Intervals (Ahmad Jamal album)
Intervals is an album by American jazz pianist Ahmad Jamal featuring performances recorded in 1980 and released on the 20th Century Fox label. Allmusic awarded the album 1½ stars stating "This forgettable LP features Jamal on both electric and acoustic piano, saddled by rather commercial arrangements". All compositions by Ahmad Jamal except as indicated "You're Welcome, Stop On By" – 5:51 "Jordie" – 3:52 "So In Love" – 3:40 "Reggae" – 3:48 "Boatride" – 5:17 "Excerpt from My One and Only Love" – 2:10 "The Tube" – 4:15 "Bones" – 6:23 Ahmad Jamal – piano John Heard – Bass Harvey Mason – Drums Calvin Keys – Guitar Selden Newton – Percussion
Interval is a 1973 romantic drama film starring Merle Oberon in her final performance. Oberon produced the movie, fell in love with her co-star in it, Robert Wolders, divorcing her husband to marry Wolders in 1975. Merle Oberon... Serena Moore Robert Wolders... Chris Claudio Brook... Armando Vertiz Russ Conway... Fraser Britt Leach... Leonard Peter von Zerneck... Broch Anel... Jackie List of American films of 1973 Interval on IMDb
Entr'acte means "between the acts". It can mean a pause between two parts of a stage production, synonymous to an intermission, but it more indicates a piece of music performed between acts of a theatrical production. In the case of stage musicals, the entr'acte serves as the overture of act 2. In films that were meant to be shown with an intermission, there was a specially recorded entr'acte on the soundtrack between the first and second half of the film, although this practice has died out in recent years. Entr'actes resulted from stage curtains being closed for set or costume changes: to fill time as not to halt the dramatic action, to make a transition from the mood of one act to the next, or to prevent the public from becoming restless. In front of the closed curtains, the action could be continued during these entr'actes, albeit involving only players with no scenery other than the curtain, a minimum of props. An entr'acte can take the action from one part of a large-scale drama to the next by completing the missing links.
The Spanish Sainete performed a similar function. In traditional theatre, incidental music could bridge the'closed curtain' periods: ballet and drama each have a rich tradition of such musical interludes; the literal meaning of the German word, Verwandlungsmusik refers to its original function – "change music". Entr'actes would develop into a separate genre of short theatrical realizations, that could be produced with a minimum of requisites during intermissions of other elaborate theatre pieces; these entr'actes were distinctly intended to break the action or mood with something different, such as comedy or dance. Such pieces allowed the chief players of the main piece to have a break; the idea of being an insert into a greater whole became looser: interlude sometimes has no other connotation than a "short play". When the insert was intended only to shift the mood before returning to the main action, without a change of scene being necessary, authors could revert to a "play within a play" technique, or have some accidental guests in a ballroom perform a dance, etc.
In this case the insert is a divertimento rather than an entr'acte. In the French opera tradition of the end of the 17th century and early 18th century such divertissements would become compulsory in the form of an inserted ballet passage, a tradition that continued until well into the 19th century; this was parodied by Jacques Offenbach: for example, the cancan ending Orpheus in the Underworld. By the middle of the 18th century, a divertimento had become a separate genre of light music as well; these divertimenti could be used as interludes in stage works, many of the divertimenti composed in the last half of the 18th century appears to have lost the relation to the theatre, the music in character only having to be a "diversion" in one or another way. Some more or less elaborate and/or independent entr'actes or intermezzi became famous in their own right, in some cases eclipsing the theatre productions for which they were written: La serva padrona, a two-act opera buffa by Pergolesi, was intended to break the seriousness of his opera seria Il prigioner superbo.
The intermezzo got more attention than the large-scale work to which it was added. Mozart shows his mastery in the finale of the first act of Don Giovanni, where he mixes the divertimento-like dancing with the actual singing; the characters mingle, performing light dances, while they're supposed to be chasing each other for murder and rape. The diversion and the drama become a single multi-layered item. Bizet's opera Carmen has entr'actes before acts 2, 3 and 4. A comparable'filmic' interlude was foreseen in the early 1930s by Alban Berg for his opera Lulu, between the two scenes of the central act. In this case Berg only composed the music and gave a short schematic scenario for a film, not yet realised when he died in 1935; the Lulu interlude film, in contrast to the previous example, was intended to chain the action between the first and second half of the opera. Because of the symmetrical structure of this opera, the filmic interlude of Lulu is, in a manner of speaking, the axis of the opera.
Interludes of the divertimento kind can be found in Leoš Janáček's last, sombre opera From the House of the Dead: releasing the tension after Skuratov's disheartening tale at the centre of the second act, two an "opera" and a "pantomime" within the larger opera are executed consecutively by a cast of prisoners, both presentations farcical variations on the Don Juan theme, mirroring the religious ceremony divertimento before the Skuratov tale. The first publicly performed furniture music composed by Erik Satie was premiered as entr'acte music, with this variation that it was intended as background music to the sounds the public would produce at intermission, walking around and talking; the public did not obey Satie's intention: they kept silently in their places and listened, trained by a habit of incidental music, much to the frustration of the avant-garde musicians, who tried to save their idea by inciting the public to get up, walk
Intervals (See You Next Tuesday album)
Intervals is the second and final studio album by See You Next Tuesday. It was pushed back to October 21, 2008 by Ferret; the album shows the band progressing towards an overall death metal sound, rather than metalcore. Many of the tracks are under a minute, with the exception of a ten-minute concluding song
Playing time (cricket)
Games in the sport of cricket are played over a number of hours or days, making it one of the sports with the longest playing time, though sailing, road cycling and rallying are sometimes longer. Test and first-class cricket matches are played over three to five days with, at least, six hours of cricket being played each day. List A matches last for six hours or more and twenty20 and 100-ball matches lasting just a few hours. Cricket therefore has special rules about intervals for lunch and drinks as well as rules about when play starts and ends; these rules are outlined in Laws 12 in the Laws of Cricket. The game is only played in dry weather. Additionally, as it is not unusual for balls to be bowled at over 130 km/h in first-class cricket, the game needs to be played in enough light for a batsman to be able to see the ball. Play is therefore halted when there is bad light; some one-day games and Test matches are now played under floodlights. The first day/night Test match was played between Australia and New Zealand in Adelaide, in November 2015, was deemed a success, leading to further day/night Tests being scheduled.
Day/night Test cricket is played with a pink ball as opposed to the traditional red ball to aid visibility. Apart from some experimental One Day International series in Australia's roofed Marvel Stadium, cricket is played outdoors; these requirements mean that in England, New Zealand, South Africa and Zimbabwe the game is played in the summer. In the West Indies, Pakistan, Sri Lanka and Bangladesh games are played in the winter. In these countries the hurricane and typhoon season coincides with their summers; this has another effect. Games start earlier in these places than in the countries. In these countries games start at around 09:30 rather than the 10:30 or 11:00 start time used in England, say, so that play for the day is complete before dusk, which may be as early as 17:30. A game or day starts when the umpire at the bowler's end calls'Play'.'Play' is called to restart the game after an interval or interruption. Before an interval in or interruption of play, at the end of a match, the umpire at the bowler's end calls'Time' and removes the bails from both of the wickets.
The bowling side can not make an appeal for a dismissal. The game finishes when the first of three things happens: There is a result, so that one of the teams has won or the team batting last has lost all its wickets with both teams having the same score thereby giving a tie. Notes: In one-day cricket the second of these is replaced by the requirement that the agreed number of overs has been reached; the term last hour can be a misnomer. One hour before the scheduled end of the game, the last hour starts. An agreed minimum number of overs is bowled; the last hour therefore lasts either for the longer of 60 minutes, or the time it takes to bowl the agreed minimum number of overs. This rule is there to prevent time wasting by a team that looks to lose a game. Today, Test matches are played under a set of conditions agreed by the boards of the competing countries; these are standardised. Days are scheduled as six hours of playing time, but there is a requirement that a minimum of 90 six-ball overs are bowled, the third session may run overtime if the over rate has been slower than this.
If there is a change of innings, two overs are deducted from the requirement. If there are interruptions to play due to weather or bad light, the scheduled stumps time may be extended by up to one hour to compensate. If more than an hour's play is lost, time may be added on subsequent days; because of the length of the game, there are a number of intervals. These are: The period between close of the start of the next day's play. Intervals between innings. Intervals for meals. Intervals for drinks. There are special rules setting out the duration of each interval; the interval between innings lasts for 10 minutes. In Test cricket, lunch will last for tea for 20 minutes. Before the coin toss to determine which side bats first, the hours of play, including the timing and duration of intervals for meals or any non-standard interval, are agreed. However, if nine wickets are down when the agreed time for tea is reached, tea may be delayed until the end of the innings, with a maximum delay of 30 minutes.
In a one-day game the teams may agree to take the interval for tea between innings rather than have a separate interval. The teams and umpires sometimes agree to have other intervals; this may be to allow the teams to be presented to an important visitor or to allow time for a presentation or acclamation when a player breaks a significant record. Other intervals may be varied if a wicket falls shortly before the interval is scheduled to be taken. Drinks intervals are agreed at the start of each day, but are not taken during the last hour of the match. Drinks intervals are important when the game is played in hot climates. Games being played in heat of 40 °C and above are not unknown. Drinks intervals may not last for m
Jerry Interval, was an American portrait photographer and educator. Jerry Interval was born in Pittsburgh and grew up in the Brookline neighborhood of the city; when he was 17, he moved to Dunkirk, New York to attend Holy Cross Seminary, an all-male Roman Catholic boarding school that closed in 1968. While there, he studied to be a Passionist priest for a short time and graduated with a degree in psychology before returning to Pittsburgh. In 1948, at the age of 25, he married Dora; the Intervals lived in McKees Rocks and Bellevue, before moving to the suburb of Franklin Park, where they lived for 43 years. They had seven children. Interval was Influenced by Yousuf Karsh, Alfred Stieglitz, Edward Steichen etc. in his teenage years and pursued photography as a hobby for several years before turning professional in 1968. In 1972, he earned the degree of master of photography from the Professional Photographers of America, his work is documented in The Psychological Approach to Photographic Design, his associate thesis for the ASP, in a self-published booklet described what he called crash-point symmetry, a compositional technique still used by professional photographers.
Several examples of Interval's work—including some of his noted Merry Monks portraits—are housed at the Photo Antiquities Museum of Photographic History in Pittsburgh. His work has appeared in Reader's Digest etc.. A member of Professional Photographers of America and Photographic Society of America, Interval lectured at photography conferences and was an instructor for the Winona International School of Professional Photography for about 20 years, he died on December 4, 2006, at the age of 83 due to complications from heart problems in the Pittsburgh suburb of Moon Township, Pennsylvania. Official Jerry Interval website The Psychological Approach to Photographic Design Award-winning portrait, wedding photographer, Pittsburgh Post-Gazette Obituary Professional Photographers of America American Society of Photographers Triangle Photographers Association Photographic Society of America
Recess is a general term for a period in which a group of people are temporarily dismissed from their duties. In education, recess is the scheduled time children get to experience physical and social, emotional benefits, engage with peers on playgroup equipment, monitored by teachers and staff. Many middle schools offer a recess to provide students with a sufficient opportunity to consume quick snacks, communicate with their peers, visit the restroom and various other activities. During recess, children play, learning through play has been long known as a vital aspect of childhood development; some of the earliest studies of play began in the 1890s. These studies sparked an interest in the developmental and behavioral tendencies of babies and children. Current research emphasizes recess as a place for children to “role-play essential social skills” and as an important time in the academic day that “counterbalances the sedentary life at school.” Play has been associated with the healthy development of parent-child bonds, establishing social and cognitive developmental achievements that assist them in relating with others, managing stress.
Although no formal education exists during recess and psychologists consider recess an integral portion of child development, to teach them the importance of social skills and physical education. Play is essential for children to develop not only their physical abilities, but their intellectual and moral capabilities. Via play, children can learn about the world around them; some of the known benefits of recess are that students are more on task during academic activities, have improved memory, are more focused, develop a greater number of neural connections, that it leads to more physical activity outside of the school setting. Psychomotor learning gives children clues on how the world around them works as they can physically demonstrate such skills. Children need the freedom to play to learn skills necessary to become competent adults such as coping with stress and problem solving. Through the means of caregiver's observations of children’s play, one can identify deficiencies in children’s development.
While there are many types of play children engage in that all contribute to development, it has been emphasized that free, spontaneous play—the kind that occurs on playgrounds—is the most beneficial type of play. Recess is key in the development of children. Studies have shown. During recess, children play games involving teamwork. On the playground, children use many leadership skills - they educate other children about games to play, take turns, learn to resolve conflicts while playing these games; the leadership skills promoted throughout recess are how children are able to continue to play the games. Along with developing social skills, recess helps with the development of children's brains. Recess gives the children’s brains a chance to “regroup” after a long day of class; the physical activity leads to the development of the brain. Brain research has shown a relationship between physical activity and the development of the human brain. Another study supports these findings from the brain research.
A school system that dedicated one third of their school day to nonacademic activities such as recess, physical education, etc. led to improved attitudes and fitness, improved test scores despite spending less time in the classroom. Problem solving is an integral part in child development and free play allows for children to learn to problem solve on their own. Teachers and caregivers can scaffold problem solving through modeling or assisting when a confrontation occurs. Although play should involve adults, adults or caregivers should not control the play because when adults control the play, the children can lose their creativity and group skills. Adults should let children create and follow agreed upon rules and only intervene if a serious conflict arises. Problem solving encourages children to cooperate with each other; the conflict resolution process helps children to attain a vast range of social and emotional skills such as empathy, self-awareness, self-regulation. This vast range or capabilities is referred to as "emotional intelligence" and is essential to building and maintaining relationships in adult life.
Teachers can view recess as a time to observe children's social and cognitive development skills and be able to develop different activities in the classroom that reflect the children's interests and development. Recess at its core is a social experience for children and as such, plays a significant part in the development of language. Children’s intentionality with language during recess is tied to navigating the social landscape of the playground; as early as preschool, children use language to make group decisions and establish authority or a standing in the social setting of the playground. One researcher states that children use language to “invoke play ideas as their own possessions to manage and control the unfolding play,” which engages a bidding war for group leadership; when viewing recess through a language perspective, the individual experience of the playground can vary depending on a willingness to follow other’s ideas, the development of language to modify play as it unfolds.
Depending on the weather, recess may be held indoors. Therefore should include creative activities that promote movement of moderate-to-vigorous intensity, whether in a gym or a classroom. Allowing the students to finish work, play board games or other activitie