Nature And Scope Of Romanticism In Music Music Essay

Nature And Scope Of Romanticism In Music Music Essay Essay topic: Critically compare the main ideas regarding the nature and scope of Romanticism in music as set forth by Warrack, Samon, Burkholder and Whittall. Then, choosing any three major pieces of 19th century instrumental music critically compare their structure and style in some detail in light of the ideas you have gathered about Romanticism and its influence on musical composition in the 19th century. To set your suitable context, you should also carefully consider the extent to which the formal, tonal, stylistic and aesthetic aspects of the works chosen for study show their indebtedness to the spirit and forms of the preceding Classical period and the ways in which they may comprise a continuation, or a significant modification or even a repudiation of these. The Romantic period took its name from the ancient lingua romana of France. In the 18th century, scholars use the term to refer to free and imaginative (Samson, 2001). Warrack 1987, described Romantic as the period which was adventurous both in subject matter and in its invention. Unlike Classical, the Romantic represents a period of a domination of instinct over reason, of imagination over form, of heart over head. Whittall described in her article that Romantic does not move away completely from classical music, but it give more emphasise of element already present in classicism. Romantic composers tried to make music speak programmatically.There were many features of Romanticism that were distinct from the classical period, however many of them are derived from the Classical root. The most important of the many deriving from the key figure of Rousseau, was a new preoccupation with nature (Warrack 1987). Romanticism also saw an increased focus on melodies and themes. Orchestra was expanded and each instrument had its own role. The emphasis on melody found expression in extensive use of cycle form. New attention was also given to national identity. The Classical era was also one which was highly productive. Music became much more expressive, and the sound and quality of the instruments became more refined. This increasingly led to music being created which was able to evoke emotions and instill character such as none before its time. The combination of these elements has heavily influenced the subsequent development of music to the present time, from the very language of music to our increasing understanding of the link between music and emotions. In the following essay, I am going to discuses the main ideas regarding the nature and scope of Romanticism in music. Also three works of Romantic period will be compared in its formal, tonal and aesthetic aspects which show their repudiation and continuation to the sprit and forms of the preceding Classical period. Part one French Revolution The late 18th and 19th century was a time of political and economic revolution Napoleon Bonaparte became the leader of the Republic in 1799 and conquered most of Europe. Although the Revolution failed, its idea, which included the freedom, reform and a new concept of nation, speed across Europe (Burkholder, 2010). This Revolution had a significant impact on music, the French Revolutionary government supported large choral works and opera with librettos on themes of the Revolution or concerns of the time. Nationalism Because of the struggle of Revolution, Romanticism played an essential role in the national awakening of many central European people lacking their own national states. Revival and reinterpretation of ancient myths, customs and traditions by romantic poets and painters helped to distinguish their indigenous culture from those of dominant nation. The increasing importance of nationalism as a political force in the 19th century was mirrored in music and other arts. Many composers expressed their nationalism by incorporation elements unique to their native culture, such as folk song and dances. Composers used elements of rhythm, melody and modality characteristic of their respective nation (Kamien, 2003). The nationalist music echoed peoples fears, hopes and aspirations; it was the voice of Revolution. This national flavor of Romantic music-whether Polish, Russian or German contrasts with the more universal character of Classical music. Industrial revolution During the Romantic period, there were two major events that transformed Romanticism. New technologies began to transform the economy from a rural to an urban economy based on manufacturing by machines. It made major improvements in the mechanical valves and keys that most woodwind and brass instruments depend on. The new instrument often had a bigger, fuller and better tuned sound. They were played in new ways to produce different tone color. In addition, the development of piano enabled louder dynamic and more varied tone color. At the same time, there was a rise of the middle class. Whereas composers had previously lived on the patronage of the aristocracy, romantic composers often wrote for public concerts and festivals with large audiences of paying customers. Individualism Romantic music puts unprecedented emphasis on self expression and individual equality of style. Many romantic composers created music that sounds unique and reflects their personalities. The Romantics presented boldness over the preceding ages desire for restraint. They promoted the conception of the artist as inspired creator over that of the artist as maker or technical master (Kamien, 2003). Through individualism, the composer would reveal the world in expressing himself, hence the growing importance of expression as a source of aesthetic value, overriding the claims of formal propriety and convention (Samson, 2001). In addition, the changing economy not only made individualism attractive to the newly rich, it made possible a free market in the arts in which composers could play for audience who would pay for their performances. The emphasis on emotion and expressive tone color Romanticism describes the expansion of formal structures, making the piece more passionate. While classical era had strict laws of balance and restraint, the Romantic era moved away from that by allowing artistic freedom, experimentation, and creativity. Expressive, and melody become the dominate feature. The increasing use of dissonance and extended use of chromaticism, the properties of the diminished seventh facilitate modulations to many keys. Wagner and Beethoven also expanded the harmonic languages with un-used chords. In addition, there is a greater harmonic fluidity and longer melodies. The pianos were being used which improved chromatic abilities and greater projection of the instruments of the symphony orchestra (Brooklyn, 2009). The stress on individual also created greater reliance on instrumental color. While new instruments were constantly being added to the orchestra, composers also tried to get new and different sound out of the instruments already used and Berlioz was an expert in doing this. Exoticism Romanticism reached beyond the rational and classicist ideals models. It attempts to escape the confines of population growth, urban sprawl, and industrialism, and it also attempted to embrace the exotic, unfamiliar and distant in modes. Of all the emotions celebrated by the Romantics, the most popular was exoticism. Just as Romantics responded to the longing of people for a distant past, so they provided images of distant places. The distances need not be terribly great: Spain was a favourite exotic setting for French Romantics, for instance. North Africa and the Middle East provided images of Asia to Europeans. Generally anywhere south of the country where one was resided was considered more relaxed, more colourful, and more sensual (Brains, 1998). Romantic age was also a period in which Europeans travelled more than ever to examine far off lands of which they had read. Most native peoples were depicted as lazy. Many male travellers view the women of many foreign lands and described them as more sexually desirable than the women at home, and so they are depicted in fiction, drama, art and opera. At the same time, the imagination was elevated to a position as the supreme faculty of the mind. Not satisfied with the world as given, the artist meddles with reality and creates another reality. It is dynamic, uniting both reason and feeling. The emphasis on the activity of the imagination was accompanied by greater emphasis on the importance of intuition and instincts. Part two Beethoven as a transitional figure Ludwig Van Beethoven was considered the greatest artist of all time. He was aware of Enlightenment ideals; absorbed the music of Haydn and Mozart and absorbed the French Revolution (Burkholder, 2009). His style opened new realms of musical expression and profoundly influenced composers throughout the 19th century. For Beethoven, music was not just entertainment, but a moral force capable of creating a vision of higher ideals. His music reflects his powerful, tortured personality. More than his predecessors, Beethoven tried to unify the contrasting movements of a symphony, sonata, or string quartets. Musical continuity is heightened in his works in several ways. Sometimes one movement leads directly into the next, instead of ending with a pause, as was traditional. A musical bond between different movements of the same work is also created when their themes resemble each other. In his compositions such as the Ninth Symphony, a theme from one movement is quoted in a later movement (Kamien, 2004). Piano Sonata in C minor, Op.13 Beethovens thirty-two sonata are far more difficult than the sonata of Haydn and Mozart. They exploit the stronger, tonally improved piano of Beethovens time. One of his most famous sonatas is the Pathtique. It was written in 1798 when the composer was twenty-seven. The title Pathtique suggests a tragically passionate character in this sonata. Beethovens masterful improvisational powers are mirrored in the sonatas extreme dynamic contrasts, explosive accents, and crashing chords. At the early age of twenty seven, during his early period, Beethoven had already created a powerful and original piano style that foreshadowed 19th century Romanticism. First Movement The first movement of the Pathtique is in the Classical sonata form, but the material is quite different form that of a traditional sonata forms. It begins with a slow introduction common in symphonies. The dotted rhythm evokes the style of the French overture. In this movement, the tragic mood is intensified by dissonant chords, sudden contrast of dynamics and register, and paused filled with expectancy. The slow introduction is integrated into allegro that followed it in imaginative and dramatic ways (Kamien, 2004). Second movement and third movement The second movement is in rondo form. One of the interesting features of the adagio is its range in texture. After having a thick four voice texture in the principal themes, Beethoven temporarily reduces the texture to one voice near the closing B section. The last movement, in C minor, is a rapid and energetic rondo. This piano sonata is dramatic and intriguing. Beethoven drew many new effects from the piano; in addition, he experimented with compositional techniques that he would later expand in the symphonies and string quartets. The name perfectly catches the pieces character full of rhetorical gestures. Hector Berlioz Another important genre of the Romantic period is program music- instrumental music associated with a story, poem, idea or scene. Programmatic orchestral works such as Berliozs Fantastic Symphony depict the emotions, characters, and events of particular story or the sounds and motions of nature (Kamien, 2004). The French Romantic composer Hector Berlioz is known for his symphonies fantastique. This symphony tells the story of an artist gifted with a lively imagination who has poisoned himself with opium in the depths of despair because of hopeless love (Oxford, 2002). He composed this work in 1830 which was his first major work, although there were few of the musical ideas derived from some of his earlier composition but the countless aspect of this score are representative of Berliozs individual musical style. Among them are his rhythmically flexible, characteristically long spun melody of which the ides fixe is a prime example, contrasting harmonies, use of dynamics and instruments (Boston, 2006). First movement The first movement is daydream-passions. The melancholy, passion and fury and jealousy form the subject of the first movement. The form is similar to sonata form of the Classical composition. Through the movement, there is simplicity of presentation of the melody and themes. The most important element in the first movement is the idà ©e fixes. As talked previous, Beethoven had found remarkable ways of unifying large multi movement works, especially in his Ninth Symphony, by recycling motives. Such cyclism had a profound impact on romantic composer. One strategy Berlioz used to unify the symphonies fantastique is to have a melody, which he calls an idà ©e fixe, appear in each of the five movements. The idà ©e fixe were used to represent his beloved. This recurrence of the same theme in every movement of symphony was striking novelty in Berliozs day (Oxford, 2002). Second movement The second movement was titled A Ball. It has a mysterious sounding introduction that creates an atmosphere of excitement followed by harps dominated passage. The harp may symbolize the object of affection; provide the glamour and sensual richness of the ball being represented. The use of instruments to symbolize certain things is a special Romantic feature that was not used in classical period. Third movement In the third movement, Berlioz evokes a mood of loneliness in the midst of nature: a solo English horn is encoded by an oboe an octave higher. No previous symphonic movement had ever begun with a duet between these two instruments (Kamien, 2004). He saves the heaviest orchestration for the last two movements where he depicts the fantastic and diabolical. Though the supernatural had long been dealt with in opera, this is its first expression in an important symphony. Fourth and fifth movement In the fourth movement, Berlioz creates a menacing atmosphere with the opening orchestral sound, a unique combination of muted French horns and brass playing pizzicato chords. In the last movement, the high muted strings and basses begin a succession of fragmentary ideas in contrasting tone color, register and dynamic (Kamien, 2004). From his work, we can see that Berlioz is no doubt the creator of new orchestral sound. He still maintained the form used in classical period, however he also understood the role of timbre and he made the musics importance not just in melody and rhythm but in sound. The weird, never heard before sound and the asymmetrical rhythm made this amazing work a truly romantic manifesto. Brahms and his work Another important composer in the romantic period is Johannes Brahms. He was a master of creating piece of all the traditional form. One of his most famous works is Symphony No.4 in E minor, Op.98. The first movement of this work is in Classical sonata form and is dominated by this expansive opening them. The second movement has an airs of a requiem, it opens with a melancholic sort of fanfare. The rapid third movement is a scherzo in sonata form. This movement is joyful and stomping, which resembled dancing tunes which was famous in Brahmss life time (Kamien, 2004). The fourth movement is the climax of the symphony. It is a type of theme and variation related to the Baroque ground bass form. His use of Baroques variation form is unique in the Romantic symphonic and reflects his strong attachment to the musical past (Burkholder, 2009). Conclusion The Romantic was an important period of transformation into 20th century. The Industrial revolution, individualism, the emphasis on emotion and expressive tone color has all influenced composers in later centuries. In addition, they no longer view themselves as artists writing music to suit their patrons, as earlier composers saw themselves, but as artists expressing their own ideas and feelings (Burkholder, 2009). Romantic is truly an era of greatness.

Allelopathy

Allelopathic potential of crop residues for weed management in wheat under semi-arid conditions of Pakistan Muhammad Ashraf Professor of Agronomy, PMAS-Arid Agriculture University, Rawalpindi, Pakistan. [email  protected] com RATIONALE †¢ Rainfed Wheat- Main winter crop grown by about 80% of the farmers on residual soil moisture, received during monsoon1. †¢ Weeds infestation- a major yield reducing factor (25-30%v); †¢ If weeds are controlled, crop yield can be enhanced by about 37%2. 1 Khaliq et al. , 2007) 2 (Bibi et al. , 2005). Cont†¦..Existing Weed Control systems: †¢ Traditional weed control methods (Hand weeding) are time consuming, weather dependent and labor intensive1 ; + Socio-economic issues:[small land holdings, family size =8, poverty, migration to cities] †¢ Herbicides use is limited in drylands + these are expensive with Environmental hazards2; Reduced Nutritive value of many crops 3 and Herbicide resistance4. 1 (Naveed et al. , 2008) 2 (Mancini et al. , 2008) 3 (Nazarko et al. , 2003). Cont†¦.. †¢ WM programs should focus on environmental safety along with benefits to the farmers. Alternate weed management systems need to be developed aimed to control weeds and raise the income of resource-poor farmers (increased crop yields) without despoiling the natural resource base. ALTERNATE WEED MANAGEMENT OPTIONS †¢ Allelopathy ? a mechanism of plant interference1 is a natural, inexpensive, environmentally safe and an organic approach to control weeds and increase crop yields while conserving the ecosystem2. †¢ Sorghum is highly allelopathic3 †¢ Sorghum residue may be effectively used to manage some of the important weeds in rainfed wheat without affecting crop in semi-arid environment4. (Weston, 2005) 2 (Inderjit and Duke, 2003) 1 (Weston and Duke, 2003) 2 (Inderjit and Duke, 2003) Cont†¦.. †¢ Water Extracts of different plant parts have different allelopathic potential 1. †¢ Sunf lower – possessed weed suppression ability 2 . †¢ The combination of two or more allelopathic aqueous extracts may act synergistically and cause more phyto-toxic effect on weeds 3. †¢ Mixing and applying sunflower and sorghum residue water extract (WE) may increase the spectrum of phytotoxic effects and may result in synergistic phytotoxic influences on weeds growth. 1 (Ben-Hammouda, et al. 001; Chung, et al. , 2003; Roth et al. , 2000) 2 (Bertholdsson, 2004; Singh et al. , 2001 ) 3 (Duke et al. , 2000; Cheema et al. , 2010) Cont†¦.. OBJECTIVES OF RESEARCH Overall objective: Evaluate the use of allelopathic crop residue collected from summer crop plants grown under drought and mineral stress conditions for weed management in wheat in semi-arid areas of Pakistan: Specific Objectives: †¢ Test water extracts (WE)of different plant parts of sorghum residue for weeds suppression in wheat. †¢ Evaluate the effects of sorghum residue mulch and sorghum WE for weed management in wheat. Investigate the influence of sole and combined sorghum and sunflower WE spray on weeds in wheat. EXPERIMENTAL DETAILS †¢ Location: Three experiments were conducted at University Research Farm, PMAS-Arid Agriculture University, Rawalpindi, Pakistan (33o 46 N, 73o 08 E). / / †¢ ~500 m above the sea level †¢ Experimental years: successive Rabi (winter) seasons from 2007-2010. Cont†¦.. †¢ Environmental Characterization: Climate Rainfall and ET o 200 160 Rainfall and ET0 (mm) 160 143 120 ETo 80 40 0 Oct Nov Dec Jan Feb Mar Apr Rain 140 121 Mean Monthly Rainfall (mm) 20 100 80 67 60 40 26 57 56 Sever Stress Period 27 21 7 15 39 43 20 0 Month Rainfall Distribution (1977-11) Source: Soil and water conservation Research Institute, Chakwal, Pakistan Growing Season Rainfall Period Monthly rain (mm) Oct Nov Dec Jan Feb March April Total 2006-07 2007-08 2008-09 2009-10 Long-term Av. (1977-07) 0 42 30 0 166 147 14 20 7 15 27 39 56 43 Soil charact eristics †¢ Rawal soil series (Inceptisol-silty-clay-loam, Typic Ustochrept USDA classification and Calcaric Cambisols FAO classification scheme) with †¢ Organic matter 0. 5%. †¢ pH 7. 40 †¢ Ece 3 dSm-1 Cont†¦.. Weed Flora †¢ Anagallis arvensis L. (Blue pimfernal), †¢ Chenopodium album L. (Lambs quarter), †¢ Fumaria indica L. (Fumitory), †¢ Medicago polymorpha L. (Bur clover) †¢ Avena fatua L. (Wild oat), †¢ Convolvulus arvensis L. (Field bindweed), †¢ Medicago denticulata L. (Denticulate Medick), †¢ Rumex dentatus L. (Toothed dock) and †¢ Melilotus indica L. (Sweet clover) The experimental area was free of noxious and perennial weed species. Treatments (Exp-1) †¢ Control (Un-weeded check) WE: Water extract Hand weeding at 60 days after sowing (DAS) †¢ Herbicide (Logron) @ 250 g ha-1 at 60 DAS †¢ Sorghum root WE spray @ 10 L ha-1 at 60 and 80 DAS †¢ Sorghum stem WE spray @ 10 L ha-1 at 60 and 8 0 DAS †¢ Sorghum leaf WE spray @ 10 L ha-1 at 60 and 80 DAS †¢ Sorghum stem + root WE @ 5+5 L ha-1 at 60 and 80 DAS †¢ Sorghum stem + leaf WE @ 5+5 L ha-1 at 60 and 80 DAS †¢ Sorghum root + leaf WE @ 5+5 L ha-1 at 60 and 80 DAS Treatments (Exp-2) WE: Water extract †¢ Control (Un-weeded check) †¢ Hand weeding at 50 and 80 DAS †¢ Sorghum mulch @ 5 Mg ha-1 (Soil incorporated) †¢ Sorghum mulch @ 10 Mg ha-1 Soil incorporated) †¢ Sorghum WE @ 10 L ha-1 at 50 DAS. †¢ Sorghum WE @ 10 L ha-1 at 50 and 80 DAS. †¢ Sorghum WE @ 20 L ha-1 at 50 DAS. †¢ Sorghum WE @ 20 L ha-1 at 50 and 80 DAS Treatments (Exp-3) †¢ Control (Un-weeded check) WE: Water extract †¢ Sunflower WE @ 20 L ha-1 at 50 DAS †¢ Sorghum WE @ 20 L ha-1 at 50 DAS †¢ Sunflower WE + sorghum WE @ 10 +10 L ha-1 at 50 DAS †¢ Sunflower WE @ 20 L ha-1 at 50 and 80 DAS †¢ Sorghum WE @ 20 L ha-1 at 50 and 80 DAS †¢ Sunflower WE + sorghum WE @ 10 + 10 L ha-1 at 50 and 80 DASResearch Methodology: Preparation of water extract †¢ Sunflower and sorghum plants were harvested at maturity, grains were separated and residue was sundried and chaffed with fodder cutter into 2 cm pieces. †¢ Chaffed residue was soaked in de-ionized water in 1:10 (1 kg each of herbage in 10 L of water) in separate containers for 24 h at room temperature to prepare water extract (WE) . †¢ WE from respective containers were obtained by filtering the mixture through a screen. The volume of respective filtrate was reduced twenty times by continuously boiling at 100 0C to prepare water extract (Cheema and Khaliq, 2000). Sowing and cultural practices †¢ Seedbed was prepared by giving four cultivations each followed by planking. †¢ Fertilizer @ 125- kg N and P2O5 ha-1 was applied at the time of seedbed preparation. †¢ Wheat cv. ‘Inqilab-91’ was seeded @125 kg ha-1 was during November with a single row hand drill in ro ws 30 cm apart. Layout design: RCBD with 4R; Eight rows 30 cm apart per treatment were maintained in plot size of 7. 0 x 2. 4 m. †¢ The wheat variety, sowing time, layout plan and other cultural practices were almost same for every year. Measures: Weeds †¢ Weed density †¢ Weed dry weight (biomass) Wheat †¢ Spike length (cm), †¢ Spikelets spike-1 †¢ Grains spike-1 †¢ Fertile tillers m-2 †¢ 1000-grain weight. Statistical analysis The data were subjected to analysis of variance technique. F-statistic was based on residual mean square error.The LSD at 5% level of probability was used for comparison of treatment means (Montgomery, 2001). RESULTS & DISCUSSION Experiment # 1 Phyto-toxic effects of root, stem and leaf water extract of mature sorghum on Weeds density & Dry weight Treatments Control (Un-weeded check) Hand weeding at 60 DAS Exp-1 Weed density ( m-2) 80 DAS 105 DAS Weeds dry weight (g m-2) 80 DAS 105 DAS 147 a 79 d (-46*) 132 a 78 f (-41) 36. 7 g (-72) 102 c (-22) 112 b (-15) 113 b (-14 88 e (-33) 94 de (-29) 102 cd (-23) 8. 52 2 a 12 e (-45) 5. 5 f (-75) 18 cd (-16) 20 b (-8) 20 b (-8) 17 d (-22) 17 cd (-20) 19 bc (-14) 1. 54 27 a 17 e (-38) 8. 77 f (-67) 21 c (-21) 24 b (-11) 23 b (-14) 18 e (-34) 20 d (-27) 27 c (-20) 1. 57 Herbicide (Logron) @ 250 g ha-1 34 e (-77) at 60 DAS Sorghum root WE spray @ 10 L 117 c (-21) ha-1 at 60 and 80 DAS Sorghum stem WE spray @ 10 L 129 b (-12) ha-1 at 60 and 80 DAS Sorghum leaf WE spray @ 10 L 127 b (-14) ha-1 at 60 and 80 DAS Sorghum stem + root [email  protected] 5+5 L 113 c (-23) ha-1 at 60 and 80DAS Sorghum stem + leaf [email  protected] 5+5 L 111 c (-24) ha-1 at 60 and 80 DAS Sorghum root + leaf WE @ 5+ 5 121 bc (-18) L ha-1 60 and 80 DAS LSD (0. 05) 10. 41 * Figures in parenthesis show % decrease in weed density/dry weight compared to control. Effect of root, stem and leaf water extract of mature sorghum on yield components and wheat grain yield Treatments Control (Un- weeded check) Tillers (m-2) Spike length (cm) Spikelet # spike-1 Grains # 1000-Grain spike-1 weight (g) Exp-1Grain yield (T ha-1) 345e Hand weeding at 60 DAS 396b Herbicide (Logron) @ 250 g 427a ha-1 at 60 DAS Sorghum root WE spray @ 10 L ha-1 at 60 and 80 DAS Sorghum stem WE spray @ 10 L ha-1 at 60 and 80 DAS Sorghum leaf WE spray @ 10 L ha-1 at 60 and 80 DAS Sorghum stem + root [email  protected] 5+5 L ha-1 at 60 and 80 DAS Sorghum stem + leaf [email  protected] 5+5 L ha-1 at 60 and 80 DAS Sorghum root + leaf WE @ 5+ 5 L ha-1 60 and 80 DAS LSD (0. 05) 9. 0e 10. 3abcd 11. 2a 10. 0bcde 9. 5de 9. 8cde 10. 9 ab 10. abc 10. 7 abc 1. 03 20. 7 21. 0 20. 9 21. 1 20. 5 21. 1 20. 2 21. 0 20. 2 – 41. 7c 47. 3ab 49. 4a 48. 8ab 47. 3ab 46. 1b 49. 0ab 48. 0ab 48. 0ab 3. 04 32. 5e 33. 7d 34. 6bc 35. 6a 33. 6d 33. 1de 36. 0a 33. 9cd 35. 2ab 0. 90 2. 76f 3. 2bc (+18) 3. 5a (+26) 3. 1cde (+12) 3. 0de 2. 9ef (+8) (+6) 365cde 353de 349e 357de 385bc 376bcd 54. 45 3. 3ab (+20) 3. 3abc (+19) 3. 2bcd (+14) 213. 2 * Figures in parenthesis show % decrease in weed density/dry weight compared to control.FINDINGS FROM EXPERIMENT # 1: †¢ Sorghum stem + root [email  protected] 5+5 L ha-1 at 60 and 80 DAS treatment caused 33% reduction in weed density and dry weight by about; †¢ This reduction was 41% in hand weeding and 72% by the application of Logron @ 250 g ha-1 at 60 DAS †¢ The increase in grain yield in stem + root and stem + leaf WE treatments were statistically same as in hand weeding and herbicide application. Cont†¦.. Experiment # 2 RESULTS & DISCUSSIONFINDINGS FROM EXPERIMENT # 2: †¢ Data showed that incorporation of sorghum herbage mulch @ 10 Mg ha-1 and twotimes sprays of Sorghum water extract @ 20 L ha-1 at 50 and 80 DAS decreased weeds density by about 42%, and weeds dry weight by 34%, respectively compared to control measured at 95DAS. †¢ Maximum increase (33%) in wheat grain yield was recorded in plots where two times Sorghum WE @ 20 L ha-1 was sprayed at 50 and 80 DAS over control. Cont†¦.. Experiment # 3 RESULTS & DISCUSSIONFINDING FROM EXPERIMENT # 3: †¢ Sorghum water extract was more effective than sunflower water extract and combination of both these extracts performed better than their sole application. Cont†¦.. CONCLUSION I. Stem + root water extract suppressed weed density by 33% over control i. e. about half of the effects of herbicide â€Å"Logron† application (72%) in wheat. The increase in grain yield in stem + root and stem + leaf WE treatments was statistically at par with hand weeding and herbicide application.Although root WE alone and in combination with stem or leaf WE was more effective in suppressing weeds and improving wheat yields but using whole plant sorghum herbage seems more practicable. II. Incorporation of sorghum herbage mulch @ 10 Mg ha-1 and two times sprays of sorghum WE @ 20 L ha-1 at 50 and 80 DAS decreased weeds density by about 42%, and weeds dry weig ht by 34%, respectively compared to control measured at 95 DAS. Maximum increase in wheat grain yield by 33% over control was recorded in plots where two times sorghum WE @ 20 L ha-1 was sprayed at 50 and 80 DAS.III. Sorghum WE was more effective than sunflower WE and mixture of sorghum and sunflower reduced weed density and weed dry weight by 27% and 26% over control respectively, and increased wheat yields by 48% over control. RECOMMENDATION †¢ The mixture of preceding allelopathic crop herbage use as mulch or water extract for weed management both for summer and winter crops need to be further investigated under different ecological zones of Pakistan. Muhammad Ashraf Professor of Agronomy [email  protected] com

Police Essay

Some more Information about the investigation to date: The Australian Crime Commission and the Crime and Misconduct Commission (SLD) had been kept In the loop by the QPS since the early stages of this Investigation, because of their interest in illicit firearm sales and organized crime. Upon learning of Crag's arrest, the AC expressed an interest in interviewing him about his knowledge of and connections to a high-profile outlaw motorcycle gang operating on the coast. Craig:Craig was arrested by QPS officers at his home. He made It clear that he intended to exercise his right to remain silent, so no QPS interview took place. However, as the investigation falls within the ambit of the Sac's Highest Risk Criminal Targets Special Investigation, an AC examiner has available special powers that can compel Craig to attend and give evidence at an AC hearing. The AC decides that this Is an appropriate way to proceed at this stage. Answer the following questions 1. Can Craig refuse to attend the hearing? What would happen if he did?Provide 2 thoughtful arguments why you think the establishment of ‘new investigators' such as the AC or CM is necessary and/or appropriate. 4. Provide 2 thoughtful arguments why you think the establishment of ‘new Investigators' such as the AC or CM Is not necessary and/or appropriate. Police Essay By Soapstone Some more information about the investigation to date: had been kept in the loop by the QPS since the early stages of this investigation, because of their interest in illicit firearm sales and organized crime.Upon learning of Craig arrest, the AC expressed an interest in interviewing him about his knowledge Craig was arrested by QPS officers at his home. He made it clear that he intended to attend and give evidence at an AC hearing. The AC decides that this is an Craig attends the hearing and provides the examiner with useful information to continue the investigation into the outlaw motorcycle gang, although not sufficient investigators' such as the AC or CM is not necessary and/or appropriate.

Direct Question Definition and Examples in English

A sentence that asks a question and ends with a question mark, such as Who are you? and Why are you here? Contrast with indirect question. A direct question, says Thomas S. Kane, is always marked by one or some combination of three signals: a rising intonation of the voice, an auxiliary verb inverted to a position before the subject, or an interrogative pronoun or adverb (who, what, why, when, how, and so on) (The New Oxford Guide to Writing, 1988). Examples and Observations Then our mother came inAnd she said to us two,Did you have any fun?Tell me. What did you do?(Dr. Seuss, The Cat in the Hat. Random House, 1957)Wheres Papa going with that ax? said Fern to her mother as they were setting the table for breakfast.(E.B. White, Charlottes Web. Harper, 1952)Whats in the box?(Brad Pitt as Detective David Mills in Seven, 1995)Whos on first?(Lou Costello addressing Bud Abbot in a famous comedy routine)Open your eyes, and look within.Are you satisfied with the life youre living?(Bob Marley, Exodus. Exodus, 1977)Didnt Frankenstein get married?Did he? said Eggy. I dont know. I never met him. Harrow man, I expect.(P.G. Wodehouse, Laughing Gas, 1936)When I was crossing the border into Canada, they asked if I had any firearms with me. I said, Well, what do you need?(Comedian Steven Wright)Would you tell me, please, which way I ought to go from here?(Lewis Carroll,Alices Adventures in Wonderland, 1865)Mother of mercy, is this the end of Rico?(Edward G. Robinson as C aesar Enrico Bandello in Little Caesar, 1931)Are you a good witch or a bad witch?(Billie Burke as Glinda, the Good Witch of the North, addressing Dorothy in The Wizard of Oz, 1939)What you doing sitting here by yourself, Marguerite? She didnt accuse, she asked for information. I said that I was watching the sky.(Maya Angelou, I Know Why the Caged Bird Sings. Random House, 1969) Three Main Types of Direct Questions Questions are sentences which seek information. They fall into three main types, depending on the kind of reply they expect, and on how they are constructed. Sentences formed in these ways are said to have an interrogative structure.​CautionA questioning tone of voice can turn a statement into a yes-no question. Such questions have the structure of a declarative sentence. The tone of voice has become particularly common, especially among young people, in recent decades. Marys outside?Youve spoken to her? (David Crystal, Rediscover Grammar. Pearson, 2003)Â   Yes-no questions allow an affirmative or negative reply, often just yes or no. The subject follows a verb (the auxiliary). Will Michael resign?Are they ready?Wh- questions allow a reply from a wide range of possibilities. They begin with a question word, such as what, why, where, or how. Where are you going?Why didnt he answer?Alternative questions require a reply which relates to the options given in the sentence. They always contain the connecting word or. Will you travel by train or by boat? The Lighter Side of Direct Questions I think of the story of a woman who was making a cross-country trip on a train. Something went wrong with the cars heating system and before long the passenger was suffering desperately from extreme cold in her upper berth. Finally, maddened with discomfort, she leaned over and spoke to the male passenger who was occupying the lower berth.Excuse me, she said, but are you as cold as I am?Im colder, he said, somethings wrong with this damn train.Well, the woman said, would you mind getting me an extra blanket?Suddenly the man got an odd look in his eye and said, You know, since were both miserably cold, let me ask you a direct question. Would you like to pretend that were married?Well, actually, the woman said, yes, I would.Good, the fellow said, then get up and get it yourself.(Steve Allen, Steve Allens Private Joke File. Three Rivers Press, 2000) Also Known As: interrogative sentence