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1
Huck, Gabe. "Sing thanks to the Lord". Liturgy 13, n.º 1 (enero de 1996): 27. http://dx.doi.org/10.1080/0458063x.1996.10392327.
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L, Charles. "The Theological Principles of Mahakavi Bharati". International Research Journal of Tamil 3, S-2 (30 de abril de 2021): 18–23. http://dx.doi.org/10.34256/irjt21s24.
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There is a great deal of writing in Tamil that clarifies religious standards and conventions. Mystics, such as, Jains, Nayans, Alvars, Buddhists, Muslims, and Christians looked to create religions by controlling their strict standards in writing. Each has taken care of a considerable lot of the standards to arrive at the Lord in his time. The first four of the Nayans followed the religious standards of sonship, subjugation, friendship, and wisdom. The Alvars utilize the Lord as a child and sing that they need to be an article where the Lord is. Andal utilized the Lord as a sweetheart and sang psalms with the religious philosophy of accomplishing the Lord. Vallalar had the maxim "Samarasa Sutta Sanmarkkam, Jeeva Karunyam". Consequently the strict observers understood that the motivation behind life was to arrive at the Lord. In such manner, The existence circumstance and family foundation of Mahakavibharati vouch for his translation as a dedicated devotee to God. The three components of life - the three lovers - show the profound quality of Lakshmi, Saraswati and Parasakti, the profound quality of being a companion, a ruler, a lover, Kali and Ganesha. Bharti, who has a wide scope of speculations, composes expositions analyzing his religious philosophy through his melodious lines, which sing, "The lone thing that can be seen and risen above by representation is extraordinary and supernatural."
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Bellanti, Brandon. "Sing to the Lord a New Song: John Calvin and the Spiritual Discipline of Metrical Psalmody". Musical Offerings 5, n.º 2 (4 de noviembre de 2014): 65–85. http://dx.doi.org/10.15385/jmo.2014.5.2.1.
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White, Susan J. "“Sing to the Lord A new song”: Christian Hymnody and the Scientific Worldview". Liturgy 21, n.º 3 (septiembre de 2006): 41–50. http://dx.doi.org/10.1080/04580630600642759.
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Robra, Martin. "Sing to the Lord a New Song: A Meditation on Bonhoeffer's Relevance Today". Ecumenical Review 67, n.º 2 (julio de 2015): 319–21. http://dx.doi.org/10.1111/erev.12165.
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S, Sakunthalai. "Teninum iniya tiruneriya tamil". International Research Journal of Tamil 3, S-1 (24 de junio de 2021): 264–72. http://dx.doi.org/10.34256/irjt21s143.
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The ‘Lord of Wisdom’ Thirugnanasampantha Peruman, who chose Tamil for Thavamalku, sang by the Lord and received salvation. He has sung satisfactorily about the ways to get rid of all the miseries that occur in daily life, to get education, material, heroism and to get rid of infectious diseases. These great Tamil rituals, realized through Lord Thirugnanasambandar, are a rare boon to human life. Thirugnanasambandare was the first to add his name to Tamil and sing proudly. Nattramizh Thiruneri Tamil The main purpose of the study is to make the community benefit by reading and realizing that Thirugnanasambandar praised the excellence of Tamil. "Anainamathey"; It is as if Lord Thirugnanasambandar is standing up and looking at them as he sings "Enadhurai Tanadhuraiga". All of them, sung by Thirugnanasambandar, are proved to be Shiva's vote. Thus the emphasis on the usefulness of songs is to benefit the society with higher thoughts. Therefore, Thonipurath Origin is a social architect. It is the experience of many that these songs will soon be useful. Thirugnanasambandar restored our mother tongue Tamil language, realized its specialties, and established it as "Theivamozhi Tamil" is a wonderful help made by the time. In the first stanza, he sang the praises of Tamil as "Tiruneriya Tamil Vallavar Tholvinai Tirthal Elathal" (1-1-1). In this day and age, infectious germs have the miraculous ability to prevent us from accessing the "disorder". Therefore, by appreciating this special "Theninum Iniya Thiruneriya Tamil", we will benefit from his songs all over the world.
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Witvliet, John D. "“Sing to the Lord No Threadbare Song”: Theological Angularity in the Face of Advent Sentimentality". Interpretation: A Journal of Bible and Theology 62, n.º 4 (octubre de 2008): 402–17. http://dx.doi.org/10.1177/002096430806200405.
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To ward off Advent sentimentality, preachers and church musicians need to find theologically robust approaches to proclaiming the simultaneously sobering and glorious eschatological themes of Advent. Classical Christian doctrines, brought to life by theologically astute contemporary hymnwriters, offer many promising angles of vision for worshipers, preachers, teachers, and theologians.
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Shirt, David. "‘Sing Psalms to the Lord with the Harp’: Attitudes to Musical Instruments in Early Christianity – 680 A.D." Journal of Early Christian History 6, n.º 1 (2 de enero de 2016): 97–115. http://dx.doi.org/10.1080/2222582x.2016.1184036.
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Read, Kay A. y Jane Rosenthal. "The Chalcan Woman’s Song: Sex as a Political Metaphor in Fifteenth-Century Mexico". Americas 62, n.º 03 (enero de 2006): 313–48. http://dx.doi.org/10.1017/s0003161500064506.
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In 1479 (the year 13-Reed), some men from the towns of Chalco-Amaquemecan and Tlamanalco went for the first time to sing in Mexico-Tenochtitlan: the Mexica (Aztecs) held hegemony in the area, including Chalco. The song they sang was a war song called the “Song of the Woman Warrior.” They played it for the tlatoani, or ruler, Lord Axayacatl (ca 1469-1481), performing it in the patio outside his house of women. Unfortunately, the performance got off to a rather slow start. A man from the area of Tlamanalco in Chalco, one who had never played the drums before or directed a song, made a very bad showing.
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Read, Kay A. y Jane Rosenthal. "The Chalcan Woman’s Song: Sex as a Political Metaphor in Fifteenth-Century Mexico". Americas 62, n.º 3 (enero de 2006): 313–48. http://dx.doi.org/10.1353/tam.2006.0042.
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In 1479 (the year 13-Reed), some men from the towns of Chalco-Amaquemecan and Tlamanalco went for the first time to sing in Mexico-Tenochtitlan: the Mexica (Aztecs) held hegemony in the area, including Chalco. The song they sang was a war song called the “Song of the Woman Warrior.” They played it for the tlatoani, or ruler, Lord Axayacatl (ca 1469-1481), performing it in the patio outside his house of women. Unfortunately, the performance got off to a rather slow start. A man from the area of Tlamanalco in Chalco, one who had never played the drums before or directed a song, made a very bad showing.
11
Townsend, Camilla. "“What in the World Have You Done To Me, My Lover?” Sex, Servitude, and Politics among the Pre-Conquest Nahuas as seen in the Cantares Mexicanos". Americas 62, n.º 03 (enero de 2006): 349–89. http://dx.doi.org/10.1017/s0003161500064518.
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The year 13-Reed [1479]. It was at this time that the people of Ame-cameca and the Chalcas Tlalmanalcas came to sing for the first time in Mexico. At that time they performed the song of the women of Chalco, the Chalca Cihuacuicatl. They came to sing for the lord Axayacatzin. The song and the dance were begun in the patio of the palace while Axayacatl was still inside in the house of his women. But in the beginning the song was poorly performed. A noble of Tlalmanalco was playing the music very clumsily, and making the great drum sound in a lazy offbeat way until finally in desperation he leaned down over it, not knowing what else to do. There, however, close to the place of the drums, was a man called Quecholcohuatzin, noble from Amecameca, a great singer and musician as well. When he saw that all was being lost and that the song and the dance were being ruined, he quickly placed himself next to the drum section. He picked up a drum and through his effort he gave new strength to the dance so that it would not be ruined. Thus Quecholcohuatzin made the people sing and dance. . . . Axayacatl who was still inside the palace, when he heard how marvelously Quecholcohuatzin played the music and made the people dance, was surprised, and his heart filled with excitement. He quickly arose and left the house of his women and joined in the dance. As Axayacatl approached the place of the dance his feet began to follow the music and he was overcome with joy as he heard the song and so he too began to dance and spin round and round. When the dance was over, the lord Axayacatl spoke, saying, “Fools, you have brought this fumbler before me, who played and directed the song. Don’t let him do it again.” The people from Chalco answered him, saying, “It is as you wish, supreme lord.” And because Axayacatl had given this command, all the nobles of Chalco became terrified. They stood there looking at each other, and it is said that truly they were very frightened. . . . But the lord Axayacatl was well pleased [with Quecholcohuatzin] and continued to take delight in the “Song of the Women of Chalco,” the Chalca Cihuacuicatl. So it was that once again he had the Chalcas, all of the nobles, return, and he asked them to give him the song and he also asked all those from Amecameca, because the song was theirs, it belonged to the tlailotlaque, the men who had returned. The song was their property, the “Song of the Warrior Women of Chalco.” Chimalpahin, Seventh Relation Ms. Mexicain 74, Bibliothèque Nationale de Paris Folios 174-176 The indigenous historian Chimalpahin seemed quite certain that events on a certain day in 1479 had unfolded as he described them, though he wrote over a century later and saw it all through the refracting lens of the intervening Spanish conquest. Posterity has been the more inclined to believe him since there exists a song amongst those collected in the sixteenth century under the auspices of the Franciscans entitled “The Song of the Women of Chalco” (Chalca cihuacuicatl) in which the singer addresses Axayacatl as the conqueror of Chalco and as her own lord and master. But what can we in the twenty-first century make of these two sources? We might pursue a number of interpretive avenues. In this article I will ask specifically what we actually know about the fifteenth-century performance event, and what, if anything, we can glean from the song concerning the lives of the Nahua women in that nearly untranslatable category whom we know in English as “concubines.”
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Townsend, Camilla. "“What in the World Have You Done To Me, My Lover?” Sex, Servitude, and Politics among the Pre-Conquest Nahuas as seen in the Cantares Mexicanos". Americas 62, n.º 3 (enero de 2006): 349–89. http://dx.doi.org/10.1353/tam.2006.0048.
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The year 13-Reed [1479]. It was at this time that the people of Ame-cameca and the Chalcas Tlalmanalcas came to sing for the first time in Mexico. At that time they performed the song of the women of Chalco, the Chalca Cihuacuicatl. They came to sing for the lord Axayacatzin.The song and the dance were begun in the patio of the palace while Axayacatl was still inside in the house of his women. But in the beginning the song was poorly performed. A noble of Tlalmanalco was playing the music very clumsily, and making the great drum sound in a lazy offbeat way until finally in desperation he leaned down over it, not knowing what else to do.There, however, close to the place of the drums, was a man called Quecholcohuatzin, noble from Amecameca, a great singer and musician as well. When he saw that all was being lost and that the song and the dance were being ruined, he quickly placed himself next to the drum section. He picked up a drum and through his effort he gave new strength to the dance so that it would not be ruined. Thus Quecholcohuatzin made the people sing and dance. . . . Axayacatl who was still inside the palace, when he heard how marvelously Quecholcohuatzin played the music and made the people dance, was surprised, and his heart filled with excitement. He quickly arose and left the house of his women and joined in the dance. As Axayacatl approached the place of the dance his feet began to follow the music and he was overcome with joy as he heard the song and so he too began to dance and spin round and round.When the dance was over, the lord Axayacatl spoke, saying, “Fools, you have brought this fumbler before me, who played and directed the song. Don’t let him do it again.” The people from Chalco answered him, saying, “It is as you wish, supreme lord.” And because Axayacatl had given this command, all the nobles of Chalco became terrified. They stood there looking at each other, and it is said that truly they were very frightened.. . . But the lord Axayacatl was well pleased [with Quecholcohuatzin] and continued to take delight in the “Song of the Women of Chalco,” the Chalca Cihuacuicatl. So it was that once again he had the Chalcas, all of the nobles, return, and he asked them to give him the song and he also asked all those from Amecameca, because the song was theirs, it belonged to the tlailotlaque, the men who had returned. The song was their property, the “Song of the Warrior Women of Chalco.” Chimalpahin, Seventh Relation Ms. Mexicain 74, Bibliothèque Nationale de Paris Folios 174-176The indigenous historian Chimalpahin seemed quite certain that events on a certain day in 1479 had unfolded as he described them, though he wrote over a century later and saw it all through the refracting lens of the intervening Spanish conquest. Posterity has been the more inclined to believe him since there exists a song amongst those collected in the sixteenth century under the auspices of the Franciscans entitled “The Song of the Women of Chalco” (Chalca cihuacuicatl) in which the singer addresses Axayacatl as the conqueror of Chalco and as her own lord and master. But what can we in the twenty-first century make of these two sources? We might pursue a number of interpretive avenues. In this article I will ask specifically what we actually know about the fifteenth-century performance event, and what, if anything, we can glean from the song concerning the lives of the Nahua women in that nearly untranslatable category whom we know in English as “concubines.”
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Kuwissy, David. "Analisa Ibadah Menurut Mazmur 100:1-5". TELEIOS: Jurnal Teologi dan Pendidikan Agama Kristen 1, n.º 1 (23 de junio de 2021): 79–94. http://dx.doi.org/10.53674/teleios.v1i1.31.
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Abstrak Ide dasar dari Artikel ini, adalah tata cara ibadah yang dilakukan oleh setiap denominasi gereja berbeda-beda. Mazmur 100:1-5 memberi petunjuk tentang bagaimana cara beribadah kepada TUHAN. Firman Tuhan: “Beribadahlah kepada TUHAN dengan sukacita, datanglah ke hadapan-Nya dengan sorak-sorai!” (Maz 100:2), menunjukkan bahwa beribadah adalah perintah TUHAN yang harus dilakukan oleh setiap orang percaya. Metode penelitian yang digunakan dalam penelitian ini adalah metode kualitatif dengan pendekatan kepustakaan, disertai dengan wawancara terhadap beberapa pelayan di gereja-gereja. Penilitian ini adalah untuk menunjukkan bagaimana ibadah yang sesuai dengan firman TUHAN. Hasil analisa dan kajian menunjukkan bahwa ibadah yang sesuai Alkitab adalah ibadah yang diawali dari pintu gerbang dengan nyanyian syukur, ke pelataran-Nya dengan puji-pujian. Ibadah yang dimulai dari pintu gerbang ke pelatarannya, menurut Mazmur 100:1-5 mengindikasikan bahwa ibadah menurut pola Tabernakel. Pola ibadah Tabernakel adalah pola ibadah yang awali dari pintu gerbang, pelataran, ruang kudus dan ruang maha kudus. Kata Kunci: Ibadah, Nyanyian Syukur, Puji-pujian, Penyembahan. AbstractBasic idea of this article is the different way “Serve the Lord has done by churches. Psalm 100:1-5 give instruction how to serve the Lord. Words of God: “Serve LORD with gladness, come before His presence with singing” (Psalm 100:2). To show that serve the LORD is commands who done by every believer. Research method of this Article, use the qualitative method with library approach and interviews to several churches servant. This research show how to worship LORD accordance with the Word of God. The result of analyst and study show that worship accordance the Words of God are starting from the gate with song of gratitude to His court with praise. Worship that begins from the gate to the court accordance Psalm 100:2 indicate tabernacle worship pattern. Tabernacle worship pattern at the beginning of the gate, court, very holy space, and the most holy space. Keywords: Service the Lord, Sing, Praise, Worship.
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Nocoń, Arkadiusz. "Poeta poranka i wieczoru. Hymny św. Ambrożego w Liturgii godzin". Vox Patrum 57 (15 de junio de 2012): 437–51. http://dx.doi.org/10.31743/vp.4144.
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Following the example of the Lord, who frequently sang hymns with his disciples, and encouraged to sing by St Paul, the early Christians praised God in music and song. The first Latin hymns were composed by Hilary of Poitiers. Their metrical complexity and content discouraged their liturgical use by the Church. Thus, St. Ambrose of Milan is considered the first „official” Latin hymnodist. He composed several hymns, still used in the Liturgy of the Hours, which were musicated by himself. These hymns come from the particular circumstances of the Arian controversy and derive, in the main, from the necessity of encouraging „orthodox” Christians in their defence of the Basilica Porziana in Milan. They were designed to guide their prayer at different times of the day. The Author’s text-critical analysis of two of these hymns – Aeterne rerum conditor, sung at dawn (in gallicinium) and Deus, creator omnium, sung at dusk as the lamps were lit (ad horam incensi) – well testifies to the literary and pastoral genius of the Bishop of Milan as he transforms the complex theological reflection of his time into poetry and music, while not only retaining the integrity of the depth of that reflection but also enhancing its aesthetic profile by drawing on a repertoire of images based on the parallelism of cosmic reality and human reality. St Ambrose’s corpus of hymns, together with his prose works, was admired both by his contemporaries and by successive generations. They promoted the flowering of a merciful Christocentricity which, according to the experts, is the most original and attractive feature of his poetry. As is clearly seen in the hymns received into the Divine Office, Ambrose’s singular ability effectively to stimulate the soul to prayer through a powerful and insuperable lyrical inspiration, is capable literally of transforming the daily hours into songs of praise, and explains Petrarch’s habit of rising during the night to sing hymns to the Lord.
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Phyland, Debra. "The Measurement and Effects of Vocal Load in Singing Performance. How Much Singing Can a Singer Sing if a Singer Can Sing Songs?" Perspectives of the ASHA Special Interest Groups 2, n.º 3 (enero de 2017): 79–88. http://dx.doi.org/10.1044/persp2.sig3.79.
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Singing as both an art form and physical activity demands a level of health and skill fitness to meet performance demands. The determination of performance fitness relies on performers' self-evaluations of their vocal capacity for performance, based, amongst other factors, on the current vocal status and ability to manage the associated vocal load. Measurement of load and the impact on the vocal mechanism is complex and influenced by many intrinsic and extrinsic factors. Researchers have attempted to quantify vocal load effects by measuring physical impact stress on the vocal folds, self-reported perceived exertion, and/or clinical evaluation of physiologic, acoustic, or perceptual changes. Most studies have been conducted in laboratory rather than in performance contexts and studies on singers are substantially lacking. Heavy vocal load has been causally associated with the development of voice disorders, although the exact relationship and thresholds for acquiring laryngeal pathology require further elucidation, and little is also known about the development of voice disorders among singers. Further understanding of the short-term and cumulative effect on the vocal folds of performing as a singer and the nature and prevalence of voice problems among singers is crucial to the determination of appropriate prevention and therapeutic management.
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Higgins, Judge Rosalyn. "MacDermott Lecture 2008: Litigating international disputes – the work of the International Court of Justice in a changing world". Northern Ireland Legal Quarterly 59, n.º 4 (13 de marzo de 2020): 339–47. http://dx.doi.org/10.53386/nilq.v59i4.519.
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The MacDermott Lecture is delivered annually at Queen’s University Belfast. Previous speakers in recent years have included Lord Hutton and Rabinder Singh. Lord John MacDermott studied at Queen’s in the early years of the twentieth century and went on to pursue a distinguished political and legal career, later returning to Queen’s to teach and to hold the position of pro-vice chancellor. He was Lord Chief Justice of Northern Ireland from 1951 to 1971.
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Temperley, Nicholas. "O Sing unto the Lord: A History of English Church Music. By Andrew Gant. Chicago: University of Chicago Press, 2017. x + 454 pp. $35.00 hardcover." Church History 87, n.º 1 (marzo de 2018): 274–76. http://dx.doi.org/10.1017/s0009640718000562.
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Medňanský, Karol. "Songwriting and Chorale by Martin Luther". Review of Artistic Education 17, n.º 1 (1 de marzo de 2019): 22–31. http://dx.doi.org/10.2478/rae-2019-0002.
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Abstract The five hundreth anniversary that we commemorated in 2017 is a good opportunity to remind the significance of vocal works by Martin Luther. Creative musical activity of Dr. Martin Luther is somehow in the shadow of his other historically significant activities. It is a well-known fact that he was an outstanding musician who could play lute and could sing. In his household, he constantly played music and sang, while he actively engaged his family in performing music. In performing the reformatory ideas, he was aware of the extremely important role of religious singing, which he started composing since 1523. He is the author of 38 songs – chorales, while at the same time, he is the author of 20 melodies. In most cases, he used the texts of the Psalms. From his chorals the best known is entitled Ein feste Burg is unser Gott – The Fortified Castle is the Lord our God, that became worldwide the anthem of the Protestants. Luther have become an important inspirational source for the next generation of composers, and they culminated in the work of Johann Sebastian Bach, including the works of contemporary Slovak composers – Roman Berger, Víťazoslav Kubička. The prevailing majority of Lutheran chorales is also the part of the Protestant Songbook in Slovakia.
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Kim, Minji. "Handel’s choruses of ‘praise and thanksgiving after victory’ and Non nobis Domine". Early Music 47, n.º 4 (noviembre de 2019): 551–68. http://dx.doi.org/10.1093/em/caz070.
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Abstract Handel highlights several climactic moments in his works with choruses composed of closely related cantus firmus themes and contrapuntal settings. Parallels can be traced through individual sections of some of the key compositions that define his career in England: ‘Oh Lord, in thee have I trusted’, from the Utrecht Te Deum (1713), ‘Blessed be God’, from Let God arise (1717–18/1726), ‘I will sing’, from Israel in Egypt (1738), and ‘Hallelujah’ from Messiah (1741). The common purpose of giving thanks and praise to God for military victory further links these choruses. While several different melodic sources have been suggested for the cantus firmus subjects thus far, the affinity of all four of Handel’s themes to the incipit of a very well-known canon, Non nobis Domine, invites an exploration of its possible citation. The customary practice of singing the canon or reciting its psalm text at celebratory moments, modelling the psalmist’s deflection of all the honour of his accomplishments to God, makes its reference in Handel’s works highly appropriate. Understanding Handel’s multiple reuse of his choral setting in the context of this tradition deepens the relevance of his music as well as our perspective on his self-borrowing.
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Tzanelli, R. "Constructing the 'cinematic tourist': The 'sign industry' of The Lord of the Rings". Tourist Studies 4, n.º 1 (1 de abril de 2004): 21–42. http://dx.doi.org/10.1177/1468797604053077.
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Margolis, D. L. y C. Hennings. "Stability of Hydraulic Motion Control Systems". Journal of Dynamic Systems, Measurement, and Control 119, n.º 4 (1 de diciembre de 1997): 605–13. http://dx.doi.org/10.1115/1.2802368.
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High performance hydraulic motion control systems typically consist of a two-stage spool valve which controls flow into an actuator. Feedback of load motion allows an electrical signal into the valve to control large amounts of hydraulic power. These servo-systems are well known to exhibit an instability where they “sing” or “chirp” at high frequency. This instability seems to be configuration-dependent. Here, two submodels are proposed that expose a fluid flow induced instability, and a mechanical instability. The result is parameter groupings which expose these instabilities in a fundamental way.
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Williams, Glanville. "The unresolved problem of recklessness". Legal Studies 8, n.º 1 (marzo de 1988): 74–91. http://dx.doi.org/10.1111/j.1748-121x.1988.tb00378.x.
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We seem to be stuck fast over recklessness. The model direction in Caldwell is almost universally deplored, particularly in respect of its operation in cases like Elliott v C and R (Stephen Malcolm) but the lords show no sign of repenting, even though in both of the cases last cited expressions of disapproval ascended to them from a Divisional Court. Lord Roskill, an out-and-outer on the point, asserted that the model direction applies ‘throughout the criminal law unless Parliament has otherwise ordained in a particular case’, which if accepted would reverse the present decisions that the direction does not apply to offences of malice, as most offences against the person still are.We urgently need action, which could be achieved by legislation or, much more quickly, by the lords themselves if they were so inclined.
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Dietz, Vivien E. "The Politics of Whisky: Scottish Distillers, the Excise, and the Pittite State". Journal of British Studies 36, n.º 1 (enero de 1997): 35–69. http://dx.doi.org/10.1086/386127.
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The De'il cam fiddling thro' the town,And danced awa wi' the Exciseman;And ilka wife cried, ‘Auld Mahoun,We wish you luck o' your prize, man.’We'll mak our maut, and brew our drink,We'll dance, and sing, and rejoice, man;And mony thanks to the muckle black De'ilThat danced awa wi' the Exciseman.There's threesome reels, and foursome reels,There's hornpipes and strathspeys, man;But the ae best dance e'er came to our Ian',Was-the De'il's awa' wi' the Exciseman.(Robert Burns,The De'il's awa' wi' the Exciseman, 1792)In 1823 the English government introduced a new Act reducing the outrageous excise tax to levels that made it possible for enterprising Scots to come out of hiding and legally produce and sell their beloved whisky. (Bottle of Glenlivet malt whisky, 1990)In late December 1783, a desperate king took a seemingly desperate political step. With all of his other options exhausted, George III asked William Pitt, then only twenty-four years old, to form a government. In recognition of both the king's remarkable choice and the time of year, Pitt's critics, eagerly expecting the new administration to be short-lived, dubbed it the “mincepie administration.” The critics were of course wrong; Pitt survived not only that Christmas season but another twenty in office. Yet they had reason to be skeptical. For one of the “presents” delivered to the young chancellor of the Exchequer that first Christmas Eve was the preliminary report of a parliamentary committee, appointed under Lord Shelburne, “to enquire into the illicit practices used in defrauding the revenue.”
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Soni, Amrita. "MUSIC THERAPY (AN INNOVATION)". International Journal of Research -GRANTHAALAYAH 3, n.º 1SE (31 de enero de 2015): 1–5. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3418.
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Narad ji once asked Lord Shri Vishnu where do you live. Then he said, O Narada, neither do I live in Baikunth nor in the heart of yogis. But I am present in a tangible form where my devotees sing. (Narada Bhakti Sutra)New experiments are taking place in the human world full of knowledge and science. When these experiments become an integral part of life, then the human being then moves into innovative research. Although music itself is a science, yet years of austerity are required for its achievement. Here, for some time, the attention of scientists has gone towards music, but due to lack of functional knowledge of music, not every scientist can pay attention to it.
भगवान श्री विष्णु से एक बार नारद जी ने पूछा आप कहां रहते हैं। तब उन्होंने कहा हे नारद ना ही मैं बैकुण्ठ में रहता हूं और ना ही योगियों के हृदय मे।ं लेकिन मेरे भक्त जहां गायन वादन करते हैं वहां मैं मूर्त रूप में उपस्थित रहता हूं। (नारद भक्ति सूत्र)ज्ञान-विज्ञान से परिपूर्ण मानव-जगत में नित नए प्रयोग हो रहे हैं। जब ये प्रयोग जीवन के अभिन्न अंग बन जाते हैं, तब मानव फिर अभिनव अनुसंधान में प्रवृत्त हो जाता है। यद्यपि संगीत स्वयं एक विज्ञान है, किन्तु अभी उसकी सिद्धी के लिए वर्षों की तपस्या अपेक्षित है। इधर कुछ समय से वैज्ञानिकों का ध्यान संगीत की ओर गया है, लेकिन संगीत के क्रियात्मक ज्ञान के अभाव के कारण हर वैज्ञानिक इस ओर ध्यान नहीं दे सकता।
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Dramin, Edward. "“A New Unfolding of Life”: Romanticism in the Late Novels of George Eliot". Victorian Literature and Culture 26, n.º 2 (1998): 273–302. http://dx.doi.org/10.1017/s1060150300002424.
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Victorian ambivalence toward Romanticism is expressed with alternating vehemence and reticence. Repudiating “the noise / And outcry of the former men” who “left their pain” for Victorian generations (“Stanzas from the Grande Chartreuse,” 127–28, 131), in his critical essays Arnold nevertheless reiterates respect for Wordsworth, and in “Dover Beach” he incorporates the free-associationist structure of Coleridge' conversation poems. In Hard Times, the rural world beyond Coketown and Blackpool' gospel of the holiness of the heart constitute Dickens' consolations for the hellish industrial wasteland, but at the same time Harthouse — personifying the empty prodigality and flashy decadence that Victorians saw in Byron and Shelley — subverts moral order. Browning, though warning against the self-defeating diffidence and isolation of the Romantic artist in “Andrea del Sarto,” reaffirms Romantic individuality of vision and rebellion against tradition in “Fra Lippo Lippi.” While venerating the Goethe who proclaimed aspiration for infinitude and extension of the limits of possibility, Carlyle sees Lord Byron as the personification of moral and psychic pathology — unreined sorrow and cynicism, world weariness and decadent hedonism, derisive mockery and pessimism, high-strung sensitivity and emotional vulnerability — defects which Carlyle also sees as immanent in Shelley and which are subsumed in the Victorians' image of the negative side of the Romantics:Poor Shelley always is a ghastly object: colorless, pallid, tuneless, without health or warmth or vigour, the sound of him shrieky, frosty, as if a ghost were trying to sing to us; the temperament of him, spasmodic, hysterical, instead of strong or robust — a man infinitely too weak for that solitary scaling of the Alps. (Reminiscences 2: 292–93; qtd. in Buckley 22)
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Potte-Bonneville, Mathieu. "Sing, sing". Vacarme 19, n.º 2 (2002): 1. http://dx.doi.org/10.3917/vaca.019.0001.
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Li, Guo Qiang, Hao Chen y Jiang Guo Zhang. "Study on Plantar Pressure of Male Adults during Walking with Single-Shoulder Weight". Advanced Materials Research 694-697 (mayo de 2013): 3063–66. http://dx.doi.org/10.4028/www.scientific.net/amr.694-697.3063.
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The purpose of this study was to investigate plantar pressure of male adults under different sing-shoulder weight during walking. Experiments were conducted at single-shoulder load styles in four different weight conditions by three-dimension force platform system. Four weight conditions were 5%, 10%, 15% and 20% of body weight. Seven characteristic parameters were selected and analyzed by statistical methods. The results showed a significant difference for the male subjects at 13% of body weight loads comparing with natural walk. Ground reaction force was employed to analyze human movement. This study was designed to obtain the data of foot pressure, which was important to the balance of control of biped robot.
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Shrestha, Banshi. "Art Creations of Pramila Giri". SIRJANĀ – A Journal on Arts and Art Education 6, n.º 1 (1 de diciembre de 2019): 30–35. http://dx.doi.org/10.3126/sirjana.v6i1.39670.
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During the 60s and 70s, various new concepts and trends of European modern arts were slowly and nobly emerging in Nepali Art. Traditional Paubha artists and some senior artists such as Chandraman Singh Maskey, Tej Bahadur Chitrakar were following the conventional grammar, characteristics and themes in their art creations.
There were virtually no women artists in the creative art scene. Later Pramila Giri and Shilu Payri along with some other female artists appeared on the art stage with new ideas and concepts of modernity. Artist Giri in her early stage, was also following the conventional approaches, but later she began to experiment and present her new art forms with mythical figures and themes.
Her analytical thoughts and search led her to use the various forms, images and symbols of religious and mythical figures of BHAIRAV in her art creations. Thus, she started in presenting the figures and forms plus sculptures on her large size canvas. It was completely a noble approach and presentation.
BHAIRAV, a gigantic demonic figure but with all the divine powers is regarded as the incarnation of Lord Shiva. Red, white, blue, black colors are used to represent a chosen incarnation of the Lord.
Thus, if the viewers are familiar with the mythical figures of Lord BHAIRAV, it will be easier to understand the use of colours and the presentations of the figures in her art creations.
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Thomas, Hywel. "Gerard Manley Hopkins and John Duns Scotus". Religious Studies 24, n.º 3 (septiembre de 1988): 337–64. http://dx.doi.org/10.1017/s0034412500019417.
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The lord whose is the oracle at Delphoi neither utters nor conceals his meaning, but reveals it with a sign.(Heracleitos fragment)In the eternal truth from which all temporal things are made, we behold the form … and we have within us like a word the knowledge of what we have conceived.(St augustine, De Trin.)For the invisible things of Him, since the creation of the world are clearly seen, being understood through the things that are made.(St Paul, Romans i, 20)
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Blom, Gunnar, Lars Holst y Dennis Sandell. "Three Sing-Sing Problems". American Mathematical Monthly 102, n.º 10 (diciembre de 1995): 880. http://dx.doi.org/10.2307/2975264.
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Blom, Gunnar, Lars Holst y Dennis Sandell. "Three Sing-Sing Problems". American Mathematical Monthly 102, n.º 10 (diciembre de 1995): 880–87. http://dx.doi.org/10.1080/00029890.1995.12004680.
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Cherkashina, O. V., N. M. Utesheva y O. M. Yakymchuk. "Spiritual chants for the female choir a cappella by IrynaAleksiichuk: features of the interpretation of canonical text". Aspects of Historical Musicology 17, n.º 17 (15 de septiembre de 2019): 60–73. http://dx.doi.org/10.34064/khnum2-17.04.
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Background. The choral creativity of a modern Ukrainian composer Iryna Aleksiichuk is multifaceted and diverse. It includes spiritual chants, cycles of arrangements of Ukrainian and Balkan folk songs, choral works on poetry of Ukrainian and foreign poets (“Letters from the shell” and “Otherworld’ Games” on the verses by O. Stepanenko, “How Volodya flew quickly from the mountain” on the words by D. Harms), etc. The objective of this study is to find out the features of interpretation the canonical text in spiritual chants for a female choir a cappella by I. Aleksiichuk. Methods of studying. The holistic musical-theoretical analysis is applied to determine the figurative content of the work, to identify the peculiarities of form-building and the use of compositional ways of expressiveness (the intonational structure of the basic elements of the form, the tonal-harmonic plan, the methods of development of the thematic material). In the analysis of music the method of comparison was used (to identify correspondence between the means of musical expressiveness and the features of the canonical text). Results. The material of the analysis are four chants (“The King of Heaven”, “Glory to the Father, and the Son, and the Holy Spirit”, “My voice to the Lord”, “Holy, holy, Lord of Sabaoth”), which are united in the cycle “Spiritual chants for female choir a cappella”. In the process of researching the algorithm of sequence of the chants in the cycle is revealed, as well as the correspondence of musical means of expressiveness to canonical text. It is concluded that all chants expressly convey the meaning and the features of the canonical text. Musical structures clearly correlate to verbal. The greatest number of repetitions in the chants the stable formulations of the canonical text acquires: “Lord have mercy”, “Hallelujah”, “Glory to the Father, and to the Son, and to the Holy Spirit”, “Holy Lord”. The semantic significance of the canonical text is reproduced through the rich harmony and inventional polyphony, through the changes of time signatures, text repetitions, the wide choir range, dramatic development and contrasts of all means of expressiveness. Four abovementioned spiritual chants for the female choir a cappella on the canonical texts were written by I. Aleksiichuk in different times during 2002–2011. The order of the canonical text and the logic of the deployment of the musical material allowed the composer to combine them into a fourpart concert for a female choir. The cycle begins with the evening prayer “The King of the Heaven” (prayer to the Holy Spirit). This prayer is а part of the early and evening Church rules. Anumber of services that are performed during the day in the Orthodox Church opens by the evening Divine service, since the day, according to the Church’s Charter, begins in the evening. That is why in first the evening service is, which included the repentant prayers for everyday sins and gratitude to God for this day. The chanting begins and ends with the sound of the bells that by and by go silent. The similarity of the finale to the introduction, the repetition of the musical and verbal texts contributes to the roundness of the musical form and helps to its holistic perception. The music of the incantation “Glory to the Father, and the Son, and the Holy Spirit” reproduces his exalted character. Applied by the author the ways of expressiveness correspond to the canonical text, which glorifies the God in his three hypostases. The definitive feature of the musical work is the presence of a genre sign characterizing of Orthodox worship, the bells. This feature is reproduced in the homophonic-harmonic texture of the composition relying on the main harmonic functions, singing the repeated sounds, etc. In this chant, I. Aleksiichuk is working on three small parts of the canonical text: “Glory to the Father, and to the Son, and to the Holy Spirit”, “now and always and forever” and “Hallelujah”, giving each of them the certain musical themes. The complete formula of prayer sounds in the work three times gaining dynamic development. In the third chorus, “My voice to the Lord”, verses from Psalm 141 are used. This Psalm is the prayer of David to the Lord in the cave in time of his persecution by Saul. Of the seven verses of David’s Psalm, I. Aleksiychuk used four – 1, 2, 4, 5, in which the main content of the work is concentrated. The last part of the cycle is the hymn “Holy, holy, Lord of Sabaoth” performing finale function. This prayer is a part of the Eucharistic canon and it sounds in the most important section of the Divine Liturgy – the Liturgy of the Faithful. The chant begins immediately with the glorification of the God. Conclusions. An analysis of spiritual chants with canonical texts for the female choir a cappella by I. Aleksiichuk illustrates the following. All the songs very clearly express the meaning and features of the canonical text. I.Aleksiichuk choses three-part forms with reprise, in which clearly, according to the text, the musical structures built; the stable formulations of the canonical text “Lord have mercy”, “Hallelujah”, “Glory to the Father, and the Son, and the Holy Spirit”, “Holy Lord” are most often repeated; at the end of the three chants (except «My voice to the Lord»), the final confirming formula of the prayers “Amen” sounds; means of expressiveness (changing of meter signatures, repetitions of the sounds, a wide range of the choir, singing of the main sounds of melody) are designed to create the illusion of chime that is the genre sign of the Orthodox worship; the semantic meaning of the canonical text is passing through the rich harmony, in which dissonances and chromaticism aggravate the expressiveness of the spoken words, through the dramatic development of the words of praise (“Hallelujah”, “Glory to the Father, and Son”), poly-timbre sounds, contrasting of all means of expressiveness, etc.
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Garrido, Luis. "UNA VISITA A SING SING". Revista de la Facultad de Derecho de México 64, n.º 262 (9 de junio de 2017): 765. http://dx.doi.org/10.22201/fder.24488933e.2014.262.60381.
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Murphy, Emilie K. M. "Adoramus Te Christe:Music and Post-Reformation English Catholic Domestic Piety". Studies in Church History 50 (2014): 240–53. http://dx.doi.org/10.1017/s0424208400001741.
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On the Feast of the Invention of the Holy Cross, 3 May 1606, Henry Garnet was hung, drawn and quartered in St Paul’s churchyard, London. In his last dying speech Garnet adapted the liturgy from the office hours of the day and he proclaimed in Latin: ‘We adore thee, O Christ and we Bless thee, because by thy Cross, thou hast redeemed the world. This sign shall appear in heaven, when the Lord shall come to judgment’. Finally, beseeching God to let him always remember the cross, he crossed his arms upon his chest and was turned off the scaffold.
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Xiao, Hui Rong, Chen Min, Jun Zhang y Yong Jun Xiong. "A System with Dynamic Reactive Power Compensating for High Power Windings Rotor Induction Motor". Advanced Materials Research 139-141 (octubre de 2010): 1601–4. http://dx.doi.org/10.4028/www.scientific.net/amr.139-141.1601.
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This paper presents how a capacitive voltage source is connected in series to the rotor of induction motor to improve power factor, reduce stator current, and improve efficiency and ability of overloading. The principle of the reactive power compensating device for windings rotor induction motor is described and mathematical model in dq0 reference frame is set up. A single phase to three phases AC-AC cycloconverter is adopted in order to produce capacitive voltage, which make the circuit simple and capacity of transformer much decremented. Using an 89S52 sing-chip microcomputer as the control kernel and MAX197 as A/D, the system is capable of automatic adjusting the function of power factor compensation as the change of the motor load. The system was tested on a JR138-8 motor. The result shows that the power factor is over 0.96 and the current of the stator reduces over 15%.
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Raj, Nitish, Surendra Kumar, Sujeet Kumar y Shyam Sundar Sharma. "APPROACH FOR PATIENT PRESENTING 'SHOTHA' IN CLINICAL PRACTICE WITH SPECIAL REFERENCE TO HASTA-PADA SHOTHA: A REVIEW". International Journal of Research in Ayurveda and Pharmacy 11, n.º 6 (30 de diciembre de 2020): 78–80. http://dx.doi.org/10.7897/2277-4343.1106189.
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Ayurveda is the age-old science of healing which encompasses the scriptures of Acharyas like Charaka, Sushruta, and Vagbhata etc. What differentiates Ayurveda from other Pathy is its supreme objective that is to help maintain the health of healthy individual and cure of diseases of a patient. Shotha (edema) is dealt in Ayurveda by different names such as Shotha, Shopha, Shvayathu, Utsheda, samhata etc. In Charaka Samhita, Chikitsa sthana chapter- 12 Shvayathu chikitsa, Acharya Agnivesh questioned the great sage- Lord Atreya about the etiology, sign and symptoms and treatment of Shvayathu roga regarding which the Lord Atreya explained in detail about the disease. Although, Shotha has been documented in Charaka Samhita, Sushruta Samhita, Ashtanga sangraha but the profound essence of pathogenesis is found in Madhava nidana (700 AD) which is influenced by the Brihat trayees. In clinical practice, many patients come with the symptom of hasta-pada Shotha (swelling of the limbs) and without the proper knowledge of Ayurvedic literature, it is very much difficult for an Ayurvedic practitioner to differentiate them as whether it is a symptom of disease or prodromal symptom or complication of a disease etc. This paper is an honest effort on differentiating hasta-pada Shotha in different diseases or conditions.
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Murdihastomo, Ashar. "IDENTIFIKASI ARCA TOKOH BERKEPALA SINGA DI MUSEUM PENATARAN". Berkala Arkeologi 39, n.º 1 (21 de junio de 2019): 33–52. http://dx.doi.org/10.30883/jba.v39i1.334.
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The field study that was organized by the committee of Premodern Java Summer Programme in 2016 targeted several museums in East Java, especially in Mojokerto-Penataran area. That field study was intended to provide an understanding about the development of cultural arts during the end of Hindu-Buddhist period of Majapahit Kingdom. This paper is discussing about one of the objects that was being observed during that Summer Programme. The object of discussion is the lion-headed figure, stored in Museum Penataran. During the Summer Programme, some participants have predicted that the statue is Lord Vishnu in his Narasimha form. That prediction was mainly based on the statue's head which resemble a lion's head. Through several studies, such as the description of the statue, the literature study of iconography, and analysis about the special iconographic character, this paper concluded that this figure is a manifestation of Ganesha, named Simha-Ganapati. The worship of Simha-Ganapati has a purpose not only to bring strength and courage, but also to provide confidence in facing problems by destroying all forms of negative thoughts.
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Trushina, I. A. y V. V. Meshcheryakova. "All-Russian Library Congress — 2018: On the Way to Creation of the Librarianship Development Concept". Bibliotekovedenie [Library and Information Science (Russia)] 67, n.º 3 (26 de agosto de 2018): 247–56. http://dx.doi.org/10.25281/0869-608x-2018-67-3-247-256.
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he article presents an analytical review of the All-Russian Library Congress, held in Vladimir — the Library Capital of Russia 2018 — on 12—18 May 2018. The Congress was devoted to the theme “Ba-sing on the Past, We Build the Future. The Role of Cultural Heritage in Transforming the Librarianship in Russia”. The Congress held an open Discussion on the concept of librarianship development in the Russian Federation; it adopted the Guidelines on local lore activities for public libraries of the Russian Federation and approved the Regulations on the Council for Professional Qualifications in the Field of Library and Information Activities, planned for creation under the Russian Library Association. The Congress worked in various formats: pre-session events, plenary sessions, section meetings by library types and activity areas, and special events. The 19th Exhibition of Publishing Products, New Information Technologies, Goods and Services complemented the Congress. The Congress determined Tula to be the Library Capital of Russia 2019.
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Atwood, Craig. "The Mother of God's People: The Adoration of the Holy Spirit in the Eighteenth-Century Brüdergemeine". Church History 68, n.º 4 (diciembre de 1999): 886–909. http://dx.doi.org/10.2307/3170208.
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“Lord God, now we praise you, you worthy Holy Spirit! The church in unity honors you, the mother of Christendom. All the angels and the host of heaven and whoever serves the honor of the Son; also the cherubim and seraphim, sing with a clear voice: ‘Divine majesty, who proceeds from the Father, who praises the Son as the creator and points to his suffering.’ … Daily O Mother! whoever knows you and the Savior glorifies you because you bring the gospel to all the world.” These lines are from the Te Matrem, a prayer to the Holy Spirit that for nearly thirty years was a regular part of worship for a German Protestant group known as the Brüdergemeine. The Brüdergemeine, commonly called the Moravian Church today, was an international religious community that developed an elaborate and creative liturgical life for its carefully regulated communities. The Brethren's intense devotion to the suffering of Christ is the most famous aspect of their worship, but in the mid-eighteenth century their leader, Nikolaus Ludwig von Zinzendorf, actively encouraged the Brüdergemeine to worship the Holy Spirit as the mother of the church. Surprisingly, though, this aspect of Zinzendorf's theology has been largely overlooked or downplayed by historians and theologians in the past two hundred years. When it has been discussed, it has been dismissed as a brief aberration or experiment that was discarded after the so-called Sifting Time (Sichtungzeit.) The Sifting Time was a period of liturgical and social excess in the community, the details of which remain quite obscure. The Brethren used the word Sichtungzeit to refer to a time when the community was in danger of becoming a fanatical sect. Dates for the Sifting Time range from a high of 1736–52 to a low of 1746–49, but the most common dating is 1743–50. This article will show that the use of maternal imagery for the Holy Spirit was not a tangential or quixotic aspect of Zinzendorf's theology, but thrived for more than thirty years and was, in Zinzendorf's words, “an extremely important and essential point … and all our Gemeine and praxis hangs on this point.”
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Wright, Danaya C. "De Manneville v. De Manneville: Rethinking the Birth of Custody Law under Patriarchy". Law and History Review 17, n.º 2 (1999): 247–307. http://dx.doi.org/10.2307/744012.
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In 1804 Leonard De Manneville, a poor French emigrant to England, forcibly entered his wealthy but estranged wife's house, wrenched his eight-month-old daughter from her mother's breast, and absconded with the naked child in an open carriage in inclement weather. When Mrs. De Manneville applied to King's Bench for a writ of habeas corpus, Lord Ellenborough affirmed what he claimed was the well-known rule—that a father was entitled by law to complete custody and control over the children of a marriage and could even prohibit all access by a mother to her children. Frustrated by the law courts, Mrs. De Manneville turned to the self-proclaimed champion of the oppressed, the equity courts, only to find that equity would not interfere with a father's right to custody unless the child had property and was in immediate danger of life and limb. Lord Eldon agreed that “the law is clear that the custody of a child, of whatever age, belongs to the father.” Because Mrs. De Manneville refused to sign over property in her separate estate or execute a will in his favor, her angry husband threatened to prohibit his wife from ever seeing the child again and even to remove the child to France. The law supported his right to carry out his threats.
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Giveon, Raphael. "Dating the Cape Gelidonya Shipwreck". Anatolian Studies 35 (diciembre de 1985): 99–101. http://dx.doi.org/10.2307/3642875.
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The scarabs found with the wreck at Cape Gelidonya are important for the dating of the ship. The group has been discussed in detail by Schulman in a chapter of the publication of the wreck. A new look at the scarab group after so many years may be worthwhile.We have the following comments on Schulman's dating of these scarabs:Scarab 1: “Late 18. or 19. Dynasty.”In the discussion of this object “Gaza” is mentioned as the site of origin of one of the parallel pieces. However “Ancient Gaza” is the name of the 5 volumes by Petrie dealing with the excavations at Tell el-Ajjul, seven kilometres south of modern Gaza. The closest parallel to Scarab 1 is, however, at Tell el-Far'a. It has two horizontal lines under the nb sign, showing that “Lord of the Two Countries” (= Egypt) is intended in all these cases.Scarab 2: “New Kingdom” “Early New Kingdom, more specifically … 18. Dynasty.”It should be noted that the “short apparently meaningless vertical lines” are a duplication of the sign which usually follows an ideogram Z.1 in Gardiner's sign list. It is often duplicated thus, or appears as sign V.20 or Q.3.
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Maureen Stanton. "Newjack: Guarding Sing Sing (review)". Fourth Genre: Explorations in Nonfiction 4, n.º 1 (2002): 265–67. http://dx.doi.org/10.1353/fge.2013.0229.
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Fogarty-Valenzuela, Benjamin. "Sing with Me, Sing, Brother, of América". Current Anthropology 62, n.º 2 (1 de abril de 2021): 124–27. http://dx.doi.org/10.1086/714045.
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Shin, Wonchul. "“Our Tongue-Cut God, Respond to Us”: Prayer of Righteous Anger and Communal Lament as Theology of the Oppressed". Theology Today 78, n.º 1 (abril de 2021): 29–42. http://dx.doi.org/10.1177/0040573620968098.
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This article offers a theological reflection on prayer of anger and lament as a formative source for the oppressed in constructing and embodying their own theology. For this purpose, particular attention is paid to Kim Heunggyum’s scandalous prayer-song “The Father of Minjung,” which was widely sung by Korean minjung amid their political resistance against the authoritarian regimes in the 1980s. This article historically traces this prayer-song’s original context and developmental stages and analyzes its use of cross-genre that blends the styles and structures of the minjung-gayo and the lament psalms. Theological reflection on this prayer-song focuses on particular religious affections, righteous anger and communal lament, shaped by the Korean minjung’s collective performance to sing this prayer-song as a means of political resistance. By drawing on Audre Lorde, Johann Baptist Metz, and Emmanuel Levinas, this article points out limitations of Barth’s theology of prayer and presents how Kim’s prayer-song that evokes righteous anger and communal lament served as a formative source for the Korean minjung in doing their own critical and incarnational theology.
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Greaves, Ross L. "Sīstān in British Indian frontier policy". Bulletin of the School of Oriental and African Studies 49, n.º 1 (febrero de 1986): 90–102. http://dx.doi.org/10.1017/s0041977x00042518.
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Sīstān (Sijistān or Sāgistān) came within the scope of British Indian frontier defence during the Napoleonic era. Lord Minto sent out missions to the Punjab, Sind, Baluchistan, Afghanistan and Persia in order to acquire reliable information about the borderlands. Captain Charles Christie and Lieutenant Eldred Pottinger in 1810 explored the route westward into Persia from Baluchistan. Christie separated from the others at Nushki and travelled to Herat via Sīstān before joining Pottinger in Iṣfahān. According to Christie: Seistan is a very small province on the banks of the Helmind, comprising not more than five hundred square miles, bounded on the north and northeast by Khorasan, on the west by Persia, and on the south and south-east it is separated from Mukran by an uninhabited desert.
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Levitin, Alexis. "To Sing". Rocky Mountain Review of Language and Literature 51, n.º 1 (1997): 41. http://dx.doi.org/10.2307/1348062.
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Brace, Geoffrey. "Sing up". Musical Times 140, n.º 1866 (1999): 3. http://dx.doi.org/10.2307/1193472.
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Alsadir, Nuar. "Sing Fat". Callaloo 19, n.º 3 (1996): 707. http://dx.doi.org/10.1353/cal.1996.0104.
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Hughes, Jane E. "Sing, Everyone". Soundings (Reston, VA) 4, n.º 2 (enero de 1991): 8–9. http://dx.doi.org/10.1177/104837139100400203.
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Racette, Amélie y Isabelle Peretz. "Learning lyrics: To sing or not to sing?" Memory & Cognition 35, n.º 2 (marzo de 2007): 242–53. http://dx.doi.org/10.3758/bf03193445.
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