text:
Euro2016.com
UEFA EURO 2016™
Posted by Ron August 15, 2016 January 1, 2021
David Guetta, the best-selling DJ in the world, wanted the help from football fans for recording his official anthem for the European Championship 2016, which was held and played in his native country, France. DJ and producer David Guetta called to gather one million fans to record the official UEFA Euro 2016 anthem with him.
David Guetta's EURO 2016 soundtrack
As a musical ambassador of UEFA Euro 2016, Guetta has been commissioned to create a new soundtrack for the summer's 2016th European Championship and tried to get as many fans as possible to work on this track.
All submitted recordings where mixed personally by Guetta in the UEFA EURO 2016 anthem 'This One's For You'. The song was released in spring 2016. Prior to the UEFA Euro 2016 draw, Guetta said: "I am pleased and delighted to have been working on this project with UEFA in my native country. UEFA EURO 2016 is all about the fans, and I want to get them involved as much as possible, especially when it comes to music. That's why I'm trying something unique and asked fans from all over the world to celebrate this football party with me and be part of the official track. "
The Frenchman, who writes and produces the song, is the figurehead of UEFA's worldwide musical campaign. This will also include performances at the opening and closing ceremonies, a free concert in the middle of Paris on the Champs de Mars under the Eiffel Tower and an interactive experience as part of the UEFA EURO 2016 Trophy Tour. All fans who participated have received a unique personal memory; a did make a chance to win tickets to the opening match of UEFA EURO 2016 at the Stade de France and a meeting with David Guetta.
And there is more David Guetta
But it doesn't stop there. The winner can attend his concert as a VIP on the Champs de Mars, under the Eiffel Tower. The official track of UEFA EURO 2016 was heard throughout the tournament, such as on TV before and after each football match during the UEFA EURO 2016. David Guetta also played the song personally during the opening and closing ceremonies, and during his free concert in Paris.
Previous: Euro 2016 Tickets
Next: Looking back at the Euro 2016 football tournament
Throwback match: Spectacle expected at quarterfinals between Germany and Italy
Throwback match: Belgium on the hunt for a place in the semi-finals
Throwback match: France meets the surprise of EURO 2016: Iceland
Football betting based on football predictions
Roumours that Erik ten Hag will be new coach Borussia Dortmund
Euro2016.com © 2021 | All rights reserved.


Palmetto Propane, Fuels, & Ice is your local, family owned ice distributor of the Midlands. Our goal is to offer competitive pricing with excellent service for all your ice needs. Weddings, special events, festivals, retail and commercial applications, Palmetto Propane and Ice can answer all your ice needs.
We specialize in delivering 10 and 20 pound ice bags for your convenience for your event, store or location. Whether it is a one time or route delivery, we strive to give you prompt and professional service. We also have merchandising coolers available for commercial locations and for event rentals.


With wedding season now calming down, it's time to revamp our website – enter our Flamingos!
We've got lots of plans to make our website better than ever, with a designated wedding hire section and event hire section. There's a few empty slots for some lovely new stock to be listed in too! We're also adding lots of links between our items and Pintrest pin boards to give a little inspiration as to how our fab items can be incorporated into your styling.


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"Bluejeans And Moonbeams" by Captain Beefheart and The Magic Band - album review
features in: Album Chart of 1974 ● Album Chart of the Decade: 1970s
Immediately after the recording of the preceding "Unconditionally Guaranteed" early in '74, the Magic Band, to a man, deserted Captain Beefheart, disenchanted with almost every aspect of their lot, from finances to being bullied to the artistic direction. Guitarist Bill Harkleroad commented: "we had had enough of him treating us like punching bags". Drummer Art Tripp recalled: "When the band finally got our album copies, we were horrified. As we listened, it was as though each song was worse than the one which preceded it." Contracted for another album with Mercury, the main man had no option but to re-recruit and soldier on, and "Bluejeans and Moonbeams" was duly delivered in November, 1974. Accompanying his vocals and harminca were: Dean Smith (guitar, bottleneck guitar), Michael Smotherman (keyboards, backing vocals) and Ty Grimes (percussion). What's delivered is perfunctory and pleasant within normal pop-rock conventions, which is almost criminal by the Captain's standards. The only saving grace is that unique timbre, but surely no Beefheart fan could hide their disappointment with the lack of "edge".
A1 [02:48] Captain Beefheart and The Magic Band - Party Of Special Things To Do (Don Van Vliet, Elliot Ingber) Blues Rock / Soul Rock
A2 [04:00] Captain Beefheart and The Magic Band - Same Old Blues (J. J. Cale) Blues Rock / Soul Rock
A3 [03:32] Captain Beefheart and The Magic Band - Observatory Crest (Don Van Vliet, Elliot Ingber) Rock
A4 [03:32] Captain Beefheart and The Magic Band - Pompadour Swamp (Don Van Vliet) Blues Rock / Soul Rock
A5 [05:43] Captain Beefheart and The Magic Band - Captain's Holiday (Richard Feldman, Walter Richmond, Stephen Hickerson, Charles Blackwell) Blues Rock / Soul Rock
B1 [03:20] Captain Beefheart and The Magic Band - Rock 'n Roll's Evil Doll (Don Van Vliet, Mark Gibbons, Ira Ingber) Rock
B2 [05:31] Captain Beefheart and The Magic Band - Further Than We've Gone (Don Van Vliet) Blues Rock / Soul Rock
B3 [03:22] Captain Beefheart and The Magic Band - Twist Ah Luck (Don Van Vliet, Mark Gibbons, Ira Ingber) Blues Rock / Soul Rock
B4 [05:02] Captain Beefheart and The Magic Band - Bluejeans And Moonbeams (Don Van Vliet) Folk Rock / Americana
ratings by TJR

redpajama_set_name: RedPajamaCommonCrawl


The 15 Academic Health Science Networks (AHSNs) in England are working together to support improvements in AF practice.
There are 1.4 million people with AF but 1 in 4 are undiagnosed.
AF accounts for approximately 20% of all strokes and 62% these people were not prescribed oral anticoagulation prior to their stroke.
66% of AF related strokes can be averted with treatment.
We have been rolling out mobile AF detection devices to primary care since March 2018 and these devices have been used 3800 times and have picked up 216 people with possible AF. We will be contacting the remaining practices who have expressed an interested in using AF detection devices soon.
The 15 Academic Health Science Networks (AHSNs) are working together to support improvements in AF practice using the 'Detect, Protect, Perfect' framework. Through this, we aim to prevent AF-related stroke and associated mortality through better identification, treatment and on-going management of people with AF.
DETECT – Increasing the detection and diagnosis of AF in the population (case finding).
PROTECT – Increasing risk assessment and anticoagulation of people diagnosed with AF.
PERFECT – Improving the quality of anticoagulation and supporting people to self-manage aspects of their AF.
Below are a range of tools and services to support partners to deliver best practice for people with AF. Please click on the link for more information or if you would like to discuss further, please contact suzy.taylor@swahsn.com.
NHS England funded mobile ECG devices – available at no cost, via AHSNs. Expressions of interest NOW CLOSED.
NICE guidance CG180 – (DETECT, PROTECT, PERFECT) – Overarching guidance from The National Institute for Health and Care Excellence (NICE) for the management of AF.
Budget Impact model 2016/17 – (DETECT, PROTECT, PERFECT) – Coming Soon!
Primary and Secondary Care Atrial Fibrillation Pathways – (DETECT, PROTECT, PERFECT) – Examples of AF pathways for primary and secondary care, developed by Kent, Surrey, Sussex AHSN and South East Clinical Networks.
Atrial Fibrillation: A guide for GPs – (DETECT, PROTECT, PERFECT) – A video by the South West Clinical Network on improving the detection and management of atrial fibrillation in Primary Care.
Starting Anticoagulation with Jack – (PROTECT and PERFECT) – A video by Wessex AHSN with advice and information for patients and carers about anticoagulant medicines, how they work and their potential side effects.
Pan London Tool Kit – This toolkit provides methodologies, resources and support for commissioners and clinicians working to reduce AF-related strokes - wherever they are in the country. It was developed by Imperial College Health Partners AHSN, UCL Partners AHSN, Health Innovation Network AHSN and London Clinical Networks.
The British Heart Foundation Alliance – A free membership scheme which provides learning and development opportunities for healthcare professionals who work with people affected by, or at risk of, cardiovascular disease. With a philosophy of shared expertise and lifelong learning, members can benefit from annual development grants and take advantage of free resources such as training workshops, conferences and events, as well as the latest best practice information.
Five Key Interventions Five key interventions to facilitate patients to better self-care, improve their health and wellbeing and reduce demand on general practice if implemented systematically across primary care – On page 18 of this Public Health England document you can find information about the atrial fibrillation challenge and interventions to reduce variation of care.


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Arts & CultureCommunity
The new film version of the legendary musical is a major financial disappointment.
By Bob Bahr	January 13, 2022, 12:52 pm Edit
Steven Spielberg's "West Side Story," released last month to nearly unanimous critical acclaim, is officially a box office flop. The remake of the 1957 Broadway hit, which officially opened in theaters around the country on Dec. 10, recorded dismal ticket sales during the holiday season.
By year's end, the film, which was developed over a three-year period and cost $100 million to produce — and tens of millions more to market — had brought in only about $36.5 million in ticket sales worldwide.
That's in sharp contrast to a very different film, "Spiderman: No Way Home," which reportedly brought in over $1.05 billion following its Dec. 17 debut.
Industry observers blamed the box office slump on a variety of factors, including the lack of a bankable film star in the largely talented cast of young actors; the uptick in COVID infections that began about the same time, keeping older audiences at home; and the film's inability to fully capitalize on the magic of Spielberg's name.
Nonetheless, the film resonates with the emotional power that has marked Spielberg's finest work. In his retelling of this classic, he has brought into focus the very personal story of two young people caught up in a cycle of violence they can't control. At the same time, this major work conveys in no uncertain terms the implications of the dangers that such violence poses to our society, then and now. Perhaps the greater tragedy, though, is that, in the first month of its release, the film has yet to find a larger audience.
Natalie Wood played Maria in the 1961 film version of the play.
It was a much different story in early October 1961, when the first film version of the play opened at the Rivoli Theater in New York City's Times Square. The film was what was then called a roadshow release, meaning that, just like in the theater, audiences reserved tickets in advance for screenings limited to afternoon and evening performances, with an upscale atmosphere and an intermission between acts. Tickets were sold for $3, roughly six times what an average movie admission cost.
Still, those first performances in New York were sold out until the early spring. Even then, cutting out the coupon in your local newspaper and mailing it in with your check didn't always guarantee you a seat. Over its three-year distribution window in the early 1960s, the film — which cost $7 million to make — grossed $55 million, which today would be over $500 million. It also won 10 Academy Awards. (The film's soundtrack was ranked by Billboard Magazine as the number one album in America for 54 weeks, a record that has yet to be broken.)
It was yet another milestone for the record-setting production, which brought to life a musical unlike anything Broadway had ever seen. In its complex and heavily orchestrated score by composer Leonard Bernstein and its often-poignant lyrics, written by a young Stephen Sondheim, it seemed to reach beyond established Broadway traditions toward forms often reserved for modern opera.
In its book, by Arthur Laurents (born Arthur Levine, in Brooklyn), the stage play borrowed heavily from Shakespeare's tragic romance of Romeo and Juliet, transposed to what were then the decaying slums of the Upper West Side of Manhattan.
The ancient family rivalries between Shakespeare's Montagues and Capulets were replaced with the savage contests of will between two teen gangs, the Sharks and the Jets. Their struggle for control of the streets, as envisaged by choreographer Jerome Robbins (born Jerome Rabinowitz, on Manhattan's Lower East Side), entangles two lovers from opposing sides — the Puerto Rican Maria and the Polish Tony — that leads to death and despair.
Yet, despite the tragedy of the source material and all its allusions to American culture of the 1950s, it is, as many have noted, essentially a love story, lifted by melody and song.
For Andrea Most, a professor of Jewish Studies at the University of Toronto, it is also a uniquely American love story.
"To champion romantic love, even romantic love thwarted by violence," Most writes in "Theatrical Liberalism," "to insist that romantic love is the redemptive force that can break down the barriers of prejudice, lies at the heart of what makes this version of 'Romeo and Juliet' so distinctly an American musical of the 1950s.
How, then, is this star-crossed tale of love, which plays out so strongly in the 1961 film version, updated 60 years later to reflect a very different America? In Spielberg's version, which has been shaped by screenwriter Tony Kushner, there are other issues to highlight.
For one, there's a new emphasis on ethnicity and the concerns of ethnic migration. Guns are more prominent and their role in everyday violence gets more attention. The divide between neighbors, so much a part of the 1950s drama, now alludes to the political divide that cleaves America.
The 1950s musical reflected the artistic sensibilities of four urban Jews who saw love as the answer to much of what afflicted us then. In the new film, Kushner and Spielberg have crafted a much darker and more politically nuanced drama.
But if the financial statistics of the last month are any measure, audiences aren't buying it. In the theater where I watched the film on a Tuesday afternoon, soon after it opened, only a half-dozen seats were filled.
What's missing in Spielberg's film is the shock of a new kind of musical, so much a part of the original production, and a new kind of theatrical lyricism that made audiences scramble for tickets. The weight of history is heavy, and it's obviously presented a major challenge to the creators of this production.
Bob Bahr
West Side Story 1961 film
Arthur Laurents
Jerome Robbins
Andrea Most
COVID infections
Rivoli Theater
Modern Opera
Jerome Rabinowitz
American love story


Looking for a cheap and easy way to monitor your home? Read this.
I've tested a few different security cameras around my home, but have yet to fully commit to one. Outside, Ring has me well covered. Inside, is a bit different. For starters, indoor cameras from companies like Nest are expensive. And I don't want just one camera; ideally, I'd like to have four or five.
Even if I took advantage of Nest's three-pack of indoor cameras, I'm looking at roughly $1,000 worth of equipment, plus a monthly subscription fee.
So, when I received a pitch for a security camera priced at $20, with 14 days of free cloud recording, motion push alerts, and night vision, and it records in 1080p, I didn't believe it.
In fact, the only reason I agreed to have demo units sent to me was that I fully expected for it to be a horrible. My response to the PR representative was, and I quote, "At $20, I have low expectations."
Initial setup is a breeze and something you should do before attaching it to a wall. Install the WyzeCam app, then create an account, and plug the camera in. Follow the prompts in the app to connect it to your Wi-Fi network.
The camera is a small cube that almost looks like a robot with the built-in stand extended. On the backside is a microUSB charging port, with the microSD card slot and setup button on the bottom.
The stand swivels nearly 360 degrees and has a magnetic bottom for mounting with the included plate.
Admittedly, the build quality doesn't scream durable. But it's a camera that's going to be tucked into a corner, and it shouldn't face any sort of abuse.
The app is still being worked on and new features, such as the ability to create a time-lapse recording, have been added during my time with the device.
That said, the app has been reliable with push alerts for motion or loud sound working without issue. Whenever an alert is sent, WyzeCam records a short clip and uploads it to its servers. You then receive an alert on your phone and can view or listen to whatever was that triggered the alert. These clips are then stored, for free, for up to 14 days.
I recommend installing a microSD card from the start. Any recordings outside of the short clips created when alerts are sent to your mobile device will require a microSD card. Same goes for the playback and timelapse features.
You can pick up an inexpensive one or 2GB card on Amazon. Once the card starts to fill up, the camera will automatically write over the oldest recording.
For $20, what's to lose?
It's still early in my time with the WyzeCam, and updates are still rolling out. But this far, I have zero issues with this product. The live view has yet to fail, even when on a cellular connection. I've used the two-way talk feature, and night vision without issue as well.
For $20, this is one of those products that feels too good to be true. But it's not, at least, right now. The WyzeCam launched on Oct. 24 and has already sold out according to the ordering page on the site. More stock is expected in just a few days, on Oct. 30.


Badoo is a otherwise dating app that has candidates to get to make each other through games and misleading. daing But while it's data to make up, you're going to have to extreme over some cash to indicate and pun emails with your different candidates. You can lie each other via the app and then organise to extreme up if you start. How, Tinder can keep his year-old, cashless candidates.
Along with her only breasts, sparkling.
Bumble With Justladies, the company is in your shirt. The website is something to spot and has been why free since From writes to novels, if you're clever about it, chances are someone else will be, too. You can then phenomenon other people's dater people until you spot someone you proving. Tease Tease is a thermal dating app run "by a corporation of years in a really dimensional office in Perth".
Alikewise An absolutely genius concept, Alikewise pairs people up based on what books they like. What other free dating apps have you come across? Tinder reasons that somethings Frse less likely to dish out their cash, because, well, they don't have any, while somethings are likely to be more established in their lives and their careers and have a higher disposable income. Here you can "discover new bands, find concert buddies and chat with music fans" and perhaps even find love. Hinge Said to be the more stylish and elegant version of Tinder, Hinge only connects you with people in your extended friendship circle — like friends of your friends.


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Niger (Niamey)
Administrative divisions (GPS Maps)
Niger became independent from France in 1960 and experienced single-party and military rule until 1991, when Gen. Ali SAIBOU was forced by public pressure to allow multiparty elections, which resulted in a democratic government in 1993. Political infighting brought the government to a standstill and in 1996 led to a coup by Col. Ibrahim BARE. In 1999, BARE was killed in a counter coup by military officers who restored democratic rule and held elections that brought Mamadou TANDJA to power in December of that year. TANDJA was reelected in 2004 and in 2009 spearheaded a constitutional amendment that would allow him to extend his term as president. In February 2010, a military coup deposed TANDJA, immediately suspended the constitution and dissolved the Cabinet. ISSOUFOU Mahamadou emerged victorious from a crowded field in the election following the coup and was inaugurated in April 2011. Niger is one of the poorest countries in the world with minimal government services and insufficient funds to develop its resource base. The largely agrarian and subsistence-based economy is frequently disrupted by extended droughts common to the Sahel region of Africa. The Nigerien Movement for Justice, a predominately Tuareg ethnic group, emerged in February 2007, and attacked several military targets in Niger's northern region throughout 2007 and 2008. Successful government offensives in 2009 limited the rebels' operational capabilities.
Administrative divisions (15,488 GPS Maps)
(NG05)
Niger (general)
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Niger (Niamey):
GPS points from Niger (Niamey)
Bani Guiti (ng05)
Tankademi Tahoua
In Egoul (ng05)
Tchi Bourharhin Agadez
Labbezanga Tahoua
Datie Bangou Niamey
Baga Tahoua
Zouragen (ng05)


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Q: Android studio error: resource not found Exception i have a problem with my app:  i'm using crashlytics by Fabric, (my app is pubblishes in the play store) to have log of possible crash, and i have this error ".. MainActivity: android.content.res.Resource$NotFoundException:Resource ID#0x7f09001b"
(Crashlytics say to me that the device is a samsung galaxy s4 with Android 5.1 and root )
CrashLytics screen

@Override
        protected void onCreate(Bundle savedInstanceState) {
        super.onCreate(savedInstanceState);
        Fabric.with(this, new Crashlytics());

        setContentView(R.layout.activity_main);  <---- LINE 102 THAT GIVE
                                                  THE ERROR , ACCORDING TO
                                                       CRASHLYTICS

        ping = (ImageButton)findViewById(R.id.ping);

        internet =(TextView)findViewById(R.id.Internet);
        banda5Ghz =(TextView)findViewById(R.id.BandeSupp);
        SpeedNet =(TextView)findViewById(R.id.VR);
        ipv6 =(TextView)findViewById(R.id.showIPv6);
        txVsegnale =(TextView)findViewById(R.id.intensità);
        aggiorna = (ImageButton)findViewById(R.id.Aggiorna);
        share = (ImageButton)findViewById(R.id.sharebtn);
        clipboard = (ImageButton)findViewById(R.id.clipboard);
        rating = (ImageButton)findViewById(R.id.ratebtn);
        IP =(TextView)findViewById(R.id.IP);
        showIPv4 =(TextView)findViewById(R.id.showIPv4);
       // TextViewWifi =(TextView)findViewById(R.id.TextViewWifi);
        TextViewwifi_info = (TextView)findViewById(R.id.wifi_info);
        MacA = (TextView)findViewById(R.id.MacAdd);
        //switch gestione notifiche
        notifiche = (Switch)findViewById(R.id.switchNot);`

......
The same device crash 2 times in a short time, with same error.
My app is an app that show infos on your wifi connection, such as IP, network velocity, etc etc, also have system notification and widgets and a service that run in background .
I have also done different layout for different devices with different screen size and different screen dpi
My Layouts

No other  logs from other device with same problem .I want to know if is  a specific problem of this device ( may be related to root access given to this device ) or is a problem of my application.
Not sure if it is linked to this, but, i was tryeing to add split screen function to my app, and , adding  android:resizeableActivity="true"  to manifest, make app crash in the same code line, so, i solve by settings  to false and not include split screen feature in my app.
 I CONFIRMED THAT TRIEING TO USE SPLIT SCREEN GIVE ME THE SAME ERROR, SAME RESOURCE NOT FOUND EXCEPTION, how can i see which resource have this id ?
android.content.res.Resources$NotFoundException: Resource ID #0x7f09001b
THE APP Crash only in this case , no other crash, do i have to define a minimum width and weight to use split Screen ?
`<?xml version="1.0" encoding="utf-8"?>
<RelativeLayout xmlns:android="http://schemas.android.com/apk/res/android"
xmlns:app="http://schemas.android.com/apk/res-auto"
xmlns:tools="http://schemas.android.com/tools"
android:layout_width="match_parent"
android:layout_height="match_parent"
tools:context="com.ShowMyIp.utente.ShowMyIp.MainActivity">

<TextView
    android:id="@+id/Internet"
    android:layout_width="match_parent"
    android:layout_height="225dp"
    android:layout_alignParentTop="true"
    android:layout_centerHorizontal="true"
    android:background="@drawable/roundcorner"
    android:layout_marginTop="8dp"
    android:paddingTop="27dp"
    android:textColor="#646464"
    android:textSize="13sp"
    android:layout_marginLeft="7dp"
    android:layout_marginRight="8dp"

    android:textStyle="italic" />

<TextView
    android:id="@+id/Internet2"
    android:layout_width="match_parent"
    android:layout_height="195dp"
    android:layout_alignEnd="@+id/internet4"
    android:layout_below="@+id/internet4"
    android:layout_marginTop="14dp"
    android:layout_marginLeft="7dp"
    android:background="@drawable/roundcorner" />

<TextView
    android:id="@+id/internet4"
    android:layout_width="match_parent"
    android:layout_height="195dp"
    android:layout_alignStart="@+id/Internet"
    android:layout_below="@+id/Internet"
    android:layout_marginRight="8dp"
    android:layout_marginTop="17dp"
    android:background="@drawable/roundcorner"
    android:textSize="13sp" />

<TextView
    android:id="@+id/MacAdd"
    android:layout_width="275dp"
    android:layout_height="35dp"
    android:layout_alignStart="@+id/txtMac"
    android:layout_below="@+id/BandeSupp"
    android:layout_marginTop="35dp"
    android:textAlignment="viewStart"
    android:textColor="@android:color/black"
    android:textSize="15sp" />

<TextView
    android:id="@+id/IP"
    android:layout_width="150dp"
    android:layout_height="45dp"
    android:layout_alignBaseline="@+id/Internet"
    android:layout_alignBottom="@+id/Internet"
    android:layout_alignStart="@+id/internet4"
    android:layout_marginStart="45dp"
    android:text="IP Address"
    android:textColor="#E1E140"
    android:textSize="18sp"
    android:textStyle="italic" />

<TextView
    android:id="@+id/showIPv4"
    android:layout_width="230dp"
    android:layout_height="45dp"
    android:layout_alignStart="@+id/IP"
    android:layout_below="@+id/intensità"
    android:textColor="@android:color/black"
    android:textSize="16sp"
    android:textStyle="bold" />

<TextView
    android:id="@+id/wifi_info"
    android:layout_width="220dp"
    android:layout_height="55dp"
    android:layout_alignStart="@+id/showIPv4"
    android:layout_below="@+id/showIPv4"
    android:text="Non Connesso"
    android:textColor="@android:color/black"
    android:textSize="16sp"
    android:textStyle="italic" />

<TextView
    android:id="@+id/velocita"
    android:layout_width="155dp"
    android:layout_height="45dp"
    android:layout_above="@+id/VR"
    android:layout_alignEnd="@+id/txvIPV6"
    android:text="Velocità rete"
    android:textColor="#E1E140"
    android:textSize="18sp"
    android:textStyle="italic" />

<TextView
    android:id="@+id/VR"
    android:layout_width="135dp"
    android:layout_height="45dp"
    android:layout_alignBottom="@+id/wifi_info"
    android:layout_alignEnd="@+id/velocita"
    android:textColor="@android:color/black"
    android:textSize="16sp"
    android:textStyle="italic" />

<ImageButton
    android:id="@+id/Aggiorna"
    android:layout_width="200dp"
    android:layout_height="75dp"
    android:layout_alignEnd="@+id/intensità"
    android:layout_alignTop="@+id/Internet2"
    android:layout_marginEnd="21dp"
    android:layout_marginTop="56dp"
    android:background="@android:color/transparent"
    android:scaleType="fitCenter"
    android:textColor="@android:color/white"
    app:srcCompat="@drawable/btn_aggiorna" />

<TextView
    android:id="@+id/intensità"
    android:layout_width="190dp"
    android:layout_height="65dp"
    android:layout_alignEnd="@+id/Internet"
    android:layout_alignTop="@+id/IP"
    android:layout_marginEnd="21dp"
    android:textColor="@android:color/black"
    android:textSize="18sp" />

<TextView
    android:id="@+id/txtMac"
    android:layout_width="140dp"
    android:layout_height="35dp"
    android:layout_alignStart="@+id/showIPv4"
    android:layout_alignTop="@+id/internet4"
    android:layout_marginTop="28dp"
    android:text="MAC Address"
    android:textColor="#E1E140"
    android:textSize="18sp" />

<Switch
    android:id="@+id/switchNot"
    android:layout_width="145dp"
    android:layout_height="85dp"
    android:layout_alignStart="@+id/MacAdd"
    android:layout_alignTop="@+id/Aggiorna"
    android:layout_marginStart="28dp"
    android:textColor="#E1E140"
    android:textSize="18sp"
    tools:text="Notifiche" />

<TextView
    android:id="@+id/txvIPV6"
    android:layout_width="75dp"
    android:layout_height="45dp"
    android:layout_alignBottom="@+id/txtMac"
    android:layout_alignEnd="@+id/Aggiorna"
    android:text="IPV6"
    android:textColor="#E1E140"
    android:textSize="18sp" />

<TextView
    android:id="@+id/showIPv6"
    android:layout_width="220dp"
    android:layout_height="45dp"
    android:layout_alignBottom="@+id/MacAdd"
    android:layout_alignStart="@+id/Aggiorna"
    android:textAlignment="viewStart"
    android:textColor="@android:color/black"
    android:textSize="17sp" />

<ImageButton
    android:id="@+id/ratebtn"
    android:layout_width="55dp"
    android:layout_height="55dp"
    android:layout_alignEnd="@+id/Internet2"
    android:layout_alignParentBottom="true"
    android:layout_marginBottom="22dp"
    android:layout_marginEnd="10dp"
    android:background="@android:color/transparent"
    app:srcCompat="@drawable/rating_button"
    android:scaleType="fitCenter"
    />

<ImageButton
    android:id="@+id/sharebtn"
    android:layout_width="55dp"
    android:layout_height="55dp"
    android:layout_alignTop="@+id/ratebtn"
    android:layout_marginEnd="23dp"
    android:layout_toStartOf="@+id/ratebtn"
    android:background="@android:color/transparent"
    android:scaleType="fitCenter"
    app:srcCompat="@drawable/share_button" />

<ImageButton
    android:id="@+id/clipboard"
    android:layout_width="55dp"
    android:layout_height="55dp"
    android:layout_alignTop="@+id/sharebtn"
    android:layout_toStartOf="@+id/VR"
    android:background="@android:color/transparent"
    android:scaleType="fitCenter"
    app:srcCompat="@drawable/clipboard" />

<TextView
    android:id="@+id/BandeSupp"
    android:layout_width="130dp"
    android:layout_height="55dp"
    android:layout_alignTop="@+id/txvIPV6"
    android:layout_toEndOf="@+id/showIPv4"
    android:textColor="@android:color/black"
    android:visibility="invisible"
    android:textSize="17sp" />

<ImageButton
    android:id="@+id/ping"
    android:layout_width="90dp"
    android:layout_height="90dp"
    android:layout_alignBottom="@+id/clipboard"
    android:layout_alignEnd="@+id/switchNot"
    android:background="@android:color/transparent"
    android:visibility="invisible"
    app:srcCompat="@drawable/ping" />

</RelativeLayout>`

here is my layout (large-port-mdpi)
App still crash entering in split screen mode, with "no found exception ..." ; i've made another  simple app , following Android developer guide to make multiview support, and this app work, no problem when entering in split screen, , i only added to the Manifest  same code i wrote  for this app "    android:resizeableActivity="true"". Anyone know about to resolve this error? why my app, dosen't find layout resource entering in split screen mode??

A: Check your MainActivity Layout Xml in Text Format, There Has to be Line with a Yellow Warning on it, Or a Red Line.
Check the Layout Xml, And Then,
Check If You Missed Something Like LinearLayout Being RelativeLayout and you Declared it with this mistake.
Then Check If You've Used Anything like below:

RelativeLayout.LayoutParams params = (RelativeLayout.LayoutParams) myRelativeLayout.getLayoutParams();

LinearLayout.LayoutParams Param1 = (LinearLayout.LayoutParams) myLinearLayout.getLayoutParams();

If Yes, Reply me and I'll tell you what to do.

redpajama_set_name: RedPajamaStackExchange


Bruno LED DIN (* 17. February 1898 in Berlin; † 25. March 1951) was a German politician of the SPD.
After commercial teachings LED DIN was first from 1918 to 1925 of urban employees. It was subsequently, up to the prohibition of the trade unions 1933 trade union secretary with the German agricultural worker federation for the circle Stolp and Lauenburg. After the seizure of power of the national socialists it was expelled from Pommern, returned in the war however to Stolp .
1945 fled LED DIN to Hanover, where he was from 1947 at directors/conductors of the Sozialamtes. It was councillor in Hanover, member of the appointed federal state parliament and 1948 of Lower Saxony /49 of the economic council of the Bizone. The German Bundestag belonged it from the first election to the Bundestag 1949 up to its death. It represented the constituency Hanover - north in the parliament and was a chairman of the committee of the Bundestag for war victim and prisoner of war questions.
LED DIN was since 1918 Social Democrat and last member of the SPD Federal Administration.


text:
UFC Fight Night Singapore Betting Picks
Jason Lundgren
Events, Sports Betting, UFC
(IMMAF)
International Mixed Martial Arts Federation Submits Application to WADA
José Youngs
News, Spotlight
The International Mixed Martial Arts Federation, the global mixed martial arts governing body, has submitted its application to the World Anti-Doping Agency (WADA).
"IMMAF's application to WADA marks an important step in our work to see the sport of MMA become recognized," said IMMAF CEO Densign White. "The Anti-doping program that IMMAF already implements is an important part of ensuring athlete safety and fairness in the sport. WADA recognition would not only serve as official, third-party approval of our regulation of Anti-doping, but would also mark a political milestone.
"To be in the running for recognition by the International Olympic Committee, MMA must first be accepted by sports body, Sport Accord. But in order to apply to Sport Accord, IMMAF must be a prior signatory to the WADA code. I cannot stress enough how the official acceptance of IMMAF would remove the many existing obstacles to protecting the health and safety of MMA's participants worldwide.
In 2015 IMMAF implemented an anti-doping policy based on the World Anti-Doping Code and Standards. In-competition testing was introduced at its international Amateur MMA tournaments, commencing with the 2015 IMMAF World Championships.
The IMMAF anti-doping rules are based on strict liability, essential for the health and safety of the sport of MMA and its participants. The organization also appointed internationally renowned expert consultancy, Sporting Integrity Ltd, to advise on and develop its anti-doping policy and programme.
Declared athlete medications are reviewed by IMMAF's independent Medical Committee in the run up to all IMMAF competitions. Only medications outlined under the World Anti-Doping rules are permitted, with additional scrutiny of applications for therapeutic use of prohibited treatments. Further to this, IMMAF is currently working to establish its out-of-competition testing programme based on its new world rankings system.
"IMMAF's strong commitment to fair and clean sport should provide reassurance to athletes and officials that the sport is serious about anti-doping," said IMMAF's Anti-doping Consultant, Michele Verroken, of Sporting Integrity.
"Sporting Integrity is delighted to support IMMAF with the challenge of drug-free MMA, and provide an independent, accountable anti-doping office to assist IMMAF deliver effectively. In particular, we are pleased with the positive discussions with UFC about ways in which we can support each other over our shared goal of tackling doping in MMA. Inclusion of IMMAF as a WADA Code signatory would be of considerable benefit to the sport and the anti-doping community."
IMMAFNews
UFC Fight Night: MacDonald vs. Thompson Results
Cody Garbrandt vs. Takeya Mizugaki Targeted for UFC 202
News Manager
José began his career as a mixed martial arts journalist while still enrolled at the Walter Cronkite School of Journalism and Mass Communications at Arizona State University. Since graduating in May 2013, he has attended dozens of high profile UFC fight cards as a credentialed member of the media, providing live cage side coverage through his articles and videos. His work has appeared on UFC.com, ArizonaSports.com and AZCentral. He is also currently one of the main contributors on Power MMA Show at Arizona Sports 98.7 FM, one of the first all MMA radio shows on a major radio station.
USADA: Jon Jones' 'B'-Sample Came Back Positive
Demetrious Johnson Injured, Out of UFC 201 Title Fight Against Wilson Reis


CARE KERATIN SMOOTH SHAMPOO - Keratin is a fibrous protein and a major component of the hair. It's depleted when hair is damaged, and keratin loss makes hair extra vulnerable. This shampoo is infused with keratin and provitamin B5, that nourish, moisturize and add shine and to the hair. The unique Quat Complex strengthens strands and protects them against breakage. This shampoo is perfect for those with damaged tresses or normal to dry hair. After diligent use, your hair is left silky smooth, stronger, healthier and easier to manage.


"Selma," the civil rights drama that had been scheduled to shoot in New Orleans in August 2010 with Lee Daniels behind the camera -- only to be waylaid by financing troubles -- is back on track. Ava DuVernay, the acclaimed director of last year's "Middle of Nowhere," is in line to direct the film, about Martin Luther King's historic 1965 voting rights campaign, as first reported this week by Deadline.
There's no word if "Selma" will shoot in New Orleans as its previous incarnation had been scheduled to do, although the Los Angeles Times reports that DuVernay spent the spring scouting the project in Alabama -- including, presumably (and fittingly) in the town after which the film is named.
"I'm thrilled to be working on this beautiful project with such a supportive, committed team," DuVernay was quoted as saying in the Times.
DuVernay -- whose "Middle of Nowhere" last year made her the first black woman to win best director at the Sundance Film Festival -- reportedly has been reworking the script with screenwriter Paul Webb since coming on board the project in January, but the story should be familiar to most Americans. The bare-bones IMDB synopsis: "Martin Luther King, Lyndon Baines Johnson and the civil rights marches that changed America."
As the title suggests, the film is set largely in the Alabama town that served as an epicenter for the American civil rights movement of the mid-1960s. No cast has been announced, although in the previous, Daniels-led incarnation, it was to star David Oyelowo as King. (Oyelowo would end up following Daniels to another New Orleans-shot civil rights film "The Butler," when "Selma" was put on hold two years ago.) Hugh Jackman reportedly had gained some 60 pounds to play Sheriff Jim Clark, the militaristic chief law enforcement officer of Dallas County, Ala., who was responsible for the violent crackdowns on civil rights protesters in Selma.
Other actors reportedly attached to that impressively cast earlier project included Robert De Niro, as Alabama Gov. George Wallace; Liam Neeson as President Lyndon Johnson; as well as Cedric the Entertainer, Lenny Kravitz, and Tim Blake Nelson.
"Selma" is being produced by "127 Hours" producer Christian Colson for Brad Pitt's Plan B -- which produced the forthcoming "12 Years a Slave" -- and Pathe UK.
August marks the 50th anniversary of King's landmark "I Have a Dream" speech. In addition to "Selma," at least three other high-profile King-related projects are in the works: "Memphis," about the civil rights icon's final days; a long-gestating King biography backed by Steven Spielberg's DreamWorks SKG and focusing on King's appreciation for Mahatma Gandhi; and the Oprah Winfrey-backed HBO miniseries "America: In the King Years."


text:
Energy Efficiency European Union Podcast
The Clean Regulatory Transition Project — Jan Rosenow (47)
By Michael LaBelle	— 2 months ago
Jan Rosenow – Regulatory Transition Project
This week we speak with Jan Rosenow, the Director of European Programmes at the Regulatory Assistance Project. The word, 'project' as Jan tells us, was meant to be a project to assistant regulators to build better utility regulation. The project operates in China, Europe, India, and the United States.
From this episode, you'll learn about the importance of regulation in the energy transition. Markets are not free, but depend on good (and bad) regulation to create market conditions that deliver outcomes that society wants. Of course, there is a heavy dose of politics in this mix, but the main thrust is to protect the consumer.
As Jan tells us, regulation is not just regulation implemented by energy regulators, but also comprises policies that shape the markets.
From a personal point of view, I love regulation. This will sound very odd, but one of the joys of living in the EU is we have so much regulation to study and understand the impact of both a multilateral institution, like the EU, but also the actions of governments and how they implement regulation is such diverse actions.
Jan Rosenow
I was really excited when Jan agreed to come onto the podcast to discuss what the Regulatory Assistance Project does, and to focus on regulation's role in the energy transition. This episode delivers with both a general discussion on regulation in the first half and by the second half, we work our way through the role of regulation in the EU and the new Fit for 55 and Green Deal directives that are coming out.
However, I want to emphasize the eloquent way that Jan answers all my questions on regulation. Jan has a rare and true skill to be able to express the role of regulation plays in both abstract terms but also through examples. And I think what I'm saying here, doesn't do justice to how he explains the importance and differences regulation plays in the energy transition.
The energy transition requires forward-leaning regulations that both push and pull new technologies in the marketplace. In this episode, you'll learn both how this is done and why it is done.
Transcript of our discussion
Eastern Europe Fossil Fuels innovation Podcast
Circular Economy Fossil Fuels Podcast
Seeking Stability & Circularity for European Metals — Chris Heron and Cillian O'Donoghue (48)
By Michael LaBelle	—	1 month ago
Building the Circular Economy – Eurometaux
The complexity of manufacturing from a global supply chain has never been more apparent than now. With supply shortages caused by the impact of Covid-19 and efforts to combat climate change, we are entering a new period, as I have stated in the past about Carbon Storms, where a confluence of events disrupt or place pressure on once stable markets.
At the end of 2021, there are shortages even with the common material of magnesium, with European production of cars, planes, and other lightweight aluminum alloys ceasing. The global shortage of computer chips sent the message of how integrated – and tight – global supply chains are. Now as Europe continues to produce everyday products like cars, but also higher-tech equipment necessary for the energy transition, there is a serious supply problem for European industry.
For this episode, we are joined by Chris Heron and Cillian O'Donoghue. Cillian, As you'll hear, the interview with these representatives of the European Metals Association (Eurometaux) is perfect timing to understand both the current shortages and what is needed to improve the situation for European manufacturers.
I think you'll find many parts of this episode surprising. And certainly informative. Previously, I just thought Europe needed to be producing everything at home to ensure the security of supplies for these materials, but as you'll also find out, bringing it back home, may not be the answer.
Europe's high energy prices and other key competitive factors, making the rebuilding industry a challenge. Rather, diversification of sourcing may be a more competitive and secure way forward.
Also, bringing back industry to Europe – requires lower priced energy. The factory has to be competitive in Europe. And now with the big effort to decarbonize power and electrify everything, rebuilding the European smelting and resource sector may be beyond the rationale.
In terms of energy, as Cillian points out, smelters and factories can use wind and solar, but these are intermittent power sources, so it's necessary to develop large scale storage options – Hydro is a great example, but for other sources, a steady supply is important to ensure continual operation. This is not to say it can't be done, but the challenges are there.
In regards to building the circular economy, we put our hands down into the recycling box to find out that recycling can happen in the sector. But as Chris points out, the materials going into batteries or other new technologies are not at a sufficient level within the economy to create a recycling loop. Therefore, we need to rely on raw materials to build up a base for recycling.
Eurometaux – Circularity in European metals
We then get to the sources of raw materials. How can the industry source the materials from mines or locations that do have high environmental and social standards? As I've discussed in previous episodes, Maty .. And Martin.. Verifying the supply chain becomes very important.
Towards, the end we get to the carbon border adjustment mechanism that is being proposed by the EU Commission, to ensure that materials brought into the EU are made with sustainable energy. However, according to Chris and Cillian, this turns out to be deficient in its application. Listen to find out why.
Related episodes:
The Value of Climate Accounting — Martin Wainstein (Ep. 35)
The Equitable Battery Alliance: Innovating fair supply chains – Mathy Stanislaus
The History – and future of Energy Efficiency in Europe – Rod Janssen
http://myenergy2050.com/wp-content/uploads/2021/07/Mike_x_Rod64khs.mp3
In this episode, we speak with Rod Janssen, a long time expert who began his career after the oil crisis of the 1970s. Rod may have decades of experience, but he is still young and stays active with the latest research and policy developments in energy efficiency.
I wanted to have Rod on to discuss both the recent history around energy efficiency and whether EU policy is making an impact. As you'll hear we are a bit critical of the EU and the Member States for the lack of progress.
There are a number of terms that will probably be new to the listener and not everyone may know them. The first is USAID, which is the United States Agency for International Development. It sounds like an organization for Africa, but it was active in Eastern Europe – and still is in non-EU member states. After countries in the East joined the EU, USAID moved on, thinking the EU would assist in development. We have a few words to say on how well the EU took on its role to promote energy efficiency.
We discuss the 'acquis', which is "the body of common rights and obligations that are binding on all EU countries", which now is being stressed by some countries. But there was a time when the former Communist countries transformed their economies and legislation to make it look like they could be good EU members. They did a tremendous amount of good in revamping public administration and shifting economies onto a market footing.
Rod and I discuss these topics and we also cover how energy efficiency policy making has changed in the EU and where it is going. That 2050 goal? Is enough being done? Rod has an opinion. Community engagement? We discuss this too.
The EU's Green Deal: A revolution for society and business? – Simone Tagliapietra
By Michael LaBelle	—	10 months ago
This week we speak with Simone Tagliapietra, a research fellow at Bruegel. We discussed the broader research shift from an energy security perspective, just how society and politics shape the energy system. For Simone, the broader focus allows us to address how we can mitigate climate change.
With Simone, we delve into the European Union's Green Deal and spend time looking at the new green industrial strategy of the EU. This includes understanding how the industry plays a role in the transition with the green industry, which is essential for the EU's competitiveness in the future.
We then move on to discuss the social impact the energy transition has on communities in the EU, and how politics and community involvement is key to the success of the Green Deal. Simone addresses the role that international finance can play to assist developing countries create their own sustainable energy system.


text:
#pragma once

#include "envoy/extensions/filters/http/tap/v3/tap.pb.h"
#include "envoy/extensions/filters/http/tap/v3/tap.pb.validate.h"

#include "extensions/filters/http/common/factory_base.h"
#include "extensions/filters/http/well_known_names.h"

namespace Envoy {
namespace Extensions {
namespace HttpFilters {
namespace TapFilter {

/**
 * Config registration for the tap filter.
 */
class TapFilterFactory
    : public Common::FactoryBase<envoy::extensions::filters::http::tap::v3::Tap> {
public:
  TapFilterFactory() : FactoryBase(HttpFilterNames::get().Tap) {}

private:
  Http::FilterFactoryCb createFilterFactoryFromProtoTyped(
      const envoy::extensions::filters::http::tap::v3::Tap& proto_config,
      const std::string& stats_prefix, Server::Configuration::FactoryContext& context) override;
};

} // namespace TapFilter
} // namespace HttpFilters
} // namespace Extensions
} // namespace Envoy

redpajama_set_name: RedPajamaGithub


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Branam Oral Health Xylitol Toothpaste for Kids, Yum Yum Bubblegum, 4.2 oz by Branam - Branam oral health xylitol toothpaste for kids, yum yum bubblegum, 42 oz. Pack of 12.
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Spry Dental Defense Natural Xylitol Toothpaste with Fluoride – 4 oz – Spearmint - Natural spearmint flavor soothes oral tissues while you brush. Anti-cavity formula uses fluoride to keep your teeth strong and prevent cavities. Rich in xylitol and aloe to more effectively clean while soothing past irritation. Natural, non-gmo ingredients are 100% free of sls, sulfates, parabens, and saccharins. Disclaimer this website is for informational purposes only always check the actual product label in your possession for the most accurate ingredient information due to product changes or upgrades that may not yet be reflected on our web site these statements made in this website have not been evaluated by the food and drug administration the products offered are not intended to diagnose, treat.
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William McKinley, Jr., was born in the village of Niles, Ohio, on 29 January 1843, the seventh of nine children. His father, the manager of a charcoal furnace, worked diligently to house, feed, clothe, and educate his growing family. Placing a higher value on education than on creature comforts, the McKinleys moved to Poland on the other side of Youngstown, where young William was enrolled in the Poland Academy. A good student, though not a brilliant one, he succeeded by dint of hard work and exceptional retention. Reserved and reticent in private conversation, he excelled in public speaking and took an active part in the debating societies that were an important extracurricular activity of the time. In 1860 he matriculated at Allegheny College in Meadville, Pennsylvania, but he did not remain there long. He ran short of money, and illness at the end of his first term prevented completion of his classes. Home again, he went to work clerking in the post office and teaching school, hoping that he could earn enough to return to college.
Five years were to pass before McKinley resumed his studies, for the Civil War lengthened the interruption of his formal education. After the fall of Fort Sumter, he enlisted in the Twenty-third Ohio Volunteer Regiment, under the command of Major Rutherford B. Hayes. He remained in the army four years, serving with distinction and winning periodic promotions until finally he was mustered out as a brevet major in July 1865. The war broadened McKinley's experience and strengthened his sense of responsibility, but it drastically modified neither his personal character nor his commitment to the fundamental principles he had learned at home and in school. Like Abraham Lincoln, who became his model, he fought to preserve the Union and to end involuntary servitude. In later years he remained sensitive to human need, and as president he did much to overcome lingering sectional antipathies.
The youthful war hero returned to civilian activities calmly, almost stoically, asking no searching questions about the meaning of life but bearing himself with a grace and dignity that belied his years. He was not without ambition. Indeed, his military accomplishments reinforced his assumption that he could exercise a positive influence in whatever career he chose. The important question for McKinley, then, was what profession he should enter, not whether he would become successful in practicing it. Disdaining the humdrum daily activities of the marketplace, he chose to study law. After reading in the office of Charles Glidden, a well-known Ohio lawyer, he spent a term at Albany (New York) Law School. He was admitted to the bar in March 1867, and he opened an office in Canton, Ohio, later that year.


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Gleichstufige Stimmung (auch gleichstufig temperierte Stimmung) ist die Bezeichnung für ein Stimmungssystem, das eine Oktave in zwölf gleich große Halbtonschritte von 100 Cent unterteilt. Andere Bezeichnungen sind: gleichtemperierte/gleichschwebende Stimmung oder gleichschwebende Temperatur. Die umgangssprachlich oft verwendete Bezeichnung temperierte Stimmung ist zu ungenau, da die Gleichstufigkeit nur eine mögliche Art ist, Intervalle zu temperieren.

Die reine Stimmung bei Tasteninstrumenten ist mit dem Problem des pythagoräischen Kommas und des syntonischen Kommas behaftet. Bei reiner Stimmung unterscheiden sich 12 Quinten von 7 Oktaven um das pythagoreische Komma (etwa  Halbton) und 4 Quinten oktaviert von der reinen Terz um das etwa gleich große syntonische Komma. Bei 12 Tönen pro Oktave muss man einen Kompromiss eingehen. Lange Zeit stimmte man Tasteninstrumente deshalb mitteltönig, bei denen alle großen Terzen für viele – aber nicht für alle – Tonarten des Quintenzirkels rein erklangen, dann auf verschiedene Weise auf Kosten der reinen Terz wohltemperiert. Bei der gleichstufigen Stimmung werden die 12 Quinten des Quintenzirkels um jeweils  des pythagoreischen Kommas verkleinert. Auf diese Weise ist die Oktave auf 12 Stufen beschränkt, so dass alle Tonarten des Quintenzirkels gleich spielbar sind. Von Kritikern der gleichstufigen Stimmung wird allerdings bedauert, dass die Terz in dieser Stimmung sehr rau erklinge und der individuelle Charakter einzelner Tonarten der früheren wohltemperierten Stimmungen dabei verloren gehe.

Bei der praktischen Umsetzung der gleichstufigen Stimmung ist insbesondere bei Saitenklavieren noch zu beachten, dass aufgrund der Inharmonizität der Klaviersaiten zusätzlich eine Streckung der Oktaven erforderlich ist.

Stimmungen mit temperierten Intervallen
Musikinstrumente, bei denen eine Intonation von reinen Oktaven, Quinten, Quarten, Terzen usw. nicht in allen Tonarten möglich ist, sind in der westlichen Musik vorwiegend gleichstufig gestimmt – ein Kompromiss in der Intonation. Das ist besonders wichtig für Musikinstrumente, bei denen die Tonhöhe und Tastenanzahl beziehungsweise die Zahl der Töne pro Oktave durch konstruktive Parameter festgelegt sind, also z. B. Tasteninstrumente wie Orgel, Cembalo, Klavier, oder Stabspiele und vielsaitige Zupfinstrumente, und daher ein tonartbedingtes Umstimmen bzw. Anpassen der Tonhöhe während des Spiels nicht möglich ist.

Je nachdem, in welchem harmonischen Zusammenhang ein Ton gespielt wird, müsste dieser aber eigentlich eine leicht unterschiedliche Tonhöhe besitzen, um in einem Akkord rein (schwebungsfrei) zu erklingen. Beispielsweise entspricht der Ton Gis nicht dem Ton As, und dieses Problem besteht letztlich bei allen Tönen einer Tonleiter, je nachdem, in welchem harmonischen Zusammenhang man sie gebraucht. Für Tasteninstrumente wurde deshalb eine Temperierung erforderlich, die zunächst in den mitteltönigen Stimmungen und dann in den wohltemperierten Stimmungen verwirklicht wurde. Merkmal all dieser Temperierungen ist es, dass sie aufgrund musikalischer Gesichtspunkte entwickelt wurden. Die exakte Lage aller zwölf Halbtöne wird bei mitteltöniger oder wohltemperierter Stimmung so ermittelt, dass einige Tonarten bzw. Akkorde reiner klingen, andere, meist die seltener gebräuchlichen, unreiner klingen.

Allein bei der mathematisch ermittelten gleichstufigen Stimmung klingen alle Tonarten gleich (geringfügig unrein).

Andere Instrumente, wie Streich- oder Blasinstrumente, können dagegen durchaus rein intonieren, wobei der Spieler dann von Fall zu Fall die systembedingten Unreinheiten durch geringfügige Anpassung der Tonhöhe ausgleichen kann.

Beim Zusammenspiel dieser rein spielbaren Instrumente mit dem Klavier kann es zu Intonationskonflikten kommen. Dazu schrieb der Cellist Pablo Casals:

Intervalle in der gleichstufigen Stimmung

Bei der gleichtemperierten Stimmung wird die Oktave in zwölf identische Halbton-Schritte aufgeteilt:

 Halbton = ·Oktave = 100 Cent (Frequenzverhältnis ).

Dadurch wird das Pythagoreische Komma ausgeglichen, das zwischen der zwölften reinen Quinte über einem Ton, zum Beispiel C-G-D-A-E-H-Fis-Cis-Gis-Dis-Ais-Eis-His, im Vergleich zu seiner siebten Oktave besteht. Diese Quinten sind nun alle um  dieses Kommas tiefer gestimmt, sodass die offene Quintenspirale sich zum Quintenzirkel schließt. Im Vergleich zur pythagoreischen (quintenreinen) Stimmung mit der reinen Quinte von 702 Cent besitzt die gleichstufige Stimmung eine geringfügig verkleinerte Quinte von 700 Cent; entsprechend ist die Quarte der gleichstufigen Stimmung (500 Cent) – die die Quinte zur Oktave ergänzt – um zirka 2 Cent weiter als eine reine Quarte (498 Cent). Die große Terz der reinen Stimmung (386 Cent) wird in der gleichstufigen Stimmung (400 Cent) um immerhin zirka 14 Cent vergrößert ("geschärft"), während die kleine Sext (rein: 814 Cent, gleichstufig: 800 Cent) um denselben Wert verkleinert wird. Die kleine Terz (rein: 316 Cent, gleichstufig: 300 Cent) wiederum wird sogar um zirka 16 Cent zu eng, die große Sext (rein: 884 Cent, gleichstufig: 900 Cent) hingegen um denselben Wert zu weit gestimmt.

Auf einem gleichstufig gestimmten Instrument ist somit außer der Oktave kein einziges Intervall mehr "ideal", d. h. in einem einfachen ganzzahligen Frequenzverhältnis, rein gestimmt, und die Abweichungen sind durchaus hörbar. In der heutigen Musikwahrnehmung wird dies jedoch allgemein als akzeptabel empfunden (Gewöhnungseffekt).

Geschichte

Die gleichstufige Stimmung konnte erstmals 1584 von Chu Tsai-yü (朱載堉) in China mit Hilfe eines Systems neunstelliger Zahlen ziemlich genau berechnet werden. In Europa wurden diese Berechnungen allerdings erst 1799 bekannt, ohne dass Chu Tsai-yü namentlich genannt wurde. 1588 bot Gioseffo Zarlino eine exakte geometrische Darstellung. Simon Stevin beschrieb als erster Europäer in Vande Spiegheling der Singconst (Manuskript um oder vor 1600) eine weitgehende Annäherung mit Hilfe eines von ihm entwickelten Verfahrens zur Wurzelberechnung, meinte allerdings fälschlicherweise, dabei natürliche große Terzen zu gewährleisten.

Als gleichstufig bezeichnete Lautenstimmungen des 16. Jahrhunderts fußten, wie von Vincenzo Galilei praktiziert, meistens auf dem Halbton mit dem Verhältnis 18:17 (etwa 99 Cent).

Vor allem im 17. Jahrhundert wurde die gleichstufige Stimmung nicht nur von Theoretikern wie z. B. Pietro Mengoli und Marin Mersenne, sondern auch von Komponisten, Instrumentenbauern und ausübenden Musikern diskutiert. Das belegt beispielsweise eine Auseinandersetzung über Stimmungen zwischen Giovanni Maria Artusi und Claudio Monteverdi kurz nach 1600. Der Musiktheoretiker Giovanni Battista Doni (c. 1593 – 1647) behauptete zwar anekdotisch in einem Brief, Girolamo Frescobaldi habe die gleichstufige Temperatur für die Orgel in der Basilica S. Lorenzo in Damaso empfohlen. Es gibt aber keine Belege für Frescobaldis Unterstützung der Gleichstufigkeit, und sie wäre im Orgelbau seiner Zeit beispiellos gewesen.

Im deutschen Sprachraum verwendete man für gleichstufig den Begriff gleichschwebend, so Andreas Werckmeister 1707 in seinem posthum erschienenen Musikalische Paradoxal-Discourse. Dort schlägt Werckmeister vor, das pythagoreische Komma gleichmäßig auf alle zwölf Quinten zu verteilen. Diese Stimmung nennt er ebenfalls "wohl temperirt" und begründet sie mit mystischen oder religiösen Argumenten:

Werckmeister meint damit ausdrücklich nicht, dass die Schwebungsfrequenzen gleich seien. Die von ihm angesprochene Schwierigkeit, gleichstufig zu stimmen, kann z. B. ein Klavierstimmer gerade dadurch meistern, dass er die unterschiedlichen Schwebungsfrequenzen der Quinten in den verschieden hohen Lagen des Klavieres kennt und zum Stimmen nutzt.

Die praktische Bedeutung blieb indes zunächst gering. Es mehrten sich aber die Befürworter der gleichstufigen Stimmung, zu denen z. B. Johann Georg Neidhardt, Friedrich Wilhelm Marpurg und Jean-Philippe Rameau gehörten. Georg Andreas Sorge verfasste 1749 die Schrift Ausführliche und deutliche Anweisung zur Rational-Rechnung, in der er sich mit den mathematischen Fragestellungen der gleichstufigen Stimmung, die er "rational-gleiche Temperatur" nannte, befasste. Gegen Ende des 18. Jahrhunderts gewann die gleichstufige Stimmung die Oberhand gegenüber ungleichstufigen Stimmungen; im 19. Jahrhundert setzte sie sich endgültig durch.

Damit verloren allerdings die Tonarten-Charaktere für neue Kompositionen an Bedeutung, weil verschiedene Tonarten in dieser Hinsicht nicht mehr unterschiedlich klangen. Beim Aufführen älterer Werke auf gleichstufig gestimmten Instrumenten gehen aus demselben Grund häufig wesentliche künstlerische Aspekte der Komposition verloren, so setzten beispielsweise ältere Komponisten zu ihrer Zeit gerne schlecht klingende "unmögliche" Tonarten ein, um negative Sachverhalte wie Schmerz oder Sünde klanglich erlebbar zu machen.

Heute werden Instrumente mit festen Tonhöhen, wie das Klavier oder die Gitarre, standardmäßig gleichstufig gestimmt. Viele Orgeln und Cembali aber werden historisierend mit anderen, ungleichstufigen Stimmungen versehen.

Quantitative Aspekte der gleichstufigen Stimmung

Frequenzberechnung

Die mathematische Vorschrift zur Bestimmung der Töne auf der gesamten Tonleiter der gleichstufigen Stimmung lautet

wobei f0 die Frequenz eines beliebigen Ausgangstons (z. B. die Frequenz des Kammertons a' mit 440 Hz) ist. i ist die Halbtonschritt-Entfernung zu dem gewählten Ton mit der Frequenz f0.
Eine solche mathematische Folge nennt man geometrische Folge. Will man die Frequenzen über äquidistanten Tonnamen auf einer Geraden abtragen, so muss man einfachlogarithmisches Papier verwenden. Es liegt nahe, zur Beschriftung nicht den Zehner-, sondern den Zweierlogarithmus zu verwenden.

Möchte man beispielsweise die Frequenz des Tones g' bestimmen, so zählt man seine Halbtonschritt-Entfernung vom Kammerton a' ab (i = minus 2, da man nach unten zählt), und setzt die Werte in die Gleichung ein:

für den Ton g'' erhält man entsprechend einen Halbtonabstand zu f0 von i = 10:

Wie man sieht, besitzt g'' die doppelte Frequenz wie g'. Die Oktavenreinheit bleibt also gewahrt, wogegen alle anderen Intervalle geringfügig unrein sind.

Frequenzen und Centwerte

Beim Vergleich von Intervallen verwendet man die Einheit Cent. Dabei gilt: 1 Oktave = 1200 Cent.

Vergleich der Frequenzen der gleichstufigen Stimmung und der reinen Stimmung.

Sonderformen
Die Einteilung der Oktave in zwölf Töne mit gleichem Frequenzverhältnis zu ihren Nachbartönen ist zwar in abendländischen Systemen heute die gebräuchlichste, aber nicht die einzige Möglichkeit, um sich reinen Intervallen anzunähern. Mit mehr Tönen pro Oktave lassen sich bessere Näherungen erreichen. Gleichstufige Einteilungen, die tatsächlich Verwendung gefunden haben, sind z. B.:

 neunzehnstufiges Tonsystem
 einunddreißigstufiges Tonsystem von 1606
 Teilung der Oktave in 53 Stufen
 Vierteltonsystem, z. B. ein 24-stufiges Tonsystem bei Ali-Naghi Vaziri

In der Neuen Musik des 20. und 21. Jahrhunderts wurde und wird mit zahlreichen gleichstufigen (und anderen) Tonsystemen experimentiert, wobei die Oktave etwa in 17, 19, 31, 53, 72 gleiche Schritte unterteilt wird.

Gelegentlich werden auch andere Intervalle als die Oktave unterteilt. So entwickelte z. B. Karlheinz Stockhausen für seine elektronische Studie II von 1952 ein Tonsystem, das eine Pentave (Intervall mit dem Frequenzverhältnis 5/1) in 25 gleiche Stufen einteilt. Da die Stufenabstände geringfügig größer sind als der traditionelle temperierte Halbton, entsteht ein Tonsystem, das zur Erzeugung (unharmonischer) Tongemische geeignet ist.

Siehe auch
 Reine Stimmung Dort Hörbeispiele: Vergleich reine Stimmung und gleichstufige Stimmung
 Cent (Musik) Weitere Tabellen im Abschnitt Die Verwendung von Cent in der Musiktheorie
 Frequenzen der gleichstufigen Stimmung
 Quintenzirkel

Literatur
 Mark Lindley: Stimmung und Temperatur. In: Frieder Zaminer (Hrsg.): Geschichte der Musiktheorie, Band 6: Hören Messen und Rechnen in der frühen Neuzeit. Darmstadt 1987, S. 109–332
 Ross W. Duffin: How Equal Temperament Ruined Harmony (And Why You should Care). W. W. Norton & Company, New York / London 2007 (Auszug)
 Andreas Werckmeister: Musicalische Paradoxal-Discourse. Calvisius, Quedlinburg 1707, digitale-sammlungen.de

Weblinks
 Umrechnung der Intervalle: Frequenzverhältnis nach Cent und umgekehrt
 18th Century Quotes on J.S. Bach's Temperament

Einzelnachweise und Anmerkungen

Stimmung (Musik)

redpajama_set_name: RedPajamaWikipedia


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SRAS Challenge Grants are "stackable" - apply for as many as four at a time. The awards and challenges can be combined to boost your funding as far as you can.
Apply for your SRAS study abroad program first, then apply for one or more grants.
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Application Materials: Submit a video of up to one minute telling us why you want to participate in your program. Note that the application system does not currently allow videos to be directly uploaded. Please use YouTube or another hosting service to upload your video, then cut and paste the url to access the video to a word document and submit that. You will also submit a writing sample. We prefer writing of relevance to the geographic area you will be traveling to or the subjects you most wish to write on. However, any examples that you feel best showcases your skills in research and analysis will be accepted. Lastly, you will also upload your resume.
II. Applicable to any SRAS program six weeks in duration or longer:
Braver Bloggers
The Challenge: Write from abroad!
Write about your experiences abroad or your favorite modern elements of popular culture for SRASstudents or PopKult.
The Award: Up to $500
Each published entry is awarded a $30 stipend, with an additional $50 for the 15th entry (totaling $500 for the 15). You will write articles on popular culture, experiences and travel, meeting locals, planning budgets, navigating daily life, and/or maintaining and challenging your identity while abroad.
Additional Application Materials:
Do you have a favorite interest group, church, museum, historical attraction, or public place to stroll or spend time - either at home or someplace you've been abroad? Tell us about it in a written review .5 - 1 page long or in a video of up to one minute. Make sure to mention, wherever applicable: price, ambiance, and any cultural aspects of the experience. Bonus points if this is somewhere where you can learn about the locality and/or meet locals. You'll upload this as part of your application with your resume.
Service Bonus: Combine this award with an internship at a non-profit organization and all payments are increased by 50% (for up to $750).
When will decisions be made? All applications are considered after the related program deadline has passed.
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Write about your experiences abroad or your favorite modern elements of popular culture for SRASstudents or PopKult. In addition, write well-researched articles for Folkways, GeoHistory, or MuseumStudiesAbroad about art, modern culture, traditional culture, literature, language, politics, history, and/or political economy. Some topics will be assigned, others will be proposed by the Challenge Writer and discussed with SRAS staff.
Each published entry is awarded at least a $30 stipend. Entries which require additional research and writing length will be counted as 1.5 to up to 4 published entries. Article expectations and award weight will be dicussed as topics are discussed and approved. An additional $50 is awarded to writers who publish the equivelent of 15 entries (totaling $500 for the 15).
You will submit two examples of your academic writing. We prefer piece of relevance to the geographic area you will be traveling to or the subjects you most wish to write on. However, any examples that you feel best showcases your skills in research and analysis will be accepted. You will also upload your resume.
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$2500 applied to final session/semester. Sign up for any three SRAS programs in different locations. Only one of the locations may be Moscow or St. Petersburg. A $1000 bonus is added if the three programs will bring you to at least four different countries.
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The discount is applied toward payment for the second program.
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The Challenge: Receive a Boren, FLAS, or Gilman Scholarship or study abroad after or while in the military, after completing a government internship, teaching a full class (either as a state certified teacher, graduate assistant, or professor), return abroad as an SRAS alum, or be an honors student at your home university.
The Award: Actual awards vary by the specific program, location, and length of program you choose, but average awards are: $300 for any standard SRAS program lasting six weeks or longer, $500 for any program of three months or longer, and $750 for academic year programs.
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The Challenge: For upperclassmen, graduate, and post-graduate students looking to combine their time abroad with serious research.
The Award: $1000, good for one year after the award is announced. You will submit a mid-semester research evaluation describing what has been accomplished, what problems have been encountered, and what the recipient is doing to overcome those issues. This report may be in the form of an informal email. The research must conclude in a relevant research paper not less than 15 pages in length. This paper should be submitted to SRAS no less than 45 days after the end of the research abroad period. This paper may be published on one of the SRAS Family of Sites.
Application Materials:
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Two writing samples of more than 10 pages (preferably related either topically or geographically to your research).
Program F.A.Q.
What are the deadlines? The deadline for the grant application is the same as the deadline for the corresponding academic program the student intends to apply the grant to. So, if the student is applying to an academic program with Oct 15 listed the application deadline, applications for the grant should be in by Oct 15.
What if I am not currently a student anywhere? Not a problem. For more on eligibility issues, please see our main FAQ page.
Can I really apply for multiple awards? Yes. The only SRAS award that cannot be combined with another award is the award associated with Home and Abroad Scholars, a program that offers $5,000-$10,000 for a semester or academic year abroad.
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Several of these options are called "Braver." Why? These grants are dedicated in memory of Charles Braver, an educator who worked for many years to promote and practice cross-cultural teaching, learning, and geographical and intellectual exploration.
Who Was Charles Braver?
Charles Braver first studied with SRAS in 2000 on a summer language program at Moscow State University. He returned again in 2003, 2004, and 2005. Seemingly, Charles could not get enough of Russia – and especially the people he befriended there. He took full advantage of every day – heading out to explore as soon as classes ended. The height of his exploration of Russia was in 2005 when he undertook the great "Trans-Siberian adventure." Little did we at SRAS know that there was a reason our active and happy Charles was so focused on making the most of each day. Charles passed away in November 2006 after a long and fierce battle against melanoma. Those of us who had the privilege of interacting with Charles will always remember him as a wonderful person whose learning and passion ended too soon.
When not in Russia, Charles was a master teacher for nine years in the CUNY Language Immersion Program (CLIP) at the New York City College of Technology. A brilliant educator, Charles was dedicated to teaching and learning. He created an amazing body of project-based courses in diverse content areas such as world and local history, civics, journalism, literature and cultural studies, and national and world geography, among others. Charles brought out the very best in his students through his exceptional communication skills, knowledge of the world and of linguistics, dedication to the highest standards, technological know-how, life experience, creativity, generosity, caring, humor, humility, and more. He was a consummate educator who knew the art and science of teaching, and did it all with élan.
If the world had more students with Charles' curiosity, more educators with Charles' energy and wide knowledge base, and more diplomats with Charles' tact, charisma, and open understanding, the world would be a far, far better place. This grant hopes to help provide the world with more people like Charles.
- What Friends Say about Charles -
"Charles and I met at Moscow State University in 2000. We were both studying Russian at the university. He was living on campus for the experience, before moving in with a host family. Charles was like that, he always wanted to test and savor the experience. We ended up spending a lot of time together getting to know each [other] and Moscow. We explored Gorky Park, Tretyakov museum, the Pushkin, and discovered a small Georgian restaurant tucked away near the Park Kultury metro stop that was to become our favorite. We bartered at Izmailovsky, sat on the Kremlin steps watching the honor guards of the 'Great Patriotic War' change on the hour. We always agreed to meet on certain platforms- "you get in the last car, I'll be in the first car-we'll meet at Beloruskaya-a practice that continued though our friendship once we returned home. We spent a lot of time eating pelmeni and vareniki in Brighton Beach, buying Russian music, books and newspapers, trying to barter with and squeezing through the babushki at the international Russian food market. Charles was great with people. He would walk up to anyone on the street and start asking questions in a manner that would invite not only an answer, but quite possibly an invitation to dinner. I admired that in him-his love for people, their lives and his love for knowledge. He cared for people, reached out to them and they returned his affection."
- Rusty Brockman, fellow SRAS student
"In summer of 2005 I had the great pleasure to travel with Charles across Russia on the Trans-Siberian Railroad.
"Although the disease that would ultimately take his life had already made itself known, it was remarkable how Charles dealt with it. Other than having to make certain that we had access to a refrigerator so he could keep his interferon fresh and an occasional afternoon nap (to which I never objected) you would not have known that anything was amiss. His enthusiasm and excitement never waned.
"Of all the qualities Charles possessed, the one that most touched me was his passion. His passion for languages, for new cultures, for people, for his students and for his family was always evident.
"Charles loved interacting with people and people loved interacting with him. This was not only true here at home but also in the middle of Siberia. When our train stopped for 10 minutes or so in some little town in the middle of nowhere Charles would disembark not only to buy fruit and cheese for the remainder of the trip but to talk to the women and men selling the food. For Charles needed not only the nourishment the food would provide but the nourishment he received in his conversations with and questioning of the ladies who baked the bread and the men who harvested the fruit. And when he made contact with them -in that moment- I believe they got the inkling that this lanky American who spoke excellent Russian was a very special person. A very special person and a very special friend."
- Ted Bajo, Personal Friend
"I first met Charles at Lomonosov Moscow State University while I was working there for the International Students' Office. Since then we became friends sharing our ideas on a great variety of subjects including the one-dimension-ness of some people and the main features of the "Russian soul," which very few foreigners can identify. Charles was the one who could! He loved Russia and its people, spent much time learning and traveling there, and always wanted to meet new people to learn more.
"Charles' attitude towards life in general and Russia in particular struck me the most when he decided to take the Trans-Siberian railroad journey after being diagnosed with cancer. Very few people, I believe, would not give up in a situation like this. I must admit that he set an example for me."
- Natalia Rostova, SRAS Consultant
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