 2KRGU CPF &TWOU QH VJG .QTPG 5EQVU )CIG 2CTM EQTPGT QH /CKP 5V 5 CPF 9GNNKPIVQP 5V 9 $TCORVQP QT (TGG BEYOND THE GTA covers many areas of Southern 1PVCTKQ QWVUKFG 6QTQPVQ CPF VJG )6# \QPGU and 8 on the map below). In the current issue, there are NKUVKPIU HQT GXGPVU KP $CTTKG $NQQO GNF $TCEGDTKFIG $TCPVHQTF )WGNRJ *COKNVQP -KVEJGPGT .GKVJ .QPFQP 1YGP 5QWPF 2KEVQP Port Hope and Waterloo. Starts on page 43. A. B. C. D. )NCUU CPF QVJGTU 2GTHQTOCPEGU D[ %QPVKPWWO (NQYGTU QH *GNN 0KEM 5VQTTKPI ,QJP -COGGN (CTCJ 6KKPC -KKM &KUIWKUGU %QPVCEV CPF OQTG ;QPIG&WPFCU 5SWCTG Canadian National Exhibition Grupo Folklorico Viva M�xico #WVJGPVKE /GZKECP OWUKE FCPEGU CPF EQUVWOGU HTQO XCTKQWU TGIKQPU Canadian National Exhibition HaYCKKCP 2CEK E /CIKE /WUKE CPF FCPEG QH VJG 5QWVJ 2CEK E KPENWFKPI *CYCKKCP *WNC 0GY <GCNCPF 2QK FCPEGU 6CJKVKCP 1VGC CPF FCPEGU QH (KLK CPF 5COQ UTEJKNFTGP CPF WPFGT HTGG CPF WPFGT CPF Hispanic Fiesta Puente del Diablo Gabriel Romero (Columbia) /GN .CUVOCP 5SWCTG ;QPIG 5V (TGG GTA (GREATER TORONTO AREA) covers all of Toronto plus Halton, Peel, York and Durham regions (zones 1, 2, 3 and 4 on the map below). (TGG IN THE CLUBS (MOSTLY JAZZ) is organized alphabetically by club. 5VCTVU QP RCIG Friday September 02 CPF Hispanic Fiesta Havana Express Latin Band Fantasia /GN .CUVOCP 5SWCTG ;QPIG 5V (TGG THE ETCETERAS is for galas, fundraisers, screenings, lectures, symposia, master classes, workshops and other music-related events (except performances) that may be of interest to our readers. Starts on page 49. A GENERAL WORD OF CAUTION: A phone number is provided with every listing in The WholeNote -- in fact, we won't publish a listing without one. Concerts are sometimes cancelled or postponed; and 15th of the month prior to the issue or issues in which your listing is eligible to appear. UPCOMING DEADLINES: The next issue covers the period from Sunday September 04 Canadian National Exhibition Tango Soul 6TCFKVKQPCN #TIGPVKPG VCPIQ OWUKE CPF FCPEG $T[CPV CPF (C[G .QRG\ VCPIQ FCPEGT Saturday September 03 PQQP VQ Contact Contemporary Music. InterSections: 5th Annual New Music Marathon. 6GP JQWTU QH OWUKE YKVJ OQTG VJCP CTVKUVU (GCVWTKPI OWUKE D[ %QRGNCPF %TWOR &GPPGJ[ (NGVV ,CTXKU October 1, 2011 to November 7, 2011. All listings for that period must be received by 6pm Thursday September 15.:. 34 thewholenote.com September 1� October 7, 2011 2011.12 SEPT 9 10 am Tickets On Sale SEASON masterclasses & lectures Free admission Sir Andrew Davis conductor Anders Hillborg composer Marlena Kleinman Malas vocalist Aprile Millo vocalist Gary Tomlinson musicologist Peter Wiegold composer/conductor concerts Sim�n Bol�var String Quartet Canadian Brass Russell Braun baritone Darbazi Georgian vocal ensemble Festival Winds Pura F� world music artist Gryphon Trio Judy Loman harp Donny McCaslin saxophone Kirk MacDonald saxophone NEXUS percussion Steven Philcox piano Nora Shulman flute Henri-Paul Sicsic piano Lara St. John violin St. Lawrence String Quartet Monica Whicher soprano 2x10 piano duo NEW! Order tickets online@ FlexiMIX Pick any 4 or more concerts & save 20% Priced from $16! new music festival Featuring the music of Anders Hillborg (Jan 22-28) operas MOZART Cosi fan tutte (Dec 1-4) POULENC La Voix Humaine & Les Mamelles de Tir�sias (Mar 8-11) Visit our website for a complete list of events or to request a copy of our season brochure, NOTES FACULTY OF MUSIC UNIVERSITY OF TORONTO Edward Johnson Building 80 Queen's Park, Toronto Ticketing and box office services provided by the Weston Family Box Office at the TELUS Centre, 273 Bloor St. West Phone order: 416-408-0208 Faculty of Music website and online order: September 1� October 7, 2011 thewholenote.com 35 A. Concerts in the GTA Tuesday September 06 Cathedral Church of St. James. Music at Midday: Bach Series VIII. #PFTGY #FCKT QTICP %JWTEJ 5V Z (TGG Royal Conservatory. ARC Ensemble. (KP\K 'NGI[ HQT 8KQNKP CPF 2KCPQ KP ( 1R /GPFGNUUQJP 5QPCVC /QXGOGPV KP F HTQO CP WPRWDNKUJGF OCPWUETKRV HTCIOGPV CTT & .QWKG $GP*CKO 3WKPVGV HQT %NCTKPGV CPF 5VTKPI 1RC 'NICT 2KCPQ 3WKPVGV KP C 1R /C\\QNGPK %QPEGTV *CNN $NQQT 5V 9 Summer Music in the Garden. Belonging /WUKE D[ /Q\CTV 4COGCW CPF 0KP 6QP $GCW 3WCTVGV +PC *GPPKPI CEEQTFKQPKUV 6QTQPVQ /WUKE )CTFGP 3WGGP U 3WC[ 9 (TGG YGCVJGT RGTOKVVKPI St. Philip's Anglican Church Jazz Vespers: Mariachi /GZKEQ #OKIQ $CPF 5V 2JKNNKRU 4F 'VQDKEQMG 2Y[E Christ Church Deer Park Jazz Vespers: Dixie Demons. $TKIJCO 2JKNKRU VTWORGV 4QUU 9QQNFTKFIG ENCTKPGV &CP &QWINCU VTQODQPG %JTKU .COQPV FTWOU 2JKN &KUGTC DCPLQ &QWI $WTTGNN VWDC ;QPIG 5V (TGG FQPCVKQPU YGNEQOG Music Gallery Pop Avant Series: Esmerine. )WGUV /WJJGEQP ,QJP 5V CFX UV Music TORONTO TOKYO QUARTET with MARKUS GROH pianist Wednesday September 07 Civic Light Opera Company. Carousel. 4QFIGTU CPF *COOGTUVGKP ,QG %CUEQPG $KNN[ $KIGNQY (KPPKG ,GUUQP ,WNKG ,QTFCP %CTQNKPG /QTQ&CNKECPFTQ %CTTKG 2KRRGTKFIG 2GVGT .QWECU /T 5PQY &CXKF *CKPGU ,KIIGT %TCKIKP CPF QVJGTU (CKTXKGY .KDTCT[ 6JGCVTG (CKTXKGY /CNN &TKXG #NUQ 5GR Gallery 345 Nicolas Caloia Quartet ,GCP >QOG UCZQRJQPG +UCKCJ %GEECTGNNK FTWOU )WKNNCWOG &QUVCNGT RKCPQ 0KEQNCU %CNQKC DCUU 5QTCWTGP #XG UT UV Thursday Sept. 15 at 8 pm JCNH RTKEG RC[[QWTCIG CIGU RNWU HCEKNKV[ CPF JCPFNKPI EJCTIGU CPF VCZGU Thursday September 08 Cathedral Church of St. James. Twilight Recitals. #PFTGY #FCKT QTICP %JWTEJ 5V Z (TGG #NUQ 5GR Hispanic Fiesta Caf� Cubano. /GN .CUVOCP 5SWCTG ;QPIG 5V (TGG Hispanic Fiesta Imbayakunas: Andean and Latin Music. /GN .CUVOCP 5SWCTG ;QPIG 5V (TGG Hispanic Fiesta Luis Felipe Gonzalez. /GN .CUVOCP 5SWCTG ;QPIG 5V (TGG Summer Music in the Garden Short Concert: Bach at Dusk $CEJ 7PCEEQORCPKGF %GNNQ 5WKVG 0Q -CVG $GPPGVV *C[PGU EGNNQ 6QTQPVQ /WUKE )CTFGP 3WGGP U 3WC[ 9 (TGG YGCVJGT RGTOKVVKPI Civic Light Opera Company. Carousel. 5GG 5GR Royal Conservatory. Richard Thompson, guitar. -QGTPGT *CNN $NQQT 5V 9 CPF WR Russian Alexandrov Red Army Choir and Ensemble. In Concert. 5QP[ %GPVTG HQT VJG 2GTHQTOKPI #TVU (TQPV 5V ' Monday September 12 Music Mondays. Angela Park, piano. /Q\CTV 5QPCVC KP $ CV - 4CXGN /KTQKTU GZEGTRVU .KU\V 8CNN�G F 1DGTOCPP %JWTEJ QH VJG *QN[ 6TKPKV[ 6TKPKV[ 5S Z UWIIGUVGF FQPCVKQP Friday September 16 Aradia Ensemble. Music of the English Chapels Royal. .QEMG (WNN CPVJGO *QY FQVJ VJG EKV[ UKV UQNKVCT[ *WOHTG[ 8GTUG CPVJGO 1 .QTF O[ )QF ; 2WTEGNN 8GTUG #PVJGO /[ $GNQXGF 5RCMG CPF QVJGT YQTMU -GXKP /CNNQP FKTGEVQT )NGPP )QWNF 5VWFKQ (TQPV 5V 9 UT UV Civic Light Opera Company. Carousel. 5GG 5GR Tuesday September 13 Cathedral Church of St. James. Music at Midday. 5KOQP 9CNMGT QTICP %JWTEJ 5V Z (TGG Monday Sep 05 Music Mondays. 6JG %CHG 1NG Cmenco/jazz ensemble. %JWTEJ QH VJG *QN[ 6TKPKV[ 6TKPKV[ 5S Z UWIIGUVGF FQPCVKQP Hispanic Fiesta Sol de Cuba. /GN .CUVOCP 5SWCTG ;QPIG 5V (TGG Hispanic Fiesta Mariachi Viva M�xico. /GN .CUVOCP 5SWCTG ;QPIG 5V (TGG Hispanic Fiesta Carlos Cruz. /GN .CUVOCP 5SWCTG ;QPIG 5V (TGG Saturday September 17 Opera by Request. L'Elisir d'Amore. 6UW%JKPI ;W UQRTCPQ #FKPC ,C[ .CODKG VGPQT 0GOQTKPQ *GPT[ +TYKP DCTKVQPG &WNECOCTC &QWINCU 6TCPSWCFC DCTKVQPG $GNQEQTG -CTNC 'UECNCPVG UQRTCPQ )KCPPGVVC 9KNNKCO 5JQQMJQHH RKCPQ CPF OWUKE FKTGEVQT %QNNGIG 5VTGGV 7PKVGF %JWTEJ %QNNGIG 5V Civic Light Opera Company. Carousel. 5GG 5GR Guitar Society of Toronto. Rafael Aguirre, guitar. *GNKEQPKCP *CNN *C\GNVQP #XG UT UV )NGPP )QWNF 5VWFKQ (TQPV 5V 9 Friday September 09 Civic Light Opera Company. Carousel. 5GG 5GR Wednesday September 14 PQQP Yorkminster Park Baptist Church. Noon Hour Organ Recital Series. #PIWU 5KPENCKT QTICP ;QPIG 5V (TGG Civic Light Opera Company. Carousel. 5GG 5GR Saturday September 10 Civic Light Opera Company. Carousel. 5GG 5GR Gallery 345 Northern Lights .CPFUECRG KPURKTGF UQWPFU 5WUKG *QFFGT9KNNKCOU WVGCNVQ WVG %JTKU %CNFYGNN UQRTCPQ UCZQRJQPGDCUU ENCTKPGVUKPIKPI DQYN 5QTCWTGP #XG UT UV Shahram and Hafez Nazeri Rumi Symphony Project $CUGF QP 4WOK U 2GTUKCP 5W RQGVT[ CPF KPVGITCVKPI ENCUUKECN +TCPKCP CPF 9GUVGTP OWUKECN VTCFKVKQPU 5JCJTCO 0C\GTK XQECNU *CHG\ 0C\GTK EQORQUKVKQPU YKVJ KPVGTPCVKQPCN GPUGODNG 5QP[ %GPVTG HQT VJG 2GTHQTOKPI #TVU (TQPV 5V ' Thursday September 15 Metropolitan United Church. Noon at Met. 5KOQP 9CNMGT QTICP 3WGGP 5V ' Z (TGG Northern District Public Library Orchardviewers: Classic Music Performance with Alison Melville. $CTQSWG OWUKE HQT TGEQTFGTU CPF WVGU 9QTMU D[ $CEJ XCP '[EM 6GNGOCPP CPF 1UYCNF 4O 1TEJCTF 8KGY $NXF (TGG Ken Page Memorial Trust Annual Fundraising Gala and Swinging Jazz Party )GQTIG /CUUQ VTQODQPG *QWUVQP 2GTUQP UCZQRJQPG 9CTTGP 8CEJ� EQTPGV #NNCP 8CEJ� ENCTKPGV )WKFQ $CUUQ VTWORGV CPF WIGNJQTP 4GI 5EJYCIGT IWKVCT ,QJP 5JGTYQQF RKCPQ 6GTT[ %NCTMG FTWOU 0GKN 5YCKPUQP DCUU CPF QVJGTU ,KO )CNNQYC[ UCZQRJQPG CPF FKTGEVQT 6JG 1NF /KNN +PP 1NF /KNN 4F KPENWFGU EQEMVCKN TGEGRVKQP CPF FKPPGT (QT HWTVJGT FGVCKNU UGG .KUVKPIU 5GEVKQP & 6JG '6%GVGTCU WPFGT )CNCU (WPFTCKUGTU Civic Light Opera Company. Carousel. 5GG 5GR Music Toronto. Tokyo String Quartet and Markus Groh, piano. 9QTMU D[ $TCJOU &GDWUU[ CPF , 4[CP YQTNF RTGOKGTG ,CPG /CNNGVV 6JGCVTG 5V .CYTGPEG %GPVTG HQT VJG #TVU (TQPV 5V ' QT UV CEEQORCP[KPI CFWNV RC[U 345 Sorauren Avenue [Dundas/Roncesvalles] Q Nicolas Caloia Quartet, Davd Berlin, Music On The Edge, Circuit Gallery: Group Photo Show, Q Contact Contemporary Music: Wallace Halladay & Mary-Katherine Finch Q Aaron Keele, Lynn Loftus Glazer, John Farah & Attila Fias, Eddie & Quincy Bullen, Sylvie Courvoisier/ AIM Toronto Sunday September 11 Alicier Arts Chamber Music. Caf� Des Arts CD Release Concert. *C[FP .QPFQP 6TKQU $QTQFKP 0QEVWTPG HQT 5VTKPI 3WCTVGV *CPFGN*CNXQTUGP 2CUUCECINKC HQT XKQNKP EGNNQ 2CWDQP &WGVU HQT WVG CPF UQRTCPQ 2KC\\QNNC 6CPIQ 'VWFGU HQT UQNQ XKQNKP CPF QVJGT YQTMU KPENWFKPI ENCUUKECN LC\\ CPF GZRGTKOGPVCN HQNM 2JQGDG 6UCPI CPF 5CTCJ $Q[GT XKQNKP %COGTQP 1INKXKG XKQNC 2GVGT %QUDG[ CPF /QPKEC (GFTKIQ EGNNQ 5VGRJCPKG %JWC VQ[ RKCPQ #PPC #VMKPUQP XKQNKPXKQNCCEEQTFKQP CPF QVJGTU 6JG %GPVTCN /CTMJCO 5V 2Y[E Civic Light Opera Company. Carousel. 5GG 5GR Cathedral Church of St. James. Twilight Recitals. 5GG 5GR Sunday September 18 Civic Light Opera Company. Carousel. 5GG 5GR Cathedral Church of St. James. Twilight Recitals. 5GG 5GR Summer Music in the Garden I canti a Maria. 8QECN OWUKE VQ VJG /CFQPPC RGTHQTOGF D[ VJG 8GUWXKWU 'PUGODNG 6QTQPVQ /WUKE )CTFGP 3WGGP U 3WC[ 9 (TGG YGCVJGT RGTOKVVKPI Nocturnes in the City. In Concert. 9QTMU D[ $GGVJQXGP %JQRKP ,CP��GM 5OGVCPC CPF /CJNGT $QTKU -TCLP[ RKCPQ 5V 9GPEGUNCWU %JWTEJ )NCFUVQPG #XG Contact Contemporary Music Walk on Water 9CNNCEG *CNNCFC[ UCZQRJQPG /CT[ September 1� October 7, 2011 for monthly performances go to /performances Q 416.822.9781 for reservations Modern, Classical, Jazz, Folk, World 36 thewholenote.com Kevin Mallon Performs September 2011 September 10th, 8pm Launch of the West Side Chamber Orchestra Lm' I^m^k l >ibl\hiZe <ank\a% G^p Rhkd Mb\d^ml3 +*+&2-+&)-/2 Director Kevin Mallon presents: Aradia Ensemble ,42(" .% 3'$ $-&+ (2' /$+2 1.8 + "' :kZ]bZ >gl^f[e^ +)**(+)*+ Season Premier Fnlb\ h_ ma^ >g`ebla <aZi^el KhrZe !L^^ Kb`am" L^im^f[^k */ma% 1if L^im^f[^k */ma% 1if FZma^p Eh\d^3 ?nee Zgma^f Ahp ]hma ma^ \bmr lbm lhebmZkr I^eaZf Anf_k^r3 O^kl^ Zgma^f H Ehk] fr @h] A^gkr Ink\^ee3 O^kl^ :gma^f Fr ;^eho^] LiZd^ @e^gg @hne] Lmn]bh +.) ?khgm Lm' P^lm Mb\d^ml !*.&,." Zm ma^ Khr Mahflhg ;hq H_�\^ -*/&10+&-+.. ppp'ZkZ]bZ'\Z L^im^f[^k +*lm% 1if Hk\a^lmkZ Ehg]hg3 Hi^gbg` Gb`am3 ;^eeZ BmZebZ <hg\^km bg\en]^l <a^kn[bgb Lrfiahgr bg = Zg] K^lib`ab Ancient Airs Zg] =Zg\^l September 1� October 7, 2011 thewholenote.com 37 A. Concerts in the GTA -CVJGTKPG (KPEJ EGNNQ IWGUVU 4[CP 5EQVV RGTEWUUKQP #NNKUQP 9KGDG RKCPQ )CNNGT[ 5QTCWTGP #XG UT UV RGTHQTOGF D[ [QWPI CTVKUVU QH VJG %1% 'PUGODNG 5VWFKQ. Vocal Studies: Welcome and Vocal Showcase. )WGUVU #FTKCPPG 2KGE\QPMC UQRTCPQ -COOGTU�PIGTKP Cathedral Church of St. James. Music at Midday: Jazz Organ Works. #PFTGY #FCKT QTICP %JWTEJ 5V Z (TGG Roland Canada A Grand Experience %JCTNGU 4KEJCTF*COGNKP RKCPQ $GTPKG 5GPGPUM[ RKCPQ )NGPP )QWNF 5VWFKQ (TQPV 5V 9 UTUV Monday September 19 Music Mondays. Cardinal Consort of Viols (CTKPC 2CXCPC � ,GPMKPU # 5WKVG QH &CPEGU CPF QVJGT YQTMU 5JGKNC 5O[VJ VTGDNG XKQN .KPFC &GUJOCP VGPQT XKQN 5CTC $NCMG DCUU XKQN 8CNGTKG 5[NXGUVGT DCUU XKQN %JWTEJ QH VJG *QN[ 6TKPKV[ 6TKPKV[ 5S Z UWIIGUVGF FQPCVKQP Music TORONTO MARKUS GROH pianist Music Fit for a King A regal season opener! Tuesday September 20 PQQP Canadian Opera Company. Vocal Series: Meet the Young Artists #TKCU Sept 21 � 25 tafelmusik.org Baroque Orchestra and Chamber Choir Jeanne Lamon, Music Director Thursday September 22 Thursday Sept. 20 at 8 pm Music Toronto. Markus Groh, piano. 5EJWOCPP 2CRKNNQPU 5WKVG %JQRKP UGNGEVGF 9CNV\GU $TCJOU 8CTKCVKQPU CPF (WIWG QP C 6JGOG D[ *CPFGN ,CPG /CNNGVV 6JGCVTG 5V .CYTGPEG %GPVTG HQT VJG #TVU (TQPV 5V ' QT UV CEEQORCP[KPI CFWNV RC[U JCNH RTKEG RC[[QWTCIG CIGU RNWU HCEKNKV[ CPF JCPFNKPI EJCTIGU CPF VCZGU Wednesday September 21 PQQP Yorkminster Park Baptist Church. Noon Hour Organ Recital Series. &CPKGN 0QTOCP QTICP ;QPIG 5V (TGG Yonge-Dundas Square. Toronto Tabla Ensemble. &WPFCU 5V ' (TGG Civic Light Opera Company. Carousel. 5GG 5GR Tafelmusik. Music Fit for a King. 9QTMU D[ &GNCNCPFG )TCWRPGT 5EJOGN\GT 2WTEGNN 5ECTNCVVK CPF (TGFGTKEM VJG )TGCV 6CHGNOWUKM $CTQSWG 1TEJGUVTC CPF %JCODGT %JQKT ,GCPPG .COQP FKTGEVQT 6TKPKV[5V 2CWN U %GPVTG $NQQT 5V 9 CPF WPFGT #NUQ 5GR 5GR OCV PQQP Canadian Opera Company. World Music Series: Mediterranean Journey /WUKE HTQO 5RCKP )TGGEG CPF VJG /KFFNG 'CUV 2CXNQ IWKVCTursday at Noon: Michelle Colton, percussion. &[GPU 6CPIQ GP 5MCK 'YC\GP %QPEGTVQ HQT /CTKODC (GTEJGP # (CTGYGNN VQ 6JQUG .GHV $GJKPF %CPCFKCP RTGOKGTG VTCFKVKQPCN #HTKECP )CJW 9CNVGT *CNN 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM (TGG Metropolitan United Church. Noon at Met. $TWEG -KTMRCVTKEM *KNN QTICP 3WGGP 5V ' Z (TGG Canadian Opera Company. Iphigenia in Tauris. )NWEM 5WUCP )TCJCO OG\\Q +RJKIGPKC -CVJGTKPG 9J[VG OG\\Q +RJKIGPKC 1EV 4WUUGNN $TCWP DCTKVQPG 1TGUVGU ,QUGRJ -CKUGT VGPQT 2[NCFGU /CTM &QUU DCUUDCTKVQPG 6JQCU 4QDGTV %CTUGP UVCIG FKTGEVQT 2CDNQ *GTCU%CUCFQ EQPFWEVQT (QWT 5GCUQPU %GPVTG HQT VJG 2GTHQTOKPI #TVU 3WGGP 5V 9 WPFGT #NUQ 5GR 1EV UVCTV VKOGU XCT[ Toronto Symphony Orchestra. Christopher Plummer in Walton's Henry V. 6EJCKMQXUM[ 4QOGQ CPF ,WNKGV (CPVCU[ 1XGTVWTG -W\OGPMQ $GJQNF VJG 0KIJV HQT %JKNFTGP U %JQTWU CPF 1TEJGUVTC YQTNF RTGOKGTG 9CNVQP /WUKE 38 thewholenote.com September 1� October 7, 2011 HQT VJG NO *GPT[ 8 2GVGT 1WPFLKCP EQPFWEVQT %JTKUVQRJGT 2NWOOGT PCTTCVQT 6QTQPVQ /GPFGNUUQJP %JQKT 6QTQPVQ %JKNFTGP U %JQKT 4Q[ 6JQOUQP *CNN 5KOEQG 5V %JKPGUG JQVNKPG #NUQ 5GR Civic Light Opera Company. Carousel. 5GG 5GR Tafelmusik. Music Fit for a King. 5GG 5GR Friday September 23 Toronto Philharmonia Orchestra. Venetian Gala Fundraiser. 8KXCNFK 6JG (QWT 5GCUQPU ,CESWGU +UTCGNKGXKVEJ XKQNKP #TECFKCP %QWTV $C[ 5V VJ QQT (QT HWTVJGT FGVCKNU UGG .KUVKPIU 5GEVKQP & 6JG '6%GVGTCU WPFGT )CNCU (WPFTCKUGTU Tapestry New Opera. Opera Briefs. 0GY YQTM HTQO VJG %QORQUGT.KDTGVVKUV .CD 5WG /KPGT FKTGEVQT 6JGCVTG 2CUUG /WTCKNNG /CKP 5RCEG 4[GTUQP #XG Z #NUQ 5GR Civic Light Opera Company. Carousel. 5GG 5GR Hart House Theatre The Great American Trailer Park Musical 6QTQPVQ 2TGOKGTG /WUKE CPF N[TKEU D[ & 0GJNU $QQM D[ $ -GNUQ 9KNN 1 *CTG FKTGEVQT -KGTGP /CE/KNNCP OWUKE FKTGEVQT #UJNGKIJ 2QYGNN EJQTGQITCRJGT *CTV *QWUG %KTENG 7 QH 6 UTUV UVWFGPV VKEMGVU GXGT[ 9GF CNWOPK VKEMGVU GXGT[ 6JWTU #NUQ 5GR 1EV 1EV 1EV OCV Tafelmusik. Music Fit for a King. 5GG 5GR 2Y[E HQT VJKU RGTHQTOCPEG QPN[ Toronto Heliconian Club Emily, The Way You Are: A One-Woman Opera Celebrating the Life and Work of Emily Carr 5MCTGEM[ OWUKE CPF $TCPFV NKDTGVVQ 4COQPC %CTOGNN[ OG\\Q ,QUGRJ (GTTGVVK RKCPQ 8KEVQTKC *CVJCYC[ QDQG ,QJP $TQYPGNN RGTEWUUKQP CPF QVJGTU *GNKEQPKCP *CNN *C\GNVQP #XG UTUV Aaron Keele CD Release )CNNGT[ 5QTCWTGP #XG UT UV Lynn Loftus Glazer In Concert %CDCTGV HWPFTCKUGT HQT *GCTV CPF 5VTQMG )CNNGT[ 5QTCWTGP #XG UT UV Tafelmusik. Music Fit for a King. 5GG 5GR DeAngelis Entertainment/University of Toronto Faculty of Music John MacLeod and The Rex Hotel Orchestra Present The Music of Rick Wilkins 9CNVGT *CNN 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM 2TQEGGFU VQ DGPG V 7 QH 6 LC\\ UEJQNCTUJKRU Sunday September 25 Mooredale Concerts. Music & TrufGU 9QTMU D[ $CEJ $GGVJQXGP CPF (TCPEM 1HTC *CTPQ[ EGNNQ #PVQP -WGTVK RKCPQ 9CNVGT *CNN 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM Z Canadian Opera Company. Iphigenia in Tauris. 5GG 5GR Cathedral Bluffs Symphony Orchestra. Young Artists. /Q\CTV 2KCPQ %QPEGTVQ 0Q 2WEEKPK %JG IGNKFC OCPKPC 8GTFK 1 (KINK /KGK /CUUGPGV 2QWTSWQK OG TGXGKNNGT 4GKPVCOO (KPCNG VQ CP 7PYTKVVGP $CNNGV YQTNF RTGOKGTG CPF QVJGT YQTMU 4QOWNQ &GNICFQ VGPQT #O[ -KO RKCPQ #PFTGC 8CP 2GNV RKCPQ 4QVWPFC 5ECTDQTQWIJ %KXKE %GPVTG $QTQWIJ &T 5ECTDQTQWIJ (TGG Eddie and Quincy Bullen Father and Son: Duelling Pianos )CNNGT[ 5QTCWTGP #XG UT UV %JWTEJ QH 5V /CTVKPKPVJG(KGNFU )NGPNCMG #XG UTUV Oakville Symphony Orchestra Young People's Concert (GCVWTKPI [QWPI RGTHQTOGTU KP C EQPEGTVQ UGVVKPI 1CMXKNNG %GPVTG HQT VJG 2GTHQTOKPI #TVU 0CX[ 5V 1CMXKNNG QT UT UV Saturday September 24 CPF Civic Light Opera Company. Carousel. 5GG 5GR *QRG 7PKVGF %JWTEJ &CPHQTVJ #XG UTUV Schola Magdalena. Virgo Splendens: Medieval Music for Women's Voices � CD Launch Party and Concert. 9QTMU D[ XQP $KPIGP &WHC[ CPF )TGIQTKCP EJCPV %JWTEJ QH 5V /CT[ /CIFCNGPG /CPPKPI #XG (TGG Tapestry New Opera. Opera Briefs. 5GG 5GR Toronto Symphony Orchestra. Christopher Plummer in Walton's Henry V. 5GG 5GR Esperanza Music Project. Fundraising Concert. 9QTMU D[ *C[FP /GPFGNUUQJP %CUGNNC /CTVKPW CPF &TKPI %QQMUXKNNG 7PKVGF %JWTEJ /KOQUC 4QY /KUUKUUCWIC QT UTUV 2TQEGGFU VQ HWPF PGY OWUKE RTQITCO HQT WPFGTRTKXKNGIGF EJKNFTGP Hart House Theatre The Great American Trailer Park Musical 5GG 5GR September 1� October 7, 2011 thewholenote.com 39 A. Concerts in the GTA Mooredale Concerts. Ofra Harnoy, cello and Anton Kuerti, piano. $CEJ 7PCEEQORCPKGF %GNNQ 5WKVG 0Q $GGVJQXGP %GNNQ 5QPCVC KP # 1R (TCPEM %GNNQ 5QPCVC 9CNVGT *CNN 'FYCTF ,QJP $WKNFKPI 3WGGP U 2CTM Z UTUV Tafelmusik. Music Fit for a King. 5GG 5GR Cathedral Church of St. James. Twilight Recitals. 5GG 5GR St. Philip's Anglican Church Jazz Vespers: Klezmer 6JG ;KFFKUJ 5YKPIVGV 5V 2JKNNKRU 4F 'VQDKEQMG 2Y[E St. Olave's Church Choral Evensong with the Choir of St. Peter's, Erindale %NGO %CTGNUG OWUKE FKTGEVQT 9KPFGTOGTG #XG %QPVTKDWVKQPU CRRTGEKCVGF 2QUVEQPEGTV EJCV CPF 2GCEJ 6GC (QT HWTVJGT FGVCKNU UGG .KUVKPIU 5GEVKQP & 6JG '6%GVGTCU WPFGT .GEVWTGU 5[ORQUKC Christ Church Deer Park. Jazz Vespers. ,QG 5GCN[ RKCPQ 2CWN 0QXQVP[ DCUU ;QPIG 5V (TGG FQPCVKQPU YGNEQOG SEVEN STARS SECRET OF THE (N�IGNP FGT *CTHG HQT UQNQ CEEQTFKQP * .GG 5GETGV QH VJG 5GXGP 5VCTU HQT CEEQTFKQP RGTEWUUKQP CPF UVTKPI QTEJGUVTC ,QUGRJ /CEGTQNNQ CPF +PC *GPPKPI CEEQTFKQPU #EEQTFGU UVTKPI SWCTVGV )TGIQT[ 1J RKCPQ 4[CP 5EQVV RGTEWUUKQP :KP 9CPI UQRTCPQ 0GY /WUKE %QPEGTVU 'PUGODNG 4QDGTV #KVMGP FKTGEVQT )NGPP )QWNF 5VWFKQ (TQPV 5V 9 UTCTVU YQTMGTU UV +PVTQFWEVKQP Monday September 26 Music Mondays. Jerome Summers, ENCTKPGV 5JCTQP -CJCP WVG CPF #PIGNC 2CTM CATHEDRAL BLUFFS SYMPHONY ORCHESTRA 2011�2012 NORMAN REINTAMM artistic director SUNDAY at 2 pm September 25, 2011 Rotunda, Scarborough Civic Centre 150 Borough Drive, Scarborough (Ellesmere/McCowan) SATURDAY at 7:30 pm October 22, 2011 St. Timothy's Anglican Church 4125 Sheppard Ave E, Scarborough 6XQ WK 6HSW DW SP ZLWK 6W 3HWHU�V &KRLU (ULQGDOH &KRUDO (YHQVRQJ IROORZHG E\ 3HDFK 7HD DQG YOUNG ARTISTS NEW MUSIC CONCERTS S U N DAY S E P T. 2 5 8 pm GLENN GOULD STUDIO New Music Concerts Opening Gala: Secret of the Seven Stars 5QWVJCO 3WKPVGV HQT RKCPQ CPF UVTKPIU 0/% EQOOKUUKQP 5VCPKNCPF 2GPVCITCOU (KXG 2KGEGU HQT 6YQ #EEQTFKQPU #2; *Q $CNNCFG HQT #P #PEKGPV 9CTTKQT HQT UQNQ RGTEWUUKQP UQRTCPQ CPF OKZGF GPUGODNG *WDGT #WH Amy Kim piano Romulo Delgado tenor Andrea Van Pelt piano Mozart Piano Concerto no. 23 Puccini Che gelida manina | Verdi O Figli Miei Massenet Pourquoi me reveiller Shostakovich Piano Concerto no. 1 Chatenooga Choo Choo, The Nearness of You, Somewhere Over the Rainbow Reintamm "Finale to an Unwritten Ballet"* * Premiere performance NORMAN REINTAMM & FRIENDS Alexander Volkov violin Eugenia Volkova viola Oleg Volkov cello Norman Reintamm piano with Carrie Gray soprano Mozart Piano Trio in G major, K 496 Songs by R. Strauss, Brahms & Schumann Admission $ 20 or pay what you can &OHP &DUHOVH SUHVHQWV D OLYHO\ WDON RQ :LOOLDP %R\FH ZKRVH JORULRXV ZRUNV DUH FHQWUDO LQ WKLV WK DQQLYHUVDU\ HYHQW WILLIAM BOYCE 6W 2ODYH�V &KXUFK %ORRU DQG :LQGHUPHUH cathedralbluffs.com | 416.879.5566 40 thewholenote.com September 1� October 7, 2011 piano. 9QTMU D[ &GDWUU[ 5JQUVCMQXKEJ CPF $K\GV %JWTEJ QH VJG *QN[ 6TKPKV[ 6TKPKV[ 5S Z UWIIGUVGF FQPCVKQP University of Toronto Faculty of Music. Chamber Music Series: Lara St. John, violin &GDWUU[ 8KQNKP 5QPCVC $CTV�M 8KQNKP 5QPCVC 0Q %QTKINKCPQ 5VQOR *GTUMQYKV\ (TGKNCEJ 0Q 2TKVUMGT 4WUUKCP 'XGPKPI 6TKNQI[ VTCFKVKQPCN %C .C $TGC\C 9KVJ /CVV *GTUMQYKV\ RKCPQ 9CNVGT *CNN 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM UTUV Thursday September 29 PQQP Canadian Opera Company. World Music Series: The Heartbeat of Japan 0CICVC 5JCEJW VCKMQ GPUGODNGursdays at Noon: Mozart's Gran Partita. /Q\CTV 5GTGPCFG KP $ CV - %NCTG 5EJQNV\ CPF 4KEJCTF &QTUG[ QDQG /CZ %JTKUVKG CPF 2GVGT 5VQNN ENCTKPGV &CXKF $QWTSWG CPF 5VGRJGP 2KGTTG DCUUGV JQTP CPF QVJGTU 9CNVGT *CNN 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM (TGG Metropolitan United Church. Noon at Met. #UJNG[ 6KF[ QTICP 3WGGP 5V ' Z (TGG Northern District Public Library Orchardviewers: World of Music .CVKP TJ[VJO CPF COGPEQ 0WPQ %TKUVQ CPF #NXCTQ 1[CTEG 4O 1TEJCTF 8KGY $NXF (TGG Canadian Opera Company. Rigoletto. 8GTFK 3WKPP -GNUG[ DCTKVQPG 4KIQNGVVQ 5GR 1EV .GUVGT .[PEJ DCTKVQPG 4KIQNGVVQ 5GR 1EV 'MCVGTKPC 5CFQXPKMQXC UQRTCPQ )KNFC 5GR 1EV 5KOQPG 1UDQTPG UQRTCPQ )KNFC 5GR 1EV &KOKVTK 2KVVCU VGPQT &WMG QH /CPVWC 5GR 1EV &CXKF .QOGN� VGPQT &WMG QH /CPVWC 5GR 1EV %JTKUVQRJGT #NFGP UVCIG FKTGEVQT ,QJCPPGU &GDWU EQPFWEVQT 5GR 1EV >GM $CVG EQPFWEVQT 1EV (QWT 5GCUQPU %GPVTG HQT VJG 2GTHQTOKPI #TVU 3WGGP 5V 9 #NUQ 5GR 1EV UVCTV VKOGU XCT[ Hart House Theatre The Great American Trailer Park Musical 5GG 5GR 4Q[ 6JQOUQP *CNN 5KOEQG 5V %JKPGUG JQVNKPG #NUQ 1EV SUNDAY, OCTOBER 2, 2011 8PM Tuesday September 27 PQQP Canadian Opera Company. Chamber Music Series: Tribute to Richard Bradshaw &GDWUU[ 5[TKPZ HQT UQNQ WVG /Q\CTV %NCTKPGV 3WKPVGV 2WEEKPK 'NGI[ HQT 5VTKPI 3WCTVGV %TKUVCPVGOK #TVKUVU QH VJG %CPCFKCP 1RGTC %QORCP[ 1TEJGUVTC ,QJCPPGU &GDWU OWUKE Cathedral Church of St. James. Music at Midday. )KNGU $T[CPV QTICP %JWTEJ 5V Z (TGG Royal Conservatory. Andalusia to Toronto. 6TCFKVKQPCN CPF LC\\KP GEVGF #TCDKE ,GYKUJ CPF #HTQ%WDCP OWUKE &CXKF $WEJDKPFGT VTWORGV CPF WIGNJQTP $CUUCO $KUJCTC XQECNU CPF QWF /KEJCN %QJGP XQECNU #OCPFC /CTVKPG\ XQECNU *KNCTKQ &WT�P RKCPQ CPF QVJGTU -QGTPGT *CNN $NQQT 5V 9 CPF WR LULA LOUNGE Wednesday September 28 PQQP Yorkminster Park Baptist Church. Noon Hour Organ Recital Series: Organ Duets. #PFTGY #FCKT CPF 5KOQP 9CNMGT QTICPKUVU ;QPIG 5V (TGG Yonge-Dundas Square. The Monkey Bunch. &WPFCU 5V ' (TGG CD release concert se Juno Award winning Gryphon Trio and vocalist Patricia O'Callaghan celebrate the release of Broken Hearts & Madmen, a groundbreaking recording produced by jazz bassist Roberto Occhipinti. Featuring songs by Leonard Cohen, Nick Drake, Lhasa de Sela, and Laurie Anderson alongside traditional melodies from Mexico, Argentina, and Chile, the album is global in spirit and is a haunting exploration of the romantic soul inside us all. CD RELEASE CONCERT Every ticket gets a Broken Hearts & Madmen CD Sunday, October 2, 2011 8pm Lula Lounge 1585 Dundas West (Block West of Dufferin) 1585 DUNDAS WEST Music in the Afternoon Women's Musical Club of Toronto Friday September 30 Canadian Opera Company. Rigoletto. 5GG 5GR Toronto Symphony Orchestra. Exposed: Unveiling Great Music: Peter & the Symphony. $TCJOU 5[ORJQP[ 0Q 2GVGT 1WPFLKCP EQPFWEVQT CPF NGEVWTGT 4Q[ 6JQOUQP *CNN 5KOEQG 5V %JKPGUG JQVNKPG AIM Toronto Interface Series: Sylvie Courvoisier, piano and composer 'XGPKPI QH KORTQXKUCVKQP YKVJ %QWTXQKUKGT CPF 2CTOGNC #VVCTKYCNC XKQNKP CPF XKQNC /CVV /KNNGT UCORNGU CPF GNGEVTQPKEU /WUMQZ -[NG $TGPFGTU UQRTCPQ UCZQRJQPG 4KEM 5CEMU RGTEWUUKQP *GCVJGT 5GIIGT VTQODQPG )CNNGT[ 5QTCWTGP #XG UT UV Hart House Theatre The Great American Trailer Park Musical 5GG 5GR Royal Conservatory. Royal Conservatory Orchestra conducted by Uri Mayer with Jan Lisiecki, piano. 9CIPGT 1XGTVWTG VQ 6JG (N[KPI &WVEJOCP %JQRKP 2KCPQ %QPEGTVQ 0Q KP H 1R /WUUQTIUM[ 2KEVWTGU CV CP 'ZJKDKVKQP -QGTPGT *CNN $NQQT 5V 9 (TGG # %WNVWTG &C[U GXGPV Wednesday September 28, 1.30 p.m. WEILERSTEIN TRIO & BARRY SHIFFMAN, viola Walter Hall, U. of T. Tickets $45, call 416-923-7052 Patricia O'Callaghan Gryphon Trio Broken Hearts & Madmen Women's Musical Club of Toronto. Weilerstein Trio with Barry Shiffman, viola. 9QTMU D[ 5EJWOCPP +XGU CPF &XQ �M 9CNVGT *CNN 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM Canadian Opera Company. Iphigenia in Tauris. 5GG 5GR Hart House Theatre The Great American Trailer Park Musical 5GG 5GR 6:30pm doors open 8:00pm show $39 - online advance at (incl tax and CD) $45 - at the door (incl tax and CD) $10 - students at the door (incl tax) Tickets available at Dinner reservations guarantee seating - call 416 588 0307 Support By: John McKellar Charitable Foundation Community partner: Progress Place 41 September 1� October 7, 2011 thewholenote.com Saturday October 01 Beach United Church. Jazz Vespers: We Are One. *QYCTF 4GGU 6QTQPVQ ,C\\ %JQTWU. 5V #KFCPU QP VJG $GCEJ 5KNXGTDKTEJ #XG (TGGYKNN QHHGTKPI 2TQEGGFU VQ $GCEJ 7PKVGF %JWTEJ Canadian Opera Company. Iphigenia in Tauris. 5GG 5GR Collegium Musicum. Culture Canada. $QTLCPC *TGNLC RKCPQ %JTKU /CNQPG IWKVCT %JQRKP 4QQO %QNNGIKWO /WUKEWO %QPUGTXCVQT[ QH /WUKE 2GVGT 5V 2QTV %TGFKV (TGG RO VQ 1EV CO Nuit Blanche &GVCKNGF NKUVKPIU KP 1EVQDGT KUUWG Quintessence Handbell Ensemble. $GPG V %QPEGTV HQT VJG ,COGU (WPF HQT 0GWTQblastoma Research. 'PINKUJ JCPFDGNN UQNQ CPF UOCNN GPUGODNGU 3WKPVGUUGPEG *CPFDGNN 'PUGODNG UQNQKUVU *GCVJGT -GKVJ CPF &CXKF -GKVJ 5V #PFTGY U 2TGUD[VGTKCP %JWTEJ 5V #PFTGY U 4F 5ECTDQTQWIJ (TGGYKNN QHHGTKPI UWIIGUVGF FQPCVKQP AIM Toronto Interface Series: Sylvie Courvoisier, piano and composer 'XGPKPI QH KORTQXKUCVKQP YKVJ %QWTXQKUKGT CPF /CTKN[P .GTPGT RKCPQ 6CPKC )KNN 3WCTVGV ,WUVKP *C[PGU IWKVCT 0KEQNG 4CORGTUCWF VTWORGV ,QG 5QTDCTC FTWOU CPF RGTEWUUKQP )CNNGT[ 5QTCWTGP #XG UT UV Hart House Theatre The Great American Trailer Park Musical 5GG 5GR I Furiosi Julie's Big Adventure .[UKCPG $QWNXC JCTRUKEJQTF %CNXKP 2TGUD[VGTKCP %JWTEJ &GNKUNG #XG UTUV Stephen Tam. Twentieth Century Flute Travels. /WUKE D[ #OKTQX $QYGP (WMWUJKOC 8KNNC.QDQU CPF QVJGTU 5VGRJGP 6CO WVG 'NNGP /G[GT RKCPQ *GNKEQPKCP *CNN *C\GNVQP #XG UTUV Toronto Symphony Orchestra. Emanuel Ax Plays Brahms. 5GG 5GR (TQPV 5V ' QT )GQTIG 9GUV 4GEKVCN *CNN 6QTQPVQ %GPVTG HQT VJG #TVU ;QPIG 5V Elmer Iseler Singers Gloria! 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Iphigenia in Tauris. 5GG 5GR Hart House Theatre The Great American Trailer Park Musical 5GG 5GR York University Department of Music. Improv Soiree. +ORTQXKUCVKQPCN GXGPKPI KP C RCTVKEKRCVQT[ QRGP OKE UGV WR 5VGTNKPI $GEMYKVJ 5VWFKQ #EEQNCFG 'CUV $WKNFKPI 4O -GGNG 5V Z (TGG Thursday October 06 PQQP Canadian Opera Company. Vocal Series: M�lodies Fran�aises. %1% 'PUGODNG 5VWFKQ .K\ 7REJWTEJ. Music and Poetry. $GTI 5GXGP 'CTN[ 5QPIU /QPKEC 9JKEJGT UQRTCPQ %JG #PPG .QGYGP RKCPQ 'TKE &QOXKNNG URGCMGT 9CNVGT *CNN 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM (TGG University of Toronto Faculty of Music. The Romantics. 9CIPGT 2TGNWFG VQ &KG /GKUVGTUKPIGT .KU\V 2KCPQ %QPEGTVQ 0Q KP ' CV (TCPEM 5[ORJQP[ KP F ,CESWGNKPG /QMT\GYUMK RKCPQ 7PKXGTUKV[ QH 6QTQPVQ 5[ORJQP[ 1TEJGUVTC &CXKF $TKUMKP EQPFWEVQT /CE/KNNCP 6JGCVTG 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM UTUV Metropolitan United Church. Noon at Met. 'NKUC /CPIKPC QTICP 3WGGP 5V ' Z (TGG Hart House Theatre The Great American Trailer Park Musical 5GG 5GR )NGPP A POET'S LOVE in 2 Act through the eyes of Heine, Schumann & Lysenko Laura McAlpine mezzo-soprano David Eliakis pianist Heather Davies director 2011/2012 an anniversary celebration of Ukrainian composer Monday October 03 Jazz.FM91. Sound of Toronto Jazz Concert Series: It's Impossible to Sing and Play the Bass ,C[ .GQPJCTV DCUU CPF EQORQUKVKQPU 6JG 1NF /KNN +PP &KPKPI 4QQO 1NF /KNN 4F UV Theatre 20. Amelia: The Girl Who Wants to Fly. , )TC[ 'NK\C,CPG 5EQVV /KEJCGN $CTDGT OWUKE FKTGEVQT 5CTCJ 2JKNNKRU UVCIG FKTGEVQT 2CPCUQPKE 6JGCVTG ;QPIG 5V ykola Lysenko OCT. 14 & 15 - 8:00 p.m. Calvin Presbyterian Church 26 Delisle Avenue admission - at door $20 regular $10 seniors/underemployed reception to follow - cds available for sale Tuesday October 04 PQQP Canadian Opera Company. Vocal Series. 7PKXGTUKV[ QH 6QTQPVQ U ;QWPI #TVKUVU 5CPFTC *QTUV EJQTWU OCUVGT /KEJCGN #NDCPQ UVCIG. Singers and the Spoken Word. 2QGVT[ TGEKVCVKQPU OQPQNQIWGU CPF FKCNQIWGU Canadian Opera Company. Iphigenia in Tauris. 5GG 5GR York University Department of Music. Faculty Concert Series. 6TKEJ[ 5CPMCTCP OTKFCPICO IWGUVU OGODGTU QH #WVQTKEMUJCY 6TKDWVG %QOOWPKVKGU 4GEKVCN *CNN #EEQNCFG 'CUV $WKNFKPI 4O -GGNG 5V Z UTUV Sunday October 02 Canadian Opera Company. Rigoletto. 5GG 5GR Opera in Concert L'accord�oniste: Latin Heat -KODGTN[ $CTDGT OG\\Q 2GVGT 6KGHGPDCEJ RKCPQ %CTQN $CWOCP RGTEWUUKQP /CT[.QW 8GVGTG CEEQTFKQP ,CPG /CNNGVV 6JGCVTG 5V .CYTGPEG %GPVTG HQT VJG #TVU Greg Rainville, Artistic Director Sunday, October 16 2011 at 4:00PM Glenn Gould Studio, 250 Front St. W, Toronto Featuring the World Premiere Performance of the song cycle "A Paean of Honour" by Canadian composer, John Laing, settings of six poems from the World Wars. Wednesday October 05 PQQP Yorkminster Park Baptist Church. Noon Hour Organ Recital Series. 2GVGT 0KMKHQTWM QTICP ;QPIG 5V (TGG Yonge-Dundas Square. The Happy Pals New Orleans Party Orchestra. &WPFCU 5V ' (TGG Canadian Opera Company. Rigoletto. 5GG 5GR 42 Tickets $30 $YDLODEOH IURP WKH 5R\ 7KRPVRQ +DOO %R[ 2 FH 416-872-4255 or online: September 1� October 7, 2011 Dessert Reception by Encore Catering thewholenote.com B. Concerts Beyond the GTA Sunday September 04 Kitchener-Waterloo Chamber Music Society. Anne Louise Turgeon, piano, and Ron -QTD WVG 2TQMQ GX 5QPCVC HQT WVG CPF RKCPQ 5\RKNOCP 6JG .KHG QH VJG /CEJKPGU 4CEJOCPKPQHH UGNGEVGF 'VWFGU .KU\V 7P 5QURKTQ -QTD /Q\CTV U 9GFFKPI CPF QVJGT YQTMU -9%/5 /WUKE 4QQO ;QWPI 5V 9 Waterloo. UT UV Guelph Jazz Festival. Jayme Stone. 7RRGT 9[PFJCO 5VTGGV ,C\\ 6GPV 9[PFJCO 5V 0 Guelph. QT (TGG Guelph Jazz Festival. The Opposite of Everything. 7RRGT 9[PFJCO 5VTGGV ,C\\ 6GPV 9[PFJCO 5V 0 Guelph. QT (TGG Guelph Jazz Festival. Shane Phillips: A Tribute to Gil Scott-Heron. 7RRGT 9[PFJCO 5VTGGV ,C\\ 6GPV 9[PFJCO 5V 0 Guelph. QT (TGG Guelph Jazz Festival. Mash Potato Mashers. 7RRGT 9[PFJCO 5VTGGV ,C\\ 6GPV 9[PFJCO 5V 0 Guelph. QT (TGG Guelph Jazz Festival. Double Bill: Henry Threadgill's Zooid and Hypnotic Brass Ensemble. /CKP 5VCIG 4KXGT 4WP %GPVTG 9QQNYKEJ 5V Guelph. QT UTUV Muskoka Concert Association. Ryan Jackson. )CNC (WPFTCKUGT 4GPG %CKUUG 6JGCVTG %NGCTDTQQM 6TN Bracebridge. CPF WPFGT +PENWFGU RQUV EQPEGTV TGEGRVKQP Sanderson Centre for the Performing Arts. Charlie Sizemore. $NWGITCUU UQPIYTKVGT CPF XQECNKUV &CNJQWUKG 5V Brantford. Guelph Jazz Festival. Rebel Rhythm with Jane Bunnett. 7RRGT 9[PFJCO 5VTGGV ,C\\ 6GPV 9[PFJCO 5V 0 Guelph. QT (TGG RO Guelph Jazz Festival. Minotaurs. 7RRGT 9[PFJCO 5VTGGV ,C\\ 6GPV 9[PFJCO 5V 0 Guelph. QT (TGG RO Guelph Jazz Festival. Esmerine. )WGNRJ ;QWVJ /WUKE %GPVTG %CTFKICP 5V Guelph. QT Collective featuring Kidd Jordan, Joel Futterman, William Parker and Alvin Fielder. %QQRGTCVQTU *CNN 4KXGT 4WP %GPVTG 9QQNYKEJ 5V Guelph. QT UTUV Cuckoo's Nest Folk Club Muddy York: Music of Old Ontario 0KPGVGGPVJ EGPVWT[ ITCUUTQQVU UQPIU LKIU CPF TGGNU (GCVWTKPI #PPG .GFGTOCP +CP $GNN CPF ,GHH $KTF %JCWEGT U 2WD %CTNKPI 5V London QT CFX Friday September 16 Prince Edward County Music Festival. Words on Music. $TCJOU 6TKQ KP $ 1R 5QMQNQXKE %KV[ 5QPIU 6TKQ *QEJGNCIC CNUQ 6QO #NNGP KP EQPXGTUCVKQP YKVJ EQORQUGTKP TGUKFGPEG 5QMQNQXKE CPF HGUVKXCN CTVKUVKE FKTGEVQT 5V�RJCPG .GOGNKP 9CTKPI *QWUG 5CPF[ *QQM 4F Picton. QT UV SweetWater Music Festival Concert One /Q\CTV 5VTKPI 3WKPVGV 0Q KP % - &QJPCP[K 5GTGPCFG HQT 8KQNKP 8KQNC CPF %GNNQ 5EJWNJQHH 5VTKPI 5GZVGV CPF QVJGTU .GKVJ %JWTEJ 6QO 6JQOUQP .P Leith Wednesday September 14 St. Andrew's Presbyterian Church. Wednesday Noon Concerts. &QWINCU *CCU QTICP 3WGGP 5V 0 Kitchener. (TGG Kitchener-Waterloo Chamber Music Society. Eric Himy, piano. .KU\V *CTOQPKGU FW 5QKT 8CNUG QWDNK�G 0Q %JQRKP (CPVCU[ +ORTQORVW 1R KP EUJCTR &GDWUU[ .C RNWU SW NGPVG )QNNKYQI U %CMGYCNM CPF QVJGT YQTMU -9%/5 /WUKE 4QQO ;QWPI 5V 9 Waterloo. UT UV Wednesday September 07 Guelph Jazz Festival. The Rent. /WUKE D[ 5VGXGP .CE[ /CEFQPCNF 5VGYCTV #TV %GPVTG )CNNGT[ )QTFQP 5V Guelph. QT UT UV Kitchener-Waterloo Chamber Music Society. Andrew Sords, violin, and Cheryl Duvall, piano. 5EJWOCPP EQORNGVG UQPCVCU HQT XKQNKP CPF RKCPQ -9%/5 /WUKE 4QQO ;QWPI 5V 9 Waterloo. UT UV Thursday September 15 PQQPWilfrid Laurier University. Music at Noon. 9.7(CEWNV[5JQYECUG/CWTGGP(QTTGUVGT4GEKVCN*CNN7PKXGTUKV[#XG9 Waterloo. Z(TGG NUMUS ConcertsThe Film Music of Philip Glass)NCUU2KCPQ%QPEGTVQDCUGFQP OWUKEHTQOVJG NO 6JG*QWTU UEQTGHQT VJG NO &TCEWNC 5[ORJQP[0Q/CPKVQDC%JCODGT1TEJGUVTC#PPG/CPUQPEQPFWEVQT/KEJCGN4KGUOCPRKCPQ4KXGT4WP%GPVTG 9QQNYKEJ5VGuelphQT UT WPFGT UVWFGPVTWUJ G[G)1YKVJXCNKF+& Thursday September 08 Guelph Jazz Festival Double Bill: TILTING � The Nicolas Caloia Quartet and Pimley, Parker & Hemingway. /CEFQPCNF 5VGYCTV #TV %GPVTG )CNNGT[ )QTFQP 5V Guelph. QT UTUV Saturday September 17 SweetWater Music Festival Children's Concert )TGIQT[ 1J RKCPQ CPF EQPFWEVQT FCPEKPI IWGUV .GKVJ %JWTEJ 6QO 6JQOUQP .P Leith EJKNF Kitchener-Waterloo Symphony Gala Concert: Edwin and Friends $CTDGT GZEGTRVU HTQO 8KQNKP %QPEGTVQ )GTUJYKP 4JCRUQF[ KP $NWG 4QFIGTU GZEGTRVU HTQO %CTQWUGN Friday September 09 Speak Music. Coming Home with Nonie Crete, Hotcha! and Grainne. 6TKRNG DKNN QH UKPIGTUQPIYTKVGT JKNNDKNN[ UYKPI CPF TQQVU 4GIKUVT[ 6JGCVTG (TGFGTKEM 5V Kitchener. Guelph Jazz Festival Marianne Trudel Septet. /CEFQPCNF 5VGYCTV #TV %GPVTG )CNNGT[ )QTFQP 5V Guelph. QT (TGG Guelph Jazz Festival Double Bill: Trygve Seim and Andreas Utnem and Christine Duncan and the Element Choir Project with William Parker. 5CPEVWCT[ 5V )GQTIG U #PINKECP %JWTEJ 9QQNYKEJ 5V Guelph. QT UTUV Russian Alexandrov Red Army Choir and Ensemble. In Concert. *COKNVQP 2NCEG 5WOOGTU .CPG Hamilton. RO Guelph Jazz Festival. Stretch Orchestra (formerly Tallboys). /KVEJGNN *CNN 5V )GQTIG U #PINKECP %JWTEJ 9QQNYKEJ 5V Guelph. QT UTUV Sunday September 11 CO Guelph Jazz Festival. Creative PRINCE EDWARD COUNTY September 16-24, 2011 St�phane Lemelin Artistic director and pianist MUSIC FESTIVAL The Church of St. Mary Magdalene and two other beautiful County venues Saturday September 10 CO Guelph Jazz Festival. Trevor Watts and Veryan Weston. )WGNRJ ;QWVJ /WUKE %GPVTG %CTFKICP 5V Guelph. QT UTUV CO Guelph Jazz Festival. Sound One. 7RRGT 9[PFJCO 5VTGGV ,C\\ 6GPV 9[PFJCO 5V 0 Guelph. QT (TGG Guelph Jazz Festival. Jane Bunnett and KidsAbility Youth Ensemble. 7RRGT 9[PFJCO 5VTGGV ,C\\ 6GPV 9[PFJCO 5V 0 Guelph. QT (TGG Guelph Jazz Festival. Double Bill: The Necks and Lotte Anker, Craig Taborn and Gerald Cleaver. %QQRGTCVQTU *CNN 4KXGT 4WP %GPVTG 9QQNYKEJ 5V Guelph. QT UTUV September 1� October 7, 2011 Ana Sokolovic Composer-in-residence For Tickets: 613-471-1991 or toll free 1-866-584-1991 ONTARIO ARTS COUNCIL CONSEIL DES ARTS DE L'ONTARIO thewholenote.com 43 B. Concerts Beyond the GTA (TKON CPF 5VQVJCTV +PFKCP .QXG %CNN HTQO 4QUG /CTKG %QRNCPF 4QFGQ CPF QVJGT YQTMU /GICP .CVJCO OG\\Q 6CK /WTTC[ XKQNKP -GPPGVJ 1NUGP EGNNQ +CP 2CTMGT RKCPQ *WIJ 4WUUGNN DCTKVQPG 'FYKP 1WVYCVGT EQPFWEVQT %GPVTG KP VJG 5SWCTG 3WGGP 5V 0 Kitchener QT (QNNQYGF D[ #HVGT 2CTV[ (QT HWTVJGT FGVCKNU UGG .KUVKPIU 5GEVKQP & 6JG '6%GVGTCU WPFGT )CNCU (WPFTCKUGTU Prince Edward County Music Festival. Beethoven and the Slavs. $GGVJQXGP 6TKQ 0Q 1R 5QMQNQXKE 2QTVTCKV RCTNG 5OGVCPC 6TKQ 1R 6TKQ *QEJGNCIC %JWTEJ QH 5V /CT[ /CIFCNGPG /CKP 5V Picton. QT HTGG UV Jeffery Concerts. Tokyo String Quartet. 9QNH 2GTHQTOCPEG *CNN &WPFCU 5V London. UT UV SweetWater Music Festival Concert Two /Q\CTV &KXGTVKOGPVQ KP ( - $CEJ $TCPFGPDWTI %QPEGTVQ 0Q /GUUCKGP 3WCTVGV HQT VJG 'PF QH 6KOG ,QJP 0QXCEGM RKCPQ CPF QVJGTU &KXKUKQP 5VTGGV 7PKVGF %JWTEJ VJ #XG ' Owen Sound 2TGEQPEGTV EJCV QT UV Sunday September 25 Thursday September 22 PQQP Wilfrid Laurier University. Music at Noon. 2GPFGTGEMK 5VTKPI 3WCTVGV /CWTGGP (QTTGUVGT 4GEKVCN *CNN 7PKXGTUKV[ #XG 9 Waterloo. Z (TGG Prince Edward County Music Festival. The Lovely Miller Maid: a multi-media presentation. 5EJWDGTV &KG 5EJ�PG /�NNGTKP 2GVGT /E)KNNKXTC[ DCTKVQPG 5V�RJCPG .GOGNKP RKCPQ %JWTEJ QH 5V /CT[ /CIFCNGPG /CKP 5V Picton. QT UV VQ All Canadian Jazz Festival. Tenth Anniversary: Day 2. 5JCTQP 4KNG[ CPF (CKVJ %JQTCNG ;QWPI ,C\\ 5JQYECUG 2NCPGV 'CTVJ $TQYPOCP 'NGEVT[E 6TKQ -GNN[NGG 'XCPU )CNCZ[ 1TEJGUVTC HGCV 4QUU 9QQNFTKFIG /GOQTKCN 2CTM 3WGGP 5V Port Hope. FC[ RCUU HTGG WPFGT Chamber Music Hamilton. Alcan Quartet. 9QTMU D[ /Q\CTV /GPFGNUUQJP CPF $GGVJQXGP *COKNVQP %QPUGTXCVQT[ HQT VJG #TVU ,COGU 5V 5 Hamilton. UT UV Colours of Music. Balalaika Virtuoso � Russian Duo. 4J[VJOU QH 4WUUKC 1NGI -TWIN[CMQX DCNCNCKMC 6GTT[ $Q[CTUM[ RKCPQ $WTVQP #XGPWG 7PKVGF %JWTEJ $WTVQP #XG Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Colours of Music. Soaring Strings. /Q\CTV (KTUV 8KQNKP %QPEGTVQ CNUQ YQTMU D[ $GGVJQXGP CPF 'NICT $TKCP .GYKU XKQNKP 5KPHQPKC 6QTQPVQ 0WTJCP #TOCP EQPFWEVQT %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Cuckoo's Nest Folk Club Gavin Davenport, guitar and concertina. %GNVKE OWUKE %JCWEGT U 2WD %CTNKPI 5V London QT CFX Kitchener-Waterloo Chamber Music Society. Beethoven Complete Sonatas for Violin and Piano: Concert One. 5QPCVC 0Q 1R 5RTKPI -9%/5 /WUKE 4QQO ;QWPI 5V 9 Waterloo. UT UV Wednesday September 28 PQQP Colours of Music. The Storied Harp. 5EJCHGT 6JG %TQYP QH #TKCFPG .QTK )GOOGNN JCTR 6QO #NNGP PCTTCVQT $WTVQP #XGPWG 7PKVGF %JWTEJ $WTVQP #XG 5V 0 Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG St. Andrew's Presbyterian Church. Wednesday Noon Concerts. &KCPC &WONCXYCNNC RKCPQ 3WGGP 5V 0 Kitchener. (TGG Colours of Music. The Singing Violin. 9QTMU D[ /KNJCWF $TCJOU CPF 5EJWOCPP 8CNGTKG 6T[QP RKCPQ $TKCP .GYKU XKQNKP $WTVQP #XGPWG 7PKVGF %JWTEJ $WTVQP #XG 5V 0 Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Colours of Music. Music on the Grand Scale. 9QTMU D[ 4GKEJC 4JGKPDGTIGT CPF 8G\KPC 2GPFGTGEMK 5VTKPI 3WCTVGV 2GPVC�FTG 9KPF 3WKPVGV +CP 9JKVGOCP FQWDNG DCUU %GPVTCN 7PKVGF %JWTEJ 4QUU 5V $CTTKG (GUVKXCN 2CUURQTVU CXCKNCDNG Kitchener-Waterloo Chamber Music Society. Beethoven Complete Sonatas for Violin and Piano: Concert Two. 9QNHICPI &CXKF XKQNKP /CWTQ $GTVQNK RKCPQ 5QPCVC 0Q 1R 0Q 5QPCVC 0Q 1R 0Q 5QPCVC 0Q 1R 0Q -9%/5 /WUKE 4QQO ;QWPI 5V 9 Waterloo. UT UV Friday September 23 All Canadian Jazz Festival. Friday Night Party. &QYPEJKNF $NWGU $CPF /GOQTKCN 2CTM 3WGGP 5V Port Hope. (TGG Colours of Music. American Holiday. 9QTMU D[ 5EJQGP GNF (QQVG CPF %CFOCP #OGU 2KCPQ 3WCTVGV $TKCP .GYKU XKQNKP %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Prince Edward County Music Festival. The Shape and Colour of Music. $GGVJQXGP 3WCTVGV KP % 1R 0Q 5QMQNQXKE $NCPE FQOKPCPV 4CXGN 5VTKPI 3WCTVGV 5WRGT0QXC 5VTKPI 3WCTVGV 1GPQ )CNNGT[ %QWPV[ 4F $NQQO GNF QT Kitchener-Waterloo Chamber Music Society. Anya Alexayev, piano. )WDCKFWNKPC %JCEQPPG $CEJ 1XGTVWTG KP (TGPEJ 5V[NG 5GKZCU UGNGEVKQP QH MG[DQCTF UQPCVCU $TCJOU 8CTKCVKQPU QP VJG 6JGOG QH 2CICPKPK DQQMU CPF -9%/5 /WUKE 4QQO ;QWPI 5V 9 Waterloo. UT UV Sunday September 18 SweetWater Music Festival Concert Three 6WTKPC 5EGPG #PFCNQWUG % 9KNUQP # 6TKDWVG VQ VJ %GPVWT[ ,C\\ 8KQNKP 6EJCKMQXUM[ 5QWXGPKT FG (NQTGPEG /CTM (GYGT XKQNKP 4QOCP $QT[U EGNNQ #PPCNGG 2CVKRCVCPCMQQP XKQNKP ,QJP 0QXCEGM RKCPQ CPF QVJGTU &KXKUKQP 5VTGGV 7PKVGF %JWTEJ VJ #XG ' Owen Sound Prince Edward County Music Festival. Breezes on a Sunday Afternoon. 0KGNUGP 9KPF 3WKPVGV 5QMQNQXKE %JCPUQPU � DQKTG 4CXGN 6QODGCW FG %QWRGTKP &GDWUU[ %JKNFTGP U %QTPGT 0CVKQPCN #TVU %GPVTG 1TEJGUVTC 9KPFU %JWTEJ QH 5V /CT[ /CIFCNGPG /CKP 5V Picton. QT UV Monday September 26 PQQP Colours of Music. Toy Pianos - junctQin. $CTQSWG VQ $GCVNGU 'NCKPG .CW ,QUGRJ (GTTGVVK CPF 5VGRJCPKG %JWC VQ[ RKCPQU JCTOQPKEC CPF OWUKE DQZGU %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Colours of Music. Peter McGillivray and Friends. 9QTMU D[ (KP\K $CTDGT CPF 8CWIJCP 9KNNKCOU 2GVGT /E)KNNKXTC[ DCTKVQPG $TKCP .GYKU XKQNKP #OGU 2KCPQ 3WCTVGV *K 9C[ 2GPVGEQUVCN %JWTEJ #PPG 5V 0 Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Colours of Music. Schubert's Octet � The Masterpiece. 2GPFGTGEMK 5VTKPI 3WCTVGV ,COGU %CORDGNN ENCTKPGV .QWKU2JKNKRRG /CTUQNCKU (TGPEJ JQTP +CP 9JKVGOCP FQWDNG DCUU /CVJKGW .WUUKGT DCUUQQP $WTVQP #XGPWG 7PKVGF %JWTEJ $WTVQP #XG 5V 0 Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Thursday September 29 PQQP Colours of Music. Barrie's Own Marilyn Reesor. 9QTMU D[ $CEJ /GPFGNUUQJP 4JGKPDGTIGT %JQRKP CPF 5ETKCDKP /CTKN[P 4GGUQT QTICP CPF RKCPQ 5V #PFTGY U 2TGUD[VGTKCP %JWTEJ 1YGP 5V Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG PQQP Wilfrid Laurier University. Music at Noon. .GUNKG (CICP XQKEG .QTKP 5JCNCPMQ RKCPQ /CWTGGP (QTTGUVGT 4GEKVCN *CNN 7PKXGTUKV[ #XG 9 Waterloo. Z (TGG Colours of Music. Kimberly Barber and Friends. 9QTMU D[ $K\GV &GDWUU[ ,CP��GM CPF /CJNGT -KODGTN[ $CTDGT OG\\Q ,COGU %CORDGNN ENCTKPGV 2GPVC�FTG 9KPF 3WKPVGV .QTK )GOOGNN JCTR %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Colours of Music. La Boh�me � Puccini's Beloved Opera in Concert. ,GPPKHGT %CTVGT UQRTCPQ /KOK 2CWN 9KNNKCOUQP VGPQT 4QFQNHQ #NNKUQP #TGPFU UQRTCPQ /WUGVVC 2JKNKR -CNOCPQXKVEJ DCTKVQPG /CTEGNNQ -GKVJ 1 $TKGP DCTKVQPG 5EJCWPCTF CPF QVJGTU 9KNNKCO 5JQQMJQHH OWUKE FKTGEVQT *K9C[ 2GPVGEQUVCN %JWTEJ #PPG 5V 0 Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Saturday September 24 VQ All Canadian Jazz Festival. Tenth Anniversary: Day 1. Blow ;QWT 1YP *QTP ,C\\ 2CTCFG #ODCUUCFQT &KZKG $CPF 4�OK $QNFWE /KEJGNNG )T�IQKTG 3WKPVGV 6JG .QUV (KPIGTU;QWPI ,C\\ 5JQYECUG /GOQTKCN 2CTM 3WGGP 5V Port Hope. FC[ RCUU HTGG WPFGT Colours of Music. Romance in France. 9QTMU D[ 5CKPV5C�PU (CWT� CPF *CJP #OGU 2KCPQ 3WCTVGV %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG All Canadian Jazz Festival. Headline Concert: Aspects of Oscar. &CXG ;QWPI DCUU 4QDK $QVQU RKCPQ -GXKP 6WTEQVVG VTWORGV 6GTT[ %NCTMG FTWOU 4GI 5EJYCIGT IWKVCT /GOQTKCN 2CTM 3WGGP 5V Port Hope. Colours of Music. Brahms Celebrated German Requiem. 6CNNKU %JQKT -KPI 'FYCTF %JQKT #PFTGY .QXG DCTKVQPG #NNKUQP #TGPFU UQRTCPQ 2GVGT 6KGHGPDCEJ CPF 4QDGTV -QTVICCTF FWQ RKCPQU 2GVGT /CJQP EQPFWEVQT *K9C[ 2GPVGEQUVCN %JWTEJ #PPG 5V 0 Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Prince Edward County Music Festival. The Glory of Old Vienna. /CJNGT .KGFGT GKPGU HCJTGPFGP )GUGNNGP 5QMQNQXKE 6CP\GT .KGFGT &XQ �M 2KCPQ 3WKPVGV /CTM (GYGT CPF /CTKG $�TCTF XKQNKP &QWINCU /E0CDPG[ XKQNC &GPKUG &LQMKE EGNNQ 2GVGT /E)KNNKXTC[ DCTKVQPG 'NNGP 9KGUGT UQRTCPQ 5V�RJCPG .GOGNKP RKCPQ CPF QVJGTU %JWTEJ QH 5V /CT[ /CIFCNGPG /CKP 5V Picton. Tuesday September 20 Prince Edward County Music Festival. Young Musicians in Concert. %JWTEJ QH 5V /CT[ /CIFCNGPG /CKP 5V Picton. QT HTGG UV Kitchener-Waterloo Chamber Music Society. Mercer-Oh Trio. *C[FP 2KCPQ 6TKQ 0QU -9%/5 /WUKE 4QQO ;QWPI 5V 9 Waterloo. UT UV Tuesday September 27 PQQP Colours of Music. Six Hands One Piano - junctQin. 9QTMU D[ )CTFKPGT 4CKUCPGP CPF 5JGTMKP 'NCKPG .CW ,QUGRJ (GTTGVVK CPF 5VGRJCPKG %JWC RKCPQ %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Cathedral Church of St. Paul. Noon Organ Recital. 5VGRJCPKG $WTIQ[PG CPF 9KNNKCO 8CPFGTVWKP QTICP UQNQ CPF HQWT JCPFU 4KEJOQPF 5V London. (TGG Colours of Music. The Happy Sound. 9QTMU D[ $GGVJQXGP /Q\CTV CPF $TCJOU 8CNGTKG 6T[QP RKCPQ $TKCP .GYKU XKQNKP .QWKU 2JKNKRRG /CTUQNCKU (TGPEJ JQTP %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Colours of Music. On the Upbeat. 9QTMU D[ 2TQMQ GX %QRNCPF )KNNKNCPF CPF *[OCP 2GPFGTGEMK 5VTKPI 3WCTVGV ,COGU %CORDGNN ENCTKPGV 2GVGT 6KGHGPDCEJ RKCPQ +CP 9JKVGOCP FQWDNG DCUU %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Wednesday September 21 PQQP Music at St. Andrew's. Paul Gockel, organ. 5V #PFTGY U 2TGUD[VGTKCP %JWTEJ 1YGP 5V Barrie. HTGG UV St. Andrew's Presbyterian Church. Wednesday Noon Concerts. -WQ 0CMCLKOC &WQ XKQNKP CPF RKCPQ 3WGGP 5V 0 Kitchener. (TGG Orchestra London Cathedral Series: Bella Italia %JGTWDKPK 5[ORJQP[ KP & 4GURKIJK #PEKGPV #KTU CPF &CPEGU 4QUUKPK 6JG $CTDGT QH 5GXKNNG CTKCU D[ 4QUUKPK &QPK\GVVK CPF QVJGTU /QPKEC 9JKEJGT UQRTCPQ -GXKP /CNNQP EQPFWEVQT 5V 2CWN U %CVJGFTCN 4KEJOQPF 5V London 44 Friday September 30 PQQP Colours of Music. Songs My Mother Taught Me. 9QTMU D[ &XQ �M $CTDGT 5EJWDGTV CPF )GTUJYKP $WTVQP #XGPWG 7PKVGF %JWTEJ $WTVQP #XG 5V 0 Barrie. (TGG Colours of Music. Legendary Liszt. 8CNGTKG 6T[QP RKCPQ *K9C[ 2GPVGEQUVCN September 1� October 7, 2011 thewholenote.com September 1� October 7, 2011 thewholenote.com 45 B. Concerts Beyond the GTA %JWTEJ #PPG 5V 0 Barrie. (TGG Colours of Music. Those Distant Isles � Songs of Britain. .QEJ .QOQPF .KPFGP .GC CPF QVJGTU 2GVGT /E)KNNKXTC[ DCTKVQPG .GKIJ#PPG /CTVKP OG\\Q #NNKUQP #TGPFU UQRTCPQ 2GVGT 5VQNN ENCTKPGV 4QDGTV -QTVICCTF RKCPQ %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. (TGG Kitchener-Waterloo Chamber Music Society. Beethoven Complete Sonatas for Violin and Piano: Concert Three. -9%/5 /WUKE 4QQO ;QWPI 5V 9 Waterloo. UT UV 7PKXGTUKV[ #XG 9 Waterloo. Z (TGG Thursday October 06 PQQP Wilfrid Laurier University. Music at Noon. +TUJCF -JCP YQTNF GPUGODNG UKVCT VCPRQQTC MG[DQCTFU YGUVGTP CPF NCVKP FTWOU /CWTGGP (QTTGUVGT 4GEKVCN *CNN Friday October 07 ;174 .+56+0) %17.& $' *'4' NKUVKPIU"VJGYJQNGPQVGEQO C. In the Clubs (Mostly Jazz) Alleycatz ;QPIG 5V YYYCNNG[ECV\EC Every Mon RO Salsa Night w DJ Frank Bischun, w lessons Every Tue RO Carlo Berardinucci and the Double A Jazz Swing Band, with lessons, %QXGT Every Wed RO Swingin' Jazz and Blues, Funky R&B w Grayceful Daddies Every Thu Soul, R&B and Reggae 4GHTGUJOGPVU 0Q %QXGT Fri and Sat Funk, Soul, Reggae, R&B, Top 40; %QXGT YQWV FKPPGT TGUGTXCVKQPU Sep 1 Local Music is Sexy. Sep 2, 3 Lady Kane. Sep 8, 9 )TCH VVK 2CTM Sep 10 Luscious. Sep 15 Domisani Headliners. Sep 16, 17 Lady Kane. Sep 22, 23, 24 Ascension. Sep 29 Soular. Sep 30 )TCH VVK 2CTM Classico Pizza & Pasta $NQQT 5V 9 Every Thu RO Nate Renner, guitar. 0Q %QXGT Cobourg, The 2CTNKCOGPV 5V ,C\\ 5WPFC[U RO 0Q %QXGT Saturday October 01 PQQP Colours of Music. Schola Magdalena � Inspired Song. 9QTMU D[ XQP $KPIGP CPF )TGIQTKCP EJCPV 5VGRJCPKG /CTVKP ,WNKC #TOUVTQPI CPF ,CPGV 4GKF 0CJCDGFKCP XQKEG 6TKPKV[ #PINKECP %JWTEJ %QNNKGT 5V Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Colours of Music. Gone Fishin'. 9QTMU D[ )GTUJYKP /KNJCWF 9CIPGT (KP\K CPF 3 0CEJQHH YQTNF RTGOKGTG 2GVGT 5VQNN ENCTKPGV CPF UCZQRJQPG %GEKNKC 5VTKPI 3WCTVGV $WTVQP #XGPWG 7PKVGF %JWTEJ $WTVQP #XG 5V 0 Barrie. Colours of Music. Angels in Song. 9QTMU D[ *CV GNF 4WVVGT &CNG[ YQTNF RTGOKGTG. $CEJ %JKNFTGP U %JQTWU 'NGCPQT &CNG[ RKCPQ .KPFC $GCWRT� EQPFWEVQT *K9C[ 2GPVGEQUVCN %JWTEJ #PPG 5V 0 Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Coco Rogue Chocolate Lounge ;QPIG 5V YYYEQEQTQIWGEQO Sep 16, 23, 30 RO Ori Dagan and Mark Kieswetter 0Q %QXGT Allemano's Composer's Collective. Sep 5 Dan V Dan. Sep 7 Peter Boyd & the Mutant Duo Blues. Sep 8 RO Box Full of Cash. Sep 11 PRAM Trio. Sep 12 Dan V Dan. Sep 14 Mark Martyre. Sep 15 Ken Yoshioka Blues. Sep 18 The Crossways Band. Sep 19 Dan V Dan. Sep 21 Ori Dagan. Sep 22 Echo &Twang. Sep 25 Tom Richards. Sep 26 Dan V Dan. Sep 28 Trace Elements. Sep 29 James Carroll & Liam Ward. Gallery Studio, The .CMG 5JQTG $NXF 'VQDKEQMG JVVRYYYVJGICNNGT[VJCXGDNQIURQVEQO Every Tue Humber College Alumni/Open Mic. Every Sat RO The Cooking Channel Every Sun RO Birds of a Feather; RO Fair Trade; RO Elizabeth Martins Quartet. Communist's Daughter, The &WPFCU 5V 9 Every Sat RO Gypsy Jazz w Michael Johnson & Red Rhythm: Michael Louis Johnson (trumpet/vocals) Roberto Rosenman (guitar) Terry Wilkins (bass). Annex Live, The $TWPUYKEM #XG YYYCPPGZNKXGEQO Gate 403 4QPEGUXCNNGU #XG YYYICVGEQO #NN UJQYU 2Y[E Sep 1 RO Liam Ward Jazz Trio; RO Roberta Hunt Jazz & Blues Band. Sep 2 RO Robert David: Bang Howdy; RO Fraser Melvin Blues Band. Sep 3 PQQP Jessica Sturrup Jazz Band; RO Andy Malette Piano Solo; RO Melissa Boyce Jazz & Blues Band. Sep 4 PQQP Melissa Lauren Jazz Band; RO Kristen Au Jazz Band; RO Jarek Dabrowski Jazz Band. Sep 5 RO Jordan Lazaruk Jazz Duo; RO Vincent Bertucci Jazz Band. Sep 6 RO Kelsey McNulty Jazz Band; RO Richard Whiteman and James Thompson Jazz Band. Sep 7 RO Zaynab Wilson Jazz Band; RO Kurt Nielsen and Richard Whiteman Jazz Band. Sep 8 RO Alex Samaras Jazz Band; RO Kevin Lalibert� Jazz & Flamenco Trio. Sep 9 RO Bobby Hsu Jazz Band; RO Caf� Ol� Latin Jazz Band. Sep 10 PQQP Damien Villeneuve Piano Solo; RO Bill Heffernan and Friends; RO Six Points Jazz Orchestra. Sep 11 PQQP Joel Diamond Jazz Duo; RO Aj Ing Fusion Jazz Band; RO Suitcase Sam. Sep 12 RO Denis Schingh Solo; RO Jorge Gavidia Blues Band. Sep 13 RO Donn� Roberts Band; RO Kurt Nielsen and Richard Whiteman Jazz Band. Sep 14 RO Joshua Goodman Jazz Band; RO Ilios Steryannis Jazz Trio. Sep 15 RO Denise Leslie Jazz Band; RO String Theory Collective. Sep 16 RO Kyla Tingley Jazz Band; RO Sweet Derrick Blues Band. Sep 17 PQQP Sandy Blakeley Duo; RO Bill Heffernan and Friends; RO Dennis Gaumond Blues Duo. Sep 18 PQQP Gabriel Palatchi Latin Jazz Band; RO Grayceful Daddies; RO Framework Collective. Sep 19 RO Jaehoon Yoon Jazz Band; RO Jorge Gavidia Blues Band. Sep 20 RO Jake Koffman Jazz Band; RO Kurt Nielsen and Richard Whiteman Jazz Band. Sep 21 RO Brian Cober and Aslan Gotov Blues Duo; RO Ken Kawashima & Bob Vespaziani; Snake Oil Johnson. Sep 22 RO Jacky Bouchard Jazz Trio; RO Christopher Simmons Jazz Trio. Sep 23 RO Denielle Bassels Jazz Band; RO Patrick Tevlin's New Orleans Rhythm. Sep 24 PQQP Toronto Jazz Chorus; RO Bill Heffernan September 1� October 7, 2011 Aquila Restaurant -GGNG 5V .KXG $NWGU 9GFPGUFC[ VQ 5CVWTFC[ 0KIJVU RO 1RGP ,CO 5WPFC[U RO DeSotos 5V %NCKT #XG 9 Every Thu ROOKFPKIJV Open Mic Jazz Jam JQUVGF D[ &QWDNG # ,C\\ Every Sun CO RO Brunch w Double A Jazz and Guest Azure Restaurant and Bar CV VJG +PVGTEQPVKPGPVCN *QVGN (TQPV 5V 9 YYYC\WTGTGUVCWTCPVEC Every Thu, Fri, Sat RO Dan Bodanis, Bernie Senensky and Steve Wallace. Sunday October 02 PQQP Wilfrid Laurier University. Sing Fires of Justice %JQTCN EQPEGTV &T .GG 9KNNKPIJCO FKTGEVQT /CWTGGP (QTTGUVGT 4GEKVCN *CNN 7PKXGTUKV[ #XG 9 Waterloo. Z UTUV Colours of Music. Graceful Song. 9QTMU D[ 5ECTNCVVK 5EJWOCPP $CTDGT (CWT� 4CXGN CPF $TKVVGP /QPKEC 9JKEJGT UQRTCPQ ,WF[ .QOCP JCTR $WTVQP #XGPWG 7PKVGF %JWTEJ $WTVQP #XG 5V 0 Barrie. (GUVKXCN 2CUURQTVU CXCKNCDNG Colours of Music. Concerto Celebration. 6WTKPC 4JCRUQFKC 5KPHQPKEC 5CKPV 5C�PU 9GFFKPI %CMG ECRTKEGXCNUG HQT RKCPQ CPF UVTKPIU CNUQ YQTMU D[ 8CWIJCP 9KNNKCOU &XQ �M CPF /GPFGNUUQJP 8CNGTKG 6T[QP RKCPQ 5KPHQPKC 6QTQPVQ 0WTJCP #TOCP EQPFWEVQT %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. Cuckoo's Nest Folk Club Kieran Halpin. +TKUJ HQNMUKPIGT %JCWEGT U 2WD %CTNKPI 5V London QT CFX Dominion on Queen 3WGGP 5V ' YYYFQOKPKQPQPSWGGPEQO Every Sun CORO Rockabilly Brunch Every Tue RO Corktown Django Jam w host Wayne Nakamura. 2Y[E Every Wed Corktown Uke Jam. Every Thu RO John T. Davis on B3. 0Q %QXGT Every Sat RO Ronnie Hayward. Sep 9 Elmer Ferrer. Sep 10 Michael Schatte Band. Sep 16, 17, 18 Rockabilly Weekend. Sep 23 Havana to Toronto with Joaquin Nunez Hidalgo. Sep 24 Downtown Fun Connection. Sep 29 Myriad: Chris Donnelly Trio. Sep 30 RO Ori Dagan Sings the Crooners w Ryan Oliver and the Cookers. Black Swan, The &CPHQTVJ #XG Every Wed RO The Danforth Jam w Jon Long and Friends. Bon Vivant Restaurant #XGPWG 4F YYYDQPXKXCPVFKPKPIEQO Every Thu Bill Naphan Solo Guitar RO Every Fri RO Margaret Stowe Solo Guitar. Dovercourt House &QXGTEQWTV 4F YYYQFFUQEMUQTI HWNN UEJGFWNG Every Sat Saturday Night Swing: Dance featuring Live Swing Bands and dance lessons. Castro's Lounge 3WGGP 5V ' 0Q %QXGT Every Sun RO Jeremy Rouse Trio (Jazz/ Roots). Every Mon RO Smokey Folk (Bluegrass/Rockabilly). EDO 'INKPVQP #XG 9 YYYGFQUWUJKEQO 0Q %QXGT Every Thu Guitarist Tony Quarrington RO YKVJ IWGUVU Sep 1 Lynda Covello XQE Jordan O'Connor DCUU Sep 8 Sam Broverman XQE George Koller DCUU Sep 15 Sharon Smith XQECNU Shelley Miller DCUU Sep 22 Russell Drago XQECNU Clark Johnston DCUU Sep 29 Donna Greenberg XQECNU Jordan Klapman MG[DQCTFU C'est What (TQPV 5V ' YYYEGUVYJCVEQO Sep 10, 24 RO Del Dako & Friends. Sep 17 RO Hot Five Jazzmakers. Monday October 03 Kitchener-Waterloo Chamber Music Society. Till Fellner, piano. *C[FP 5QPCVC KP % - #TOUVTQPI *CNH QH 1PG 5KZ &Q\GP QH VJG 1VJGT 5EJWOCPP 5EGPGU HTQO %JKNFJQQF .KU\V #PP�GU FG R�NGTKPCIG ++ +VCNKG -9%/5 /WUKE 4QQO ;QWPI 5V 9 Waterloo. UT UV Chalkers Pub Billiards & Bistro /CTNGG #XG YYYEJCNMGTURWDEQO HWNN UEJGFWNG Every Wed ROOKFPKIJV Girls Night Out Vocalist-Friendly Jazz Jam w host Lisa Particelli XQECNU WVG Peter Hill (piano), Ross MacIntyre (bass), Norman Marshall Villeneuve (drums); 0Q %QXGT2Y[E Sep 17 Dave Young Quartet. Sep 24 Lorne Lofsky Trio. Wednesday October 05 St. Andrew's Presbyterian Church. Wednesday Noon Concerts. ,QJP 8CPFGTVWKP QTICP 3WGGP 5V 0 Kitchener. (TGG 46 Emmet Ray, The %QNNGIG 5V #NN UJQYU RO 2Y[E YYYVJGGOOGVTC[EQO HWNN UEJGFWNG Sep 1 The John Wayne Swingtet. Sep 4 Lina thewholenote.com & Friends; RO Donn� Roberts Band. Sep 25 PQQP Olga: The Gimlets; RO Brownman Akoustic Jazz Trio; RO McGyle Madness. Sep 26 RO Erica Romero Trio; RO Carol Oya Jazz Band. Sep 27 RO Michael Keith Blues; RO Kurt Nielsen and Richard Whiteman Jazz Band. Sep 28 RO Noah Sherman Jazz Band; RO Sean Bellaviti Jazz Band. Sep 29 RO Jeff LaRochelle Quartet; RO Cyndi Carleton Jazz & Swing Band. Sep 30 RO Tina Nodwell Jazz Band; RO Joanna Moon Flamenco-Latino with Quebec Edge. Latinada Restaurant & Jazz Bar $NQQT 5V 9 YYYNCVKPCFCEQO Liberty Bistro, The .KDGTV[ 5V YYYNKDGTVQDKUVTQEC Every Tue Open Mic w Big Rude Jake. Every Wed Noah Zacharin. September Songs ORI DAGAN Lula Lounge &WPFCU 5V 9 YYYNWNCEC Sep 1 Le Hot Jazz: Ella Fitzgerald Tribute; The Arsenals. Sep 2 Ladies Night with Luis Mario Ochoa & DJ Gio. Sep 3 Caf� Cubano, DJ Suave. Sep 4 Salon Noir: Dark Vaudeville. Sep 9 Friday Jazz Series: Dominic Mancuso Trio. Sep 10 Salsa Saturday: Son Ache. Sep 11 Salsa Brunch w Luis Mario Ochoa. Sep 12 GraceKaya CD Release. Sep 15 Access Education Guatemala Children`s Fund Gala with Conjunto Lacalu, guests Aviva Rajsky and Tom Bellman. See The ETCeteras (Listings Section D). Sep 17 Salsa Saturday w Conjunto Lacalu and DJ Jimmy Suave. Sep 18 Salsa Brunch w Luis Mario Ochoa. Sep 22 Small World Music Festival: Prince Enoki`s Insect Orchestra and The Lemon Bucket Orkestra. Sep 23 Small World Music Festival: Funkete. Sep 24 Salsa Saturday with Caf� Cubano and DJ Suave. Sep 25 Small World Music Festival: Hilario Duran, B Mundo Discos. Sep 28 Small World Music Festival: Canzoniere Grecanico Salentino. Sep 29 Small World Music Festival: Siki Tour�. Grossman's Tavern 6QTQPVQ U *QOG QH VJG $NWGU 5RCFKPC #XG YYYITQUUOCPUVCXGTPEQO HWNN UEJGFWNG #NN UJQYU 0Q %QXGT Every Sat RO The Happy Pals matinee; Every Sun ROCO The Nationals w Brian Cober: Double Slide Guitar Open Stage Jam; Every Wed RO Ernest Lee & Cotton TrafE Sep 3 Chloe Watkinson and the Crossroad. Sep 9 Anthony Salvatore and the Cause. Sep 10 Grayceful Daddies. Sep 16 The Fullerton. Sep 17 Cross Eyed Cat. Sep 23 The Swingin' Blackjacks. Sep 24 Caution Jam. Sep 30 Frankie Foo. T Harlem Restaurant 4KEJOQPF 5V ' YYYJCTNGOTGUVCWTCPVEQO HWNN UEJGFWNG #NN UJQYU 0Q %QXGT GZEGRV YJGTG PQVGF QVJGTYKUG Every Mon ROCO Open Jam Night Every Fri/Sat RO Jazz/Blues. Sep 2 Gabriel Palatchi. Sep 3 James King Trio. Sep 9 Mike Field. Sep 10 Gibbran. Sep 16 Robert Ball. Sep 17 Jill Peacock. Sep 23 ZimZum. Sep 24 Quique Escamilla. Sep 30 SoJay. hree years ago, Derek Houghton purchased a broken down Etobicoke building with the intention of renovating and reselling it. He changed his mind about the latter part of the plan when JG FKUEQXGTGF .CMGUJQTG 8KNNCIG U CTVKUVKE EQOOWPKV[ CPF QRGPGF C brand new venue -- complete with grand piano and drum set -- called the Gallery Studio. "I wanted to create a venue for serious artists ... an art gallery slash jazz club -- my two passions ... I also wanted to create a setting where jazz students and recent grads could play and where the big names could also play, so there is more of a cross-pollination of talent, young and mature, so that the experience is less predictable ... I want to emphasize as well the entertainment aspect of jazz as much as the very important academic aspect. I think that both are richer when brought together." Recently the venue has been home to the Al Henderson/Kurt MacDonald Duo, the Dave Restivo/Kelly Jefferson Quartet, Mike Murley and other greats. There is no shortage of jazz talent in the vicinity of the Gallery Studio, especially since it is just a HGY DNQEMU HTQO VJG *WODGT %QNNGIG .CMGUJQTG ECORWU %JGEM The WholeNote's LC\\ NKUVKPIU VQ PF KVU EQORNGVG UEJGFWNG KPENWFKPI three regular bands on Sunday and a weekly open mic hosted by Humber College Alumni. Derek Houghton. NEW VENUE, NEW MENU, NEW PIANO! Manhattan's Music Club )QTFQP 5V Guelph YYYOCPJCVVCPUEC Harlem Underground Restaurant /Bar 3WGGP 5V 9 YYYJCTNGOTGUVCWTCPVEQOWPFGTITQWPF Every Mon Chris Weatherstone Trio. Every Tue John Campbell. Every Thu Carl Bray. Every Fri Chris Weatherstone Trio. Every Sat Carl Bray. Mezzetta Middle Eastern Restaurant 5V %NCKT #XG 9 YYYOG\\GVVCTGUVCWTCPVEQO Every Wed ,C\\ 5GTKGU UGVU CV RO CPF RO %QXGT Momo's Bistro 6JG 3WGGPUYC[ 'VQDKEQMG YYYOQOQUDKUVTQEQO Every Wed RO Open Mic. Home Smith Bar, The - see Old Mill Hot House Caf� %JWTEJ 5V YYYJQVJQWUGECHGEQO 0Q %QXGT Every Sun CORO Brunch with Jazz Zone. N'Awlins Jazz Bar and Dining -KPI 5V 9 YYYPCYNKPUEC Every Tue Stacie McGregor; Every Wed Jim Heineman Trio; Every Thu Blues Night w Guest Vocalists; Every Fri/Sat All Star Bourbon St. Band Every Sun Brooke Blackburn. Hugh's Room 6QTQPVQ U JQOG QH NKXG (QNM CPF 4QQVU &WPFCU 5V 9 YYYJWIJUTQQOEQO HWNN UEJGFWNG #NN UJQYU UVCTV CV RO Sep 1 Eliza Gilkyson. Sep 2 Twist and Shout: A Tribute to the Beatles. Sep 7 J.P. Cromier & the Elliott Brothers. Sep 8 Amelia Curran. Sep 9 Ron Nigrini. Sep 13 Ridley Bent. Sep 15 Eric St. Laurent Trio CD Release. Sep 16 John Prine Tribute. Sep 17 Rita Chiarelli. Sep 20 Joy Kills Sorrow. Sep 22 Double Bill: The Roofhoppers CD Release, The Boxcar Boys. Sep 23 Madison Violet. Sep 24 Ramblin' Jack Elliott. Sep 25 Paul Brady. Sep 28 Triple Bill: Paul James, Jack de Keyzer and Danny Marks. Sep 29, 30 David Francey CD Release. APPLAUSE FOR THE CAUSE The Ken Page Memorial Trust presents its 13th annual fundraising gala on September 15 at The Old Mill, and once again the music director of this fantastic event is The WholeNote`s own Jim Galloway. The wholly noteworthy lineup will prove heavenly for lovers of swing. In memory of distinguished television executive and fervent jazz enthusiast Ken Page, this is an event well worth supporting; since 1998, the trust fund has been strongly committed to the health of jazz by funding various initiatives year-round with a focus on education. In a similar mindset, the Archie Alleyne Scholarship Fund RTGUGPVU KVU UGXGPVJ CPPWCN HWPFTCKUGT 5[PEQRCVKQP .KHG KP VJG Key of Black," September 18 at the Al Green Theatre. "This event will bring us back to the era when there were jam sessions at the 355 every Sunday and where most of the black musicians in Toronto developed their careers," says Alleyne, who will be formally JQPQWTGF YKVJ VJG .KHGVKOG #EJKGXGOGPV #YCTF HTQO VJG Toronto Musicians' Association at the event. "We were not welcome to perform in the mainstream entertainment mecca on Yonge Street until 1944 because of discrimination." The afternoon will feature a rare photo exhibit of subjects such as Syd Blackwood, Don %CTTKPIVQP CPF %[ /E.GCP MPQYP CU %CPCFC U %QWPV $CUKG CPF 47 Old Mill, The 1NF /KNN 4F YYYQNFOKNNVQTQPVQEQO The Home Smith Bar: 0Q 4GUGTXCVKQPU 0Q %QXGT OKPKOWO RGT RGTUQP #NN UJQYU RO Every Thu 5K\\NKPI 5QNQ 2KCPQ 5GTKGU. Every Fri 5QOGVJKPI VQ 5KPI #DQWV 5GTKGU Every Sat ,C\\ /CUVGTU 5GTKGU Sep 2 Bob DeAngelis ENCTKPGV Danny McErlain RKCPQ Ron Johnston DCUU Sep 3 Bruce Cassidy VTWORGV CPF '8+ Reg Schwager IWKVCT Shelly Berger DCUU Sep 9 Russ Little VTQODQPG Rob Piltch IWKVCT Pat Collins DCUU Sep 10 Gary Benson IWKVCT Jon Maharaj DCUU Joel Haynes FTWOU Sep 15 Joe Sealy RKCPQ Sep 16 Barbra Lica XQECNU Reg Schwager IWKVCT Paul Novotny DCUU Sep 17 Chase Sanborn VTWORGV Mark Kieswetter RKCPQ Sep 22 John Sherwood RKCPQ Joe Mama's -KPI 5V 9 .KXG OWUKE GXGT[ PKIJV #NN UJQYU 0Q %QXGT Every Sun RO Nathan Hiltz & Special Guests. September 1� October 7, 2011 thewholenote.com C. In the Clubs (Mostly Jazz) Sep 23 Carol McCartney XQECNU Chris Robinson UCZ John Sherwood RKCPQ Kieran Overs DCUU Sep 24 Mark Eisenman RKCPQ Neil Swainson DCUU John Sumner FTWOU Sep 29 John Sherwood RKCPQ Sep 30 Terra Hazelton XQECNU Nathan Hiltz IWKVCT Jordan O'Connor DCUU Bacchus; RO Mr. Marbles. Sep 4 PQQP Excelsior Dixieland Jazz; Dr. Nick & the Rollercoasters; RO Tom Reynolds; RO Scott Marshall. Sep 5 RO Peter Hill Quintet; RO Mike Malon Jazz Orchestra: Remembering Dave McMurdo. Sep 6 RO Trevor Giancola Trio; RO Classic Rex Jazz Jam. Sep 7 RO Worst Pop Band Ever; RO Doug Burrell CD Release. Sep 8 RO Kevin Quain; RO Trevor Watts Trio. Sep 9 RO Hogtown Syncopators; RO Lester McLean; RO Andre White Sextet CD Release. Sep 10 PQQP Danny Marks & Friends; RO Laura Hubert; RO The Maisies; RO Andre White Sextet CD Release. Sep 11 PQQP Excelsior Dixieland Jazz; Club Django; RO Tom Reynolds; RO Jon Challoner; Sep 12 RO Peter Hill Quintet; RO Dave Young & Terry Promane Big Band. Sep 13 RO Trevor Giancola Trio; RO Classic Rex Jazz Jam. Sep 14 RO Worst Pop Band Ever; RO Mike Rud Quartet. Sep 15 RO Kevin Quain; RO Mike Rud Quartet. Sep 16 RO Hogtown Syncopators; RO Lester McLean; RO Dan Weiss Duo. Sep 17 PQQP Danny Marks & Friends; Swing Shift Big Band; RO The Maisies; RO Dan Weiss Duo. Sep 18 PQQP Excelsior Dixieland Jazz; RO Bob Cary Orchestra; RO Tom Reynolds; RO Ted Quinlan Trio. Sep 19 RO Peter Hill Quintet; RO Jazz in the Point. Sep 20 RO Trevor Giancola Trio; RO Classic Rex Jazz Jam. Sep 21 RO Worst Pop Band Ever; RO Maria Farhina Band. Sep 22 RO Kevin Quain, RO Pat LaBarbera and Kirk MacDonald's Annual Tribute to John Coltrane. Sep 23 RO Hogtown Syncopators; RO Melissa Boyce; RO Pat LaBarbera and Kirk MacDonald's Annual Tribute to John Coltrane. Sep 24 PQQP Danny Marks & Friends; RO Jerome Godboo; RO Justin Bacchus; RO Pat LaBarbera and Kirk MacDonald's Annual Tribute to John Coltrane. Sep 25 PQQP Excelsior Dixieland Jazz; RO Freeway Dixieland; RO Tom Reynolds RO Blue Note Series hosted by Jake Wilkinson. Sep 26 RO U of T Student Jazz Ensembles; RO Justin Grey's Monsoon. Sep 27 RO Trevor Giancola Trio; RO Classic Rex Jazz Jam. Sep 28 RO Worst Pop Band Ever; RO Jonathan Kreisberg. Sep 29 RO Kevin Quain; RO Jonathan Kreisberg. Sep 30 RO Hogtown Syncopators; RO Lester McLean; RO Rick Rosato CD Release. VJG TUV DNCEM OGODGT QH VJG 6QTQPVQ /WUKEKCPU 2TQVGEVKXG 7PKQP PEACOCK STRUTS SOME SOUL! Vocalist and songwriter Jill Peacock recently relocated to Toronto after a life-changing experience studying at Boston's prestigious Berklee College, where she initially enrolled as a piano major. "I had played classical piano all my life ... but once I was there, I found myself more drawn to the vocal department and auditioned for a transfer ... I had to work hard to keep up with students who had been singing for a long time but I loved every minute of the challenge!" Infused with a unique sweetness, Peacock's voice is gentle as a kitten's meow and every bit as precious. Skilled in jazz, soul, Motown and R&B standards, she is also a promising songwriter. ,KNN 2GCEQEM YKNN DG RGTHQTOKPI CV *CTNGO 4KEJOQPF 5V ' QP VJG PKIJV QH 5GRVGODGT CPF CNUQ CV VJG 4GUGTXQKT .QWPIG HTQO 7�9pm on September 23. The Orbit Room %QNNGIG 5V YYYQTDKVTQQOEC Sep 15. Alysha Brillinger and Kristen Bussandri Painted Lady, The 1UUKPIVQP #XG YYYVJGRCKPVGFNCF[EC WRFCVGF UEJGFWNG 0Q %QXGT2Y[E Every Mon RONCVG Open Mic, all genres. RUBY A GEM TO BE SURE! /QPVTGCNDQTP IWKVCTKUV CPF EQORQUGT 'TKE 5V .CWTGPV URGPV considerable time honing his craft in Berlin and New York City before settling in Toronto a few years back, and appropriately, his GPICIKPI OWUKE VGNNU VJG VCNGU QH C VTCXGNNGT .C[GTGF YKVJ KP WGPEGU from around the globe, this music is energetic, intelligent and full of energy. Augmented by two extraordinary musical forces -- bassist Jordan O'Connor and percussionist Michel DeQuevedo -- the Eric 5V .CWTGPV VTKQ KU QPG QH VJKU EQWPVT[BU OQUV GZEKVKPI PGY OWUKECN acts. Ruby is the title of the trio's second CD, which will be released at Hugh`s Room on September 15. Pantages Martini Bar and Lounge 8KEVQTKC 5V Every Fri Robert Scott; Every Sat Solo Piano: Various artists. Pero Lounge $NQQT 5V 9 YYYRGTQTGUVCWTCPVEQO Every Fri RO African Vibe. Every Sat RO Archie Alleyne's Kollage. Pilot Tavern, The %WODGTNCPF #XG YYYVJGRKNQVEC HWNN UEJGFWNG ,C\\ 5CVWTFC[U RO RO 0Q %QXGT Sep 3 Don Palmer Quartet. Sep 10 Pat Collins Quartet. Sep 17 Kirk MacDonald Quartet. Sep 24 Ryan Oliver CD Release Party. REMEMBERING TRANE (1926�1967) Jazz icon John Coltrane would have turned 85 this month, and his musical legacy lives on with multiple tributes in Toronto. Named after the master, The Trane Studio in The Annex will play host to a pair of Coltrane tributes: the Michael Arthurs Quartet on September 23 and the Scott Marshall Quartet on September 24. And as is the annual tradition at the Rex Hotel for longer than we have been KP RTKPV VGPQT UCZQRJQPKUVU CPF NQECN NWOKPCTKGU 2CV .C$CTDGTC CPF Kirk MacDonald will be paying tribute to the master with a threenighter, September 23�25., Ori Dagan is a Toronto-based jazz vocalist, voice actor and entertainment journalist. He can be contacted at jazz@thewholenote.com. Ten Feet Tall &CPHQTVJ #XG YYYVGPHGGVVCNNEC #NN UJQYU 2Y[E Every 2nd and 4th Tue Dunstan Morey & the Toronto Fingerstyle Guitar Association. Every Thu East End Jazz Jam hosted by Brendan Davis Quartet. Sep 4 RO Henry Heillig. Sep 10 RO Samantha Clayton. Sep 11 RO Steve Koven. Sep 17 RO Donna Greenberg. Sep 18 RO Kingsley Ettienne. Sep 24 RO Bill MacLean. Sep 25 RO Debbie Fleming Trio. Every Mon RO This is Awesome RO Open Mic. Every Fri RO The Foolish Things. /WNVKRNG RGTHQTOCPEGU PKIJVN[ HQNNQYKPI KU QPG UGNGEVKQP HTQO GCEJ PKIJV Sep 1 Houndstooth Bluegrass & Oldtime. Sep 2 RO Extra Happy Ghost! Sep 3 RO The New Heaven and the New Earth. Sep 4 RO Monk's Music. Sep 6 RO The Rent. Sep 7 RO Andrew Downing & Jayme Stone: Banjo/Cello Duet. Sep 8 RO Cletus Carlyle Bluegrass Band. Sep 9 Jean Doench. Sep 10 RO Scott B. Sympathy. Sep 11 RO Lina Allemano Four. Sep 13 RO Peripheral Vision. Sep 14 RO Stop Time. Sep 15 RO Shawn Clarke. Sep 16 RO My Home the Stars. Sep 17 RO Nightjars CD Release. Sep 18 RO Composer's Workshop. Sep 21 RO St. Dirt Elementary School . Sep 22 RO Songs by Bert. Sep 23 RO Pat LePoidevin. Sep 24 RO Joe Hall. Sep 25 RO Steve Ward Presents. Sep 27 RO Drumheller. Sep 28 Horables. Sep 30 RO Ryan Driver Quartet. Quotes -KPI 5V 9 (TKFC[U CV (KXG Y %CPCFKCP ,C\\ 3WCTVGV Gary Benson IWKVCT Frank Wright XKDGU Duncan Hopkins DCUU Don Vickery FTWOU CPF HGCVWTGF IWGUV Sep 16 Alex Dean UCZQRJQPG Sep 23 Laurie Bower VTQODQPG Sep 30 Dave Caldwell UCZQRJQPG Reposado Bar & Lounge 1UUKPIVQP #XG YYYTGRQUCFQDCTEQO (TKFC[U %QXGT CNN QVJGT PKIJVU 2Y[E Every Wed Spy vs. Spy vs. Sly Every Thu, Fri The Reposadists. Reservoir Lounge, The 9GNNKPIVQP 5V ' YYYTGUGTXQKTNQWPIGEQO Every Mon Sophia Perlman and the Vipers Every Tue Tyler Yarema and his Rhythm; Every Wed Bradley and the Bouncers; Every Thu Dave Murphy Band. Every Fri DeeDee & the Dirty Martinis; Every Sat Tyler Yarema and his Rhythm. #RT�U 9QTM 5GTKGU 6WGUFC[U 9GFPGUFC[U 6JWTUFC[U RO. Sep 1 Alex Pangman and her Alleycats CRRGCTKPI VJG TUV 6JW QH every month) Sep 23 Jill Peacock. Ristorante Roma $NQQT 5V 9 #NN UJQYU 2Y[E DQQMKPI Live Jazz Every Fri & Sat RO. Every Sun RO Saint Tropez, Le -KPI 5V 9 .KXG RKCPQ LC\\ FC[U C YGGM YYYNGUCKPVVTQRG\EQO Trane Studio $CVJWTUV 5V YYYVTCPGUVWFKQEQO HWNN UEJGFWNG Sep 3 RO Solona African Palm Wine Band. Sep 8 RO Andrew Damelin. Sep 9 RO Benjamin Amason. Sep 16 RO Justin Grey's Monsoon. Sep 21 RO Peter Kauffman. Sep 23 RO Coltrane Weekend: Michael Arthurs Quartet. Sep 24 RO Coltrane Weekend: Scott Marshall Quartet. Sep 27 RO Luanda Jones & Baile Boom. Sep 30 RO Eliana Cuevas. Statlers on Church %JWTEJ 5V YYYUVCVNGTUQPEJWTEJEC Every Mon SINGular Sensation Open Mic w Jenni Walls and Donvoan LeNabat Every Tue Chris Tsujiuchi; Every Wed Bram Zeidenberg; Every Thu Open Mic w Donavan LeNabat; Every Fri Julie Michels & Kevin Barrett; Every Sat Alex Hopkins. Every Sun James Moyer. Rex Hotel Jazz & Blues Bar, The 3WGGP 5V 9 YYYVJGTGZEC EQXGT EJCTIG CRRNKGU VQ UGNGEVGF GXGPKPI UJQYU ECNN CJGCF Sep 1 RO Kevin Quain; RO Stillman/ Bullock 5. Sep 2 RO Hogtown Syncopators; RO Lester McLean; RO Shirantha Beddage. Sep 3 PQQP Danny Marks & Friends; RO Chris Hunt Tentet + 2; RO Justin 48 Zemra Bar & Lounge 5V %NCKT #XG 9 YYY\GOTCDCTNQWPIGEQO Every Wed Open Mic and Jam. Every Fri Live Music Fridays. September 1� October 7, 2011 Tranzac $TWPUYKEM #XG YYYVTCP\CEQTI HWNN UEJGFWNG /QUVN[ 2Y[E thewholenote.com D. The ETCeteras Thanks to Culture Days (Sep 30, Oct 1 and 2) there are no fewer than eight open rehearsals listed here, including one with Brainerd $N[FGP6C[NQT U 0CVJCPKGN &GVV %JQTCNG UGGP CDQXG See our new ETCETERA! categories below: OPEN HOUSE, OPEN JAM and OPEN REHEARSAL (thank you, Culture Days!). GALAS & FUNDRAISERS 5GR Nota Bene Baroque. New Decade, New Name, Big Celebration. /KPKEQPEGTVU HQNNQYGF D[ DCTQSWGKPURKTGF TGHTGUJOGPVU UKNGPV CWEVKQP RGTKQF EQUVWOGU FTCY RGVVKPI \QQ DCTQSWG FCPEKPI CPF OQTG $WVVQP (CEVQT[ 4GIKPC 5V 5 Waterloo. QT KPHQ"PQVCDGPGDCTQSWGEC 5GR Ken Page Memorial Trust. 13th Annual Fundraising Gala and Swinging Jazz Party. 2GTHQTOCPEG EQEMVCKN TGEGRVKQP FKPPGT CPF TCH G RTK\GU KP UWRRQTV QH VJG HWPF U FGFKECVKQP VQ %CPCFKCP LC\\ CPF LC\\ CTVKUVU 1NF /KNN +PP 1NF /KNN 4F 5GR Access Education Guatemala Children`s Fund. Annual Gala. +P CFFKVKQP VQ RGTHQTOCPEG UKNGPV CWEVKQP TCKUGU HWPFU VQ DWKNF UEJQQNU KP )WCVGOCNC .WNC .QWPIG &WPFCU 5V 9 5GR Kitchener-Waterloo Symphony. Gala Concert After Party. %QPTCF %GPVTG HQT VJG 2GTHQTOKPI #TVU -KPI 5V 9 Kitchener. QT 5GR Toronto Philharmonia Orchestra. Venetian Gala Fundraiser. %QEMVCKNU FKPPGT CPF EQPEGTV HGCVWTKPI C RGTHQTOCPEG QH 8KXCNFK U (QWT 5GCUQPU D[ XKQNKPKUV ,CESWGU +UTCGNKGXKVEJ KPVTQFWEGF D[ ,QJP 8CP $WTGM CU /T 8KXCNFK #TECFKCP %QWTV $C[ 5V VJ QQT 5GR Archie Alleyne Scholarhip Fund. 7th Annual Gala: "Syncopation: Life in the Key of Black." 4CTG RJQVQITCRJU QH 6QTQPVQ DCUGF LC\\ OWUKEKCPU QH VJG U RGTHQTOCPEG QH CP QTKIKPCN LC\\ UWKVG D[ #TEJKG #NNG[PG CPF &T #PFTGY 5EQVV 9KVJ ,CEMKG 4KEJCTFUQP -GNN[NGG 'XCPU 5JCYPG ,CEMUQP ,C[ ,CEMUQP CPF QVJGTU #N )TGGP 6JGCVTG /KNGU 0CFCN ,GYKUJ %QOOWPKV[ %GPVTG 5RCFKPC #XG 8+2 RJQVQ GZJKDKV CPF RGTHQTOCPEG YYYCCUHEC D[ C OGODGT QH %1% U 'FWECVKQP CPF 1WVTGCEJ VGCO QP JKUVQT[ QH VJG QRGTC YKVJ IWKFGF NKUVGPKPI KOCIGU CPF RTQFWEVKQP KPUKIJVU 0QTVJ ;QTM %GPVTCN .KDTCT[ #WFKVQTKWO ;QPIG 5V (TGG 5GR CPF Opera Is. Basic Fundamentals of Opera: "What is the Circle, the Line and the Square?" .GEVWTG D[ +CKP 5EQVV 4Q[CN %CPCFKCP ;CEJV %NWD %KV[ %NWDJQWUG KCKP"QRGTCKUEQO 5GR PQQP Opera Is. Preview of Upcoming Operas. 9GGMN[ NGEVWTG UGTKGU CDQWV WREQOKPI RTQFWEVKQPU CV /GV1RGTC %1% 1RGTC 5EJQQN CPF QVJGTU #TVU .GVVGTU %NWD 'NO 5V 5GR CPF Opera Is. Basic Fundamentals of Opera: "Bel Canto: What is virtuoso display singing?" Lecture by Iain Scott. Royal CanadKCP ;CEJV %NWD %KV[ %NWDJQWUG KCKP"QRGTCKUEQO 5GR St. Olave's Church Peach Tea and Lively Talk: William Boyce. (QNNQYKPI %JQTCN 'XGPUQPI EQPEGTV D[ 5V 2GVGT U %JQKT OWUKE FKTGEVQT %NGO %CTGNUG IKXGU RQUVEQPEGTV EJCV QP 9KNNKCO $Q[EG 9KPFGTOGTG #XG %QPVTKDWVKQPU CRRTGEKCVGF 5GR CPF Opera Is. Basic Fundamentals of Opera: "Why is Verdi the "heart" of talian operas?" .GEVWTG D[ +CKP 5EQVV 4Q[CN %CPCFKCP ;CEJV %NWD %KV[ %NWDJQWUG KCKP"QRGTCKUEQO 5GR CO Colours of Music. Talk on Music of the Day. /WUKE RTGUGPVGF CV VJG HGUVKXCN FKUEWUUGF D[ OWUKEQNQIKUV -GTT[ 5VTCVVQP %GPVTCN 7PKVGF %JWTEJ 4QUU 5V Barrie. 5GR StageToneScape. Classical Music � What is it for Us?! $TKGH EQPEGTV D[ RKCPKUV 8CNGPVKP $QIQNWDQX FKUEWUUKQP VJG KORCEV QH OWUKE ;QPIG 5V 4KEJOQPF *KNN # %WNVWTG &C[U GXGPV 1EV CO Canadian Opera Company. Opera Exchange: A Greek Family Reunion: Gluck's Iphigenia in Tauris. 5QEKCN RQNKVKECN CPF CTVKUVKE KORNKECVKQPU GZRNQTGF YKVJ KPVGTPCVKQPCN CECFGOKEU CPF OGODGTU QH VJG %1% VGCOU .GEVWTGTU /CTVKP 4GXGTOCPP 0CVJCP /CTVKP CPF 5VGXGP 2JKNEQZ 9CNVGT *CNN 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM UV 1EV 5JCTKPI C 5KIPK ECPV /WUKE Heritage. 'PPKQ # 2CQNC 5KIPK ECPV /WUKE SCREENINGS 5GR Toronto Opera Club. Five Murderers and Three Saints. 2TGXKGY VJKU HCNN U .KXG KP *& HTQO 6JG /GV &8& RTGUGPVCVKQP URGCMGT +CKP 5EQVV 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM LECTURES & SYMPOSIA 5GR Canadian Opera Company. Opera Talks: Gluck's Iphigenia in Tauris. .GEVWTG September 1� October 7, 2011 thewholenote.com 49 D. The ETCeteras Royal Canadian College of Organists presents Organ Skills Workshops September 17, 2011 and November 19, 2011 &KUEWUUKQP QH TCIVKOG OWUKE %CNN HQT NQECVKQP # %WNVWTG &C[U GXGPV 1EV Toronto Concert Orchestra. A Little Night Music: In the Shadow of Brahms. 2GTHQTOCPEG CPF KPHQTOCN FKUEWUUKQP QP VJG 8KGPPC QH $TCJOU CPF JKU TGNCVKQPUJKRU YKVJ /CZ $TWEJ CPF ,QCEJKO 4CHH -GTT[ 5VTCVVQP NGEVWTGT IWGUVU -QTPGN 9QNCM ENCTKPGV CPF ;QWPIIWP -KO RKCPQ )CNNGT[ 6JGCVTG 6QTQPVQ %GPVTG HQT VJG #TVU ;QPIG 5V UGTKGU QH HQT 1EV CPF Opera Is. Basic Fundamentals of Opera: "Why almost everybody starts with Puccini." .GEVWTG D[ +CKP 5EQVV. 4Q[CN %CPCFKCP ;CEJV %NWD %KV[ %NWDJQWUG KCKP"QRGTCKUEQO MASTERCLASSES 5GR Singing Studio of Deborah Staiman. Masterclass. /WUKECN VJGCVTGCWFKVKQP RTGRCTCVKQP WUKPI VGZVWCN CPCN[UKU CPF QVJGT KPVGTRTGVKXG VQQNU HQT VJG UWPI OQPQNQIWG ;QPIG 'INKPVQP CTGC ECNN HQT GZCEV NQECVKQP YYYUKPIKPIUVWFKQEC 5GR PQQP Colours of Music. Masterclass with Valerie Tryon, piano. (GCVWTKPI VJTGG RKCPQ EQPVGUVCPVU QH VJG $CTTKG -KYCPKU /WUKE (GUVKXCN *K 9C[ 2GPVGEQUVCN %JWTEJ #PPG 5V 0 Barrie. 5GR CO 5GR RO U of Toronto Faculty of Music. Master Class with Lara St. John, violin. 9CNVGT *CNN 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM (TGG The Toronto Centre of the RCCO is presenting two full day workshops for organ skills development. These are FREE "boot camp" style sessions for new and not-sonew music people charged by their pastors and church organizations to provide organ hymn accompaniment, service music, preludes, interludes and postludes. Hands-on instruction, playing techniques, registration (the sounds and colours of the organ), finding appropriate music for every occasion, working with soloists and choirs, employment issues, rehearsal tips, and much more will be presented by skilled and experienced professional organists with teaching experience. Participants are encouraged to bring lots of questions, and an optional hymn or short voluntary to play or to use as an example. The locations for each workshop are: September 17, 2011: 10:00 � 3:00 Richmond Hill United Church 10201 Yonge Street Richmond Hill, ON L4C 3B2 (905) 884-1301 Pipe Organ: Two-manual, 15stop Casavant Fr�res, Opus 990 November 19, 2011: 10:00 � 3:00 St. Clement's Anglican Church 59 Briar Hill Ave Toronto, ON M4R 1H8 (416) 483-6664 Pipe Organ: Three-manual, 46-stop Casavant Fr�res, Opus 1289 WORKSHOPS 5GR Contact Contemporary Music. In C Open Workshop. 9QTMUJQRTGJGCTUCN HQT CP[QPG YCPVKPI VQ RCTVKEKRCVG KP RGTHQTOKPI In C CV 6QTQPVQ 0GY /WUKE /CTCVJQP 5GRVGODGT 5QOG OWUKE TGCFKPI UMKNNU TGEQOOGPFGF #TTC[OWUKE 5VWFKQ #VNCPVKE #XG 5WKVG Toronto Early Music Players Organization. Workshop coached by Scott Paterson. $TKPI TGEQTFGTU GCTN[ KPUVTWOGPVU CPF OWUKE UVCPF OWUKE CXCKNCDNG CV VJG FQQT #TOQWT *GKIJVU %QOOWPKV[ %GPVTG #XGPWG 4F 5GR CORO Royal Canadian College of Organists. Organ Skills Workshop, Part I. *CPFUQP KPUVTWEVKQP RNC[KPI VGEJPKSWGU TGIKUVTCVKQP TGRGTVQKTG YQTMKPI YKVJ UQNQKUVU CPF EJQKTU CPF OWEJ OQTG 2CTVKEKRCPVU GPEQWTCIGF VQ DTKPI NQVU QH SWGUVKQPU 4KEJOQPF *KNN 7PKVGF %JWTEJ ;QPIG 5V 4KEJOQPF *KNN 4GIKUVGT .[FKCRGFGTUGP" U[ORCVKEQEC (TGG 016' 2CTV VYQ KU 0QXGODGT CV 5V %NGOGPV U #PINKECP %JWTEJ UGEQPF UGUUKQP YKNN DWKNF WRQP VJG TUV RCTVKEKRCPVU GPEQWTCIGF VQ CVVGPF DQVJ 5GR CAMMAC Toronto Region. Reading for Singers and Instrumentalists. 2QWNGPE )NQTKC )GTCTF ;WP EQPFWEVQT %JTKUV %JWTEJ &GGT 2CTM ;QPIG 5V 5GR Mo Jamal. Violin Playing and Improvisation. $GIKPPGTU YKNN IGV CP KPVTQFWEVKQP VQ XKQNKP DCUKEU OQTG CFXCPEGF UVWFGPVU YKNN TGEGKXG KPUVTWEVKQP QP HTGG LC\\ YQTNF CPF OKFFNG GCUVGTP OWUKE $TKPI [QWT QYP KPUVTWOGPV 0QTVJ ;QTM %GPVTCN .KDTCT[ ;QPIG The second session will build upon ideas presented at the first, so please plan to attend both sessions if possible. To register for these FREE workshops, please visit our website or contact Lydia Pedersen either by phone 416-236-5085 or email at lydia.pedersen@sympatico.ca. 5V # %WNVWTG &C[U GXGPV 5GR Randolph Academy of the Performing Arts. Bathurst Street Theatre Building Tour and Arts Workshops. 6QWT VJG VJGCVTG CPF RCTVKEKRCVG KP C YQTMUJQR #IG NGXGN /KPKOWO RCTVKEKRCPVU TGSWKTGF /CZKOWO 6Q TGIKUVGT $CVJWTUV 5V Z # %WNVWTG &C[U GXGPV Markham Arts Council. Modern Latin Soundscapes: Live Performances plus a World Beat Workshop. 6TCFKVKQP VTCPUKVKQP CPF OQFGTP HWUKQP QH .CVKP #OGTKECP OWUKE NKOKVGF RGTEWUUKXG KPUVTWOGPVU RTQXKFGF /CKP 5V 7PKQPXKNNG %WNVWTG &C[U GXGPV 1EV CORO Riverside Celtic College. Cultural Crossroads. #EQWUVKE RGTHQTOCPEGU RTGUGPVCVKQPU FGOQPUVTCVKQPU CPF YQTMUJQR D[ VTCFKVKQPCN +TKUJ CPF 5EQVVKUJ RGTHQTOGTU EQPEGTVKPC DQTFGT RKRGU FFNG OCPFQNKP DWVVQP CEEQTFKQP NQY YJKUVNG CPF OQTG #NN CIGU %QWPV[ 4F CPF $TQEM 4F 5 Aberfoyle. # %WNVWTG &C[U GXGPV 1EV CO The Grand Theatre. Learn a Song or Two from Hair! Aquarius CPF Let the Sunshine In 9QTMUJQR NGF D[ 4KEM -KUJ CPF /CTSWG 5OKVJ 4KEJOQPF 5V London. Z # %WNVWTG &C[U GXGPV 1EV CO Kir Stefan the Serb Choir. Did You Think it Was Easy to Sing in a Choir? $CEMUVCIG RTGXKGY QH EQPEGTV RTGRCTCVKQP CPF GNGOGPVU QH XQECN RTCEVKEG CPF RGTHQTOCPEG 0QTVJ ;QTM %GPVTCN .KDTCT[ ;QPIG 5V # %WNVWTG &C[U GXGPV 1EV CO Kayonan Gamelan Orchestra. Balinese Music and Dance Workshop. +PFQPGUKCP WUKE CPF FCPEG HQNNQYGF D[ FGOQPUVTCVKQP QH RNC[KPI VGEJPKSWGU CPF C UJQTV FCPEG ENCUU &GGT 2CTM .KDTCT[ 5V %NCKT #XG ' # %WNVWTG &C[U GXGPV 1EV CO Roisin Caideux. French Folk Songs & Stories. .KUVGP VQ UVQTKGU CPF NGCTP UQOG VTCFKVKQPCN (TGPEJ HQNM UQPIU CNN UQPIU CPF UVQTKGU YKNN DG KPVTQFWEGF KP 'PINKUJ #NN CIGU YGNEQOG 4KEJXKGY .KDTCT[ +UNKPIVQP #XG # %WNVWTG &C[U GXGPV 1EV Echo Women's Choir. Performance and Sing-Along. 6JG EJQKT KPXKVGU RCTVKEKRCPVU VQ NKUVGP VQ C RGTHQTOCPEG QH C UJQTV UGV CPF NGCTP C 5QWVJ #HTKECP UQPI KP HQWTRCTV JCTOQP[ 4KEJXKGY .KDTCT[ +UNKPIVQP #XG # %WNVWTG &C[U GXGPV 1EV Kyle MacDonald. Jazz Workshop. 4WFKOGPVU QH KORTQXKUCVKQP LC\\ VJGQT[ CPF UQPI HQTOU #NN UMKNN NGXGNU YGNEQOG /E)TGIQT 2CTM .KDTCT[ .CYTGPEG #XG ' # %WNVWTG &C[U GXGPV 1EV Morningstar River. Aboriginal Cultural Session. 5QPI UGUUKQP HGCVWTKPI VTCFKVKQPCN #PKUJPCCDG UQPIU CWFKGPEG KPXKVGF VQ RCTVKEKRCVG CPF UJCTG KP C ENQUKPI TQWPF FCPEG ;QTM 9QQFU .KDTCT[ (KPEJ #XG 9 # %WNVWTG &C[U GXGPV 1EV Paul Donat. Learning to Play Guitar and Bass. .GCTPKPI VQ RNC[ IWKVCT CPFQT DCUU KPVGPFGF HQT RQVGPVKCN UVWFGPVU QH IWKVCT CPFQT VJGKT RCTGPVU HGCVWTKPI UJQTV FGOQPUVTCVKQPU *KIJ 2CTM .KDTCT[ 4QPEGUXCNNGU #XG # %WNVWTG &C[U GXGPV 1EV Shannon Thunderbird. Spirit Thunder First Nations Drumming & Vocals. #IGU CPF WR JQY VQ RNC[ JCXG HWP CPF TCKUG QPG U September 1� October 7, 2011 50 thewholenote.com URKTKV VJTQWIJ (KTUV 0CVKQPU FTWOOKPI CPF UKPIKPI $NCEM %TGGM .KDTCT[ 9KNUQP #XG %WNVWTG &C[U GXGPV 1EV +PPKU N 2WDNKE .KDTCT[6, U School of Music. Musical Instruction and Demonstration. +PVTQFWEVKQP VQ RNC[KPI IWKVCT CPF FTWOU VJ .KPG QH +PPKU N Z # %WNVWTG &C[U GXGPV 1EV Kindermusik Music & Movement Class. Music and Movement Workshop. %NCUU NGF D[ /CPFK )CNGT UQPIU FCPEGU PIGTRNC[U UVQTKGU KPUVTWOGPV RNC[ 5WKVCDNG HQT EJKNFTGP PGYDQTP VQ CIG RCTGPVU RCTVKEKRCVG VJTQWIJQWV .CMG 5V /KUUKUUCWIC # %WNVWTG &C[U GXGPV 1EV Pan Piper. Steelpan Workshop. .GCTP CDQWV VJG QTKIKPU JKUVQT[ CPF GXQNWVKQP QH VJG UVGGNRCP FTWO #NFGTYQQF .KDTCT[ 1TKCPPC &T # %WNVWTG &C[U GXGPV 1EV Stratford Symphony Orchestra. Orchestra Petting Zoo. %CTG QH UVTKPIU YKPF DTCUU RGTEWUUKQP -KPI 5V Stratford. # %WNVWTG &C[U GXGPV 1EV Association of Improvising Musicians of Toronto. Performance and Demonstration. #P KORTQXKUGF RGTHQTOCPEG HQNNQYGF D[ C FKUEWUUKQP YKVJ CWFKGPEG CPF C 3 # YKVJ FGOQPUVTCVKQP QH RCTVKEWNCT UVTCVGIKGU VQ HQNNQY /KOKEQ .KDTCT[ 5VCVKQP 4F # %WNVWTG &C[U GXGPV 1EV Joanna Moon. French World Caf�: Interactive performance 5QPIU HTQO (TCPEG 3WGDGE #HTKEC CPF .QWKUKCPC 2CTVKEKRCPVU YKNN NGCTP VQ RNC[ 3WGDGEQKU URQQPU FCPEG C VTCFKVKQPCN (TGPEJ FCPEG CPF UKPI C HGY UQPIU 2CTMFCNG .KDTCT[ 3WGGP 5V 9 # %WNVWTG &C[U GXGPV 1EV Malhar Group. Note Ornamentations on Sitar. &GOQPUVTCVKQP QH XCTKQWU PQVG QTPCOGPVCVKQP VGEJPKSWGU QP UKVCT HQT RTGUGPVCVKQP QH ENCUUKECN TCIC HQNNQYGF D[ 3 # +PUVTWEVQT 2CTVJC $QUG UKVCT CEEQORCPKOGPV D[ +PFTCPKN /CNNKEM VCDNC *GCNVJ 5EPKGPEGU %GPVTG 'YCTV #PIWU 4QQO # /CKP 5V 9 Hamilton. # %WNVWTG &C[U GXGPV 4O 'CTN[ $KTF 1EV CO Rick Sacks. Hands On Percussion Workshop. )TQWR KORTQXKUCVKQP TJ[VJO GZGTEKUGU FKHHGTGPV ITQQXGU 9QTMUJQR YKNN DG TGEQTFGFRCTVKEKRCPVU ECP DTKPI UVQTCIG FGXKEGU QT TGEGKXG C HTGG %& #TTC[ /WUKE 5VWFKQ #VNCPVKE #XG # %WNVWTG &C[U GXGPV 1EV PQQP Hart House. Play the Drums. 9QTMUJQR D[ &CXG %NCTM *CTV *QWUG %KTENG # %WNVWTG &C[U GXGPV 1EV Hart House. Play the Ukulele. 9QTMUJQR NGF D[ 6JQOCU &GCP WMWNGNGU CXCKNCDNG RCTVKEKRCPVU YGNEQOG VQ DTKPI VJGKT QYP *CTV *QWUG %KTENG # %WNVWTG &C[U GXGPV 1EV Art With A Heart. Musical Play with Handmade Instruments. 9CNVQP $NXF Whitby. # %WNVWTG &C[U GXGPV GIVEAWAYS *WODGT 8CNNG[ 7PKVGF %JWTEJ YKUJGU VQ FQPCVG VQ CP[ EJQKT TWUV EQNQWTGF IQYPU CPF ETGCO EQNNCTU #PINGUG[ $NXF Z EJGT[N"JXWEEC OPEN HOUSE 5GR Collegium Musicum Conservatory of Music. Open House. 2WDNKE KPXKVGF VQ QDUGTXG RKCPQ NGUUQPU %JQRKP 4QQO 2GVGT 5V 5 /KUUKUUCWIC # %WNVWTG &C[U GXGPV 1EV CORO Metalworks Group. Open House. 6QWT VJG TGEQTFKPI UVWFKQ GPVGTVCKPOGPV CTVU KPUVKVWVG CPF NKXG GXGPV EQORCP[ /CXKU 4F Z # %WNVWTG &C[U GXGPV CPF &QQTU 1RGP 1PVCTKQ GXGPV 1EV Music & Opera Appreciation Inc. Open House. /WNVKOGFKC FKURNC[ CHVGTPQQP VGC CPF KPHQTOCVKQP CDQWV ENWD JKUVQT[ CPF EWTTGPV UGCUQP 1PVCTKQ 5V Stratford. # %WNVWTG &C[U GXGPV 1EV CO Burlington Performing Arts Centre. The Keys to the Future Committee Open House. 2WDNKE KPXKVGF VQ XKGY VJG 5JKIGTW -CYCK RKCPQ TGEGPVN[ CESWKTGF VJTQWIJ EQOOWPKV[ HWPFTCKUKPI KPENWFGU RGTHQTOCPEGU CPF VQWT QH VJG XGPWG .QEWUV 5V Burlington. # %WNVWTG &C[U GXGPV 1EV Michael Johnston Music Studio. Open House. 6QWT QH VJG OWUKE UVWFKQ QRRQTVWPKV[ VQ OGGV VGCEJGTU UVWFGPVU CPF RCTGPVU # 4QPEGUXCNNGU #XG # %WNVWTG &C[U GXGPV OPEN JAM 5GR PQQP Perth Arts Connect/ North Perth Arts and Culture Council. North Perth Unplugged ... But Connected! /WUKECN LCO QRGP VQ CNN UMKNN NGXGNU %JTKUV #PINKECP %JWTEJ /CKP 5V 9 Perth. # %WNVWTG &C[U 'XGPV 5GR Array New Music. Improvisational Open Jam. (TGG GZRGTKOGPVCN TGCN VKOG EQORQUKVKQP #TTC[ /WUKE 5VWFKQ #VNCPVKE #XG # %WNVWTG &C[U GXGPV 1EV Schinbein's Music/Perth Arts Connect/Hermione. Random Acts of Music. .KXG LCO CV 5EJKPDGKP U /WUKE HGCVWTKPI EQWPVT[ HQNM DNWGU CPF UKPICNQPI 5V #PFTGY 5V Perth. # %WNVWTG &C[U 'XGPV 1EV Early Childhood Music Association of Ontario. Music for our Youngest Musicians. 9QTMUJQR QP VJG WUG QH OWUKE VQ UVKOWNCVG VJG WPDQTP CPF PGYDQTP VJG KORQTVCPEG QH OWUKE KP GCTN[ EJKNFJQQF VJTQWIJ CIG XG 'CTN[ $KTF TGIKUVTCVKQP D[ 5GR 'FYCTF ,QJPUQP $WKNFKPI 3WGGP U 2CTM September 1� October 7, 2011 thewholenote.com 51 A Little Night Music Join Maestro Kerry Stratton for a weekly series of informal discussions on music & composers, with live performances by prominent artists. OCTOBER 3 ... In The Shadow of Brahms The Vienna of Brahms & his colleagues. Guests: Kornel Wolak, clarinet & Younggun Kim, piano. OCTOBER 17 ... Franz Liszt: Prophet & Charlatan The influential bravura pianist, conductor, composer & thinker. Guest: Adam Zukiewicz performs Liszt's Piano Sonata in B Minor. OCTOBER 24 ... The Programme Symphony: Hector Berlioz, Symphony Fantastique, Harold In Italy. Berlioz wrote for orchestra as no one before that continues to charm? Guests: Iris Rodrigues, soprano, & friends. NOVEMBER 21 ... Early 20th Century Modernism: Debussy Violin Sonata. Inspired by poetry � "I am dreaming of characters who submit to life!" Guest: Corey Gemmell, violin. Art Gallery at the Toronto Centre for the Arts, 7:30 pm subscriptions $160.50, single tickets $35.25 For individual tickets or subscriptions call 416-733-0545 tickets online a presentation of D. The ETCeteras OPEN REHEARSAL 5GR Etobicoke Centennial Choir. Annual Open House Rehearsal. 5#6$ EQOOWPKV[ EJQKT KPVGTGUVGF UKPIGTU KPXKVGF VQ RCTVKEKRCVG KP C EJQKT TGJGCTUCN OGGV VJG OWUKE FKTGEVQT CPF EJQTKUVGTU *WODGT 8CNNG[ 7PKVGF %JWTEJ #PINGUG[ $NXF 'VQDKEQMG QT YYYGVQDKEQMGEGPVGPPKCNEJQKTEC 5GR Etobicoke Philharmonic Orchestra. Passion Plus: Open Rehearsal. /QTCYGV\ %CTPKXCN 1XGTVWTG 5VTCWUU 4QUGPMCXCNKGT 5WKVG $TCJOU 2KCPQ %QPEGTVQ 0Q 5ECTNGVV *GKIJVU 'PVTGRTGPGWTKCN #ECFGO[ 6TGJQTPG &T 'VQDKEQMG YYY GRQTEJGUVTCEC 5GR Village Voices. Come Sing Messiah! 2CTVKEKRCVG KP CP QRGP TGJGCTUCN VQ TGCF VJTQWIJ *CPFGN U /GUUKCJ 2QUUKDNG QRRQTVWPKV[ VQ LQKP VJG EJQKT KP RGTHQTOKPI VJKU QTCVQTKQ YKVJ VJG -KPFTGF 5RTKKVU 1TEJGUVTC QP &GEGODGT CV /CTMJCO 6JGCVTG #NN XQKEGU YGNEQOG RCTVKEWNCTN[ VGPQTU CPF DCUUGU KPHQ"XKNNCIGXQKEGUEC 5GR CO Scarborough Society of Musicians. Open Rehearsal: Wind Ensemble. 5GGMKPI PGY OGODGTU QRGP VQ YKPF OWUKEKCPU QH CNN NGXGNU ,CEM[ 5KW FKTGEVQT 0QTOCP $GVJWPG %QNNGIKCVG +PUVKVWVG 4QQO % PQTCOT"U[ORCVKEQEC 5GR Sinfonia Toronto. Open Rehearsal. /CGUVTQ 0WTJCP #TOCP 9KNNQYFCNG 7PKVGF %JWTEJ -GPPGVJ #XG # %WNVWTG &C[U GXGPV 5GR Nathaniel Dett Chorale. Sing with the Nathaniel Dett Chorale. /GODGTU QH VJG RWDNKE KPXKVGF VQ UKV KP QP C TGJGCTUCN KPUVTWEVGF CPF EQPFWEVGF D[ $TCKPGTF $N[FGP 6C[NQT 1NF 1TEJCTF )TQXG # %WNVWTG &C[U GXGPV 1EV Mississauga Children's Choir. Open Rehearsal. ,WPKQT %JQKT CIGU TGJGCTUGU KPHQTOCVKQP CXCKNCDNG CDQWV CNN XG /%% EJQKTU CIGU 9GUVOKPUVGT 7PKVGF %JWTEJ 6QOMGP 4F /KUUKUUCWIC # %WNVWTG &C[U GXGPV 1EV Wellington Winds. Open Rehearsal. 2CTVKEKRCPVU YKNN OGGV VJG EQPFWEVQT CPF RNC[GTU CPF NGCTP CDQWV VJG RTGRCTCVKQP VJCV IQGU KPVQ VJG GPUGODNG U RGTHQTOCPEGU &WRQPV 5V ' Waterloo. # %WNVWTG &C[U GXGPV ANNOUNCEMENTS .CVG 5GR 'CTN[ &GE Canadian Opera Company. After School Opera Program. 9GGMN[ EQOOWPKV[ CTVU RTQITCO HQT EJKNFTGP HQEWUGF QP ETGCVKQP CPF RTGUGPVCVKQP QH QRGTC WPFGT VJG IWKFCPEG QH EQORQUGT &GCP $WTT[ 2CTVKEKRCPVU YKNN EQNNGEVKXGN[ ETGCVG TGJGCTUG CPF RGTHQTO VJGKT QYP OKPKRTQFWEVKQP PQ RTGXKQWU GZRGTKGPEG YKVJ QRGTC KU TGSWKTGF (QWT NQECVKQP QRVKQPU CETQUU )TGCVGT 6QTQPVQ #TGC HQT YGGM VGTO 5GRNorth Toronto Players. Starship Pinafore: Orientation Evening. #VYKUVQP)KNDGTV 5WNNKXCP U*/52KPCHQTGYKNNDGUVCIGFKP EJQTWUTGJGCTUCNUYKNNHQNNQYGXGT[/QPFC[ GXGPKPI 6JCPMUIKXKPIGZEGRVGF#NNYGNEQOG 'FKVJXCNG%QOOWPKV[%GPVTG)KDUQP4QQO# (KPEJ#XG9 5GR Canada Sings!/Chantons Canada! Toronto-Riverdale. Neighbourhood Singalong. %CPCFKCP HQNM UQPIU TQEM DCNNCFU /CTM $GNN UQPINGCFGT /CTLQTKG 9KGPU RKCPQ 4CNRJ 6JQTPVQP %GPVTG PF QQT CWFKVQTKWO 3WGGP 5V ' (TGG FQPCVKQPU YGNEQOG 5GR Royal Canadian College of Organists. Used Music Sale. /WUKECN UEQTGU DQQMU CPF %&U 5V #PFTGY U 7PKVGF %JWTEJ $NQQT 5V ' QT FYGKPF" JQVOCKNEQO (WPFTCKUGT HQT VJG 4%%1 0CZQU /WUKE .KDTCT[ WUKPI [QWT 6QTQPVQ 2WDNKE .KDTCT[ ECTF (TGG UVTGCOKPI CEEGUU HTQO JQOG K2JQPG QT K2QF 6QWEJ )Q VQ YYY VQTQPVQRWDNKENKDTCT[EC CPF V[RG 0CZQU KP VJG UGCTEJ DQZ (QT OQTG KPHQTOCVKQP ECNN ETCETERA! 5GR Soundstreams. Salon 21: Season Opening Party. /GGV CPF ITGGV URCEG NKOKVGF TGIKUVGT GCTN[ .CYTGPEG %JGTPG[ CTVKUVKE FKTGEVQT )CTFKPGT /WUGWO 3WGGP U 2CTM &QPCVKQPU YGNEQOG 5GR Kingsville Arts & Culture Development Association. Not Quite Carnegie Concert. .QECN OWUKEKCPU GPVGTVCKP KPXKVKPI CWFKGPEG OGODGTU VQ RCTVKEKRCVG WUKPI KPUVTWOGPVU RTQXKFGF $TKPI [QWT NCYP EJCKT CPF MC\QQ &KXKUKQP 5V 5 Kingsville. # %WNVWTG &C[U GXGPV 1EV CORO Elmer Iseler Singers. Culture Days Celebration. %JQTCN VTGCUWTG JWPV 52 thewholenote.com September 1� October 7, 2011 EQORQUGT U VCNM CPF QTICP TGEKVCN .[FKC #FCOU EQPFWEVQT CPF 5JCYP )TGPMG QTICPKUV #NN 5CKPVU -KPIUYC[ $NQQT 5V 9 # %WNVWTG &C[U GXGPV 1EV PQQP Toronto Early Music Centre. Early Music Fair. 'ZJKDKVU %&U DQQMU KPHQTOCVKQP QP JKUVQTKECN RGTHQTOCPEG CPF NKXG OWUKE /QPVIQOGT[ U +PP &WPFCU 5V 9 # %WNVWTG &C[U GXGPV 1EV Perth Arts Connect/North Perth Arts and Culture Council. Join a Choir for a Day! +PXKVKPI CNN UEJQQN EJWTEJ CPF EQOOWPKV[ EJQKTU VQ LQKP VQIGVJGT HQT VJG NGCTPKPI CPF RGTHQTOCPEG QH C PGY RKGEG %JTKUV #PINKECP %JWTEJ /CKP 5V 9 Perth. # %WNVWTG &C[U 'XGPV 1EV StageToneScape. Let's Sings Classical Music! %CNNKPI CNN UKPIGTU COCVGWT UVWFGPV RTQHGUUKQPCN QNF CPF [QWPI (TGG KPFKXKFWCN EQCEJKPI UGUUKQP YKVJ 8CNGPVKP $QIQNWDQX 6Q SWCNKH[ RTGRCTG KP CFXCPEG C ENCUUKECN RKGEG RTQXKFG 5VCIGVQPGUECRG YKVJ C EQR[ QH OWUKE D[ 5GR 2CTVKEKRCPVU OC[ DG KPXKVGF VQ RCTVKEKRCVG KP VJG ICNC EQPEGTV 1EV CV RO ;QPIG 5V 4KEJOQPF *KNN # %WNVWTG &C[U GXGPV 1EV UWPTKUG Soundstreams. John Cage Fontana Mix. %GNGDTCVKQP QH VJ DKTVJFC[ QH #OGTKECP EQORQUGT ,QJP %CIG YKVJ C PKIJV QH OWUKE FCPEG TGCFKPIU XKUWCN CTV CPF OQTG )CTFKPGT /WUGWO 3WGGP U 2CTM (TGG #U RCTV QH 0WKV $NCPEJG DOWNTOWN CONCERT VENUE Concert, rehearsal, seminar space Competitive rates Intimate atmosphere with warm friendly acoustics Unobstructed versatile seating for up to 150 Wedding and reception facilities Fully accessible Close to transit and parking Historic Kensington Church (circa 1858) Look for favourite live music venues on our website map, World of The WholeNote thewholenote.com Venue Rental Church of St. Stephen in-the-Field on College St. between Bathurst & Spadina 647-638-3550/416-921-6350 email ststepheninthefields@gmail.com Heliconian Hall Publicity, press kits & image consulting for performers 416.544.1803 September 1� October 7, 2011 thewholenote.com 53 Classified Advertising | classad@thewholenote.com AUDITIONS / MUSICIANS WANTED AUDITION! 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'URGEKCNN[ VWPGU HTQO VJG U U CPF U! %QOG CPF UKPI HTQO VJG UQPIDQQMU QH VJG -KPIUVQP 6TKQ 5KOQP CPF )CTHWPMGN )QTFQP .KIJVHQQV $QD &[NCP VJG $GCVNGU INSTRUCTION ARE YOU A CLOSET MUSICAL THEATRE PERFORMER? 9GNN KV U VKOG VQ EQOG QWV QH VJG ENQUGV CPF FGXGNQR [QWT UKPIKPI CEVKPI CPF FCPEKPI UMKNNU KP C EQOHQTVCDNG UWRRQTVKXG GPXKTQPOGPV ;QW NN YQTM QP UEGPGU CPF UQPIU HTQO C YGNN NQXGF OWUKECN VJGCVTG TGRGTVQKTG #PF CV VJG GPF QH VJG VGTO [QW NN JCXG C EJCPEG VQ UVTWV [QWT UVWHH HQT C NKXG CWFKGPEG +H [QW ECP OCMG KV JGTG 6WGUFC[ OQTPKPIU QT 9GFPGUFC[ PKIJVU YYYCXGPWGTQCFCTVUUEJQQNEQO CONCERT PIANIST EVE EGOYAN / /WU .4#/ (45% QHHGTU NGUUQPU VQ EQOOKVVGF OWUKEKCPU CU YGNN CU TGVWTPKPI CFWNVU GOW"KPVGTNQIEQO YYYGXGGIQ[CPEQO CRAZY FOR SHOWTUNES? $GNV VJGO QWV GXGT[ YGGM YKVJ NGIGPFCT[ OWUKEKCPU CPF UQPIUVGTU 2CVTKEM 4QUG CPF &CXKF 9CTTCEM &Q [QW NQXG 4QIGTU CPF *COOGTUVGKP! 1T 5QPFJGKO! 1T .GTPGT CPF .QYG! 6JG[ TG CNN JGTG 5QOG RGQRNG CTG UQ CFFKEVGF VQ VJKU ENCUU VJG[ JCXGP V OKUUGF C UKPING VGTO KP GKIJVGGP [GCTU 6T[ KV [QW NN UGG YJ[ /QPFC[ PKIJVU YYYCXGPWGTQCFCTVUUEJQQNEQO Private coaching sessions with SIGHT-SINGING LESSONS Sheila McCoy smccoy@rogers.com 416-574-5250 ALEXANDER KATS Looking for Lady Day $ �UVW FODVV 5XVVLDQWUDLQHG FRQFHUW SLDQLVWWHDFKHU LV DFFHSWLQJ VWXGHQWV IRU UHJXODU SULYDWH OHVVRQV RU UHSHUWRLUH FRDFKLQJ IURP DGYDQFHG $5&7 XQLYHUVLW\ WR DOO JUDGHV RI 5&0 LQFOXGLQJ WKHRU\ &DOO (416) 340-1844 alexander.kats@sympatico.ca 54 Grand Salon Orchestra is auditioning singers October 16, 2011, Toronto Centre For The Arts, for a Billie Holiday tribute mgmt@grandsalonorchestra.com 647.853.0057 thewholenote.com September 1� October 7, 2011 LET YOUR INNER SONG BE SUNG Whole Classical Voice Training for all ages in all styles of Singing Classical Voice Training using Yoga Postures, Alexander Technique, Mindful Meditation techniques, and Expressive Movement On Bayview at Eglinton High Park Choirs of Toronto is entering its 25th season of choral excellence. t Six choir divisions, ages t Professional conductors t 416 83 VOICE (838-6423) 5�18 and educators Outstanding artistry and guest artists AUDITION and be a part of something magnificent! t t t Rehearsals 1x/2x per week in Toronto's West End Excellent musical training Build confidence, discipline, memory skills t Improve attention span and focus t Foster team and group life skills t Fun, safe, non-competitive environment t Create lasting friendships t Performance opportunities t Regional and international travel SING WITH US! AUDITION THIS SEPTEMBER To book your audition, please email info@highparkchoirs.org or call 416-762-0657 EXPERIENCED CHOIR DIRECTOR available for church and/or community choir Zimfira Poloz, Artistic Director JUDITH YOUNG 416 493 6421 September 1� October 7, 2011 & PREMIERE SOURCE FOR HIGH QUALITY FOOD (416) 364-7397 thewholenote.com 55 Classified Advertising | classad@thewholenote.com CPF LWUV CDQWV CP[ QVJGT ITGCV HQNMKGU [QW ECP PCOG (GGN HTGG VQ DTKPI [QWT QYP IWKVCT QT DCPLQ CPF IGV TGCF[ HQT C VTKR FQYP PQUVCNIKC NCPG 6JWTUFC[ PKIJVU YYYCXGPWGTQCFCTVUUEJQQNEQO STUDY JAZZ SINGING WITH ORI DAGAN! 5ECV UYKPI KORTQXKUCVKQP TGRGTVQKTG FGXGNQROGPV RGTHQTOCPEG UMKNNU UECVECVUVWFKQU"IOCKNEQO YYYQTKFCICPEQO STUDY SAXOPHONE YKVJ $TWEG 4GFUVQPG // KP 2GTHQTOCPEG $# KP 'FWECVKQP [GCTU GZRGTKGPEG [GCTU WPKXGTUKV[ KPUVTWEVQT TGCUQPCDNG TCVGU EQPXGPKGPV NQECVKQP CNN NGXGNU CPF UV[NGU DTGFUVQPG"TQIGTUEQO QT VIOLIN SCHOOL: *CXG HWP NGCTPKPI XKQNKP +PFKXKFWCN CPF ITQWR NGUUQPU HQT EJKNFTGP CPF CFWNVU 4GIKUVGT HQT 5GRVGODGT D[ #WIWUV CPF TGEKXG QPG OQPVJ HTGG %QPVCEV 0GNN[ &KQU ;QPIG 5V%NCKT WISH YOU WERE SINGING? 5J[! 5KPI YKVJ CP GZRGTKGPEGF RTQHGUUKQPCN COCVGWT )TQWRU QT KPFKXKFWCNU 1EECUKQPU 5NKFKPI UECNG %CNN ,QJCPPG HEINTZMAN D 6 FT GRAND PIANO AND BENCH. %KTEC TGEQPFKVKQPGF GZEGNNGPV VQPG TGPPGT CEVKQP DNCEM UCVKP PKUJ PIANO: -KODCNN 5VWFKQ )TCPF VJKEM OCJQICP[ ECUG 5QWPF DQCTF IQQF DWV PGGFU PGY RKPU QT DGUV QHHGT *COKNVQP FJKVEJ"EQIGEQEC SMALL DOUBLE BASS YECUG NKIJVYGKIJV 2GTHGEV HQT VTCXGNKPI RNC[GT HQT VGEJPKECN GCUG QT UOCNNGT JCPFU $KI DQVVQOGPF UQWPF [QW VKOG CPF OQPG[ EWUVQOK\GF VQ OGGV [QWT PGGFU 0QTO 2WNMGT $ /CVJ %/# QT AFFORDABLE PSYCHOTHERAPY HQT JGNR YKVJ CPZKGV[ FGRTGUUKQP CPF UGNHFGHGCVKPI DGJCXKQWT .KPFC 6QO�U /# 1#%%22 NKPFCVQOCU"IOCKNEQO (KTUV EQPUWNVCVKQP PQ EJCTIG DO YOU HAVE PRECIOUS MEMORIES .156 10 1.& 4'%14&5 6#2'5 2*1615 GVE! 4GEKVCNUIKIUCWFKVKQPUCKT EJGEMUHCOKN[ UVWHH UECUUGVVGUTGGNUOO UNKFGUGVE #TVU/GFKC2TQLGEVU YKNN TGUVQTG VJGO QP %& U QT &8& U %CNN )GQTIG " PERFORMANCE ANXIETY? 1XGTEQOG [QWT HGCTU CPF OCZKOK\G [QWT RGTHQTOCPEG 9QTM YKVJ CP #PZKGV[ /CPCIGOGPV 6JGTCRKUV YKVJ OQTG VJCP [GCTU GZRGTKGPEG KP VJG RGTHQTOKPI CTVU (QT HWTVJGT KPHQTOCVKQP XKUKV YYYUJCWPCITC[GOQVKQPEC REHEARSE OR PERFORM IN A BRAND NEW FACILITY .CYTGPEG 2CTM %QOOWPKV[ %JWTEJ QHHGTU GZEGNNGPV RGTHQTOCPEG CPF TGJGCTUCN URCEGU HQT ITQWRU HTQO UOCNN CP KPVKOCVG OWUKE UVWFKQ VQ NCTIG RGTHQTOCPEG URCEG YKVJ GZKDNG UGCVKPI ECRCEKV[ QH CRRTQZKOCVGN[ KP QWT PGYN[ TGPQXCVGF HCEKNKV[ #ORNG HTGG RCTMKPI CXCKNCDNG 66% )GQVJGTOCNN[ JGCVGF CPF CKT EQPFKVKQPGF (QT KPHQTOCVKQP EQPVCEV /KEJCGN .CTMKP GZV QT GOCKN OKEJCGN"NCYTGPEGRCTMEJWTEJEC YYYNCYTGPEGRCTMEJWTEJEC MUSICIANS AVAILABLE BARD � EARLY MUSIC DUO RNC[KPI TGEQTFGT CPF XKTIKPCN CXCKNCDNG VQ RTQXKFG DCEMITQWPF CVOQURJGTG HQT VGCU TGEGRVKQPU QT QVJGT HWPEVKQPU ITGCVGT 6QTQPVQ CTGC (QT TCVGU CPF KPHQ ECNN QT GOCKN WU CV OJRCRG" KPVGTJQRPGV Children's Piano Lessons Friendly, approachable and strict! Liz Parker 416.544.1803 liz.parker@rogers.com Queen/Bathurst VENUES ARE YOU PLANNING A CONCERT QT TGEKVCN! .QQMKPI HQT C XGPWG! %QPUKFGT $NQQT 5VTGGV 7PKVGF %JWTEJ 2JQPG Z 'OCKN VKPC"DNQQTUVTGGVWPKVGFQTI SERVICES ACCOUNTING AND INCOME TAX SERVICE HQT UOCNN DWUKPGUU CPF KPFKXKFWCNU VQ UCXG 80 Acadia Avenue, Unit 309, Markham ON L3R 9V1 FOR SALE 3 Steinway M grand pianos %JGEM YYYQPVCTKQRKCPQUEQO BLACK 2002 7ft KAWAI RX-6 ITCPF RKCPQ HQT UCNG 1YPGF CPF OCKPVCKPGF D[ RTQHGUUKQPCN RKCPKUV 'ZEGNNGPV EQPFKVKQP #UMKPI )TGCV FGCN HQT HQQVGT YOUR CLASSIFIED AD COULD BE HERE ENCUUCF"VJGYJQNGPQVGEQO Philharmonic Music Ltd. Sales Violin Viola Cello Bows ^ D School Private lessons and exams Violin Viola Cello Bass W ' & d Y K Repair and Rental Professional violin maker and ' Stringinstrumentrentalservice 905-784-2028 Comprehensive � . Residential Quality Audio Recording Services for Classical and Acoustic Music 647 349 6467 Soundproo?ng Solutions leon 416-995-4016 lockwood.frank@gmail.com w w w. L o c k wo o d A R S . c o m Margot Rydall FLUTE STUDIO 40 yrs RCM teacher/Sr. examiner RCME All Ages � All Levels RCM Exams � Audition Preparation Performance Coaching � Flute for Fun! (416)463-1011 margot@duomusic.ca 56 thewholenote.com September 1� October 7, 2011 SEPTEMBER'S CHILD OFRA HARNOY continued from page 12 Who is October's Child? Already a chamber musician, but PQV CDQXG WRUVCIKPI JKU CEEQORNKUJGF older brother. This 3-time JUNO winning pianist grew up on a steady diet of practise, Star Trek, practise, White Spot hamburgers, practise ... in a house YKVJ XG RKCPQU Find him in a lounge with some broken hearts and madmen (next month, in Toronto) and -- speaking of madmen -- playing some $GGVJQXGP KP 0QXGODGT Think you know who our mystery child is? Send your best guess to musicschildren@thewholenote.com. 2NGCUG RTQXKFG [QWT OCKNKPI address just in case your name is drawn! Winners will be selected by random draw among correct replies TGEGKXGF D[ 5GRVGODGT "This is my Professor face ..." (He's already practising his Facebook persona.) Burnaby, British Columbia, 1966. Your earliest musical memory? I remember being moved to tears at the age of 2 � when hearing the recording of the Cimarosa oboe concerto. I can still remember the melody. Where did hearing music fit into your life as a child? .KUVGPKPI VQ OWUKE YCU RTQDCDN[ VJG OQUV KP WGPVKCN part of my musical training as a child. Either listening to multiple recordings, going to classical music concerts or participating in chamber music sessions; music was always part of my life like eating, breathing or sleeping. Read the full interview at thewholenote.com. 1HTC *CTPQ[ RKEVWTGF CDQXG CV C TGEGPV RTKXCVG RGTHQTOCPEG HQT [QWPI RGQRNG *CTPQ[ NKXGU KP VJG )6# YKVJ JGT HCOKN[ CPF C FQI 5JG RCKPVU KU CP CXKF TGCFGT NQXGU VQ VTCXGN CPF GPLQ[U NKXG VJGCVTG CPF NO CONGRATULATIONS TO OUR WINNERS! HERE'S WHAT THEY WON Allison Meistrich (Toronto) wins a pair of tickets to attend the opening of Mooredale Concerts' 23rd season, Sept 25 (3:15pm, Walter Hall): Ofra Harnoy makes her return to the Toronto concert stage with artistic director, Anton Kuerti, at the piano. This is their first-ever joint performance and includes Bach's Suite No. 3 for solo cello, Beethoven's Cello llo Sonata in A Major, Op. 69, and the Cello Sonata by C�sar Franck. Leslie Toy (Toronto) and a young-at-heart friend will be Mooredale's guests when Harnoy and Kuerti give a one-hour, interactive concert, at Music & Truffles, September 25 (1:15 pm, Walter Hall). While this series seeks to engage younger people (ages 5�15), adults wishing to learn more e about music-making are welcome. Joan McGorman (Ottawa) and Alison McTavish (Oakville) will be among the first to hear Ofra Harnoy Plays Vivaldi. This 5 CD boxed set, released August 2011, is a feast of Vivaldi concerti with The Toronto Chamber Orchestra, conductors Paul Robinson and Richard Stamp: RCA Red Label recordings made between 1988 and 1994. SONY 88697-88412-2 Terry Lander (Toronto) and Patrick Huziak (Toronto) will receive Ofra Harnoy's Imagine: 19 Beatles classics featuring Harnoy on solo cello accompanied at times by the Orford String Quartet or the Armin String Quartet. These are live performances recorded at Glenn Gould Studio, Flora McRae Auditorium, and St. Timothy's in 1984 and 1985. SONY 68376 Music's Children thanks Linda, Liz, Christina, Katie, Steve, Robert, David, Myles. MARY LOU FALLIS has a reputation as a teacher with a strong practical technical knowledge, musical imagination and an inspirational rapport with her students. Ms Fallis maintains a studio in Toronto at the centrally located Trinity St. Paul's Centre, 427 Bloor Street West. The class performs recitals twice a year and has the advantage of Master Classes with visiting artists and well known performers. An excellent professional collaborative pianist is available for lessons and coachings as needed. Call 416-925-6889 or email ploum@interlog.com for fees and availability. Fallis Voice Studio Fall term starts September 12th 2011 September 1� October 7, 2011 thewholenote.com 57 MYLES CRAWFORD / UCC Book Shelf PAMEL A MARGLES Partita for Glenn Gould: An Inquiry into the Nature of Genius by Georges Leroux McGill-Queens University Press 256 pages; $34.95 it's almost thirty years since Glenn Gould died, yet there's no letup in the number of books written about him. This study by Georges .GTQWZ C RJKNQUQpher who taught at the Universit� du Qu�bec � Montr�al, is one of the best. In what he ECNNU C RGTUQPCN OGFKVCVKQP .GTQWZ VJTQYU JKU ECTGGT .GTQWZ CTIWGU VJCV )QWNF YCU not abandoning anything, least of all his audience. Gould was searching for disembodied musical perfection, which he couldn't achieve with live concerts, to share with audiences. This means that his pioneering radio documentaries, like the Idea of the North VTKNQI[ YJKEJ .GTQWZ TKIJVN[ ECNNU CP `unequalled masterpiece', deserve the same consideration as his piano recordings like the second Goldberg Variations. Gould's humming, which can be clearly heard on many of his recordings, would drive recording engineers, critics, conductQTU CPF NKUVGPGTU ETC\[ $WV .GTQWZ QHHGTU another side, asking, "What is this unsettling song if not a message, a compassionate signal designed to draw in to him those who OKIJV TKUM HGGNKPI GZENWFGF! (QT .GTQWZ it represents Gould wanting "everyone, through him, to draw near to what is sublime in the work." By providing philosophical underpinPKPIU HQT )QWNF U CTVKUVKE FKNGOOCU .GTQWZ is able to offer an appreciation of Thomas Bernhard's, provocative, revealing and often misunderstood novel about Gould, The Loser. Bernhard altered the facts of Gould's NKHG KP UKIPK ECPV YC[U DWV JG ECRVWTGF YJCV made him an inspiring, visionary genius. This book is not an introduction to Glenn )QWNF .GTQWZ CUUWOGU CV VJG NGCUV C HCOKNKCTity with Gould's playing. Nor is it a biography, though he does discuss events in Gould's life like his love affair with Cornelia Foss. Gould's famous description of art as a 58 "state of wonder and serenity" resonates UVTQPIN[ YKVJ .GTQWZ CPF UJCRGU JKU XKGY QH )QWNF U YQTM $WV YJGP .GTQWZ NQQMU CV. .GTQWZ KU YGNNUGTXGF D[ JKU VTCPUNCVQT Donald Winkler, who presents the original French text in elegant and lucid English. The English version of the full title, however, is misleading. The original subtitle, Musique et forme de vie, PGCVN[ UWOU WR .GTQWZ U RWTRQUG YJKEJ JG JCU HWN NNGF DTKNNKCPVN[ VQ UVWF[ VJG UJCRG QH C NKHG CU KV KU TG GEVGF in acts and words, to view it in the context of music as an art, and to take the measure of its generosity." But An Inquiry into the Nature of Genius describes a different EQPEGTP CPF KV U PQV .GTQWZ U JGTG 6JG CDUGPEG QH HQQVPQVGU HQT .GTQWZ U OCP[ references is regrettable -- to be unable to track down quotations not just from )QWNF DWV HTQO GXGT[QPG .GTQWZ OGPVKQPU from Wittgenstein to Robert Fulford, is frustrating. There is, fortunately, a useful bibliography and detailed index.. +P VJKU TUV UVWF[ QH #NKEG %QNVTCPG, $WF 2QYGNN KP 2CTKU 5JG QPN[ JCF XG [GCTU with John Coltrane before his early death, thewholenote.com DWV UJG UJCTGF HWNN[ KP JKU PCN GZRNQTCVKQPU concenVTCVGF QP YTKVKPI GEUVCVKE J[OPU KP WGPEGF OCP[ TGEQTFKPIU QXGT VYGPV[ XG LC\\ albums alone -- providing plenty of material for Berkman's thoughtful musical analyses. Alice Coltrane stopped recording and performing in public in 1979. Then, after VYGPV[ XG [GCTU CYC[ HTQO LC\\ UJG ICXG a concert with her sons Ravi and Oran Coltrane on saxophones. It was a triumphant return, but the recording which resulted, Translinear Light VWTPGF QWV VQ DG JGT PCN. September 1� October 7, 2011 Editor's Corner DAVID OLDS A bout a year ago in this column I raved about hearing American string band Joy Kills Sorrow at Hugh's Room and their "Darkness Sure Becomes This City" which has since stayed in regular rotation on my stereo throughout the past year. Their sophomore release This Unknown Science (Signature Sounds SIG 2041) has rarely been far from the CD player since arriving on my desk last month. Whereas the previous outing was squarely rooted in the "new grass" camp with its busy mandolin, banjo, CVRKEMKPI IWKVCT CPF RNWEMGF bass arrangements, this new disc incorporates that sensibility into a broader approach encompassing indie-rock and new folk (the genre from which Canadian lead singer Emma Beaton originates). While my initial response to the introspective and generally more subdued material was disappointment, repeated listening has easily changed my mind CPF + PF C PWODGT QH VJG haunting new songs -- in particular When I Grow up (... I'll get better) and the strangely disturbing Somewhere over the Atlantic in which the protagonist dreams of plane crashes CPF PFU EQOHQTV HTQO VJG fact that she will be "sleeping QP VJG QEGCP QQT -- pursuing me through my days. The instrumentanstrumentation on this album has expanded too, with Beaton adding cello and bass-player, chief song-writer Bridget Kearney, using a bow with some frequency (and agility) and also adding piano and organ to the mix. This is not to say that there are no up tempo, goodtime numbers -- One More Night is a case in point -- and even the slow melodies are often laid over fast, rhythmic accompaniments. In spite of my hankering for I "more of the same" in this new " release I congratulate these r young artists for the growth y shown here and for not resting s on their laurels. o C Concert Note: I'm very pleased pays tribute to the heyday of the Hot Club of France when Reinhardt performed with St�phane Grappelli, interspersed with traditional Scottish and East Coast melodies, jigs and reels. Dwayne & Duane each contribute a couple of original compositions, although these too are couched in the language of tradition. Andrews' The Chocolatier's Lament is so convincing in its Reinhardt stylings I could swear I've heard it before, played by the master himself. My only quibble with the recording is that C�t�'s occasional pizzicato accompaniments to the guitar are not very effective. That said this is still a superior and invigorating adventure and the swing arrangement of Hank Snow's hit A Fool such as I (written by Bill Trader) makes a wonderful closer. we welcome your feedback and invite submissions. CDs and comments should be sent to: The WholeNote, 503�720 Bathurst St., Toronto, Ontario M5S 2R4. We also encourage you to visit our website, YJGTG [QW ECP PF added features including direct links to performers, composers and record labels, "buy buttons" for online shopping and additional, expanded and archival reviews. --David Olds, DISCoveries Editor discoveries@thewholenote.com t say that Joy Kills Sorrow to w return to Hugh's Room will on o September 20. I'll be there w bells on. with + PF KV CNOQUV UVTCPIG VJCV Joy J Kills Sorrow does not have C FFNGT KP VJG DCPF CNVJQWIJ they are none the worse for t that. But perhaps that is one t reason I was so pleased to r receive, around the same time r as a their new disc, That's How We Run, the latest from Ottawa W 8 8CNNG[ FFNGT GZVTCQTFKPCKTG A April Verch (Slab Town Records S STR11-01). 8 8GTEJ VJG TUV YQOCP KP JKUt tory to win both of Canada's OQUV O RTGUVKIKQWU FFNG championships, the Grand c Masters and Canadian Open, M is i renowned as a performer of o traditional Canadian music. She has branched out in this latest release branch which was recorded in North Carolina and mastered in Colorado and here embraces the musical traditions of our neighbour to the south. Although there are several traditional QNFVKOG[ VWPGU CPF UWEJ YTKVGTU CU .GUVGT Flatt are represented, most of the 17 tracks were composed by April Verch in the styles of Appalachia, the Ozarks, the Mid-Western 5VCVGU CPF .QWKUKCPC *GT UETCVEJ[ FGUECPV vocals are particularly well suited to the medium and the claw-hammer banjo accompaniment on many songs is very effective. There's plenty to tap your toes to too, not to OGPVKQP VJG UVGNNCT FFNKPI +V KU C DKV WPWUWCN VQ PF CP CYCTFYKPning guitarist from Newfoundland who has devoted his energy to developing in Django Reinhardt's style and technique. On his latest CD Duane Andrews is joined by violinist Dwayne C�t� ( and) for an outing that September 1� October 7, 2011 thewholenote.com 59 and discarded drafts. Even so, this recording the Baby. Extremes in rhythmic complexities HGCVWTGU VJG QTKIKPCN WP PKUJGF UEQTG DQVJ CTG RGTHGEVN[ GZGEWVGF KP ,COGU .KPFUC[ U VQ EQOOGOQTCVG VJG VJ CPPKXGTUCT[ QH KVU Sanbiki No Kasikoi Saru sounding almost premiere and to satisfy those, who claim that like a game of skill in which none of the A Lesson in Love $GTI NGHV VJG YQTM WP PKUJGF QP RWTRQUG three voices trip or falter. They end off the Kate Royal; Malcolm Martineau It is an opera with probably the most recording with seven playful, quirky remixEMI 9 48536 2 complex female character in history. In parts es; having already taken the listener to the 8KQNGVVC .CF[ /CEDGVJ CPF /�NKUCPFG .WNW edge, they then extend far beyond. KU CU EQP KEVGF CU UJG KU DGIWKNKPI 6JG RTQ--Dianne Wells No, Kate Royal duction takes a deep, psychological view of is not a stage name her character. She is a victim of childhood of the Duchess of sexual abuse, illuminated by silent vignettes Cambridge. It is projected throughout. She also is treated the real name of a CLASSICAL & BEYOND by her husbands and lovers in a proprietary, young English sopmisogynistic way -- illustrated by female rano, whose ascent mannequin body parts encased in plastic to fame has accelerJadin � Quatuors � cordes, OEuvre 1 VJCV RQRWNCVG VJG UVCIG .KMG UQOG OCECDTG ated since one speQuatuor Franz Joseph cial evening in 2004, when as an understudy Damien Hirst sculptures, the body parts h d d ATMA ACD2 2610 in The Magic Flute at Glyndebourne Festival RQKPV VQ VJG EQOOQFK ECVKQP QH .WNW CPF explain her coldness and at times hatred toOpera she got to sing Pamina when a diva Child prodigy got sick. Sounds like a typical operatic story, wards others. This approach actually works, Hyacinthe Jadin portraying the heroine as damaged beyond except there is nothing typical about Ms. premiered his own repair and thus tragic, not just loathsome. Royal. The child of singers, she studied at piano concerto at #U VJG RTKPEKRCNU UKPI VJG FKH EWNV OWUKE the Guildhall School and won the Kathleen the age of 13 durQH $GTI YKVJ GCUG YKVJ .CWTC #KMKP CPF Ferrier trophy. Her happy association with ing the French Alfred Muff deserving of a special mention), Revolution, an event Glyndebourne continues, with great results such as the recently-reviewed Don Giovanni, Franz Welser-M�st handles the orchestra which both inspired beautifully. Fair warning, though: given the with Royal as Donna Elvira. and overshadowed Her lyric soprano seems particularly adept graphic nature of the projections, this may him. He composed in almost every contem contemn DG FKH EWNV HQT UQOG XKGYGTU VQ YCVEJ 6JKU at conveying emotion -- her heartbroken porary genre, including harpsichord and Lulu is not for the faint of heart. and confused Elvira was, well, haunting. piano pieces, revolutionary hymns, conven--Robert Tomas tional sonatas and trios and chamber music $WV /U 4Q[CN CNUQ TGUGTXGU XG OQPVJU of the year for concert performances and when it was exclusive to the aristocracy. Songspin rather than relying on existing song cycles, Quatuor Franz Joseph is certainly convenJuice vocal ensemble she has created her own -- with some great tional: two violins, viola and cello. However, Nonclassical Recordings EQNNCDQTCVQTU # .GUUQP KP .QXG KU CP GZKV KPVTQFWEGU WU VQ ,CFKP U TUV SWCTVGV YKVJ tensive cycle of songs penned by Schumann, () a largo which very soon becomes an allegro Wolf, Schubert, Tosti, Bridge, Copland, that is tackled with relish by the quartet. Ravel, Faur�, Britten, Debussy and Strauss. The allegro and following adagio, minuet Traditional, clasThey are artfully woven into four stages and second allegro combine to create chamsical and new music of a woman's life, being "Waiting," "The ber music at its most exhilarating. meet head on in Meeting," "The Wedding" and "Betrayal." Much less serious in tone are the two the debut album These phases are neatly spanned by two other quartets, in A major and F minor. by a cappella vocal versions of William Bolcom's Waitin (sic). Both exemplify the conventional chamber trio Juice. Bringing Royal navigates without effort through music of the pump room, albeit enlightened art music forward English, German and French texts, infuswith the demands of the presto last moveto a hip, modern ing each song with her personal mark. ment of the A major and the folkloric quality sensibility, their How personal? Well, dear reader, listen to of the F minor's polonaise. performances are enjoyed from Wigmore oyed Canteloube's "Tchut, tchut" from the Songs ,CFKP KU UCKF VQ JCXG DGGP KP WGPEGF D[ *CNN VQ #WUVKP U 5:59 HGUVKXCN &GURKVG CTof the Auvergne and judge for yourself! *C[FP JKIJN[ NKMGN[ CU *C[FP U KP WGPEG rangements that are incredibly complex and --Robert Tomas vocally demanding, their delivery is crystal was by then ubiquitous. Jadin was unique TUV KP VJCV JG YTQVG EJCODGT OWUKE YJGP clear, clean and precise whether mimickBerg � Lulu it was almost never publicly performed and ing the babbling brook in Paul Robinson's Laura Aikin; Cornelia Kallisch; Alfred Muff; Triadic Riddles of Water or a pointillistic, UGEQPF KP VJCV JG YCU KP WGPEGF D[ *C[FP U Peter Straka; Zurich Opera; slow introductions to his symphonic works. northern lights-like brilliance in Elisabeth Franz Welser-M�st .W[VGP U Of the Snow. With the use of breath, All from a 19-year-old! ArtHaus Musik 101 565 We are lucky that Quatuor Franz Joseph sighs, sonorous and dissonant harmonies, is bringing Jadin to the ATMA label; his these women demonstrate how the primal spirited music makes his death at 24 all the resonance of the human voice has the abilSince its premore tragic. ity to shape (or even bend) our psyches. miere in Zurich in --Michael Schwartz Downright eerie are arrangements of the 1937 Lulu cannot traditional English folksong Cruel Mother escape controversy. Beethoven � Piano Sonatas 8; 17; 23 as well as group member Kerry Andrew's Granted, in 1937 Ingrid Fliter compositions Lullaby for the Witching Hour the subject-matter EMI 0 94573 2 and luna-cy. Both a sense of wonder, and of a sociopathic fear of the tenuous relationship between prostitute was as mother and child is evoked through the use controversial as it Beethoven's 32 piano sonatas, with his of punctuated breath and long, languorous is today, but there is so much more at stake symphonies and string quartets are among JGTG .GHV WP PKUJGF D[ $GTI VJG QRGTC YCU sighs in an arrangement of Gillian Welch & the supreme achievements of civilization in completed in the 1970s from Berg's sketches T-Bone Walker's Didn't Leave Nobody but the same sphere as the work of Shakespeare, VOCAL 60 thewholenote.com September 1� October 7, 2011 Dante and Night -- Hallucinations" with its terrifying Michelangelo. The DCUU IWTCVKQPU CPF FKUUQPCPV JCTOQP[ CPF best pianists have PCNN[ %CNO recorded them, like The ten pieces of La maison dans les Schnabel, Backhaus, dunes 6JG *QWUG KP VJG &WPGU TG GEV PCGieseking, Kempff, ture, especially the sea. Water has life-giving Rubinstein, status in both the playful "The Sun Plays in Horowitz and the Waves" and the dissonant, surging menRichter to name only CEG KP 5GC 5YGNNU CV 0KIJV YJGTG .GOGNKP a few. Now a new challenger by the name of delivers a tour de force of "maritime pianallenger Ingrid Fliter has arrived to add to the roster. KUO 6JG RGPWNVKOCVG 5VCT .KIJV + HQWPF Born in Buenos Aires and having studied to be the most spiritual piece of all, on the in Europe, she has already won prizes at level of the "In Paradisum" from Faur�'s numerous international competitions and re- Requiem. Whether the pianistic challenge ceived the prestigious Gilmore Award. This KU JCPFNKPI UQHV TCRKF NKITGG CTQWPF C is her 3rd issue with EMI after two very suc- singing melody, pedalling dense passages cessful Chopin recordings. Here she selected without getting waterlogged, or achievworks that probably best suit her temperKPI VTCPUEGPFGPV ECNO .GOGNKP ECP FQ KV ament, three of the Master's most turbulent Highly recommended. and passionate sonatas, all with a nickname: --Roger Knox Path�tique, Tempest and Appassionata. She plays with great fervour, almost Elgar � Piano Quintet; String Quartet reckless passion, abandon, phenomenal Piers Lane; Goldner String Quartet technique, precision and imagination rarely Hyperion CDA67857 found in other pianists. Nowhere does this come out better than in the performance Elgar has always of Op. 57, the "Appassionata", where the been more famous nearly deaf Beethoven with violent outbursts for his large-scale KU XKTVWCNN[ UJCMKPI JKU UV VQ VJG JGCXGPU orchestral and chorInterestingly, it is somewhat related to the al works than for 5th Symphony. Notice the four note motive his chamber music, KP VJG DCUU & CV & CV & CV % XGT[ but included among similar to the Fate motive that permeates JKU QWVRWV CTG C PG the 1st movement of the 5th. The whirlwind, string quartet and turbulent last movement where the speed a piano quintet. Both pieces were written h and excitement just builds and builds to the over a two year period between 1918 and breaking point, ending with an even faster 1919 when the aging composer was residfrantic gypsy dance coda is guaranteed to ing in a cottage in West Sussex -- and both lift you out of your seat, that is if you are not are presented here on this Hyperion recordalready standing. ing by the Australian-based Goldner String --Janos Gardonyi 3WCTVGV YKVJ RKCPKUV 2KGTU .CPG The quartet is an appealing anachronism. Gabriel Dupont � Les heures dolentes; After all, only six years before, Stravinsky's La maison dans les dunes Rite of Spring had caused a scandal in Paris, St�phane Lemelin while in Vienna, the Second Viennese School ATMA ACD2 2544 was making strides with serialism. Elgar himself admitted, "It is full of golden sounds ... but you must not expect anything violently chromatIn this teric or cubist." Nonetheless, this is elegant music, TK E %& TGNGCUG elegantly played, and the Goldners handle the pianist St�phane intricate string writing with its subtle harmonic .GOGNKP OCMGU C shifts with great precision and warmth. strong case for the The more expansive piano quintet is equally remarkable piano conservative, but is marked by a considerably music of French OQTG UGTKQWU VQPG 2KGTU .CPG CPF VJG SWCTcomposer Gabriel tet are perfectly matched, treating the tempesDupont (1878-1914). tuous opening movement with bold assurance. These works amalgamate late romantic and mate Similarly, the middle movement adagio is impressionist elements into a personal voice given the pathos and anguish it deserves, while that meaningfully conveys the composer's VJG PCNG YKVJ KVU OQQF QH DWQ[CPV QRVKOKUO struggle with tuberculosis. Dupont was brings the disc to a satisfying conclusion. known in his day for operas; here too melBetween the two chamber works are four ody pours out and harmony is intriguing. hitherto unrecorded solo piano pieces, two The 14-piece set Les heures dolentes (Doleful Hours) is a diary from the compos- dating from the early 1930s, and all of them, charming examples of Elgar's keyer's sickbed at a spa. Particularly touching board style. In all, this is an exemplary reis the charming "A Friend has Come with cording of music written by a composer who Some Flowers" at the work's midpoint. The YCU PGCTKPI VJG PCN EJCRVGT QH JKU ETGCVKXG last four pieces suggest confrontation and resolution: "Death Grinds," "Some Children life -- there's hope for us all! --Richard Haskell Play in the Garden," the truly great "White September 1� October 7, 2011 Glenn Gould in Concert 1951�1960 Glenn Gould West Hill Radio Archives WHRA-6038 The tragedy of Glenn Gould as concert pianist is seldom discussed. He faced crippling performance anxieties he could not overcome, and abanFQPGF JKU QWTKUJKPI career in his early thirties. He then com comirties menced to become even more famous in his subsequent life as a combination recording artist, CBC arts producer, music journalist, and general Toronto eccentric. Here we have the Glenn Gould most of us PGXGT MPGY VJG EQPEGTV CTVKUV KP UQOG XG hours of previously unreleased recordings. All of this material is unedited, taken from radio broadcasts or private recordings: it is raw Gould, so to say, with the occasional smudges and wrong notes of all pianists, from an artist who in later life insisted on zealous control of his work, in his bid for edited perfection. The performances are from Canada, the USA, Russia, Austria, and Sweden. Gould biographer Kevin Bazzana has supplied lengthy biographical notes, in extremely small print. The release itself is Canadian/German and cryptic, except for a clear warning label: "Not available in the USA." A 1958 Vancouver Festival performance of -- guess what? -- Bach's Goldberg Variations opens this boxed set. The Aria dances with tremendous musicality and contrapuntal verve. It feels more elastic and personal than the famous Columbia debut release of 1955. Variations 29 and 30 are electric and wild, and played interwoven as one. There's a wonderful performance of the Beethoven Second Piano Concerto with Paul Paray and the Detroit Symphony, with an aching slow movement. We tend to put Gould in a cerebral, clinical camp of pianism: not here. With the same conductor and orchestra -- on the same night, no less! -- Gould then teamed up with the DSO's concertmaster Mischa Mischakoff and RTKPEKRCN WVKUV #NDGTV 6KRVQP HQT C URNGPFKF %QPEGTVQ YKVJ C PG 9KPPKRGI 51 NGF D[ Victor Feldbrill -- that then roars to life for QWT JGTQ KP VJG PCNG Swedish mezzo-soprano Kerstin Meyer joined him for Schoenberg's song cycle 61 thewholenote.com Book of the Hanging Gardens CV VJG Badura-Skoda, Alfred Brendel and Martha know right away these are dated performances, but you also feel like a time-traveller, Argerich. But something went wrong, and Gould's retreat into the recording studio sitting in a good seat at each concert venue. brought a more mannered musical trajectory It is sad to recall that this brilliant young that still confounds many. Toronto pianist of the 1950s could still be Strongly recommended! Order online concertizing today, had he lived, and had he from ($52.99). continued a normal path. Gould would turn 80 next year. He was a contemporary of Paul --Peter Kristian Mose Strings Attached TERRY ROBBINS T hroughout his life, Robert Schumann tended to concentrate on one particular form of composition at a time, and in 1853 he produced his only three works for violin and orchestra, although only one -- the Fantasy in C minor -- was premiered before his death 3 years later. BIS has released an outstanding SACD of the Complete Works for Violin and Orchestra (BIS-SACD-1775) featuring Ulf Wallin with the Robert-Schumann-Philharmonie under Frank Beermann. The Concerto in A minor is Schumann's own transcription of his 1850 Cello Concerto, and it works remarkably well, given the two instruments' differences in pitch and tone. It was premiered as recently as 1987 after a copy was found in the papers of the violinist Joseph Joachim, to whom both the Fantasy and the Violin Concerto in D minor were dedicated. The Fantasy, an attractive work with a striking cadenza, fell out of favour after Schumann's death, and the D minor concerto fared no better, with several projected premieres being cancelled before Clara Schumann and Joachim lost faith in it and decided against publishing it. Joachim's resistance was probably due to the concerto's e technical and musical challenges: it's a large work with a beautiful slow movement, but has never really established itself in the TGRGTVQKTG UKPEG PCNN[ DGKPI RWDNKUJGF CPF premiered in 1937. If anything can change that, it's this recording. Ulf Wallin (who also wrote the outstanding booklet notes) uses Schumann's original solo part, wisely choosing to ignore the later unauthorized "corrections and alterations" apparently OCFG D[ ,QCEJKO 6JG TGUWNV KU C FG PKVKXG performance, full of strength and beauty, and perfectly displaying the mix of Classical and Romantic styles that typify the music of this still often misunderstood composer. CHANDOS has issued Volume 2 of the Violin Concertos of the Polish violinist and 62 composer Grazyna Bacewicz (CHAN 10673), CPF KV U SWKVG UVWPPKPI $CEGYKE\ was that 20th century rarity -- a world-class violin virtuoso with compositional skills to match. Volume 1 featured Concertos 1, 3 and 7, and this new CD completes the set with Nos. 2 (1945), 4 (1951) and 5 (1954) 0Q GZKUVU QPN[ KP OCPWUETKRV and a has never been performed). The T three works here range HTQO VJG UQOGYJCV 2TQMQ GX H like No.2, with its mix of l melodic and strongly rhythmic m material, to the much tougher, m terser world of No.5, as Polish t music began moving away from m the t "formalist" Communist days. All three demonstrate d Bacewicz's innate understanding B of o the instrument, and her assured grasp of form and a orchestration. The Polish-born o violinist Joanna Kurkowicz, now v r resident in the United States, i wonderful throughout, and is IKXGP VGTTK E UWRRQTV D[ VJG I P Polish Radio Symphony Orchestra u under Lukasz Borowicz. An times. The Honegger is a short (15 minutes) but very effective work from the same year. The Hindemith, from 1940, is classic Hindemith: a strong, rhythmic opening; an immediate melodic entry for the soloist; an KPUVCPVN[ KFGPVK CDNG CPF JKIJN[ RGTUQPCN use of tonality; stunning orchestration. It's a wonderful partner for the Violin Concerto from the previous year. I'm completely at a loss to understand why Hindemith is still regarded in some circles as a dry, theoretical musician -- it's a view completely at odds with his mature orchestral works, and one completely destroyed by performances like this. Moser is outstanding throughout the disc. The recorded sound is warm and resonant, and the Deutsche Radio Philharmonie and conductor Christoph Poppen are ideal partners. strings attached continues at. MODERN & CONTEMPORARY Xenakis � Orchestral Works Orchestre Philharmonique du Luxembourg; Arturo Tamayo Timpani 5C1177 () +CPPKU :GPCMKU (1922�2001) was a Greek composer based in Paris, with a long relationship to Canada: four premieres and many visits going back VQ VJG U (QT all that, there have been just two orchestral een RGTHQTOCPEGU KP %CPCFC .WEMKN[ PGZV /CTEJ 'URTKV 1TEJGUVTC YKNN TGRTKUG KVU performance of Jonchaies (1977), a major work included in this set. Over the 40-some years of his career, :GPCMKU YTQVG QTEJGUVTCN UEQTGU CP amazing output considering that he composed 100 or so other works as well. Until recently, few of the orchestral pieces were available on disc. Thankfully, in 2000, conductor Arturo Tamayo and the 1TEJGUVTG 2JKNJCTOQPKSWG FW .WZGODQWTI began recording these works for Timpani Records, a French label. Over the past FGECFG XG FKUEU JCXG DGGP TGNGCUGF PQY collected in a handy box set. Of the 23 September 1� October 7, 2011 a absolutely essential addition to t 20th century violin concerto the record catalogue. r Bohuslav Martinu, Arthur Honegger and Paul Hindemith H l lived almost exactly contemporaneous lives, being c born within 5 years of each other in the early U CPF CNN F[KPI KP VJGKT U DGVYGGP CPF #U EGNNKUV Johannes Moser perceptively notes in the booklet for his latest CD, Cello Concertos (H�nssler CLASSIC CD 93.276) they had one other thing in common: they all consciously avoided the path of serialism and consistently developed their own very individual styles. Moser's idea of bringing their cello concertos together in one programme is a real winner, CPF TGUWNVU KP C VGTTK E %& #NN VJTGG YQTMU are in the traditional three-movement form and are immediately accessible, while clearly imbued with each composer's individual voice. The Martinu, from 1930, has its TQQVU TON[ KP VJG %\GEJ VTCFKVKQP YKVJ C UQWNHWNPGUU XGT[ TGOKPKUEGPV QH ,CP��GM CV thewholenote.com works presented, only a few have been TGEQTFGF DGHQTG 6JG HVJ FKUE KPENWFGU Achorripsis (1957) for ensemble rather than orchestra. As it is out on disc already, one wonders why it was included. That quibble aside, this is an important collection, very well recorded and performed. Tamayo is C PG KPVGNNKIGPV EQPFWEVQT YJQ RGTHQTOU a great deal of contemporary music all around Europe. :GPCMKU U UGOKPCN UEQTGU Metastaseis (1954) and Pithoprakta JCXG NQPI been available on disc through reissues of early recordings. This new one is a revelation, not only for the pristine quality but for the assurance of the string players, who now very well know how to perform the glissandi, steely non-vibrato, and other extended techniques that earlier musicians struggled with. Hiketides is a little-known orchestral suite derived from incidental music for the Aeschylus tragedy The Suppliants, and is a fascinating mixture of textural music and archaicsounding modal passages. The majority of the works recorded for this set date from the 1980s and 1990s. Most are scored for full orchestra, although Syrmos (1959) and Shaar (1983) are for strings alone, and Akrata KU HQT winds. Two are concertante works for piano, dazzlingly performed by the young Japanese pianist Hiroaki Oo�: Synapha� YJGTG VJG RKCPQ RCTV KU KPHCOQWUN[ written on 10 staves, and Erikhthon (1974). The other work in this set featuring soloists is A�s (1980), written for the extraordinary voice of Spyros Sakkas, jumping between baritone and falsetto. He is heard along with a solo percussion part ably performed by B�atrice Daudin. This work opens the set, and is truly evocative and emotionally gripping. The latest pieces included in the set date from 1991: Roa�, Kyania and Krino�di. An extraordinary year! Even more amazing is the variety of character and material between these works. While :GPCMKU YCU CV VJCV VKOG CNTGCF[ UWHHGTKPI from ill health, it certainly does not show in these forceful, sophisticated, beautiful works. In listening through all this music, various strands of the composer's thought and expression surface; some -- like the glissando textures, the layered polyrhythms, or the modal melodies harmonized in blocks -- reappear. Others appear then submerge, giving rise to new ideas. The evolution from one orchestral score to the next is quite organic, and the visceral intensity of the music remains constant. Try listening chronologically as well as following the order presented on the discs. What is most apparent, in the end, is VJCV CNN JKU NKHG :GPCMKU FTGY GZVTCQTFKPCT[ inspiration from the symphony orchestra. The important contribution he made to the genre can start to be understood and appreEKCVGF YKVJ VJKU PG DQZ UGV --James Harley September 1� October 7, 2011 S. C. Eckhardt-Gramatt� � The Six Piano Sonatas Marc-Andr� Hamelin Centrediscs CMCCD 16611 Outside Canadian music circles where her legacy lives on in a prestigious music competition, the colourful name of Sophie-Carmen Eckhardt-Gramatt� (1899-1974) might not be particularly well known But known. rest assured, this woman led an equally colourful life as performer, composer and pedagogue. Born in Moscow, she entered the Paris Conservatory at age eight, studying piano and violin, and went on to a successful concert career on both KPUVTWOGPVU .CVGT VYQ OCTTKCIGU DTQWIJV her to Barcelona, Berlin, Vienna, and PCNN[ VQ 9KPPKRGI YJGTG UJG UGVVNGF KP 1953 when her second husband Ferdinand Eckhardt became the director of the Winnipeg Art Gallery. There she broke new ground as a teacher and composer, her contemporary style very much steeped in the romantic tradition. Among her compositions are six piano sonatas, written between 1923 and 1952 -- and who better to perform this technically challenging music than piano titan Marc-Andr� Hamelin? This two CD Centrediscs set is a re-issue of an Altarus recording from 1991. These sonatas, covering a thirty year period, display a wealth of contrasting UV[NGU 6JG TUV YTKVVGP KP RC[U homage to the Baroque period -- think 1920s neo-classicism. Conceived as a two-part invention, the mood is buoyantly optimistic, and Hamelin easily meets the technical demands required to bring it off convincingly. Considerably more subjective is the second sonata, completed only a year later. In four movements, the piece aptly describes Eckhardt-Gramatt�'s emotional state over a two year period, from the dark days in Berlin during the Great War to the OQTG EJGGTHWN VKOG YJGP UJG CPF JGT TUV husband, artist Walter Gramatt� settled in Spain. The mercurial nature of these sonatas, with their ever-changing moods presents no challenge to Hamelin. The vivacious PCNG HTQO VJG HVJ UQPCVC KU JCPFNGF CU deftly as the languorous Nocturne of the Sonata No.4. Eckhardt-Gramatt�'s music might not be VQ GXGT[QPG U VCUVG 5QOG OKIJV PF KV VQQ strident, while others, too deeply-rooted in late romanticism. Nevertheless, she occupies a unique place in 20th century OWUKE CPF VJKU UGV KU C PG VTKDWVG VQ a composer who undoubtedly deserves wider recognition. --Richard Haskell Mathieu Lussier � Passages Pentaedre; Louise Lessard; Claudia Schaetzle; Fraser Jackson ATMA ACD2 2657 Bassoonist and composer Mathieu .WUUKGT U EQORQUitions here feature wind instruments and piano in various combinations, some conventional and others unusual. .WUUKGT YTKVGU WGPVN[ CPF GENGEVKECNN[ HQT [ winds in solo and chamber music that has won support of major performers. His works align with the French neoclassical woodwind tradition, and add distinctive touches. I particularly like his Sextet for wind quintet and contrabassoon, a concise three-movement work in which the contrabassoon provides both weight and wit! .WUUKGT RNC[U CPF EQPFWEVU GCTN[ OWUKE CPF C DCTQSWG KP WGPEG KU PQVKEGCDNG +V shows up in harmonic progressions and in the presence of the siciliano and chaconne, for example. Also, there are popular elements along with the baroque; after all, repeated chord progressions in pop songs can be compared to the ground bass which appears in the last movement of the Sextet and in Passages for bassoon and piano. In the White Rock Sonata syncopation provides a rhythmic spark to the earlier style. 6JG NCVVGT VYQ YQTMU UJQY .WUUKGT JKOUGNH to be an expressive and technically facile bassoon soloist. I am also particularly taken with clarinettist Martin Carpentier's performance of the Introduction and Sicilienne. In fact the wind soloists are all of high caliDTG KPENWFKPI CNUQ CWVKUV &CPK�NG $QWTIGV oboe d'amore player Normand Forget, alto saxophonist Claudia Schaetzle, French horn RNC[GT .QWKU2JKNKRRG /CTUQNCKU CPF EQPVTCDCUUQQPKUV (TCUGT ,CEMUQP (KPCNN[ .QWKUG .GUUCTF U GZGORNCT[ RKCPKUO PQV QPN[ CEcompanies but periodically steers well-paced and convincing interpretations. --Roger Knox PRES Revisited: J�zef Patkowski in Memorium Various Artists Bolt Records DUX 0812/13 () Fascinating in its bravado, this set joins one CD QH U CPF U recordings of important musique EQPET�VG D[ XG Polish composers with another CD of acoustic improvisations on these themes ons by three British and two Polish players. The result not only captures cerebral variants of the compositions but also 63 thewholenote.com CH TOU VJG QTKIKPCNKV[ QH VJG UQWPFU created in the days of bulky tape recorders and thick coaxial cables. Honouring J�zef Patkowski (1929-2005), co-founder of the Polish Radio Experimental Studio (PRES) in 1957 and its director for 28 years, the original recordings revisit the musical freedom offered by PRES during those Cold War years. For instance Krzysztof Penderecki's Psalmus WUGU GNGEVTQPKE NVGTKPI CPF CPIGU VQ FGEQPUVTWEV vowels and consonants initially created by the bel canto gurgles and quivering yodels of male and female singers. John Tilbury's contemporary piano version is more chromatic, with vibrating and strumming strings resonating on top of basso keyboard rumbles. After the tune reaches satisfactory linearity, he shatters the mood by shrilling a lifeguard's whistle. 1T EQORCTG 'WIGPKWU\ 4WFPKM U recording of his Dixi with cellist Mikolaj Palosz's reimagining of it four decades later. Originally a tape collage, the performance swells to forte as dissonant, processed delays almost visually pulsate then dissolves in gradually less audible undulations. Taking an opposite approach, Palosz's variant mixes strident, spiccato string squeaks at different tempos, reaching raucous volume that sound as if the strings are being splintered as he plays and concluding with string popping fading into dissolving shrills. #RRTQRTKCVGN[ VJG PCN VTCEM KU C *QOOCIG VQ $QIWU CY 5EJCGHHGT U Symphony. Here Tilbury, Palosz, violinist 2JKN &WTTCPV IWKVCTKUV /CEKGL NGF\KGEMK CPF percussionist Eddie Pr�vost combine to coalesce stretched string glissandi, snare ratcheting and cymbal clangs plus faux-romantic piano chording into an ever-shifting performance, which like the Polish composer's work is both aleatory and multiphonic. --Ken Waxman JAZZ & IMPROVISED Live at Grossman's Jeff Healey Band Convexe ERN 28002 () Phew! Wotta Scorcher. That time-honoured Brit tabloid newspaper headline neatly sums up the inaugural release of the Convexe NCDGN TUV KP C UGTKGU of unreleased Healey band CDs and DVDs culled from audio and video archives. With power trio regulars Joe Rockman on bass, drummer Tom Stephen plus on many cuts guitarist Pat Rush, the %CPCFKCP KEQP UVWPPKPIN[ RTQ EKGPV YKVJ guitar and voice -- establishes a blistering pace from the start, storming through Alvin 64 .GG U I'm Going Home and maintaining the River is a surprising success with its punchy pace with Killing Floor, one of two Howlin' shots and zippy tempo. Reinhardt's Swing Wolf classics that Healey jokes are just part 48 features Kikteff's technical wizardry and of "another session of sonic torture!" Convert's contrasting lush tonal quality in Chinatown venue Grossman's has equally their solo work. The chromatic melody lines venerable status, one reason its hosting the of Kikteff's Niglo 1 Waltz are reminiscent of Sunday jam sessions spawned the Healey French musette accordion music, one of the band in 1985. OCP[ KP WGPEGU QP 4GKPJCTFV U QYP OWUKE Today its blues and rock Mecca rep has 6JG UETCVEJ[ XKP[N TGEQTF UQWPF QP VJG PCN faded, but this outing 17 years ago -- one track is a nice closing touch. shared with local rockers The Phantoms -- The liner notes describe the band's high is fully energized though the crowd seems regard of Django's music. "He is a perpetual thin. The session was actually a rehearsal source of inspiration and we are grateful that for Healey's fourth studio album "Cover his music has made its way into our lives To Cover." today." And this exactly how I feel about The Albert King hit As The Years Go .GU &QKIVU FG N *QOOG U VQQ Passing By shows Healey's skills at their --Tiina Kiik best, raw voice effortlessly locked onto the beat then a launch of a typically aching solo Miles Davis � Live at Montreux 1973�1991 on guitar -- once again you're reminded of Miles Davis how comfortable he is in blues, rock and Eagle Eye Media EE391949 jazz, resulting in a public appeal that was unquenchable until his death in 2008. The pleasing Vintage jukebox hit Ain't That Just Like shock of seeing jazz A Woman gets thrusting treatment, followed genius Miles Davis D[ C TCTG $GCVNGU VWPG VJG .GPPQPRGPPGF up close and permelancholic Yer Blues with passionate sonal at Montreux Healey vocal and general ensemble fury in 1973 in striking setting the mood ablaze and then it's back colour -- lip-licking to the Wolf for Who's Been Talking with in splendid white Michael Pickett's vigorous harmonica. jacket, huge Afro, Robert Johnson's Crossroads has plenty big shades, glittering vest, blue cravat -- vest of jump, as does Elmore James' Dust My is matched by the misery of seeing him 18 Broom, this chestnut all urgent wailing, years later on the same Swiss stage -- frail, pleading crescendos and bouncing beat. old, downcast, positively drab in demeanour Then, unpredictably, comes a smartly done with playing to match. extended encore with Dylan's All Along The All of which makes this DVD, drawn from Watchtower, more searing guitar work, rock the archives that generated a 20-CD release lyrics and realization that a memorable hour in 2002, a valuable document indeed. On JCU EQPENWFGF YKVJ C ITCPF QWTKUJ the 10 long tracks no line-up is the same, no --Geoff Chapman line-up featured ever recorded in a studio, there's no remixing, no editing, 1910 Mind you, the lead-up is odd. With roadLes Doigts de l'Homme ies on stage there's around two minutes of Alma ACD61412 UJWH KPI JKPVU QH RGTEWUUKQP CP CPQP[OQWU (w) squawk. A minute later staccato trumpet UQWPFU CPF KPUVTWOGPV FFNKPI #V UKZ UKIPU there may be a band at work. All is forgotten .GU &QKIVU FG YJGP VJG ITQWR C [QWVJHWN &CXG .KGDOCP l'Homme -- guitaron soprano sax and Al Foster drumming, ists Olivier rumbles into action for a very lengthy imKikteff, Yannick prov on Ife, Miles conjuring sounds with Alcocer, and Benoit horn and wah-wah pedal from his recent "Binouche" Convert, groundbreaking offerings on seminal albums and acoustic bassist "Bitches Brew" and "In A Silent Way," using " Tanguy Blum -- is nods and hand signs to instruct sidemen, an amazing French dabbling on Yamaha organ and creating band whose music is now available locally ethereal magic over a four-note bass riff. thanks to Alma records. Florid guitar lines, It's good, enhanced by the superb, suinteresting solos, a great groove, and tight perior visual clarity that easily captures the ensemble playing means these gentlemen sweat on the master's face. Davis retired could even make a C major scale sound infor six years in 1975 through ill-health but spirational if asked to do so! returned to Montreux in 1984 dressed in a Django Reinhardt was born in 1910, thus sort of white sailor suit with Bob Berg on the name of this tribute CD. The band covers a number of the guitar legend's tunes like UQRTCPQ CPF IWKVCTKUV ,QJP 5EQ GNF *KU Minor Swing, interspersed with some classic VTWORGV YCU KP PG UJCRG CV VKOGU HGTQEKQWU numbers like Irving Berlin's Blue Skies, and on Speak: That's What Happened. 1985 had similar personnel save for stiff-armed Vince originals by band member Kikteff. Each track is a work of aural art. The upbeat cov- Wilburn, Davis' nephew, on drums, quickly HQNNQYGF KP YKVJ DCPMU QH U[PVJU CNVQ er of the Kern/Hammerstein song Ol' Man thewholenote.com September 1� October 7, 2011 sax smoothie David Sanborn actually blowing hard and young guitarist Robben Ford thrashing blue notes on Jean-Pierre as the master delivered clean, quick lines. The next year's Heavy Metal Prelude was a tedious vehicle for percussionist Marilyn Mazur but alto Kenny Garrett was there and in 1989 for a potent big bass punch courtesy of Foley McCreary and tenor Rick Margitza on Jo Jo. 1990's Hannibal had fetching, understated Davis and raging Garrett. The gloomy 1991 takes three months before Davis' death originated in "Sketches Of Spain" (The Pan Piper, Solea ) with over-packed stage and music collapsing into ECEQRJQP[ +V YCU JCTFN[ C VVKPI GRKVCRJ HQT C NKHG QH OWUKECN KP WGPEG CPF TGXQNWVKQP whose constant was change and whose indelible mark will forever be clear on bop, cool jazz, modal jazz, electric jazz, funk and jazz fusion. The disc, however, is a must-have. --Geoff Chapman RKCPQ DWV %NGXGNCPF FG PGU VJG RWNUG which underpins everything from the chirpy title tune to the elegiac Obbink. Malone is cool and clever, Jefferson powerfully inventive. Going Back is a tribute to late bandleader Dave McMurdo, who taught at Mohawk. Bernie Senensky has long been a major player on the Canadian jazz scene but somehow remains undervalued, which is outrageous -- he's always a fount of fresh former ideas, an assured performer with incredible technique who honours jazz tradition. Thus on Senensky-Perla-Riley � na tenor saxophonist Sal Rosselli, who often FGENCKOU � NC #TIGPVKPGCP TGDTCPF )CVQ Barbieri. Their debut disc Timing and Distance () It's Our Jazz GEOFF CHAPMAN W elcome back Jane Fair and Rosemary Galloway, last heard together nine years ago. Their new one -- Jane Fair Rosemary Galloway Quintet � Playin' Jane (JFRGQ-002) -- has nine tight, simple emphatic riffs abound and despite unvarying structures, the entirely unnecessary Cuban rapper and soulful blues singer (and bandsmen vocals) this is a most entertaining outing that updates vintage New Orleans marching combos. briskly-paced Quebec pianist QTKIKPCNU XG D[ F Fran�ois Bourassa Galloway, four h has enjoyed a stelby Fair) artfully l lar three-decade executed alongside c career yet his vetVTWORGVGT .KPC e eran team always Allemano, pianp plays with youthful ist Nancy Walker u urgency, as you and drummer Nick q quickly gather Fraser. Fair, a rare f from Isola VJG TUV commodity on c cut on Fran�ois record, is adept on soprano and tenor Bourassa Quartet � B UCZ EQP FGPVN[ I Idiosyncrasie setting the mood (Effendi FND111 ( on her spirited title w). It's r track opener, a harbinger of bright, o one of the leader's unusual pieces seven (of eight) s propelled by resonant Galloway bass and nt compositions that showcas slick unison showcases lively drums. Highlighted throughout are RNC[ DTCEKPI VGPQTOCP #PFT� .GTQWZ Walker's thrusting solos and comping as ever-churning bassist Guy Boisvert and well as Allemano's impassioned avant garde stimulating drummer Philippe Melanson, notions that complement her comrades' bop followed by the long, mysteriously moody inclinations. The Thelonious Monk-inspired Haiku-Darmstadt that offers clipped phrasGreen Roofs features intricate exchanges ing, seductive piano-sax dialogue and choppy and potent playing by soprano and trumpet, odd-meter beat. Then comes a three-part while Circles And Lines initially echoes his suite, among which the stirring Pressiert classic Misterioso before segueing into minor bests elegant balladry with the foursome blues. Elsewhere, expect the unexpected on consumed by focused urgency. The session C VGTTK E CNDWO EGNGDTCVKPI VJG FGGR RQQN QH guarantees both pleasure and curiosity -- Toronto-based talent. witness the closing Chant Du P'tit Gny. The Heavyweights Brass Band � VWPGU TGHGTGPEKPI RQRUVGTU NKMG .CF[ )CIC Michael Jackson, Beyonce, and Stratford's $GGD UQ VJKPM TGKPECTPCVGF 5JWH G &GOQPU Trombonist Chris Butcher, trumpeter Jon Challenor and saxman Paul Metcalfe wail to great effect over tough, battering drums HTQO .QYGNN 9JKVV[ 6JG GPUGODNG U September 1� October 7, 2011 starts modestly but improves dramatically with the tune Interception VJG TUV QH VJTGG Ostojic compositions, in which the tenor Cleveland 5uintet � Tumble, Stumble (JC52011 storms over heavy, tumultuous rhythm.), which also Then it's one of three modern jazz rarities, Phineas Newborn's Sugar Ray, like much headlines saxist Kelly Jefferson, bass Ross here a vehicle for Rosselli to range widely MacIntyre, pianist Adrian Farrugia and before the pianist shows off his imagina/KMG /CNQPG QP VTWORGV CPF WIGNJQTP +VU tive independence. Nomad wobbles before 11 tunes and charts are by Cleveland, who Rosselli tears into double-time over thrusting more than holds her own in this wellgrooves, then Ostojic counters with more integrated group. Farrugia often steals the shrewd notions. The album impresses, if limelight with smart, sometimes lavish QPN[ NCUVKPI OKPWVGU statements, particularly effective on electric thewholenote.com 65 Something in the Air | Guelph Jazz Festival 2011 KEN WAXMAN weaves gradually diminishing string scrubs, piano key pummels and alternately breathy or splintering reed tones into an echoing statement.. For example, American CNVQ UCZQRJQPKUV CWVKUV Henry Threadgill appears at the River Run Centre on September 10 with his Zooid quintet. A frequent GJF visitor bassist William Parker is featured in at least four ensembles; twice with Toronto vocalist Christine Duncan's Element Choir Project on September 9 at St. George's Anglican Church and September 10 at the outdoor Jazz Tent; on September 11 as part of an all-star quartet in Co-operators Hall; and in the same spot on September 8, with pianist Paul Plimley and drummer Gerry Hemingway. Sharing the bill is Tilting, a quartet led by Montreal bassist Nicolas Caloia. Meanwhile Danish saxophonist Lotte Anker is part of an afternoon performance September 10 at Co-operators Hall with two Americans, pianist Craig Taborn and drummer Gerald Cleaver. Supplely slinky, bouncingly rhythmic and unmistakable original, Zooid's This Brings Us To Volume II (Pi Recordings PI 36. com) clearly 's delineates Threadgill's compositional smarts expressed by the band. Many of the tracks depend on the contrasts engendered by OKZKPI .KDGTV[ 'NNOCP U P[NQPUVTKPI IWKVCT VKODTGU CTG TUV HTCOGF D[ UPCRRKPI HTCKNU ns 66 Another bassist/ composer is Nicolas extrasensory perception. With Anker Caloia, whose rotating among soprano, alto and tenor saxophones, the band divides according to Quartet CD Tilting (. the improvisation; sections are devoted to saxophone-piano, saxophone-drum or piano- net), is a microcosm drum interaction. Hard reed buzzes bring of Montreal's out cascading choruses from Taborn for scene. Completed instance, while the pianist's unconventional by saxophone/ key clicks are met by the saxophonist's WVKUV ,GCP >QOG RKCPKUV )WKNNCWOG CTEJKPI URNKV VQPGU CPF VQPIWG WVVGTU RNWU Dostaler and percussionist Isaiah Ceccarelli, swirling cymbals and snare backbeats. the disc highlights the bassist's approach. Sometimes the narrative becomes a mass of While Caloia's connective ostinato is felt chiaroscuro patterns from all, with the throughout, this high-energy showcase RCNRCDNG VGPUKQP PCNN[ DTGCEJGF D[ #PMGT U gives everyone space. Impressive on each chirping tones and Taborn's glissandi. QH JKU JQTPU >QOG U DCUU WVG CFFU Backwards River is an extended example of appropriately breathy tones, evolving this, as galloping runs from Taborn arrive contrapuntally with Dostaler's comping after an exposition of gritty reed tones. on Stare. Meanwhile the husky textures Before the climax, involving Cleaver knitting Derome propels from baritone saxophone rat-tat-tats and tom-tom rolls into a forceful make Locked a stop-time swinger, especially solo, the sax and piano sounds surge from YJGP %GEECTGNNK U UQNQ HQNFU COU UJWH GU gentle swing to jagged altissimo intersections and ratamacues together. Derome's singsong rife with polyphonic smears. alto phrasing is all over the other two pieces, both of which feature brief but attentive Combination solos from Caloia, whose string slaps and spark plug and thumps concentrate the action. The pianist's spiritual guide languid note cascades are showcased spectacularly on Safety where he interrupts William Parker's gigs Derome's forays into false registers with an at GJF 2011 are with interlude of harmonized chording and rubato a vocal chorus and key fanning. two instrumental groupings. Winter As this group of sound explorers join Sun Crying recorded many others of similar quality during the iece with Munich's nine-piece ICI Ensemble (Neos Jazz Neos 41008) annual GJF, it's not surprising that this little festival has reached satisfying maturity withdemonstrates the skills he brings to groups of any size or instrumentation. The CD cap- out the compromises that impinge on many tures a 15-part suite which waxes and wanes larger celebrations. between legato and atonal contributions. Parker's contributions on piccolo trumpet, double reeds, shakuhachi and bass are intePOT POURRI grated within the composition. As band members move throughout from aleatoric solos to tutti and contrapuntal passages, he Second Nature adds walking to keyboardist Martin Minor Empire Wolfrum's precise chording, while under World Trip Records WTR001 both, Sunk P�schl's drums clatter and pop; () or lets his pinched reed contrast with upturned harmonies from ICI's three woodAll my initial winds and trombone. The ensemble never scepticism nestles in any style or genre. Roger immediately Jannotta's faux-baroque piccolo decorations disintegrated with are as germane to the performance as VJG TUV VTCEM QH Markus Heinze's guttural baritone sax Minor Empire's snorts, while oscillated processes from debut release Gunnar Geisse's laptop or trombonist "Second Nature." Christofer Varner's sampler are responsible No second rate bad for the composition's outer-space-like under- YQTNF OWUKE JGTG.GCFGTGNGEVTKE IWKVCTKUV CFGTGNGEVTKE tone. Meanwhile the downward shifting of programming guru Ozan Boz has carefully Johanna Varner's spiccato cello lines join eliminated any such occurrences with his with Wolfrum's dynamic chording to propel careful combinations of Western pop sounds, the horns away from dissonance towards jazz improvisations, and Turkish traditional NKPGCTKUO 6JG PCNG Let's Change the music and his superb arrangements. Toss World, not only refers back to the head, but in band members Ozgu Ozman (vocals), thewholenote.com September 1� October 7, 2011 Michael Occhipinti (electric guitar), I Walked Into the Silver Darkness Chris Gartner (bass) and Debashis Sinha Mark Wingfield; Kevin Kastning (percussion), Ismail Hakki Fencloglu (oud) greydisc GDR 3508 and Didem Basar (kanun) and the result is a () smart band creating intriguing sounds and melodies set to a backdrop of funky beats. This is a colEspecially noteworthy is Zuluf Dokulmus lection of original Yuz. Ozman's sultry vocals weave pieces for guitars. effortlessly through a tapestry of musical I found myself KP WGPEGU 9JCV C ITGCV KFGC KU VQ JCXG amazed at the range short interludes based on makams with of guitar voices catchy titles like Ozan's Psyche and Selim's produced. A very Anatomy (featuring the amazing guest extended palette of clarinettist Selim Sesler) which allow the sound is due to the instrumentalists to solo and shine. odd variety of guitars being played. There s played Unfortunately there are no translations CTG EQPXGPVKQPCN UVTKPI IWKVCTU DWV CNUQ for the lyrics. I learned a long time ago we hear a 14-string contraguitar, 12-string in my band playing days that the listener extended baritone guitar, heavily processed wants to know the meanings of the lyrics. electric guitars and even fretless guitar. But the production values are high and the The sounds had me searching through the sound quality superb. Fall is the time to liner notes wondering what I was hearing. get back to work and back to school. There 9KPI GNF CPF -CUVPKPI CTG UWTGN[ RWUJKPI is no better backdrop than the worldbeat the envelope with this disc. According to sounds of "Second Nature" to get you back the liner notes, an "open mind" is required into the groove. to appreciate these compositions, which --Tiina Kiik are all improvised in the recording studio by two extremely gifted guitarists who Gamma Knife had not played together until the time of Maria Kasstan this recording. Independent Sonically, the recording is reminiscent () of an ecm release, a mix of acoustic and electric sounds with a generous amount of spatial enhancement surrounding the sound. I'm almost Its multi-tracked, or layered construction, is ashamed to admit assembled in an interesting fashion, with that it has been some sounds very forward while some are a very long time quite distant. It isn't very natural sounding since I have in that the reverberation times differ drasticheard someone ally, with very dry acoustic guitars often of my generation surrounded by heavily treated reverberant producing a folk CD electric tones. that rails against As a guitarist, I am forever amazed at the the establishment, but Maria Kasstan has t compositional aspect of the instrument. I good reason. Her partner of 25 years died learned how to play with a very tattered Pete as a result of a heart attack right outside of Seeger method book about 40 years ago and RQNKEG JGCFSWCTVGTU #NNGIGFN[ VJG QH EGTU NGCTPGF VJG GCTN[ #OGTKECP UV[NGU QH CV who discovered him assumed the man to RKEMKPI CPF PIGT RKEMKPI WUKPI C JCPFHWN be homeless and neglected to administer of basic chords, and have had a lifetime of CPR. Her sorrow and anger are deeply felt pleasure working in that idiom. For most by the listener in the last few tracks of the recording. The tracks are arranged as a story of what I play, I really only need a guitar of their life together, celebrating the fullness VJCV JCU VJG TUV XG QT UQ HTGVU 9JGP + hear "modern" guitarists who are pioneering of the good times and grieving the loss with sounds and musical textures, I am in awe of C XQKEG DQVJ UVTQPI CPF VGPFGT 7RQP TUV hearing, I absolutely fell in love with the TUV VTCEM Act of Love. Kasstan is known for her work as a pollinator advocate or "seed lady." This song is a catchy, happy tribute to Mother Nature, with a playfully whimsical arrangement by producer Bob Wiseman ... I couldn't stop singing it all day long! The simple joys continue with Beets in the Cellar and the romantic Didn't Wait for the Moon. Always find more reviews The poignant Saint Jude brings the listener's awareness back to the stark contrasts existing in Toronto neighborhoods. This artist has not forgotten her beginnings as a HQNM UKPIGT KP U ;QTMXKNNG CPF TGOKPFU us that even as grannies we can still have a powerful voice for change. --Dianne Wells September 1� October 7, 2011 how they can express themselves by travelling through every region of the instrument, often with what seems like effortless abandon. This collection of original instrumental pieces will impress all guitarists, no doubt. --John Larocque Skin Tight The Nylons Linus Entertainment 270134 The a capella vocal group The Nylons has been around since 1979 and although all but one of the original members has moved on, the group's trademark upbeat sound is fully intact on its 15th recording. recording The mix of funky rhythms, jazzy harmonies and quirky mash-ups is due in part to the addition of Toronto-based group-singing luminary, Dylan Bell. As producer and arranger of most of the 12 tracks, and even guest scatter on one, Bell is like the Fifth Nylon (as George Martin was known as the Fifth Beatle) and a big contributor to the success of "Skin Tight." Of course, the four singers -- Claude Morrison (the original), Tyrone Gabriel, Garth Mosbaugh and Gavin Hope -- do the heavy lifting. Whether called on for vocal percussion, tight harmonies, scat solos or beautiful crooning, all the singers do their part with skill and joy. The repertoire is largely covers from a variety of eras and genres and while some stay relatively true to the originals with voices substituting for the instruments, others get fresh reworkings. Spider-Man gets a clever spin as it ranges between funk, swing and rap, with a solo courtesy of bass Tyrone Gabriel, while Teach Me Tonight sees lead singer Gavin Hope essentially doing homage to Al Jarreau's version over a Four Freshman-like doo-wop accompaniment. The closing track Gone Too Soon, with its Gene Peurlingesque arrangement, is a beautiful tribute to both its originator Michael Jackson and one of The Nylons founding members, the late Denis Simpson. --Cathy Riches online at thewholenote.com thewholenote.com 67 Old Wine, New Bottles | Fine Old Recordings Re-Released BRUCE SURTEES T ESTAMENT is the prestigious British company that licenses recordings of UKIPK ECPV RGTHQTOCPEGU VJCV CTG JGNF in the archives of EMI, Decca, RCA, the BBC and other radio archives. Testament TGNGCUGF VJGKT TUV FKUE KP TGUVQTKPI VQ circulation two esteemed performances of $TCJOU VJG *QTP 6TKQ KP ' CV QR YKVJ Aubrey Brain, Adolph Busch, and Rudolph Serkin recorded in 1933 and the Clarinet Quintet with Reginald Kell and the Busch Quartet from 1937 (SBT 1001). 21 years later, Testament, essentially artist-based, continues to liberate valuable performances from record company archives and issue VJGO OCP[ HQT VJG TUV VKOG 6JGKT XGT[ few DVDs include the legendary videos of Toscanini and the NBC Symphony transmitted live between March 20, 1948 and March 22, 1952. These black and white kinescopes from studio 8H and Carnegie Hall were once available on RCA laser discs and are now licensed to Testament (SBDVD 1003�1007, 5 DVDs available separately). They also offer many vinyl re-issues from VJG '/+ U .2 ECVCNQIWG KP UWRGTKQT PGY pressings. Their recent releases include XG %&U QH Carlo Maria Giulini conducting the Berlin Philharmonic in live concerts from the Philharmonie, as recorded by Deutschlandradio Kultur. Giulini was Music &KTGEVQT CPF EQPFWEVQT QH VJG .QU #PIGNGU 2JKNJCTOQPKE HTQO VQ CPF VJGUG $GTNKP RGTHQTOCPEGU HTQO VJCV GTC PF him still at the top of his interpretative and conducting abilities. During these years while the Berlin Philharmonic was still von Karajan's, the interpretations are Giulini's. These live performances let us "attend" these joyful events in which the conductor's conceptions, from very subtle shadings and nuances to expansive climaxes, are delivered with a sureness of playing and ensemble that is a tribute to everyone involved. It's such a refreshing pleasure to hear performances of this calibre. The sound is nothing short of astounding being crystal-clear, more dynamic than the sound from a broadcast, plus realistic front to back perspective. The TUV QH VJG HQWT TGNGCUGU KU C %& UGV QH VJG Haydn Surprise Symphony coupled, as it was KP VJG EQPEGTV KP (GDTWCT[ YKVJ CP radiant, extroverted reading of the Mahler First (SBT2 1462, 2 CDs specially priced). A must have. The Schubert Eighth and Ninth from February 1977 (SBT1436) are followed by a brilliant concert from January 1977 in which Pictures at an Exhibition is preceded by Webern's Six Pieces for Orchestra, opus (SBT1464). From February 1984 Giulini conducts Das Lied von der Erde with Brigitte Fassbaender and Francisco Araiza (SBT1465). 68 Conductor and soloists seem to have been on tour with this work and, in fact, recorded it with the BPO for DG ... however every performance is unique and this one has its felicities. NEWTON Classics is a recent arrival on the reissue scene. Since their start-up in 2009 their CD releases have been judiciously selected primarily from the Philips archives. The Dutch lyricdramatic soprano Gr� Brouwenstijn has been a long time favourite, as heard in so many complete operas from Beethoven to Wagner. Eminently recommendable is her eponymous CD of arias by Wagner, Verdi, Weber and Beethoven containing recordings from CPF conducted by Willem van Otterloo and Rudolf Moralt (Newton 8802061). Byron n Janis U UVGGN PIGTGF RGTHQTOCPEGU QH VJG two Liszt concertos recorded in Moscow in D[ /GTEWT[ HQT VJGKT .KXKPI 2TGUGPEG series have lost none of their impact. Seven UQNQ RKGEGU D[ 5EJWOCPP (CNNC .KU\V CPF Guion complete this audiophile favourite (8802061). Peter Schreier is not only a notable tenor of opera and lieder fame, he is also a conductor of note. The 1992 recordings of the Brandenburgs by the Kammerorchester Carl Philip Emanuel Bach are conducted with refreshing panache matched by a sparkling recording. Add two VTKRNG EQPEGTVQU $98 CPF VJG package is hard to resist (8802075). Saving the best 'till last, the incomparable Ravel/ Haitink/Concertgebouw 2CD set, once available on a Philips DUO, makes a most welcome return (8802068, 2CDs). All the Ravel showpieces are here; Bolero, La Valse, Rapsodie Espagnole, Le Tombeau de Couperin, Valses nobles et sentimentales, Ma M�re l'Oye, Menuet Antique, Daphnis et Chlo� Suite no.2, and, of course, Alborada del Gracioso and Pavane pour une infant d�funte. These are all vital, beautifully shaded performances captured in outstanding sound. The Bolero enjoys a rousing performance unequalled in its impact ... this would have provided a total workout for Ida Rubinstein, the ballerina for whom the piece was written. Welcome back to this premier collection. thewholenote.com DOREMI, another artist-driven label, has meticulously restored historic recordings for 17 years. Their catalogue embraces works of every size and genre from every period, from early music to a lone South American 20th century guitarist. DOREMI is well known for performances by famous and notso-famous violinists and pianists. Of course, in this as in any other business, the consumer rules, necessitating recordings by artists for which there is a waiting, world-wide market while at the same time rediscovering and resurrecting major talents that are all but forgotten today, even by some collectors. Their recent set of the Beethoven 10 Violin Sonatas is a notable, if not colossal contribution in this direction (DHR-8011-3, 3 CDs). The perf formances on this set T TGEQP TO VJCV XKQNKPist Henri Temianka i and a pianist Leonard Shure were among S V VJG XGT[ PGUV OWUKc cians of the 20th century. Temianka c w clearly in the was league of Heifetz and l Milstein and Shure M ranked with Arrau r and a Serkin. Though both Temianka and b 5JWTG JCF QWTKUJKPI 5 solo careers, their s recording legacy r is regrettably thin. i Temianka As a young man Temiank achieved international fame when he won the Third Prize in the 1935 Wieniawski Violin Competition in Warsaw; the second went to David 1KUVTCMJ VJG TUV VQ )KPGVVG 0GXGW .CVGT JG RNC[GF 2TQMQ GX CEEQORCPKGF D[ VJG composer. Active in England in the 1930s, he made recordings for Parlophone, and in HQWPFGF VJG 2CICPKPK 3WCTVGV KP YJKEJ each member played a Strad once owned by Paganini. The Quartet was well known for many years mid-century and was the house quartet of RCA Victor. Just before that he had been invited by Elizabeth Sprague Coolidge to perform the complete Beethoven 8KQNKP 5QPCVCU YKVJ .GQPCTF 5JWTG KP VJG Elizabeth Coolidge Auditorium in the U.S. .KDTCT[ QH %QPITGUU CPF JGTG CTG VJQUG performances from January and February QTKIKPCNN[ RTGUGTXGF QP CEGVCVGU CPF now on CD. It took Jacob Harnoy months of meticulous restoration to transfer the product of that old technology, which while inherently subject to surface noise, clicks and skips, did maintain the luminosity and beauty of Temianka's playing. His violin sings and his intonation and technique are impeccable. The revelation of hidden beauties is a joy. Broadly speaking, the outer movements are taken at energetic brisk tempos while the slow movements are expressive in a way that penetrates the soul. If you have more than a passing interest in this repertoire, you owe it to yourself to hear these. September 1� October 7, 2011 ROBERT CARSEN continued from page 10, `We, `Well,." 70." Read the full interview online at � Daniels, Gietz, Sala; Gran Teatre de Liceu, Bicket (Virgin) Dvor�k: Rusalka � Fleming, Urbanova, Diadkova, Larin; Op�ra de Paris, Conlon (TDK) Handel: Semele � Bartoli, Remmert, Workman; Z�rich Opera, Christie (Decca) Jan�c ek: Katya Kabanov� � Mattila, Dvorsk�, Gietz; Teatro Real, Be lohlevek (FRA MUSICA) Lully: Armide � d'Oustrac, Agnew, Naouri, Les Arts Florissants; Th��tre des Champs-Elys�es, Les Arts Florissants, William Christie, (FRA MUSICA) Monteverdi: L'Incoronazione di Poppea � de Niese, Coote, Davies; Glyndebourne, Ha�m (Decca) Offenbach: Les Contes d'Hoffmann � Shicoff, Mentzer, Terfel; Op�ra National De Paris, L�pez-Cobos (Arthaus) Poulenc: Dialogues des Carm�lites � Schellenberger, Aiken, Silja; Teatro alla Scala, Muti (TDK) Puccini: Manon Lescaut � Gauci, Ordonez; Flemish Opera, Varviso (Arthaus) Puccini: Tosca � Kaufman, Magee, Hampson; Z�rich Opera, Paolo Carignani (Decca) Rameau: Les Bor�ades � Bonney, Agnew, Naouri; Op�ra National De Paris, Les Arts Florissants, Christie (Opus Arte) Strauss: Capriccio � Fleming, von Otter, Finley; Op�ra National De Paris, Schirmer (TDK) Strauss: Der Rosenkavalier � Pieczonka, Kirchschlager, Hawlata; Salzburger Festspiele, Wiener Philharmoniker, Bychkov (TDK) Tchaikovsky: Eugene Onegin � Fleming, Vargas, Hvorostovsky; Metropolitan Opera, Gergiev (Decca) Verdi: Il Trovatore � Tanner, Tamar, Lucic, Cornetti; Bregenzer Festspiele, R�sner (Opus Arte) Verdi: La Traviata � Ciofi, Sacca, Hvorostovsky; La Fenice Opera, Maazel, (TDK) Boito: Mefistofile �) � fully illustrated catalogue of the exhibition at the �cole nationale sup�riere des beaux-arts in Paris last year designed by Robert Carsen � text in French. For a chance to win one of the four Carsen opera discs in the highlighted Decca opera mini-pack, do our opera mini-quiz online. thewholenote.com September 1� October 7, 2011 90th Season Sponsor Tickets On Sale Now! Choose from over 100 Highlights include: Christopher Plummer in Walton's Henry V Messiah Itzhak Perlman Oz with Orchestra Yo-Yo Ma Branford Marsalis Mozart Requiem Mahler Symphony of a Thousand Opening Weekend concerts! 11.12 90 th Season Tickets start at $23 Buy 4 or more and save with a Compose Your Own Package! tso.ca 416.593.4828 | http://issuu.com/thewholenote/docs/thewholenote_-_sept_2011 | CC-MAIN-2015-11 | refinedweb | 42,514 | 61.67 |
Beginners: please read this post and this post before posting to the forum.
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Outputs analog voltage with a scaling factor of(Vcc/512) per inch. A supply of 5V yields ~9.8mV/in.and 3.3V yields ~6.4mV/in. The output is bufferedand corresponds to the most recent range data.
int ultraAn = 0; // select the input pin for the ultrasonic sensorint val = 0; // variable to store the value coming from the sensorint dist = 0; // variable to store the converted distance in inchesvoid setup() { Serial.begin(9600); // setup the serial port to send the values back to the computer}void loop() { val = analogRead(ultraAn); // read the value from the sensor Serial.println(val); // print the value to the serial port dist = (val/9.77); // converts the analog value to distance in inches Serial.println(dist); // prints the distance in inches delay (2000); // delays 2 secconds in between readings}
103103331021010011029971029981029991021001102
TX – Delivers asynchronous serial with an RS232 format,except voltages are 0-Vcc. The output is an ASCIIcapital “R”, followed by three ASCII character digitsrepresenting the range in inches up to a maximum of255, followed by a carriage return (ASCII 13). Thebaud rate is 9600, 8 bits, no parity, with one stop bit.Although the voltage of 0-Vcc is outside the RS232standard, most RS232 devices have sufficient marginto read 0-Vcc serial data. If standard voltage levelRS232 is desired, invert, and connect an RS232converter such as a MAX232.
I'm trying to use the analog output from it to measure the distance in inches.
Code: [Select]void loop() { val =analogRead(ultraAn); // read the value from the sensor dist = (val/9.77); // converts the analog value to distance in inches}
void loop() { val =analogRead(ultraAn); // read the value from the sensor dist = (val/9.77); // converts the analog value to distance in inches} | http://www.societyofrobots.com/robotforum/index.php?topic=869.0 | CC-MAIN-2017-43 | refinedweb | 311 | 56.55 |
Mockito 1.8 - New Useful Features
Mockito expands its impressive feature set with release 1.8.I was once a happy EasyMock user. If asked, I think I would have even questioned the need for a new mocking framework – EasyMock did it all, didn’t it?
But
B.
import static org.mockito.BDDMockito.*;
Seller seller = mock(Seller.class);
Shop shop = new Shop(seller);
public void shouldBuyBread() throws Exception {
//given
given(seller.askForBread()).willReturn(new Bread());
//when
Goods goods = shop.buyBread();
//then
assertThat(goods, containBread());
}.
(Note: Opinions expressed in this article and its replies are the opinions of their respective authors and not those of DZone, Inc.)
David Lim replied on Tue, 2009/11/03 - 8:26pm | http://java.dzone.com/articles/mockito-18-new-useful-features | CC-MAIN-2014-35 | refinedweb | 116 | 61.53 |
Today as the first day of the 21 year of my life! I wanted to show you how to connect Arduino to sensors, fetch data and show 'em on 16x2 LCD - as an example you can get your room's
temperature and light density and view them on lcd.
Step 1: What You Need?
1. Smile :-)
2. Arduino Board (here I used UNO but feel free to choose your own)
3. LM35 Temperature Sensor
4. LDR
5. 2.2 K ohm Resistor (x1)
6. 10 K ohm Potentiometer
7. 16x2 Line LCD Display
7. Bread Board
--------------------------------- Softwares ----------------------------------------------
1. Arduino IDE
Step 2: Wiring Potentiometer: One of the ends to +5 Volts and the other to the Ground (GND), Connect LCD VO middle pin of the potentiometer.
LM35: Connect Arduino 5 Volt to Pin 1 (Based on the Picture), Connect Pin 2 to A1 (Analog In) Arduino Board, Connect Pin 3 to GND.
Connect LDR and 2.2k Resistor in series. Connect LDR pin to 5 Volt, Common Pin (between LDR and 2.2k Resistor) to Arduino A0 Pin and Connect 2.2k Resistor float pin to GND.
Step 3: Arduino Code
Copy the code below to new arduino document. Select your Board and Port, then see the results.
#include <LiquidCrystal.h>
LiquidCrystal lcd(12, 11, 5, 4, 3, 2);
void setup() {
lcd.begin(16, 2);
}
void loop() {
double a = analogRead(A0);
a = (a / 1023)*100;
String str;
str=String(a);
lcd.setCursor(0, 0);
lcd.print(" "); //SIMPLE WAY TO CLEAR LCD
lcd.setCursor(0, 0);
lcd.print("LUX: " + str + "%");
a = analogRead(A1);
str=String(a);
lcd.setCursor(0, 1);
lcd.print(" ");
lcd.setCursor(0, 1);
lcd.print("TEMP: " + str);
delay(1000);
}
Step 4: Ready, Set, Done
Now you're all set. Give it a go. Here you can use other analog sensors too. Make your own and publish it.
Wish you good luck. | http://www.instructables.com/id/Arduino-Room-Status/ | CC-MAIN-2017-22 | refinedweb | 313 | 87.62 |
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printout problem
vanashree
May 29th, 2001, 05:52 AM
while taking printouts with printform method on a laser printer. the ms-flexgrid with the contents are displayed completely black.
elvagonumero1
October 11th, 2006, 07:14 AM
I have the same problem... I'm still looking for an answer. Please let me know if you find the way to solve it
... Well, if you still there
Shuja Ali
October 11th, 2006, 07:25 AM
I have the same problem... I'm still looking for an answer. Please let me know if you find the way to solve it
... Well, if you still there
Please don't post the same question in multiple threads. This way you are not helping yourself.
Twodogs
October 11th, 2006, 05:50 PM
I'm in the process of doing this myself - this is working, but not for maximised forms (ie this is still a work in progress - see the original links for further clarification)
' Print an image of the form
' Code Source:
'
'
Private Sub PrintPictureBoxImage( _
ByVal oForm As Form, _
ByVal picHidden As PictureBox, _
Optional ByVal fit_to_printer = False)
Dim FormPosition As POINTAPI
' NB 11 Oct 2006 - Use oForm.WindowState to figure out if the form is maximised (WindowState = 2)
' or is not maximised.
' If oForm.WindowState = 2 then ' form is maximised
' else
' and put the endif somewhere.
' On Error Resume Next
On Error GoTo ErrTrap
Screen.MousePointer = vbHourglass
' '' Copy the form's image to the clipboard by sending an 'Alt' key press.
Clipboard.Clear
keybd_event VK_MENU, 0, 0, 0
'keybd_event VK_MENU, &H45, VK_SNAPSHOT, 0
DoEvents
' Press Print Scrn.
' keybd_event VK_SNAPSHOT, 1, 0, 0
keybd_event VK_SNAPSHOT, 0, 0, 0
DoEvents
'' Release Alt.
keybd_event VK_SNAPSHOT, 0, KEYEVENTF_KEYUP, 0
DoEvents
keybd_event VK_MENU, 0, KEYEVENTF_KEYUP, 0
DoEvents
' Copy the image into the hidden PictureBox:
'need to reference the clipboard first
Dim X As Boolean
X = Clipboard.GetFormat(vbCFBitmap)
DoEvents
On Error Resume Next
picHidden.Picture = Clipboard.GetData(vbCFBitmap)
DoEvents
On Error GoTo 0
' Get the form's location on the screen (in pixels)
FormPosition.X = 0
FormPosition.Y = 0
ClientToScreen oForm.hwnd, FormPosition
Dim ScaleModeX As Single, ScaleModeY As Single
' Convert into the printer's scale mode.
ScaleModeX = oForm.ScaleX(FormPosition.X, vbPixels, picHidden.ScaleMode)
ScaleModeY = oForm.ScaleY(FormPosition.Y, vbPixels, picHidden.ScaleMode)
If Err <> 0 Then
' the main form is an MDIForm. For some reason ScaleX/ScaleY are not supported
' in MDIForms. So just print the whole screen
ScaleModeX = 0
ScaleModeY = 0
Err.Clear
End If
' We've screen grabbed the entire screen. Now clip out and print only the active form
Dim ClipX As Single, ClipY As Single, ClipWidth As Single, ClipHeight As Single
ClipX = ScaleModeX - 40 ' Magic number to include form left side border
ClipY = ScaleModeY - 330 ' Magic number to include the Title bar into the clipped region
ClipWidth = oForm.Width 'oForm.ScaleX(oForm.Width, vbPixels, picHidden.ScaleMode)
ClipHeight = oForm.Height ' oForm.ScaleY(oForm.Height, vbPixels, picHidden.ScaleMode)
Dim LeftMargin As Single, TopMargin As Single, RightMargin As Single
LeftMargin = 1440 / 3 ' 1440 Twips = 1 inch
RightMargin = LeftMargin
TopMargin = 1440 / 3
' Print image to printer:
Printer.Orientation = vbPRORLandscape ' 2
Printer.Font.Size = 10
Printer.CurrentY = TopMargin
Printer.CurrentX = LeftMargin
' Printer.Print "Date: " & Now
' Printer.CurrentX = LeftMargin
' 'Printer.Print "Form: " & oForm.Caption & " (" & oForm.Name & ")"
' Printer.CurrentX = LeftMargin
' 'Printer.Print "App Version: " & gsAppVersion
' Printer.CurrentX = LeftMargin
' 'Printer.Print "Server: " & gsServer
' Printer.CurrentX = LeftMargin
' 'Printer.Print "Database: " & gsDatabase
' Printer.CurrentX = LeftMargin
' 'Printer.Print "Database Version: " & gsDBVersion
Dim PrintX As Single, PrintY As Single, PrintWidth As Single, PrintHeight As Single
If (oForm.Width + LeftMargin + RightMargin) > Printer.Width Then
' Need to scale down the image to fit within the side margins
PrintX = LeftMargin
PrintY = TopMargin + Printer.CurrentY ' Print to top of page, allowing a small margin
Dim AspectRatio As Single
PrintWidth = (Printer.Width - LeftMargin - RightMargin) ' Adjust width to printer's page width
AspectRatio = oForm.Width / PrintWidth
PrintHeight = oForm.Height / AspectRatio
Else
' No need to scale if the form width is narrower than the area within the side margins
'PrintX = (Printer.Width - oForm.Width - LeftMargin) / 2 ' centre image horizontally on page
PrintX = LeftMargin ' align left
PrintY = (TopMargin / 2) + Printer.CurrentY ' Print after the text, allowing 1/2 a "top margin" amount of space
PrintWidth = oForm.Width
PrintHeight = oForm.Height
End If
Printer.PaintPicture picHidden.Picture, PrintX, PrintY, PrintWidth, PrintHeight, ClipX, ClipY, ClipWidth, ClipHeight
Printer.EndDoc
Screen.MousePointer = vbDefault
If Err <> 0 Then
MsgBox ("Error while printing (" & Err.Number & "): " & Err.Description)
End If
On Error GoTo 0
Exit Sub
ErrTrap:
MsgBox "Error: " & Err.Number & vbCrLf & Err.Description
On Error GoTo 0
End Sub
dglienna
October 11th, 2006, 06:55 PM
I used to have to run this DOS command back in the Laser Printer days. Produced grey-scale automatically from color screen prints.
Just loading it before my app started was good enough.
Loads a program that can print graphics.
GRAPHICS [type] [[drive:][path]filename] [/R] [/B] [/LCD]
[/PRINTBOX:STD | /PRINTBOX:LCD]
type Specifies a printer type (see User's Guide and Reference).
.
codeguru.com | http://forums.codeguru.com/archive/index.php/t-20225.html | crawl-003 | refinedweb | 842 | 52.15 |
djangosnippets.org: Latest snippets tagged with 'queries' printer coroutine2009-04-25T11:49:30-05:00fnl<p>If you would like to see the latest queries you have done when running a unittest, this is not so easy. You have to initialize the queries list and set DEBUG to True manually. Then you have to figure out a way to print the queries you want to see ...</p> Freely redistributableMiddelware to remember sql query log from before a redirect2007-09-17T18:43:18-05:00miracle2k<p>Simple middelware that listens for redirect responses, store the request's query log in the session when it finds one, and starts the next request's log off with those queries from before the redirect.</p> Freely redistributableYet another SQL debugging facility2007-08-16T11:52:43-05:00miracle2k<p>Inspired by</p> <p>This context processor provides a new variable {{ sqldebug }}, which can be used as follows:</p> <p>{% if sqldebug %}...{% endif %} {% if sqldebug.enabled %}...{% endif %}</p> <pre><code>This checks settings.SQL_DEBUG and settings.DEBUG. Both need to be True, otherwise the above will evaluate to False and sql ...</code></pre> Freely redistributableTemplate Query Debug2007-03-08T18:04:39-06:00insin<p>I often find something like this lurking at the end of my base templates - it'll show you which queries were run while generating the current page, but they'll start out hidden so as not to be a pain.</p> <p>Of course, before this works, you'll need to satisfy ...</p> Freely redistributable | https://djangosnippets.org/feeds/tag/queries/ | CC-MAIN-2016-50 | refinedweb | 253 | 62.78 |
Matplotlib is one of the most popular library for data visualization and that’s for a reason. It has so many features to offer and can be used without any external software except python and the matplotlib library.
In this article, you will learn how to use matplotlib to visualize data that will also enable you to better understand the data, extract information, and make more effective decisions.
Before going further into matplotlib, let’s talk about Data Visualization
What is Data Visualization?
“A picture is worth a thousand words.” We are all familiar with this expression. It especially applies when trying to explain the insights obtained from the analysis of increasingly large datasets. Data visualization plays an essential role in the representation of both small and large-scale data.
Data visualization is the graphical representation of information and data. Graphical representation(in the form of charts, graphs, and maps etc) allows us to better understand the relationship in the data, data visualization tools provide an accessible way to see and understand trends, outliers, and patterns in data
One of the key skills of a data scientist is the ability to tell a compelling story, visualizing data and findings in an approachable and stimulating way.
Prerequisites: – Python and Data Cleaning with Python Pandas
Exploring Datasets With Pandas
The dataset contains annual data on the flow of international immigrants as recorded by the countries of destination. The data presents both inflows and outflows according to the place of birth, citizenship or place of previous / next residence both for foreigners and nationals. The current version presents data pertaining to 45 countries.The dataset is available here.
Downloading and Preparing Data
import pandas as pd #For reading the data #Read the dataset skipping top 20 rows(irrelevant) and second last row df_canada = pd.read_excel("./data/canada.xlsx",skiprows = range(20),skipfooter=2) df_canada.head() #View top 5 rows
#Check the dimensions of our canada dataset df_canada.shape # (195, 43) #Let gets insight of our dataset df_canada.describe()
Cleaning the Dataset
Remove columns that are not informative to us for visualization(eg., type, area, reg)
df_canada.drop(["AREA","REG","DEV","Type","Coverage"],axis = 1, inplace = True) #View columns of our dataset df_canada.columns
Renaming Columns
df_canada.rename(columns={"OdName":"Country","AreaName":"Continent","RegName":"Region"},inplace = True) #View columns of our dataset df_canada.columns
Check if column labels are string
For consistency, make sure that all column labels are of type string.
# let's examine the types of the column labels all(isinstance(column, str) for column in df_canada.columns) #False df_canada.columns = list(map(str,df_canada.columns)) # let's examine the types of the column labels all(isinstance(column, str) for column in df_canada.columns) #True
Set the country name as index – useful for quickly looking up countries using .loc method.
df_canada.set_index("Country",inplace=True)
Add total column
#Add a column Total in our dataset containing #total numbers of immigrants df_canada["Total"] = df_canada.sum(axis=1) #View top 5 rows df_canada.head()
Visualizing Data using matplotlib
Now after we have cleaned the dataset, its time to draw some plots. Plotting data using Matplotlib is quite easy. Generally, while plotting they follow the same steps in each and every plot. Matplotlib has a module called pyplot which aids in plotting figure. The Jupyter notebook is used for running the plots. We
import matplotlib.pyplot as plt for making it call the package module.
Installing matplotlib
Type
!pip install matplotlib in the Jupyter Notebook or if it doesn’t work in cmd type
conda install -c conda-forge matplotlib . This should work in most cases.
#import necessary modules import matplotlib.pyplot as plt # use the inline backend to generate the plots within the browser %matplotlib inline
LINE PLOTS
What is Line Plot? When to use Line Plot?
A line chart or line plot is a type of plot which displays information as a series of data points called ‘markers’ connected by straight line segments. It is a basic type of chart common in many fields. Use line plot when you have a continuous data set. These are best suited for trend-based visualizations of data over a period of time.
Let’s Start with a Case Study
In 2010, Haiti suffered a catastrophic magnitude 7.0 earthquake. The quake caused widespread devastation and loss of life and aout three million people were affected by this natural disaster. As part of Canada’s humanitarian effort, the Government of Canada stepped up its effort in accepting refugees from Haiti. We can quickly visualize this effort using a
Line plot:
#First, we will extract the data series for Haiti. years = list(map(str, range(1980, 2014))) haiti = df_canada.loc["Haiti",years ] # passing in years 1980 - 2013 to exclude the 'total' column haiti.head()
pandas automatically populated the x-axis with the index values (years), and the y-axis with the column values (population). However, notice how the years were not displayed because they are of type string. Therefore, let’s change the type of the index values to integer for plotting.
haiti.index = list(map(int,haiti.index))
Also, let’s label the x and y axis using
plt.title(),
plt.ylabel(), and
plt.xlabel() as follows:
haiti.plot(kind = "Line") #Plotting the line plt.title("Immigration of Haiti") plt.xlabel("Years") plt.ylabel("Number of immigrants") plt.show() # need this line to show the updates made to the figure
We can clearly notice how number of immigrants from Haiti spiked up from 2010 as Canada stepped up its efforts to accept refugees from Haiti. Let’s annotate this spike in the plot by using the
plt.text() method.
haiti.plot(kind = "Line") #Plotting the line plt.title("Immigration of Haiti") plt.xlabel("Years") plt.ylabel("Number of immigrants") plt.text(2000,6000,"2010 Earthquake") plt.show() # need this line to show the updates made to the figure
We can easily add more countries to line plot to make meaningful comparisons immigration from different countries.
Lets Compare the trend of top 5 countries that contributed the most to immigration to Canada.
#Sorting the dataset using sort_values() method df_canada.sort_values(by = "Total",ascending = False, inplace = True) #Extract the data for top 5 countries years = list(map(str,range(1980,2014))) df_top = df_canada.head() #Transpose the dataset df_top=df_top[years].transpose() df_top.head()
Now create a line plot and visualize the data
df_top.plot(kind='line') #Plotting line plt.title('Immigration Trend of Top 5 Countries') plt.ylabel('Number of Immigrants') plt.xlabel('Years') plt.show()
Final Words
Thank you for the read. I hope that you have enjoyed the article. If you like it, share it with your friends. Also, I have a quick task for you to see how much you have learned.
You can think of it as an assignment.
Task.
COMPARE THE TREND OF LAST 5 COUNTRIES THAT CONTRIBUTED THE MOST TO IMMIGRATION TO CANADA.
I’ll be happy to hear your feedback. If you have some questions, feel free to ask them. 😉 | https://www.codinground.com/data-visualization-matplotlib/ | CC-MAIN-2020-50 | refinedweb | 1,167 | 59.09 |
The "Split" slide is a simple slide which display two panes on the page.
This template could split the content in two different ways.
The content you want to display on the left side of the page
The content you want to display on the right side of the page
The content you want to display on the top of the page
The content you want to display on the bottom of the page-split
The Stencil documentation provide examples of framework integration for Angular, React, Vue and Ember.
That being said, commonly, you might either
import or
load it:
import '@deckdeckgo/slide-split';
import { defineCustomElements as deckDeckGoSlideElement } from '@deckdeckgo/slide-split/dist/loader'; deckDeckGoSlideElement();
The "Split" slide's Web Component could be integrated using the tag
<deckgo-slide-split/>.
<deckgo-deck> <deckgo-slide-split> <h1 slot="title">Two columns subject</h1> <p slot="start"> The content you want to display on the left side of the page </p> <p slot="end"> The content you want to display on the right side of the page </p> </deckgo-slide-split> </deckgo-deck>
Both slots
title,
start and
end are optional. Without providing one of them, the page will remain empty.
The
start slot is the content of the left pane respectively the slot
end is the content of the right pane.
Note: The slot
title is per default hidden even if you provide it. See attributes below if you wish to display it.
This component offers the following options which could be set using attributes:
The following theming options will affect this component if set on its host or parent. | https://docs.deckdeckgo.com/slides/split/ | CC-MAIN-2020-40 | refinedweb | 269 | 54.76 |
I have a need to create a custom transformation.
I found an article that explained how to do this. I followed the instructions to the letter and I am not able to call my function from the transformation.
Path to my customfunction = CMSApp_Appcode\Old_App_Code\CMSTransformationMethods\CMSTransformation.cs
I have a public method and here is the signature:
namespace CMSAppAppCode.Old_App_Code.CMSTransformationMethods
{
public class CMSTransformation
{
public int GetBlogLikesCount(int DocumentID)
One thing I took the default namespace because the KB article said to use CMS.Controls and I think because they were showing how to manipulate a textbox control.
It could be as simple as me using the wrong namespace maybe?
Anyway here is my call to the method from my transformation.
<br><span id="newlikes" data-<a href="#"><%#GetBlogLikesCount(Eval("DocumentID"))%> Likes</a></span></div>
<br><span id="newlikes" data-<a href="#"><%#GetBlogLikesCount(Eval("DocumentID"))%> Likes</a></span></div>
Here is the complete error:
[TempITemplate.Template]:: error CS0103: The name 'GetBlogLikesCount' does not exist in the current context
Can someone please help me.
Thanks.
It turned out that I needed to put my custom function in the Old_App_Code folder as the KB article stated. The namespace needed to be CMS.Controls. Once I went back and implemented it as the instructions said, the error went away.
="#"><%# CMSTransformation.GetBlogLikesCount(Eval("DocumentID"))%> Are you using a Web App or Web Site structure. If you are using website Put it in your App_Code Folder in its own namespace.
How can I tell which one. I didn't install this.
Just verified this is a webapplication structure.
You need to fully qualify the call to the method. Try CMSTransformation.GetBlogLikesCount
Tried that and I get this error:
[TempITemplate.Template]:: error CS0117: 'CMS.Controls.CMSTransformation' does not contain a definition for 'GetBlogLikesCount'
Here is the transformation:
<br><span id="newlikes" data-<a href="#"><%# CMSTransformation.GetBlogLikesCount(Eval("DocumentID"))%> Likes</a></span></div>
, I believe if it is a web app, you will need to rebuild the entire project.
That namespace is really not a good place to put your custom transformations. Since you have a webapp just create a folder that will house your custom transformation methods. Then create your class, then your method, make sure you have the proper usings at the top, build/publish you webapp and then you can call it by Namespace.Method()
Created new folder under CMSApp_AppCode called CustomTransformation. Created my class and method and added the new namespace/method to the transformation.
I am still getting this error. What is the CMSVirtualFiles folder that it is looking at?
[TempITemplate.Template]:: error CS0103: The name 'CustomTransformation' does not exist in the current context
Where did you do this ? On the live production site? Or on development machine? Did you rebuild entire solution?
Hi,
I was getting the same issue so i rebuild the entire solution.
Finally custom method is recognized in transformation.
Please, sign in to be able to submit a new answer. | https://devnet.kentico.com/questions/creating-a-custom-function | CC-MAIN-2019-09 | refinedweb | 492 | 51.14 |
06 September 2012 11:39 [Source: ICIS news]
LONDON (ICIS)--Romania-based Azomures plans to restart melamine production at its plant in Targu, Mures, next week, a source at the fertilizer producer said on Thursday.
Azomures' 18,000 tonne/year melamine plant has been out of action since December 2011, when it was shut because of poor buying interest, owing to weakened macroeconomic conditions.
“We estimate to start production next week,” the source said.
Despite limited enquiries for spot material, prices have risen by €30-80/tonne ($38-101/tonne) this week because of snug supply. Domestic spot prices are now at €1,080-1,180/tonne FD (free delivered) NWE (northwest ?xml:namespace>
The weaker euro versus the US dollar has resulted in fewer imports, but has made exporting to other regions more attractive, as suppliers are able to achieve a better netback.
Producers are targeting €100-150/tonne price increases in the fourth quarter, because of limited availability, fewer imports, stable demand and a need to recover lost margins which have been under pressure from high feedstock urea and ammonia costs. Melamine demand and prices have been on a downtrend since the second quarter of 2011.
Third-quarter melamine contracts settled at €1,080-1,150/tonne FD N | http://www.icis.com/Articles/2012/09/06/9593152/romanias-azomures-plans-melamine-restart-for-next-week.html | CC-MAIN-2015-14 | refinedweb | 211 | 50.06 |
New 2015 Winter Men’s Clothes Famous Brand Men Down Jackets Mens Cotton Wadded Jacket Man Winter Warm Fur Lined Coats DJ199
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Lining: polyester
Placket: zipper
Whether Hooded: Hooded
Thickness:Thicken
Pattern: casual
Color:khaki,armygreen
Size:L XL XXL XXXL XXXXL
All the size is measured by hand so it is normal to have some margin of error(1-3cm).
In order to find the best fit for you please talk actively with us about the size of the clothes
if you are not familiar with Chinese size.
The size chart below is just for your reference(unit:cm).
Thank you for your cooperation!
Shipment
When you place an order please choose a shipping method and pay for the order including the
shipping fee.We will send the items within 2 days once your payment is completed.We do not
guarantee delivery time on all internaitonal shipments due to differences in customs clearing
times in individual countries which may affect how quickly your product is inspected. Please
note that buyers are responsible for all additional customs fees,brokerage fees,duties and taxes
for inportation into yor country. These additional fees may be collected at time of delivery.We
will not refund shipping charges for refused shipments.The shipping does not include any
import taxes and buyers are responsible for customs duties.
Return Services
We will do all we can to serve our customers. We will refund you if you return the items within
15 days of your receipt of the items for any reason.However the buyers should make sure that the
items are in their original conditions. If the items are damaged or lost when they are returned, the
buyers should responsible for the damage or loss,in which case we will not give the buyer the full
refund. The buyer should try to file a claim with the logistic company to recover the cost of damage or loss.
The buyer will be responsible for the shipping fees to return the items.
Size or Fit Issues
As all of our clothes are measured by hand so the finished clothes may vary by approximately 1-2cm in the specified measurements.
To ensure that your clothes will fit you perfectly, you should negotiate actively with our online sales person and you would better leave
your weight and height in the remarks if you have no experience in choosing the size. We will make a recommendation but you are the
one to make the final decision so we are not responsible for size problems.
Thank you for your understanding.
About color
It is our responsibility to tell you that color difference is an unavoidable problem because of the
background light and place of taking photo and different computer screens or browsers and some
other reasons. If you are very sensitive about just a little color difference please be serious when
choosing. If you receive wrong color please contact our sales persons online we will solve your
problems in time.
Feedback
Your satisfaction and positive feedback is very important to us . Please leave positive feedbacks or
5 stars if you are satisfied with our product. If you have any problem with our product please feel
free to contact us before you leave a negative feedback. We will do our best to solve any problems
and provide you with the best customer services. | http://kylekeeton.com/products/new-2015-winter-mens-clothes-famous-brand-men-down-jackets-mens-cotton-wadded-jacket-man-winter-warm-fur-lined-coats-dj199/ | CC-MAIN-2021-25 | refinedweb | 598 | 59.03 |
On Fri, 2006-02-24 at 01:07 -0500, Kristian Høgsberg wrote:
> Hi,
>
> Here's an updated accelerated indirect glx patch. At this point I'd say
> it's ready to merge to head, but it's a pretty big patch, so I'll give a
> overview of what changed and why. The patch is just under 200k (6300
> lines), so I've put it it on freedesktop.org instead of attaching it:
>
>
>
> plus it's on the accel_indirect_branch branch.
>
> As I mentioned at the xdevconf, the previous patch would access the DRI
> driver directly which doesn't work well with platforms or DDXes without
> DRI. Also, to accomodate the software rasterizer and the Xgl glx
> implementation, we need an abstraction layer between the GLX protocol
> code and the GL implementation.
>
> This abstraction layer used to be the __GLinterface and
> __GLdrawablePrivate structs, but they didn't quite fit the bill--more
> than half the function pointers in these struct were unused by the GLX
> protocol code and yet it was necessary to add function pointers outside
> these structs (e.g. to the __GLXdrawablePrivate struct) to provide the
> necessary hooks.
>
> The patch does away with __GLinterface and __GLdrawablePrivate and moves
> the function pointers that GLX actually used from these structs into the
> GLX objects. The new design is heavily inspired by the DRI driver
> interface: There are three primary objects: __GLXscreen (was
> __GLXscreenInfo), __GLXcontext and __GLXdrawable (was
> __GLXdrawablePrivate). To initialize things we have a stack of GL
> "providers" (GLcore, DRI or Xgl) and at extension init time, the GLX
> module loops through the stack and asks each provider to create a
> __GLXscreen for each screen. The first provider that returns a non-NULL
> __GLXscreen gets to drive that screen.
>
> The GLX layer will use the screen object to create contexts and
> drawables as needed using the createContext and createDrawable function
> pointers in the screen object:
>
> __GLXcontext *(*createContext)(__GLXscreenInfo *screen,
> __GLcontextModes *modes,
> __GLXcontext *shareContext);
>
> __GLXdrawablePrivate *(*createDrawablePrivate)(__GLXcontext *context,
> DrawablePtr pDraw,
> XID drawId);
>
> GL implementations extend these three objects by embedding the base
> object in an implementation specific struct. For example, this is what
> the DRI implementation does:
>
> struct __GLXDRIscreen {
> __GLXscreen base;
>
> __DRIscreen driScreen;
> void *driver;
> };
>
> The DRI screen constructor allocates a __GLXDRIscreen struct, but
> returns a __GLXscreen pointer. Likewise, the context and drawable
> constructors in the screen object will allocate DRI specific context and
> drawable objects, but to the GLX core they will look like __GLXcontext
> and __GLXdrawable objects.
>
> The DRI implementation is entirely contained in glxdri.c and is only 768
> lines. It's a pretty good example of how to implement a __GLXprovider,
> and I think it should be pretty easy to port Xgl's glx implementation
> over to uses this design. Xgl occasionally chains to the software
> implementation to implement off-screen rendering. To achieve this, the
> Xgl implementation of __GLXscreen should probably create a mesa
> __GLXscreen and delegate to that to create software rendering contexts.
>
> There's a --enable-glx-dri ./configure option to enable compilation of
> the GLX DRI loader and a --with-dri-driver-path option to specify the
> path to the DRI driver directory. I've added an "AIGLX" server option
> to control wether the server should use the DRI driver or fall back to
> software for indirect rendering. It defaults to off, and to enable it, add
>
> Option "AIGLX"
>
> to the ServerLayout section.
>
> I've added a new sub module load function:
>
> pointer LoadSubModuleLocal(pointer, const char *, const char **,
> const char **, pointer, const
> XF86ModReqInfo *,
> int *, int *);
>
> which loads a module without adding all symbols to the global namespace
> (i.e. it doesn't pass RTLD_GLOBAL to dlopen()). This is to prevent MESA
> symbols in the DRI driver from resolving against identical symbols in
> GLcore as the DRI driver is loaded. I now use this function for loading
> GLcore. This accounts for all the changes in hw/xfree86/loader but is
> only implemented for the dlloader. As we're heading towards a
> dlopen()-only loader, this shouldn't be a problem, though.
>
> Also, the patch drops glxbuf.c, glxbuf.h, glxfb.c, glxfb.h, glxmem.c,
> glxmem.h, glxpix.c, glxpix.h, which weren't actually used before, and
> glximports.c and glximports.h which are now no longer used.
>
> As I said, I think this work is now committable; it plays well with all
> DDXes and can be disabled at ./configure-time. The remaining work is to
> see how this merges with Xgl, but I think this is a step in the right
> direction.
Sounds great Kristian, I'll try to make Xgl use this new interface asap.
>From the overview you've given here I hardly believe that there's going
to be any problems.
Thanks!
-David | http://article.gmane.org/gmane.comp.freedesktop.xorg/6691 | crawl-002 | refinedweb | 784 | 60.45 |
CLion 2017.1 roadmap
Hi everyone,
Just recently we’ve released CLion 2016.3. It brings dozens of C and C++ language improvements (including user-defined literals (C++11) and digit separator (C++14) support, as well as C11 keywords completion), remote debug on Windows platform, CMake changes, semantic highlighting and much more.
Special thanks
Now we’d like first to thank our evaluators! Your help in making this release stable and feature-rich is greatly appreciated. And as usual, we’d like to reward several contributors whose input was most valuable during this release cycle:
- Alexey Klimkin (YouTrack handle: klimkin)
- Robert Hölzl (YouTrack handle: mrh1997)
- Roger Dubbs (YouTrack handle: rogerdubbs)
- Anon Anonchik (YouTrack handle: aanonchik)
You’ll get a free 1-year subscription for CLion (to extend your current subscription or get a new one). A personal message will be sent to each of you guys with details on how to obtain your license. (And just in case you do not get any email from us within a week, ping us here in the comments.)
Further plans: 2017.1 and not only
The new release is not the end of the road, but just another step. It’s time to move forward.
Analyzing the feedback we’ve got on CLion 2016.3, we think we need to first concentrate on CMake workflow updates. The following changes are planned and might be (if possible) back-ported to 2016.3.x updates:
- Exclude CMake generation directory from version control and find usages (CPP-4300).
- Add ability to change CMake defaults (CPP-1887). The most popular case here is to have a default generation directory configured for all user projects.
-.
The new year should bring even more exciting changes to CLion, including but not limited to:
- Language support:
- More C++14 coming to CLion. You can check what’s left on this new webhelp page.
- Initial support of C++17. As the new standard is coming, we will already accommodate some of its features in CLion 2017.1: nested namespaces (CPP-3623) and initializers in if and switch statements (CPP-8234) will likely be among the first.
- Indexing and resolve:
- Code analysis:
The plan here is to add more of the so-called modernize C++14 intentions, which could help make your code modern and nice. We are going to take a look at what’s available in clang-tidy tool. All your ideas are kindly welcome under this ticket.
- Refactorings:
The main goal is to make refactorings in CLion more reliable and accurate. For this iteration we plan to focus on a couple of particular actions, most likely Extract Variable and Inline, and fix many issues around them. If you experience any, don’t hesitate to share with us in our tracker (CPP-1247, OC-9791).
- Toolchains: Microsoft compiler support
Yes, we are finally going to introduce MSVC support in CLion. This will include:
- Ability to use MSVC to compile your project in CLion.
- Support for NMake generator in CMake.
- Specific language extensions.
- Debugger:
We were planning to add a debugger assembly view in 2016.3, but didn’t manage to get it in. This work is ongoing and the view will be introduced in 2017.1.
- Unit testing: Catch support
Stay tuned and don’t to miss the EAP launch!
Your CLion Team
JetBrains
The Drive to Develop
34 Responses to CLion 2017.1 roadmap
Olof says:November 29, 2016
Hi,
I saw that you are adding support for NMake. I’d like to lobby for ninja support.
And here’s how I’m going to sell it. There’s a lot of work to do with regards to MSVC before you really get to the NMake stuff. You can gain valuable experience with non make formats by implementing ninja support which can be done independently of the MSVC support.
/lobbying effort
🙂
Anastasia Kazakova says:November 29, 2016
We are going to have ninja generator sooner or later (we’ve already looked at it and understand what needs to be done). MSVC is just impossible without NMake, so we’ll have to add it anyway.
anon says:May 12, 2017
We build and debug in Qt Creator using ninja and MSVC compiler. NMake is way too slow. So not sure what’s impossible about it?
Anastasia Kazakova says:May 12, 2017
We plan to support ninja generator in future. But for now we have some more tasks of higher priority. And ninja support will require some additional job, as ninja generator output doesn’t provide all the necessary information for us about the project.
Sidney Just says:November 29, 2016
MSVC support is great news, especially as someone who has to dabble with DirectX 12 on a semi-regular basis. Also, assembly view, this is HUGE! I can’t begin to tell you how excited I am for the upcoming year.
Anastasia Kazakova says:November 29, 2016
Thanks. We are also excited!
Sergey Sokolov says:November 30, 2016
Oh, that’s so nice of JetBrains to appreciate YouTrack contributors 🙂
Looking forward to 2017.1!
Thynson says:December 1, 2016
Still there are some code resolving issue red my code:
CPP-7266, CPP-4902, CPP-6780
Anastasia Kazakova says:December 1, 2016
Thanks for reminding us about these problems. We’ll keep an eye on them and see where in the queue they can be placed.
Andrew Somerville says:December 2, 2016
Biggest issue preventing me from getting more from my team onto Clion is VA_ARGS code resolving issue.
Please, pretty please, can this be on the list for 2017.1?
It even includes a minimal (~10 line) independent compilable example of the issue, as well as a screen shot showing exactly where Clion is having trouble.
Anastasia Kazakova says:December 2, 2016
Thanks for reminding. We’ll check if we can place it to the queue for the upcoming version.
Ivan says:December 2, 2016
Please remember the Build Sytem API you mentioned a while back. I sure there are many teams willing to pay for Clion if only it supported their particular build system.
Anastasia Kazakova says:December 5, 2016
We are sure too, however we still not ready for the open API. Hopefully in 2017 we can come up with some solution.
Sebastian says:December 4, 2016
Congratulations on the 2016.3 release.
I would like to renew my lobbying for improvements of the preprocessor, especially the ##-operator:
Anastasia Kazakova says:December 5, 2016
Thanks for reminding. We’ll check.
AnonAhonchik says:December 6, 2016
Wow, second free subscription for one year. Thank you guys 😉
Anastasia Kazakova says:December 6, 2016
Thanks for your contribution!
patlecat says:December 7, 2016
I wanted to use CLion for such a long time but lack of support for any current compiler suite held me back alas. Glad you at least are going to support MSVC and GCC6, I hope you will also support CLANG 3.9 soon too.
Luckily I’m not one of those poor sods that are forced to use GCC3 by their employer indefinitely hahaha, so I rely on support for the latest compiler suites. Because when you start a new project today, it means that by the time you’re going to release it, the compiler will be supported by the Linux distros by then. And on Windows it’s never a problem anyhow to use the latest and greatest! With UE4 it is actually even required by Epic.
Anastasia Kazakova says:December 7, 2016
What’s the problem with using clang 3.9 in CLion? It should work. If you meet any issues, please, report to us.
HGH says:December 7, 2016
Don’t forget to add structured bindings among the first C++17 features.
BTW. Will CLion support tree representation of cmake files structure?
Anastasia Kazakova says:December 7, 2016
Good question about CMake. Feel free to share ideas under this:
Nick Soms says:December 8, 2016
What about autotools, make support?
Anastasia Kazakova says:December 8, 2016
Not for 2017.1, sorry.
Mark Davis says:December 29, 2016
When are we going to see Makefile support, or even someone from jetbrains address it from a roadmap perspective, other then just saying not in the next release?
The Makefile support ticket CPP-494 (the highest voted issue currently with 576 votes) has been open since July 2014 and it stops a lot of projects from being moved to or used in CLion.
I am glad to see you are adding MSVC support (which had 132 votes and was opened in 9/2014) and the other new features, but IMO makefile support is a fundamental requirement of even a basic C/C++ IDE.
I don’t feel it is too much to ask for you tell us when on the roadmap it is planned. Or if you aren’t doing it, just be honest with us, close the ticket and say you are not doing it.
Anastasia Kazakova says:January 9, 2017
Hi Mark,
We are not closing the ticket as we still planning to add it. And we are still collecting the feedback in comments there to understand how to implement it properly and what exactly should be implemented.
However, looks like it requires a significant effort and we are still not ready to start it right now. Partly, because the resources are limited, partly because some other tasks look more important for us now, partly because we are still restructuring the project models support part in CLion (that should be done prior to another project model added).
So the feature is not planned for 2017.1, but hopefully can be addressed in 2017.x. At least, we’ll do our best to have it on board, but still can’t promise anything at this stage.
Dennis Schridde says:May 8, 2017
CLion is a great IDE, but without proper support for the autotools projects I work on, I can not make use of it (and hence not buy it).
Is it possible to pre-order a license, to be paid and shipped as soon as this feature is implemented, in order to give your team more incentive to work on this?
Anastasia Kazakova says:May 8, 2017
We don’t have ability to make a pre-order, moreover estimations for Makefiles and autotools are not clear yet. And it’s not a question of money or smth. We first need to finalize other important work, before we can start any alternative build system.
Garag says:December 8, 2016
Please add support for cross compiler and debugging. It would be great if CLion support gcc for ARM (Cortex M) not only with compiler but also with debugger.
Anastasia Kazakova says:December 8, 2016
You can pass the compiler via CMake and as for debugger – any custom GDB will work most likely. Have you tried it?
Jorge Miranda says:December 15, 2016
What about remote building? Are you considering it for 2017? I think it is one of the most voted requests () on the CPP track. Definitely would make a lot of developers happy. Please, don’t forget it! 🙂
Anastasia Kazakova says:December 15, 2016
Not planned for 2017.1. But we might have a look if we have some time / resources left.
Maksim says:January 22, 2017
Please add the following features:
1) Gradle support.
2) Ability to stop/freeze particular thread.
3) Ability to reattach to the process with the same name again (for JNI debugging).
4) Ability to open the same project in two separate windows (for debugging).
Currently, I need a copy of a project or two different version of Clion IDE for this.
Anastasia Kazakova says:January 23, 2017
As for Gradle we are considering it as one of the build system for the future to support in CLion:. However, currently Makefiles, autotools or qmake looks like more popular requests.
As for the debugger
2) – seems reasonable and we have this in plans
3), thanks, however why can’t you just make attach to process again? Do you mean you miss an action like this in UI? or smth different?
4) Why do you need it for? Couldn’t you just run several debug configurations on one project?
Lilian says:August 21, 2017
I want to note that Qt plans to switch from
qmaketo
qbs, in Qt 6.
qmakecurrently is definitely more popular in the Qt world, although, a lot of people replace it with CMake because it is so much better(still not a perfect build system when compared to something like
qbsor
bazel[sandboxing inputs – ow yeeah!]). | https://blog.jetbrains.com/clion/2016/11/clion-2017-1-roadmap/?replytocom=34310 | CC-MAIN-2020-29 | refinedweb | 2,098 | 64.3 |
Red Hat Bugzilla – Bug 1016154
python exceptions returned from libpwquality do not contain expected named members
Last modified: 2017-06-05 09:12:35 EDT
Description of problem:
The Python exceptions raised in libpwquality set the exception value as a tuple of (error code, error descrption). PWQError does not define any attributes, so trying to access PWQError.message always returns an empty string.
PWQError derives from Exception, so it should provide a message attribute, either by using PyErr_SetString instead of PyErr_SetObject and adding the error code to the exception object elsewhere, or by setting the message attribute manually.
libpwquality also returns AttributeErrors with the value set to a tuple, same problem.
Steps to Reproduce:
from pwquality import PWQSettings, PWQError
try:
PWQSettings().check("password", None, None)
except PWQError as e:
# This should print something
print(e.message).
Is there a way how to fix this without breaking the compatibility with existing callers of the pwquality module?
Of course. The python2 exception types are already subscriptable, so an exception object could be created with the tuple items as the argument list and then the excepted attributes can be set on the object.
Is there any code example somewhere? Of course pull request on the github project would be the best but the example would be good enough.
So actually the message is deprecated in python >= 2.6 and dropped in python 3. I am wontfixing this. | https://bugzilla.redhat.com/show_bug.cgi?id=1016154 | CC-MAIN-2018-05 | refinedweb | 234 | 55.24 |
Created on 2019-08-05 20:34 by terry.reedy, last changed 2021-06-01 16:42 by epaine.
#36419 did not cover fetch_ completions. Most of the remaining 7% of autocomplete not covered by tests is in that function. I want to rename smalll to small and bigl to big (and in test file); they are awkward to read and write. I may want to revise otherwise to aid testing.
The test line referencing #36405 fails when run in autocomplete itself. I need to refresh myself as to why I added it and revise or delete.
Some of the test_fetch_completion needs revision, and it should be split before being augmented.
An htest would make manual testing of intended behavior changes easier.
The attached tem4.py validates a refactoring of the mode ATTRS, what '' computation of bigl. The removal of dict 'namespace' invalidates
if "__all__" in bigl:
smalll = sorted(eval("__all__", namespace))
However, this small branch should be removed as explained in msg373432. The removal will also fix an IDLE execution process crash resulting from a user bug. Given "__all__ = [modname], Show Completions results in
TypeError: cannot pickle 'module' object
and a crash restart.
After "import modname", "modname." wait or Show Completions crashes due to
if "__all__" in bigl:
smalll = sorted(entity.__all__)
Since this is needed, the fix is to filter entity.__all__. | https://bugs.python.org/issue37766 | CC-MAIN-2021-39 | refinedweb | 224 | 68.06 |
PPI::Statement::Package - A package statement
PPI::Statement::Package isa PPI::Statement isa PPI::Node isa PPI::Element
Most PPI::Statement subclasses are assigned based on the value of the first token or word found in the statement. When PPI encounters a statement starting with 'package', it converts it to a
PPI::Statement::Package object.
When working with package statements, please remember that packages only exist within their scope, and proper support for scoping has yet to be completed in PPI.
However, if the immediate parent of the package statement is the top level PPI::Document object, then it can be considered to define everything found until the next top-level "file scoped" package statement.
A file may, however, contain nested temporary package, in which case you are mostly on your own :)
PPI::Statement::Package has a number of methods in addition to the standard PPI::Statement, PPI::Node and PPI::Element methods.
Most package declarations are simple, and just look something like
package Foo::Bar;
The
namespace method returns the name of the declared package, in the above case 'Foo::Bar'. It returns this exactly as written and does not attempt to clean up or resolve things like ::Foo to main::Foo.
If the package statement is done any different way, it returns false.
Some package declarations may include a version:
package Foo::Bar 1.23; package Baz v1.23;
The
version method returns the stringified version as seen in the document (if any), otherwise the empty string.
Regardless of whether it is named or not, the
file_scoped method will test to see if the package declaration is a top level "file scoped" statement or not, based on its location.
In general, returns true if it is a "file scoped" package declaration with an immediate parent of the top level Document, or false if not.
Note that if the PPI DOM tree does not have a PPI::Document object at as the root element, this will return false. Likewise, it will also return false if the root element is a PPI::Document::Fragment, as a fragment of a file does not represent a scope.. | http://search.cpan.org/dist/PPI/lib/PPI/Statement/Package.pm | CC-MAIN-2017-26 | refinedweb | 355 | 57.71 |
Run loopy belief to estimate overall marginal probabilities of all node states. More...
#include <mmn_lbp_solver.h>
Run loopy belief to estimate overall marginal probabilities of all node states.
Then use converged LBP messages to also estimate overall most likely configuration
Can use this for non-tree graphs, but convergence to optimum is not absolutely guaranteed Should converge if there is at most one loop in the graph The input graph is converted to form mmn_graph_rep1 from the input arcs
Definition at line 25 of file mmn_lbp_solver.h.
in below the map is indexed by the neighbour's node id.
Inner vector indexed by target node state ID.
Definition at line 34 of file mmn_lbp_solver.h.
Matrix referenced by [source node state ID][target node state ID].
Map ID is target node ID
Definition at line 38 of file mmn_lbp_solver.h.
Message update mode type (all in parallel, or randomised node order with immediate effect}.
Definition at line 29 of file mmn_lbp_solver.h.
Default constructor.
Definition at line 20 of file mmn_lbp_solver.cxx.
Construct with arcs.
Definition at line 30 of file mmn_lbp_solver.cxx.
Load class from binary file stream.
Implements mmn_solver.
Definition at line 565 of file mmn_lbp_solver.cxx.
Save class to binary file stream.
Implements mmn_solver.
Definition at line 556 of file mmn_lbp_solver.cxx.
Definition at line 173 of file mmn_lbp_solver.h.
Definition at line 299 of file mmn_lbp_solver.cxx.
update beliefs and calculate changes therein.
Definition at line 232 of file mmn_lbp_solver.cxx.
Create a copy on the heap and return base class pointer.
Implements mmn_solver.
Definition at line 538 of file mmn_lbp_solver.cxx.
Check if we carry on.
Definition at line 423 of file mmn_lbp_solver.cxx.
final iteration count.
Definition at line 176 of file mmn_lbp_solver.h.
Create a concrete region_model-derived object, from a text specification.
Definition at line 76 of file mmn_solver.cxx.
Reset iteration counters.
Definition at line 40 of file mmn_lbp_solver.cxx.
Name of the class.
Reimplemented from mmn_solver.
Definition at line 532 of file mmn_lbp_solver.cxx.
Find values for each node with minimise the total cost.
Run the algorithm.
Returns the minimum cost. Note that internally we deal with a maximisation after negating the input costs, which are assumed to represent -log probabilities If the states of a node in node_cost are not well normalised as a probability the algorithm should still work in some sense but the meaning of the belief_ objects is not really then well-defined. As it is marginal "belief" that is maximised, inputting non-normalised data may not give quite the expected answer - there may be some biases, in effect implicit weightings to particular nodes
Negate costs to convert to log prob (i.e. internally we do maximisation).
Definition at line 88 of file mmn_lbp_solver.cxx.
Print class to os.
Implements mmn_solver.
Definition at line 547 of file mmn_lbp_solver.cxx.
Renormalise messages (assume they represent log probabilities) so SUM(exp) over target states is 1.
Definition at line 403 of file mmn_lbp_solver.cxx.
Input the arcs that define the graph.
Pass in the arcs, which are then used to build the graph object.
Implements mmn_solver.
Definition at line 53 of file mmn_lbp_solver.cxx.
Initialise from a text stream.
Initialise from a string stream.
Reimplemented from mmn_solver.
Definition at line 503 of file mmn_lbp_solver.cxx.
Definition at line 182 of file mmn_lbp_solver.h.
Set message update mode (parallel or randomised serial}.
Definition at line 187 of file mmn_lbp_solver.h.
Set true if want to alpha smooth message updates when cycling detected.
This may break the cycling condition
Definition at line 180 of file mmn_lbp_solver.h.
Definition at line 184 of file mmn_lbp_solver.h.
Calculate final sum of node and arc values.
Calculate best (max log prob) of solution x.
Definition at line 269 of file mmn_lbp_solver.cxx.
return the beliefs, i.e. the marginal probabilities of each node's states.
Implements mmn_solver.
Definition at line 79 of file mmn_lbp_solver.cxx.
Update all messages from input node to its neighbours.
Compute max change during iteration.
Definition at line 320 of file mmn_lbp_solver.cxx.
Version number for I/O.
Reimplemented from mmn_solver.
Definition at line 523 of file mmn_lbp_solver.cxx.
message update smoothing constant (used if cycling detected).
Definition at line 95 of file mmn_lbp_solver.h.
Workspace for costs of each arc.
Definition at line 50 of file mmn_lbp_solver.h.
The arcs from which the graph was generated.
Definition at line 44 of file mmn_lbp_solver.h.
belief prob for each state of each node.
Assumes input node costs are well-normalised for these to be proper probabilities
Definition at line 62 of file mmn_lbp_solver.h.
Current iteration count.
Definition at line 71 of file mmn_lbp_solver.h.
Number of times cycling has been detected.
Definition at line 92 of file mmn_lbp_solver.h.
Convergence criterion on max_delta_.
Definition at line 83 of file mmn_lbp_solver.h.
Store in graph form (so each node's neighbours are conveniently to hand).
Definition at line 41 of file mmn_lbp_solver.h.
cycle condition detected.
Definition at line 89 of file mmn_lbp_solver.h.
Definition at line 103 of file mmn_lbp_solver.h.
Max change in any message value over this iteration.
Definition at line 74 of file mmn_lbp_solver.h.
previous max_delta values(used to check still descending).
Definition at line 68 of file mmn_lbp_solver.h.
max number of iterations allowed.
Definition at line 77 of file mmn_lbp_solver.h.
All the messages at previous iteration (vector index is source node).
Definition at line 53 of file mmn_lbp_solver.h.
Update messages calculated during this iteration (vector index is source node).
Definition at line 55 of file mmn_lbp_solver.h.
min number of iterations before checking for solution looping (cycling).
Definition at line 80 of file mmn_lbp_solver.h.
Definition at line 111 of file mmn_lbp_solver.h.
Definition at line 115 of file mmn_lbp_solver.h.
Magic numbers for cycle detection.
Definition at line 114 of file mmn_lbp_solver.h.
Total number of nodes.
Definition at line 47 of file mmn_lbp_solver.h.
Node costs (outer vector is node ID, inner vnl_vector is by state value).
Definition at line 58 of file mmn_lbp_solver.h.
count of number of times a solution in history is revisited.
Definition at line 86 of file mmn_lbp_solver.h.
should message update be smoothed during cycling.
Definition at line 98 of file mmn_lbp_solver.h.
previous N solutions (used to trap cycling).
Definition at line 65 of file mmn_lbp_solver.h.
verbose debug output.
Definition at line 109 of file mmn_lbp_solver.h.
solution value when cycling first detected.
Definition at line 106 of file mmn_lbp_solver.h. | http://public.kitware.com/vxl/doc/development/contrib/mul/mmn/html/classmmn__lbp__solver.html | crawl-003 | refinedweb | 1,081 | 54.39 |
OK. Will try and get back to you by Monday :) Piotr On Fri, Jan 7, 2011 at 5:02 PM, Dino Viehland <dinov at microsoft.com> wrote: > > Piotr wrote: >> import System.<TAB> - works >> >> import System >> System.<TAB> works too. There's no ASCIIEncoding) but there's AppDomain >> for example and the list starts with AccessViolationException and ends with >> {} Web System.<TAB>Text.<TAB>ASCIIEncoding does work >> >> but again >> import System.Text >> System.<TAB> does not work >> System.Text.<TAB> does not work either >> >> (Can one debug it somehow?) > > Yep, it can be debugged :) You need to download the tools sources and install > the VS SDK though. Then you can build,set the IronPythonTools project as the > startup project and tell it to launch devenv.exe using: > > /rootsuffix Exp > > As the command line option. Then set a breakpoint in DDG.cs in the > > public override bool Walk(ImportStatement node) > > method and launch. We'll call that when we're analyzing the import. In Walk > we'll do: > > var builtinRefs = ProjectState.GetReflectedNamespaces(impNode.Names, impNode.Names.Count > 1 && !String.IsNullOrEmpty(newName)); > > And this is around where something's going wrong, but I can't quite tell what > and I'm not setup for debugging this at work anymore. > > Basically we should be trying to get the namespace object associated with > System and dotting through it to get each addition member. But in the end > we should just return the System namespace back. > _______________________________________________ > Users mailing list > Users at lists.ironpython.com > > | https://mail.python.org/pipermail/ironpython-users/2011-January/014114.html | CC-MAIN-2016-30 | refinedweb | 249 | 68.36 |
csTriangleMesh Class Reference
[Geometry utilities]
A mesh of triangles. More...
#include <csgeom/trimesh.h>
Inherits scfImplementation1< csTriangleMesh, iTriangleMesh >.
Detailed Description
A mesh of triangles.
Note that a mesh of triangles is only valid if used in combination with a vertex or edge table. Every triangle is then a set of three indices in that table.
Definition at line 45 of file trimesh.h.
Member Function Documentation
Add a triangle to the mesh.
Add another triangle mesh to this one.
Add a vertex to the mesh.
Clear the mesh of triangles.
Adds another triangle mesh to this one.
Set the size of the triangle list.
Set the triangle array. The array is copied.
Member Data Documentation
The documentation for this class was generated from the following file:
Generated for Crystal Space 1.4.1 by doxygen 1.7.1 | http://www.crystalspace3d.org/docs/online/api-1.4.1/classcsTriangleMesh.html | CC-MAIN-2014-41 | refinedweb | 138 | 54.69 |
.
Database Build Blockers: Mutually Dependent Databases
Phil Factor demonstrates a clever way to create 'stub' objects, in SQL Change Automation pre-deployment scripts, in order to overcome the problems caused by 'missing objects' when building databases that have circular, or mutual, dependencies. In the subsequent deployment, SQL Change Automation fully builds every object in each of the databases, so all dependencies are fully tested.
It is both common and legitimate for database projects to include several databases that have dependencies on each other. However, these interdependencies can introduce complications into the database build process. Typically, the databases will, for example, contain objects such as views that make cross-database references to each other. SQL Server checks these references when it executes the
CREATE or
ALTER statement, and this will cause an error if the referenced object doesn’t exist. When there are mutual, or circular, dependencies between databases, there is no natural order of creating them that doesn’t break the build. Whichever you build first, there is an error.
For simple database projects, I’ll show how you can get around this by identifying the dependencies that exist, and then modifying the source build scripts so that they create some ‘stub’ code objects, initially, and then fill in their logic once the objects to which they refer exist. However, you won’t want to cut build scripts by hand when you have hundreds of tables and views, so I’ll then show how, using a simple pre-deployment script in SQL Change Automation, which creates some stubs to satisfy dependencies, before SCA then does a full build of all databases (no stubs are left in place, and therefore all dependencies are fully tested). You can incorporate this technique into a standard build process, without the need to make any changes to the original source scripts. It works well in cases where all databases live on a single SQL Server instance. For cross-server dependencies, you’ll need a different approach, using synonyms, which I explain in a separate article.
The database dependency build breaker
Cross-database references are sometimes an ‘evolutionary accident’ but often the result of a design choice, where instead of using schemas to partition a database into logical security spaces, components or namespaces, you use separate databases.
To illustrate the problems that cross-database dependencies can cause for a standard build process, let’s create a simple two-database project with mutual dependencies.
Before we run the script, we create
TheFirstDatabase and
TheSecondDatabase. After a ‘teardown’ section, to ensure that whatever we’ve created in a previous run is no longer there, we start the test by building
TheFirstDatabase followed by
TheSecondDatabase.
Ouch! That won’t work!
Msg 208, Level 16, State 1, Procedure TheFirstView, Line 3 [Batch Start Line 35] Invalid object name 'TheSecondDatabase.dbo.TheThirdTable'. Msg 208, Level 16, State 1, Procedure ThefourthView, Line 2 [Batch Start Line 39] Invalid object name 'TheSecondDatabase.dbo.TheSecondView'.
Try it the other way around, building the second database before the first. It won’t work either. Something must ‘give’.
In a very simplified script like this, which merely demonstrates the problem, we can simply move the two offending views,
TheFirstView and
TheFourthView to the end of the script and precede them with a
use
TheFirstDatabase. However, real build systems will only work on a single database at a time, so we don’t have that option.
The ‘stub’ solution in a hand-cut build script
Probably the easiest way of resolving this problem is to replace the two offending views with ‘stub’ or ‘mock’ objects. A ‘stub’ is an object that has the same name as the original, and gives the same result, even if no rows are produced. SQL Server only checks the name and datatype of the result, not whether it generates the result. It doesn’t even have to be the same type of object generating the result, as long as that result contains the referenced column.
Once the two databases are created without problems, we just alter the view to replace it with the version that has the reference.
That went well! We can now inspect our two databases to see the cross references that are in place.
Automating builds for interdependent databases using SCA
This technique means that, even if you don’t have the full source of each database, you can build the database you are working on, and use a set of stubs to represent each of the other databases, and you can develop using ‘mocks’ instead of ‘stubs’. By ‘mock’, I mean a ‘stub’ that returns results, as a table source, or values, or both, as required to represent the actual database object.
However, let’s take a deep breath. Are we really going to cut our build scripts by hand, even when we have hundreds of tables and views? Nope. Changing the source code just to try to defer name resolution add complications and can cause errors.
What we really want is a way to develop, build and release the databases from the code in source control, but without needing to change the source code to accommodate potential cross-database references. Fortunately, we can use the same ‘stub’ or ‘mock’ object principle using pre-deployment scripts that create the stubs for the referenced objects, only if the they don’t already exist. I’ll show how this is done using SQL Change Automation to automate the build process, but the same principle works for other database build systems.
One alternative way around the problem, explained by Kathi Kellenberger, is to ensure that each of the development servers has full copies of all the databases, merely updating them as required. This alternative technique might be more appropriate for one-off changes where scripting a full build process would be overkill, or where the number and complexity of the cross-references makes the scripted approach difficult to devise and maintain.
Setting up a database scripts directory
We’ll first get our two sample databases scripted out into two directories, each representing the object-level scripts for that database.
Each object in a file is merely a create statement as usual:
You’ll have noticed the extra “Custom Scripts” directory, containing Pre- and Post-Deployment folders. These are a signal to SQL Change Automation (or SQL Compare) that any synchronisation script must have some extra scripting added. In our case, we want to add a PreScript that SQL Change Automation will then append to the start of the actual synchronization script. This is a SQL Compare option that is also used in SCA. You can adapt the principle to other build systems.
The PreScript checks each of the references to objects in the other database to see if they exist. If an object isn’t there, it creates a ‘stub’. Otherwise it leaves well alone. For every reference to an object in the other database, you create a matching ‘stub’ that you add to the database’s PreScript. This unlikely to become too arduous, as calls to another database are usually well-managed and carefully defined, so as to prevent errors.
Here is PreScript.sql for
TheFirstDatabase:
This routine only creates stubs for its dependencies in the other database if necessary, i.e. if the object or stub doesn’t exist. If it already exists, then the code issues a
SET
NOEXEC
ON, which means SQL Server will compile the code that follows but won’t execute any statements until it sees a
SET
NOEXEC
OFF. We use this device to get around the problem of a
CREATE statement having to be at the start of the batch.
Here is the PreScript for
TheSecondDatabase, which checks if it needs to create stubs in
TheFirstDatabase of any objects it is referencing but which don’t exist.
Deploying the scripts directory to a database with SCA
Right. We are ready to start. We will build this behemoth with the full might of SCA and PowerShell. Make sure that both target databases exist on the hosting instance. They needn’t be empty; by using SCA, we can update the build rather than, from necessity, creating it from scratch. Here, I’m creating an SCA release artifact directly from the source (so there is no build validation phase).
Success. Two databases deployed. I didn’t need to overwrite the initial stubs because SCA did it for me as part of the normal release process. It was able to script a change from the stub to the real object. It was able to verify that there had been no drift in the target database, because I didn’t cause any in the initial ‘pre’ script, and it was satisfied that the result of the deployment process had the same metadata as was in the source code. The only thing I had to do was to ensure that the referenced objects existed in a form that would satisfy the SQL Server Engine.
Will this scale? Yes, to as many databases as you wish and as many database objects as you need. If you allow unfettered access into one database from another, you may need to put more work into maintaining the PreScript.sql for the databases with foreign dependencies, but it is a small price to pay to get over what could otherwise be a sticky problem.
Using SQL Compare with interdependent databases?
Will this technique work with SQL Compare? Yes, it will, if you execute the deployment script from SSMS or SQLCMD. At the time of writing there is a bug that causes an unhandled exception if you deploy SQL Compare’s deployment script via SQL Compare. Just set up a project for each database, comparing the script folder to the target database, and away it goes, but make sure you just get it to generate the script.
Conclusion
It is perfectly legitimate for database projects to include several databases, either on the same server instance, or on other server instances. This should present no more difficulties for teams that use source control and build from object-level scripts as it does for teams using migration scripts.
I’ve demonstrated a technique that simply places stubs in otherwise-empty databases, in order to let you develop, build and release individual database from the code in source control, even when they are destined to be components in a larger system. You don’t need to make any changes to the source to accommodate potential cross-database references.
I’ve covered the case of groups of databases on the same server instance, but if the databases are on different servers, then you’re likely to require a different technique to using stubs, this time involving Synonyms. That will have to be a separate article!
You may also like
Article
Deploying Multiple Databases from Source Control using SQL Change Automation
How to automatically build multiple test databases, from source control, and then fill them with standard test data sets, using SQL Change Automation, BCP and some PowerShell magic.
-
Forums
SQL Change Automation Forum
Continuous integration and automated deployments for your SQL Server database | https://www.red-gate.com/hub/product-learning/sql-change-automation/database-build-blockers-mutually-dependent-databases | CC-MAIN-2019-35 | refinedweb | 1,854 | 58.92 |
go to bug id or search bugs for
New/Additional Comment:
Description:
------------
I'm not sure if it's a bug, but the namespace of an anonymous class is always empty. The behavior for closures is different although.
In our case, we would use it as the fully qualified identifier of the class, as we do with closures, but for some reason, this information is lost. Using the file path does not sound like a reasonable alternative.
Test script:
---------------
Expected result:
----------------
Foo\Bar
Foo\Bar
Actual result:
--------------
Foo\Bar
Add a Patch
Add a Pull Request
Yeah, it's not technically a bug as the actual class name is more or less undefined (it's anonymous, after all) but if closures inherit namespaces then classes probably should too.
I can't imagine anyone deliberately relying on the class being a member of the global namespace so breaking this should be fine...
The basic problem is that the class name of anonymous classes
isn't prefixed with the namespace. Adding a call to
zend_prefix_with_ns() (or doing something like this) in
zend_generate_anon_class_name()[1] would almost solve the problem.
However, that also would change the result of get_class(), for
instance, and although it is document to not rely on the class
name of anonymous classes[2], we somehow would have a BC break.
Anyhow, there is another problem, namely that the class name may
contain the file name where the anonymous class is defined, which
is not catered to by ReflectionClass::getNamespaceName() and
others, which split the class name at the last backslash. So the
following script:
<?php
$reflectionClass = new \ReflectionClass(new class {});
var_dump($reflectionClass->getShortName());
may return something like:
string(17) "76787.php10C7504C"
[1] <>
[2] <>
[3] <>
To clarify: the second issue affects Windows only.
The class name on MacOS Sierra also contains the file path.
I don't think it is a BC break, as the users are aware they should not rely on the class name for anonymous classes.
About the second issue, why not to use the same platform-independent approach adopted in closures names?
Example:
namespace Foo\Bar;
may return something like:
$reflection = new \ReflectionFunction(new function() {});
echo \get_class(new class);
echo $reflection->getName();
"Foo\Bar\{class}"
"Foo\Bar\{closure}"
In practice, we don't need the brackets as "class" is a reserved word, so there is no way to conflict with an existing class name, but keeping it sounds more consistent.
Is there a problem with keeping the current naming scheme and just adding in the namespace? The point is not the name of the class per se but that it should ("should") be a member of the namespace it was defined in.
@requinix: PHP code does not have an associated namespace. A class name can be decomposed into a namespace name and a short name and that's what the reflection API does. The anonymous class name needs to have a namespace prefix if reflection is to return it.
Personally I don't think that a namespace should be returned for anon classes (or closures for that matter). At least not under the understanding that PHP namespaces are not a packaging mechanism, but compiler-aided name transformations only.
The problem mentioned by @cmb is something that we should resolve at some point though... | https://bugs.php.net/bug.php?id=76787&edit=1 | CC-MAIN-2021-39 | refinedweb | 546 | 59.03 |
Applets are a peculiar kind of program as they are executed in the context of a web browser. This places some rather severe restrictions on what you can do in an applet, to protect the environment in which they execute. Without these restrictions they would be a very direct means for someone to interfere with your system – in short, a virus delivery vehicle.
System security in Java programs is managed by a security manager. This is simply an object that provides methods for setting and checking security controls that determine what is and what is not allowed for a Java program. What an applet can and cannot do is determined by both the security manager that the browser running the applet has installed, and the security policy that is in effect for the system.
Unless permitted explicitly by the security policy in effect, the main default limitations on an applet are:
An applet cannot have any access to files on the local computer.
An applet cannot invoke any other program on the local computer.
An applet cannot communicate with any computer other than the computer from which the HTML page containing the applet was downloaded.
Obviously there will be circumstances where these restrictions are too stringent. In this case you can set up a security policy that allows certain operations for specific trusted programs, applets, or sites, by authorizing them explicitly in a policy file. A policy file is an ASCII text file that defines what is permitted for a particular code source. We won't be going into details on this, but if you need to set up a policy file for your system, it is easiest to use the policytool program supplied with the JDK.
Because they are normally shipped over the Internet as part of an HTML page, applets should be compact. This doesn't mean that they are inevitably simple or unsophisticated. Because they can access the host computer from which they originated, they can provide a powerful means of enabling access to files on that host, but they are usually relatively small to allow them to be easily downloaded.
The JApplet class includes the following methods, which are all called automatically by the browser or applet viewer controlling the applet:
These are the basic methods you need to implement in the typical applet. We really need some graphics knowledge to go further with implementing an applet, so we will return to the practical application of these methods in Chapter 13.
Subject to the restrictions described in the previous section, you can convert an application to an applet relatively easily. You just need to be clear about how each part of program executes. You know that an application is normally started in the method main(). The method main() is not called for an applet but the method init() is, so one thing you should do is add an init() method to the application class. The other obvious difference is that an applet always extends the JApplet class.
We can demonstrate how to convert an application so that it also works as an applet, by changing the definition of the Sketcher class. This doesn't make a very sensible applet, but you can see the principles at work.
You need to modify the contents of Sketcher.java so that it contains the following:
// Sketching application import java.awt.Dimension; import java.awt.Toolkit; import javax.swing.JApplet; public class Sketcher extends JApplet { public static void main(String[] args) { theApp = new Sketcher(); // Create the application object theApp.init(); // ...and initialize it } public void init() { window = new SketchFrame("Sketcher"); // Create the app window Toolkit theKit = window.getToolkit(); // Get the window toolkit Dimension wndSize = theKit.getScreenSize(); // Get screen size // Set the position to screen center & size to half screen size window.setBounds(wndSize.width/4, wndSize.height/4, // Position wndSize.width/2, wndSize.height/2); // Size window.setVisible(true); } private static SketchFrame window; // The application window private static Sketcher theApp; // The application object }
To run Sketcher as an applet, you should add an .html file to the Sketcher directory with the contents:
<APPLET CODE="Sketcher.class" WIDTH=300 HEIGHT=200> </APPLET>
If you recompile the revised version of the Sketcher class, you can run it as before, or using AppletViewer.
How It Works
The class now extends the class JApplet, and an import statement has been added for the javax.swing package.
The init() method now does most of what the method main() did before. The method main() now creates an instance of the Sketcher class and stores it in the static data member theApp. The method main() then calls the init() method for the new Sketcher object. The window variable no longer needs to be declared as static since it is always created in the init() method.
The class member, theApp, must be declared as static for the case when the program is run as an application. When an application starts execution, no Sketcher object exists, so the data member, theApp, does not exist either. If theApp is not declared as static, you can only create the Sketcher object as a local variable in main().
Even if Sketcher is running as an applet, the application window appears as a detached window from the AppletViewer window, and it is still positioned relative to the screen.
Of course, when we come to implement the File menu, it will no longer be legal to derive the Sketcher class from the JApplet class since it will contravene the rule that an applet must not access the files on the local machine. It is also not recommended to create frame windows from within an untrusted applet, so you will get a warning from the appletviewer about this.
All you need to do to revert back to just being an application is to remove the import statement for javax.swing and remove extends JApplet from the Sketcher class header line. Everything else can stay as it is. | http://www.yaldex.com/java_tutorial/0581102748.htm | CC-MAIN-2017-04 | refinedweb | 992 | 61.26 |
Load image problem
Hi
I load an image on Class Definition:
---SNIP---
Class XYZ (Scene)
board=load_image_file('animage.jpg')
...
def draw(self):
image(self.board,1,1,426,320)
---SNIP---
Here I get a white rect, but no image. I also tried to load the image in "def setup(self):" but I get the same white rect. Only if I load the image directly in the draw procedure just before the image(...) then I get the image.
But is this the right way. I think this draw procedure runs 60 times a second. And so I also load this image 60 times.
How do I load the image the right way.
Thanks Jens
it seems here that your problem simply may be that you are calling the image
boardin one spot, and
self.boardin another!
self.boardin both places will avoid issues with scope. | https://forum.omz-software.com/topic/2523/load-image-problem | CC-MAIN-2021-04 | refinedweb | 144 | 77.33 |
Subhag Oak,
SDE, Cider.
One of the most frequent questions asked on the community forum is how can I make my userControl act as a containerControl (panel) which allows me to add controls at design time. In V1.0 and V1.1 you had to write a lot if code to do this, but in Whidbey we have added a new concept of NestedContainers which would allow the users to accomplish this using a single method on the ControlDesigners.
Let me explain how you can expose the userControl as "container" at design time.
You may ask why doesnt it work by default?
What you’re seeing is our default encapsulation model for user controls. By default, a user control is treated as a single object when placed on a form. We do this because it may not be your intent to expose the inner layout of your user control (for example, the PropertyGrid control contains several panels, buttons, scroll bars, etc, but it is treated as a single control). So there are cases when you want the userControl to be a single composite control and hence not support it as container at design time. This still remains the default case in whidbey too.
What should I do to make the control act as container at Design time?
This is easy to do. You need to change the designer on your user control:
[Designer(typeof(ParentControlDesigner))]
public class MyUserControl : UserControl {}
Once you do this, the user control can be edited on the form designer’s surface.If you want a region of “content” on your user control to be interactive at design time…
This is the more likely case – you have a control with some child controls on it, but one (or more) of the child controls needs to be a content area where the user can drop additional controls. Within this content area you want the user to be able to select, drag, drop and otherwise manipulate controls, but outside of the area you want the user control to be treated as a single entity. In whidbey, you need to do two things:
1) Add a public read-only property to your user control that exposes the child content control. Write a simple designer that enables the content control to be designed.
[DesignerSerializationVisibility(DesignerSerializationVisibility.Content)]
public Panel MyChildPanel { get { return _myChildPanel; } }
The attribute on the property tells the code generator to write out code for the value contained in this property (normally, read-only properties are skipped).
2) Use EnableDesignMode method to plug in the designer for panel.
[Designer(typeof(MyUserControlDesigner))]
public class MyUserControl : UserControl {
}
class MyUserControlDesigner : ControlDesigner {
public override void Initialize(IComponent comp) {
base.Initialize(comp);
MyUserControl uc = (MyUserControl)comp;
EnableDesignMode(uc.MyChildPanel, “MyChildPanel”);
}
Here I’ve created a designer (which can…and should be an internal class unless you specifically design for extensibility). In the initialize code for the designer I’ve called EnableDesignMode, passing the panel I want to enable (MyChildPanel), and a text name that will be shown to the user when the panel is selected (“MyChildPanel”).
Once you do this, the panel will work in the designer. If you click on it, it will be selected and you can set properties on it in the property window. The name for the selected panel will be a mix of the control’s name and the name you provided. For a control named myUserControl1, the panel’s name in the grid will show up as “myUserControl1.MyChildPanel”.
I will discuss the basics of EnableDesignMode in a separate blog entry. | http://blogs.msdn.com/subhagpo/archive/2005/03/21/399782.aspx | crawl-002 | refinedweb | 592 | 51.58 |
Hi,
I just was wondering if there is a variable like $packages, which stores the path of the installed packages, for the "Home"-directory in ST2.
Sadly, something like this won't work:
{ "caption": "Open TODO", "command": "open_file", "args": {"file": "${HOME}/Documents/Privat/privat.TODO"} }
or
{ "caption": "Open TODO", "command": "open_file", "args": {"file": "~/Documents/Privat/privat.TODO"} }
]
As you can see, I want to open a specific file using the ctrl+shift+p command.
Has anybody some hints for me, how it should look like?
You could do something like this (stackoverflow.com/questions/1599 ... 1#16408331). Of course, that answer is specifically for expanding variables, so replace the for loop with something like
s = sublime.load_settings(filename)
for key in setting_keys:
value = s.get(key)
value = os.path.expandvars(value)
value = os.path.expanduser(value)
s.set(key, value)
Untested, but should work.
Hi skuroda,
first thx for your reply.
I have to admit, that I am not that familiar with this kind of coding. Does your suggestion mean that I have to write my own plugin to get the variable which stores the path to the home-directory? :S
Just to clarify, I am syncing my settings of Sublime between MacOS and Windows, and want to open a file which is located in the users document folder. The problem of course is, that the path to this directory is different in both OS and so I can't use my setting on both OS. Or is there a way to use different *.sublime-commands-files for different OS?
Yes you have to write a plugin. But if you check the stackoverflow link, the plugin is already written. Just replace the contents of the for loop with what I posted before. "~" is expanded properly in both windows and os x. To demonstrate that to yourself, enter the following into the ST console.
import os
os.path.expanduser("~")
This method would require you to place the files in the same location on both machines (relative to the home directory). I don't know if you can create a OS specific *.sublime-command file. | https://forum.sublimetext.com/t/variable-for-home-directory/10568/2 | CC-MAIN-2016-40 | refinedweb | 353 | 67.55 |
Gain access to an executable object file
#include <dlfcn.h> void * dlopen( const char * pathname, int mode );
The following bits are Unix extensions:
The following bits are QNX Neutrino extensions:
For more information, see “The mode,” below.
libc
Use the -l c option to qcc to link against this library. This library is usually included automatically.
The dlopen() function gives you direct access to the dynamic linking facilities by making the executable object file specified in pathname available to the calling process. It returns a handle that you can use in subsequent calls to dlsym() and dlclose(). above directories are set as follows:
setconf _CS_LIBPATH 'getconf _CS_LIBPATH':/new/path
When loading shared objects, the application should open a specific version instead of relying on the version pointed to by a symbolic link.:
The following mode bits determine the scope of visibility for symbols loaded with dlopen():.
You can OR the mode with the following values to affect the symbol scope:
If you don't specify either of these values, dlopen() uses RTLD_WORLD | RTLD_GROUP.
The following flags provide additional capabilities:
When resolving the symbols in the shared object, the runtime linker searches for them in the dynamic symbol table using the following order:.
A handle to the object, or NULL if an error occurs.
If an error occurs, more detailed diagnostic information is available from dlerror().
A value of 1 (one) is the same as all.
POSIX 1003.1 XSI
Some symbols defined in executables or shared objects might not be available to the runtime linker. The symbol table created by ld for use by the runtime linker might contain a subset of the symbols defined in the object.
dladdr(), dlclose(), dlerror(), dlsym()
ld, qcc in the Utilities Reference
“Dynamic Linking” chapter of the System Architecture guide
“Lazy loading” in the “Compiling and Debugging” chapter of the QNX Neutrino Programmer's Guide | https://www.qnx.com/developers/docs/6.5.0SP1.update/com.qnx.doc.neutrino_lib_ref/d/dlopen.html | CC-MAIN-2021-25 | refinedweb | 311 | 52.09 |
A final and sometimes overlooked area of testing is performance. Too often, an application is rolled out to production only to find that the performance of the application is unacceptable. For Struts applications, the first step to good performance is proper design and planning. Developers should plan for the expected number of concurrent users. Testing should be performed on a platform that is as similar as possible to the production environment. Developers are not often called on to test their applications for performance. However, tools are available that allow a developer to measure and test the performance of their application. One such tool, JUnitPerf, allows for performance tests to be run against existing JUnit tests. JUnitPerf accomplishes this by decorating a unit test. In other words, it wraps an existing test with a test that measures the performance of the wrapped test methods.
JUnitPerf () was written and is maintained by Mike Clark of Clarkware Consulting. It can be downloaded and used free of charge. There are two main types of performance tests that JUnitPerf supports:
Timed tests Measure the amount of time that a test takes. Assertions can be made about the maximum amount of time that the test should take. If the test takes longer than that, then the assertion fails.
Load tests Allow the test writer to indicate the number of concurrent users (threads) that are running the test and optionally the number of times to execute the test.
To start, the following code defines a timed test for the simple JUnit EmployeeSearchServiceTest class that was created earlier in the “Testing the Model” section. Of course, the test execution should be integrated into the Ant build.
package com.jamesholmes.minihr; import com.clarkware.junitperf.TimedTest; import junit.framework.Test; import junit.framework.TestSuite; public class EmployeeSearchServicePerfTest { public static final long toleranceInMillis = 10; public static Test suite() { long maxElapsedTimeInMillis = 10 + toleranceInMillis; Test timedTest = new TimedTest( new TestSuite( EmployeeSearchServiceTest.class ), maxElapsedTimeInMillis); TestSuite suite = new TestSuite(); suite.addTest(timedTest); return suite; } }
As you can see, this class is somewhat atypical of previous unit tests in that it does not extend TestCase. It does, however, provide a suite method that returns a Test. This method creates a test suite of a JUnitPerf TimedTest by wrapping a test suite created from the original EmployeeSearchServiceTest. The maximum time that the test should take to run is passed in as the second parameter to the TimedTest. This test can be run just as any other JUnit test—that is, using the JUnit test runners, IDE/JUnit integration, or via an Ant task.
Another tool, in the open-source domain, for testing and measuring the performance of Web applications is Apache JMeter (). JMeter allows a developer to create and run test plans against running applications. It was originally designed for testing Web sites so it is well suited for most Struts applications. JMeter provides a Java Swing user interface for creating and running test plans. Performance metrics are gathered and can be visualized graphically as well as in other formats. To get started, you need to first download JMeter and install it. Follow the provided documentation to create a test plan. You can create thread groups that simulate a number of concurrent users. Then, you can specify the details of an HTTP request to test. Figure 20-4 shows an HTTP request configured to access the Search by Name feature of the Mini HR application.
Figure 20-4: JMeter HTTP request
The request is configured to access the URL search.do. In addition, request parameters can be specified. In this case, the query string name=Jim will be added to the request.
The test can then be run against the running server and the results are accumulated for each result listener. Figure 20-5 shows the display using the Graph Results listener. The thread group, in this case, was configured to run with 20 concurrent users, each making 25 requests to the Search page—a total of 500 data points.
Figure 20-5: JMeter Graph Results
From the results, you can see that on average the search could be performed in a bit over 50 milliseconds, with some requests taking as long as 120 milliseconds. JMeter is a powerful tool and has a great deal more capabilities than described here. It is well documented and has many additional features that you may want to use.
Performance is an area of your application that should not be overlooked—particularly if the application is targeted for high-volume, high-performance Web sites. As was shown above, JUnitPerf and Apache JMeter can be used to test the performance of your Web application under simulated loads. These tools can be used to help identify those areas of your application that are bottlenecks. Once identified, profiling tools should be used to focus the performance analysis. | https://flylib.com/books/en/1.248.1.97/1/ | CC-MAIN-2019-51 | refinedweb | 804 | 55.95 |
I am using a MIMXRT1064-EVK developing an eIQ application where the code is 2MByte and the model is 6MByte, it will be 12 Mbyte when finished. I am running the code from the RT1064 internal memory and want to store the model in RAM if that is possible (the 32MByte Board SDRAM) while developing. Is there some way using the MCUXpresso IDE that I can write the model to SDRAM?
The code is easily compiled and uploaded to the Flash memory on the MCU but I see no easy way of uploading the model. I am aware of that I could use the board QSPI Flash or HyperFlash but still, I cant see how the model can be uploaded to them either from the IDE.
I use the SEGGER JLink in this case and they have a tool, JMEM for reading/writing of memory locations but it doesn't seem to work well with the EVK. It would be better, of course, using the MCUXpresso IDE.
I suppose that you have thought of the situation with larger NN flat models that have to be stored for eIQ and what are your suggestions for loading them onto, first the EVK and later in production?
For production, of course, a Flash memory can be used to store the model separately?
After some further investigation, I found that the way to place the model (constant data) in a separate memory location from the program flash is to use the following method. I place my model in Hyperflash (Flash2).
The board and drivers must be modified first according to the instructions for using the HyperFlash.
The HyperFlash must be added to the memory map.
The model declaration then has to be done like this:
#include <cr_section_macros.h>
__RODATA(Flash2) const char,
};
The model is placed in the HyperFlash and the program runs on the internal RT1064 Flash.
Hi Juan,
Thank you for your reply. I can generate the code and it seems to work.
I need to place the model in an external (hyper) Flash memory since the internal 4MB is too small. I can link both the code and the model to the external Flash by setting it as no1 default, but I would like to have the code in the internal RT1064 Flash and the model in the external (Hyper) Flash. It fails when I try to set the data .data (see above declaration of my model) to a specific address using the MCUXpresso setting Managed Linker Script as:
Description: *(.data)
Region: Flash2 (External Hyper Flash)
Section Type: .data
When building I get this warning and the model was not linked to Flash2: "Warning: ignoring changed section attributes for .data"
What is the best way to link the .data section to the external Flash?
Thanks
Possibly defining the model as a constant table and assigning a memory address for it would work but will the IDE program it into the right memory area?
EX.
const char __attribute__((section (".data"))),
};
Hi Lars,
It should work. You can verify where it was placed in the memory map file after compiling: Debug/<project name>.map and look for the variable or function name. | https://community.nxp.com/t5/eIQ-Machine-Learning-Software/How-upload-program-eIQ-code-and-model-in-separate-memory/m-p/1051185 | CC-MAIN-2020-40 | refinedweb | 529 | 70.73 |
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