Part II(b): Block Elements

<address> is a NIMAS-optional element.

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<p>CPO Focus on Life Science</p>

<p>First Edition</p>

<p>Copyright © 2007 Delta Education LLC, a member of the School 

    Specialty Family</p>

<p>ISBN-10: 1-58892-253-7</p>

<p>ISBN-13: 978-1-58892-253-3</p>

<p>2 3 4 5 6 7 8 9 - QWE- 11 10 09 08 07</p>

<p>All rights reserved. No part of this work may be reproduced or

   transmitted in any form or by any means, electronic or mechanical, 

   including photocopying and recording, or by any information storage 

   or retrieval system, without permission in writing. For permission 

   and other rights under this copyright, please contact:</p>

<line>CPO Science</line>

<line>80 Northwest Boulevard</line>

<line>Nashua, New Hampshire 03063</line>

<line>(866)588-6951</line>

<line>http://www.cposcience.com</line>

<p>Printed and Bound in the United States of America</p>

    

<address> is a NIMAS-optional element.

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<pagenum id="iii">iii</pagenum>

<level2>

    <h2>Series Consultants</h2>

    <list type="pl">

        <li><strong>Catherine Banker</strong>

            <list type="pl">

                <li>Curriculum Consultant</li>

                <li>Alta Loma, California</li>

            </list>

        </li>

        <li><strong>Robin C. Scarcella, Ph.D.</strong>

            <list type="pl">

                <li>Professor and Director, Program of Academic English 

                    and ESL</li>

                <li>University of California, Irvine</li>

                <li>Irvine, California</li>

            </list>

        </li>

    </list> 

</level2>

<level2>

    <h2>Series Content Reviewers</h2>

    <list type="pl">

        <li><strong>Paul Asimow, Ph.D.</strong>

            <list type="pl">

                <li>Associate Professor, Geology and Geochemistry</li>

                <li>California Institute of Technology</li>

                <li>Pasadena, California</li>

            </list>

        </li>

        <li><strong>Larry Baresi, Ph.D.</strong>

            <list type="pl">

                <li>Associate Professor</li>

                <li>California State University, Northridge</li>

                <li>Northridge, California</li>

            </list>

        </li>

        <li><strong>John Brockhaus, Ph.D.</strong>

            <list type="pl">

                <li>Department of Geography and Environmental 

                    Engineering</li>

                <li>United States Military Academy</li>

                <li>West Point, New York</li>

            </list>

        </li>

        <li><strong>Mapi Cuevas, Ph.D.</strong>

            <list type="pl">

                <li>Professor of Chemistry</li>

                <li>Santa Fe Community College</li>

                <li>Gainesville, Florida</li>

            </list>

        </li>

        <li><strong>Willian Guggino Ph.D.</strong>

            <list type="pl">

                <li>Professor of Physiology and Pediatrics</li>

                <li>Johns Hopkins University, School of Medicine</li>

                <li>Baltimore, Maryland</li>

            </list>

        </li>

        <li><strong>V. Arthur Hammon</strong>

            <list type="pl">

                <li>Pre-College Education Specialist</li>

                <li>Jet Propulsion Laboratory</li>

                <li>Pasadena, California</li>

            </list>

        </li>

        <li><strong>Steven A. Jennings, Ph.D.</strong>

            <list type="pl">

                <li>Associate Professor in Geography</li>

                <li>University of Colorado at Colorado Springs</li>

                <li>Colorado Springs, Colorado</li>

            </list>

        </li>

        <li><strong>James E. Marshall, Ph.D.</strong>

            <list type="pl">

                <li>Professor and Chair, Department of Curriculum and 

                    Instruction</li>

                <li>California State University, Fresno</li>

                <li>Fresno, California</li>

            </list>

        </li>

        <li><strong>Joseph McClure, Ph.D.</strong>

            <list type="pl">

                <li>Associate Professor Emeritus</li>

                <li>Department of Physics</li>

                <li>Georgetown University</li>

                <li>Washington, D.C.</li>

            </list>

        </li>

        <li><strong>Dork Sahagian, Ph.D.</strong>

            <list type="pl">

                <li>Professor of Earth and Environmental Science</li>

                <li>Lehigh University</li>

                <li>Bethlehem, Pennsylvania</li>

            </list>

        </li>

    </list> 

</level2>

<level2>

    <h2>Curriculum and Classroom Reviewers</h2>

    <list type="pl">

        <li><strong>Kelly Barrett</strong>

            <list type="pl">

                <li>Curriculum Specialist</li>

                <li>Anaheim City School District</li>

                <li>Anaheim, California</li>

            </list>

        </li>

        <li><strong>Kenneth A. Collard</strong>

            <list type="pl">

                <li>Associate Principal</li>

                <li>Mueller Charter School</li>

                <li>Chula Vista, California</li>

            </list>

        </li>

        <li><strong>Ruth M. Landmann</strong>

            <list type="pl">

                <li>Teacher</li>

                <li>Rio del Mar Elementary School</li>

                <li>Aptos, California</li>

            </list>

        </li>

        <li><strong>Michael Lebda</strong>

            <list type="pl">

                <li>Science Specialist</li>

                <li>Fresno Unified School District</li>

                <li>Fresno, California</li>

            </list>

        </li>

        <li><strong>Tonya C. Lee</strong>

            <list type="pl">

                <li>Teacher</li>

                <li>Meridian Elementary School</li>

                <li>El Cajon, California</li>

            </list>

        </li>

        <li><strong>Ana G. Lopez</strong>

            <list type="pl">

                <li>Science Specialist</li>

                <li>Fresno Unified School District</li>

                <li>Fresno, California</li>

            </list>

        </li>

    </list> 

    <p><strong>Harcourt</strong>School Publishers</p>

    <p><strong>Science and Technology features provided by:</strong></p>

    <p>Science Spin from Weekly Reader</p>

    <p>Copyright © 2008 by Harcourt, Inc.</p>

    <p>All rights reserved. No part of this publication may be reproduced or 

        transmitted in any form or by any means, electronic or mechanical,

        including photocopy, recording, or any information storage and 

        retrieval system, without permission in writing from the 

        publisher.</p>

    <p>Requests for permission to make copies of any part of the work 

        should be addressed to</p>

    <list class="pl">

        <li>School Permissions and Copyrights, Harcourt, Inc.</li>

        <li>6277 Sea Harbor Drive,</li>

        <li>Orlando, Florida 32887-6777</li>

        <li>Fax: 407-345-2418</li>        

    </list>

    <p>Harcourt and the Harcourt Logo are trademarks of Harcourt, Inc., 

        registered in the United States of America and/or other 

        jurisdictions.</p>

    <p>If you have received these materials as examination copies free of 

        charge, Harcourt School Publishers retains title to the materials 

        and they may not be resold. Resale of examination copies is 

        strictly prohibited and is illegal.</p>

    <p>Possession of this publication in print format does not 

        entitle users to convert this publication, or any portion of it, 

        into electronic format.</p>

    <p>Printed in the United States of America</p>

    <p>ISBN 13: 978-0-15-347119-3</p>

    <p>ISBN 10: 0-15-347119-0</p>

    <p>1 2 3 4 5 6 7 8 9 10 048 13 12 11 10 09 08 07 06</p>

</level2>

<author> is a NIMAS-required element.

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<level3>

    <pagenum id="IDAIR1Q">C-19</pagenum>

    <h3>The Schumanns</h3>

    <p>Clara Wieck (1819-1896) was an extraordinary pianist who made 

        her concert debut at age nine. She became Clara Schumann when 

        she married composer Robert Schumann (1810-1856). Clara 

        Schumann introduced many of her husband's compositions to the 

        public by performing them in concerts. Besides being a star 

        pianist, Clara was also a composer.</p>

    <sidebar render="optional">

        <p><strong>Listen</strong> to this piano trio by Clara 

            Schumann. What instruments play the melody?</p>

        <img src="images/thruout/cdhp.jpg" width="38" 

            height="30" alt=""/>

        <hd>5-22 <em>Trio in G Minor, Op. 17</em></hd>

        <p><strong>Movement 1 <br />

            by Clara Wieck Schumann <br />

            as performed by the Darlington Piano Trio</strong></p>

        <p>This work was written for violin, piano, and cello. The 

            violin has the melody first, then the piano.</p>

    </sidebar>

    <p>Robert Schumann was famous both for writing music and for 

        writing commentary about music. Some of Clara's compositions 

        bear a strong resemblance to Robert's, but the reverse is 

        also true. This is not surprising, since they spent many 

        hours a day hearing each others' music and talking about music 

        together.</p>

    <sidebar render="optional">

        <p><strong>Listen</strong> to this excerpt of Robert Schumann's 

            <em>Quintet for Piano and Strings in E-flat Major.</em></p>

        <p><strong>Describe</strong> how it is similar or different 

            from Clara Schumann's Trio.</p>

        <img src="images/thruout/cdhp.jpg" width="38" 

            height="30" alt=""/>

        <hd>5-23 <em>Quintet for Piano and Strings in E-flat Major

            </em></hd>

        <p><strong>Movement 1 <br />

            by Robert Schumann <br />

            as performed by the Beaux Arts Trio and Friends</strong></p>

        <p>Both this piece and the piano trio by Clara Schumann are 

            examples of <em>chamber music</em>. This piano quintet is 

            for string quartet plus piano.</p>

    </sidebar>

    <sidebar render="optional">

        <dl>

            <dt>chamber music</dt>

            <dd>Music written for a small group often having only one 

                voice or instrument for each part, and no conductor.

                </dd>

        </dl>

    </sidebar>

    <sidebar render="optional">

        <p>Clara and Robert Schumann kept a weekly diary in which they 

            took turns writing. What do you learn about the Schumanns 

            and their times from reading these entries from their 

            diary?</p>

        <blockquote>

            <p>Saturday . . . Mendelssohn played--as only Mendelssohn 

                can play. I heard a trio by Beethoven in E-flat for 

                the first time; as one gets older, "first times" become 

                rarer; it was a festive occasion for body and soul.</p>

            <author>Robert Schumann</author>

        </blockquote>

        <blockquote>

            <p>Today, Monday, Robert pretty well completed his 

                symphony; it seems to have arisen mostly during the 

                night--my poor Robert has already spent several 

                sleepless nights because of it. He calls it "Spring 

                Symphony"--tender and poetic, as all his musical ideas 

                are!</p>

            <author>Clara Schumann</author>

        </blockquote>

        <imggroup>

            <img src="images/U06C08/pC19-001.jpg" width="209" height="261" alt=""/>

            <caption>Clara and Robert Schumann</caption>

        </imggroup>

    </sidebar>

    <sidebar render="optional">

        <hd>On Your Own</hd>

        <p>Investigate a music making family from any musical style: 

            classical, folk, rock, or whatever interests you. Write a 

            short essay about this family and why you think more than 

            one generation chose music as a career.</p>

    </sidebar>

    <sidebar render="optional">

        <img src="images/thruout/computer.jpg" width="38" height="30" alt=""/>

        <hd>Take It to the Net</hd> 

        <p>For information on the Mendelssohn and Schumann musical 

            families, go to <em>www.sfsuccessnet.com.</em></p>

    </sidebar>

    <!-- ... -->

</level3>

<author> is a NIMAS-required element.

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<level3>

    <pagenum id="IDATMLN">52</pagenum>

    <h3>3.9 Studio Experience </h3>

    <p>by</p> <author>Ken Vieth</author>

    <level4>

        <h4>Drawing with Expressive Line</h4>

        <p>In this exercise, you will apply your new knowledge of 

            varied line to create an expressive linear drawing of a 

            given subject.</p>

        <imggroup>

            <img src="images/U08C01/p052-001.jpg" width="198" height="269" alt=""/>

            <caption>3-37 Student work, Josh Kirsch. Marker, 24" x 18" 

                (60 x 45.7 cm).</caption>

        </imggroup>

        <imggroup>

            <img src="images/U08C01/p052-002.jpg" width="198" height="269" alt=""/>

            <caption>3-38 Student work, Katrina Chue. Charcoal, 18" x 

                12" (45.7 x 30.5 cm).</caption>

        </imggroup>

        <level5>

            <h5>Before You Begin</h5>

            <p>Consider a list of diverse words that represent 

                feelings, emotions, and ideas. Think about how each 

                of these words might be translated into a visual line 

                expressing a particular emotional concept. Then look 

                at examples of work in line by a number of different 

                artists. Note the range of styles and expressive 

                qualities.</p>

        </level5>

        <level5>

            <h5>You Will Need</h5>

            <list type="ul">

                <li>white vellum paper</li>

                <li>pen and ink, brush and ink, charcoal, black felt-tip 

                    markers or calligraphy markers</li>

            </list>

            <sidebar render="optional">

                <hd>Technique Tips</hd>

                    <p>Don't be afraid to alter the subject you are 

                        drawing to emphasize the kind of line you 

                        choose. Changing or distorting the subject in 

                        your drawing can create more drama in your 

                        composition--and a more expressive line.</p>

            </sidebar>

        </level5>

        <level5>

            <h5>Create It</h5>

            <list type="pl">

                <li>1. Choose a simple art room object like a stapler, 

                    a container of paintbrushes, or bottle of glue to 

                    be drawn with an expressive use of line based on a 

                    particular artist's style. Ask yourself how this 

                    object would look if drawn using the broad linear 

                    simplicity of Matisse, the quick linear movement 

                    of van Gogh, or the focused, detailed line of 

                    Rembrandt. </li>

                <li>2. Develop one or two images of the object that 

                    show the visual influence on your chosen artistic 

                    style. </li>

                <li>3. Select an object from nature or a human-made 

                    object from which to develop a final expressive 

                    line drawing. Options might include a tricycle 

                    spraypainted completely black, a stuffed owl</li>

            </list>

            <sidebar render="optional">

                <hd>Write About It!</hd>

                <p>How are you? No, really. How are you feeling today? 

                    Think of your mood in terms of a line. Describe 

                    it. Think about direction, shape, movement, and 

                    density. Are you feeling strong or anxious, 

                    awkward or graceful, calm or restless? How would 

                    your mood appear if described through a line? 

                    Share your description with a friend. Can he or 

                    she guess how you're feeling based on your 

                    report?</p>

            </sidebar>

            <!-- ... -->

        </level5>

    </level4>

</level3>

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<level2>

    <pagenum id="IDA4Q5Q">C-44</pagenum>

    <h2>17 Talent and High Energy</h2>

    <p>These words can be used to describe American conductor, composer, 

        and educator, Leonard Bernstein (1918-1990). He was famous for 

        his spectacular array of musical talents, as well as his highly 

        energetic style. In 1943, 25-year old Bernstein was catapulted 

        into international stardom when he conducted a radio broadcast of 

        the New York Philharmonic on only one day's notice! The concert 

        was a huge success, and Bernstein was a hero. Whether composing, 

        conducting, or telling young people about music, Bernstein did 

        so with great passion and enthusiasm.</p>

    <imggroup>

        <caption>Leonard Bernstein</caption>

        <img src="images/U06C17/pC44-001.jpg" width="136" height="183" alt=""/>

    </imggroup>

    <level3>

        <h3>A Man of Many Styles</h3>

        <p>Bernstein's compositions reflect many styles of American 

            music. His works contain musical ideas from a variety of 

            sources, including hymns, Latin styles, blues, and rock. 

            With lyricist Stephen Sondheim, Bernstein wrote a modern, 

            musical version of Shakespeare's famous play <em>Romeo 

            and Juliet.</em> Set on New York City's West Side, the 

            <noteref idref="#c44musical">musical</noteref> is called 

            <em>West Side Story.</em> In 

            <em>West Side Story,</em> Tony and Maria, a young man and 

            woman from rival gangs, fall in love. As in <em>Romeo and 

            Juliet,</em> their romance ends in tragedy.</p>

        <p><strong>Listen</strong> to the duet <em>Somewhere.</em> 

            Tony and Maria express their hopes for their relationship. 

            <strong>Describe </strong>how the music shows their 

            relationship. What qualities in the music create a sense 

            of foreboding about things to come?</p>

        <sidebar render="optional">

            <img src="images/thruout/cdhp.jpg" width="38" height="30" alt=""/>

            <hd>7-14 <em>Somewhere</em></hd>

            <p><strong>from <em>West Side Story</em> by Leonard 

                Bernstein and Stephen Sondheim as performed by Peter 

                Hofman and Deborah Sasson, Michael Tilson Thomas, 

                conductor</strong></p>

            <p><em>West Side Story</em> opened at Broadway's Winter 

                Garden Theatre on September 26, 1957. Choreographer 

                Jerome Robbins first proposed the idea for the musical 

                to Leonard Bernstein in 1949.</p>

        </sidebar>

        <imggroup>

            <img src="images/U06C17/pC44-002.jpg" width="278" 

                height="207" alt=""/>

            <caption>Natalie Wood and Richard Beymer as Maria and 

                Tony in the film <em>West Side Story</em></caption>

        </imggroup>

        <note id="c44musical">

            <dl>

                <dt>musical</dt> 

                <dd>Also known as musical theater, a play that 

                    includes singing and dancing.</dd>

            </dl>

        </note>

        <!-- ... -->

    </level3>

</level2>

<bridgehead> is a NIMAS-optional element.

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<level3>

    <pagenum id="IDACGQN">100</pagenum>

    <h3>Chemistry at Work</h3>

    <level4>

        <h4>Purifying Water Means More Than Going with the Flow</h4>

        <p>When you drink from a water fountain, do you ever wonder 

            where the water comes from? In some parts of the country, 

            drinking water is provided by people such as Phil Noe.</p>

        <p>Phil is the production Manager at Island Water Association 

            (IWA), which provides water for Florida's Sanibel and 

            Captiva Islands. "We have a limited supply of fresh 

            water," says Phil, "so we built a plant that lets us use 

            water from our aquifers." Aquifers are underground layers 

            of permeable (porous) sand and limestone that contain 

            large amounts of water.</p>

        <imggroup>

            <img src="images/p100-001.jpg" 

                width="490" height="417" alt=""/>

            <caption><em>Top Left:</em> Osmosis occurs naturally when 

                water in a dilute solution passes through the 

                semipermeable membrane into a concentrated solution. 

                <em>Top Right:</em> In reverse osmosis, pressure must 

                be applied to a concentrated solution to force water 

                through the semipermeable membrane, producing purified 

                water.</caption> 

        </imggroup>

        <p>After pumping the brackish, undrinkable water from the 

            Suwanee Aquifer to IWA's processing plant, Phil and his 

            coworkers remove most of the salt and minerals, producing 

            water that is purer than many mountain streams through a 

            process known as <em>reverse osmosis</em>. The 

            accompanying illustration is a comparison of osmosis with 

            reverse osmosis. The level of </p>

        <!-- ... -->

    </level4>

</level3>

<byline> is a NIMAS-optional element.

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<level2>

    <pagenum id="IDAPCGN">4</pagenum> 

    <h2>Fish Kill Triggers Riverwood Water Emergency</h2>

    <level3>

        <h3>Severe Water Rationing in Effect</h3>

        <imggroup>

            <img id="i004-001" src="images/p004-001.png" width="399" 

                height="265" alt=""/>

            <caption imgref="i004-001">Soon after discovering the fish kill, Riverwood 

                High School students returned to the river to 

                investigate.</caption> 

        </imggroup>

        <p>By Lori Katz <em>Riverwood News</em> Staff Reporter</p>

        <p>Citing possible health hazards, Mayor Edward Cisko 

            announced today that Riverwood will stop withdrawing 

            water from the Snake River and will temporarily shut down 

            the city's water-treatment plant over water-quality 

            concerns provoked by a massive fish kill. Starting at 6 

            p.m., river water will not be pumped to the plant for at 

            least three days. If the cause of the fish kill has not 

            been determined and corrected by that time, the shutdown 

            will continue indefinitely.</p>

        <p>During the plant shutdown, water engineers and chemists 

            from the county sanitation commission and the U.S. 

            Environmental Protection Agency (EPA) will investigate 

            the cause of the major fish kill discovered yesterday. 

            The fish kill extended from the base of Snake River Dam, 

            located upstream from Riverwood, to the town's water-

            pumping station.</p>

        <p>The initial alarm was sounded when Jane Abelson, 15, and 

            Chad Wong, 16-both students at Riverwood High School-found 

            many dead fish floating in a favorite fishing spot. "We 

            thought maybe someone had poured poison into the 

            reservoir," explained Wong.</p>

        <p>Mary Steiner, a Riverwood High School biology teacher, 

            accompanied the students back to the river. "We hiked 

            downstream for almost a mile. Dead fish of all kinds were 

            washed up on the banks and caught in the rocks," Abelson 

            reported.</p>

        <p>Ms. Steiner contacted county sanitation commission 

            officers, who immediately collected Snake River water 

            samples for analysis. Chief engineer Hal Cooper reported 

            at last night's emergency meeting that the water samples 

            appeared clear, colorless, and odorless. However, he 

            indicated some concern. "We can't say for certain that 

            the water supply is safe until the cause of the fish kill 

            is determined. It's far better that we take no chances 

            until then," Cooper advised.</p>

        <p>Mayor Cisko canceled the community's "Fall Fish-In," which 

            was scheduled to start September 15. No plans to 

            reschedule Riverwood's annual fishing tournament were 

            announced. "The decision was made at last night's 

            emergency town council meeting to start investigating the 

            situation immediately," he said.</p>

        <imggroup>

            <img id="i004-002" src="images/p004-002.png" width="192" 

                height="268" alt=""/>

            <caption imgref="i004-002">Dead fish washed up along the banks of the Snake 

                River yesterday afternoon.</caption> 

        </imggroup>

        <p>After five hours of often-heated debate yesterday, the 

            Riverwood town council finally reached agreement to stop 

            drawing water from the Snake River. Council member Henry 

            McLatchen (also a chamber of commerce member) commented 

            that the decision was highly emotional and unnecessary. 

            He cited financial losses </p>

        <!-- ... -->

    </level3>

</level2>

<dateline> is a NIMAS-optional element.

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<level2>

    <!-- ... -->   

    <pagenum id="IDALAKP">152</pagenum>

    <line><linenum>13</linenum> a tiny purple blemish. Each part

        </line>

    <line><linenum>14</linenum> is a blossom under his touch</line>

    <line><linenum>15</linenum> to which the fibres of her being

        </line>

    <line><linenum>16</linenum> stem one by one, each to its end,

        </line>

    <line><linenum>17</linenum> until the whole field is a</line>

    <line><linenum>18</linenum> white desire, empty, a single stem,

        </line>

    <line><linenum>19</linenum> a cluster, flower by flower,</line>

    <line><linenum>20</linenum> a pious wish to whiteness gone over-

        </line>

    <line><linenum>21</linenum> or nothing</line>

    <p>1921</p>

</level2>

<level2>

    <h2>To Waken an Old Lady</h2>

    <line><linenum>1</linenum> Old age is</line>

    <line><linenum>2</linenum> a flight of small</line>

    <line><linenum>3</linenum> cheeping birds</line>

    <line><linenum>4</linenum> skimming</line>

    <line><linenum>5</linenum> bare trees</line>

    <line><linenum>6</linenum> above a snow glaze.</line>

    <line><linenum>7</linenum> Gaining and failing</line>

    <line><linenum>8</linenum> they are buffeted</line>

    <line><linenum>9</linenum> by a dark wind-</line>

    <line><linenum>10</linenum> But what?</line>

    <line><linenum>11</linenum> On harsh weedstalks</line>

    <line><linenum>12</linenum> the flock has rested,</line>

    <line><linenum>13</linenum> the snow</line>

    <line><linenum>14</linenum> is covered with broken</line>

    <line><linenum>15</linenum> seedhusks</line>

    <line><linenum>16</linenum> and the wind tempered</line>

    <line><linenum>17</linenum> by a shrill</line>

    <line><linenum>18</linenum> piping of plenty.</line>

    <p>1921</p>

</level2>

<level2>

    <h2>The Widow's Lament in Springtime</h2>

    <line><linenum>1</linenum> Sorrow is my own yard</line>

    <line><linenum>2</linenum> where the new grass</line>

    <line><linenum>3</linenum> flames as it has flamed</line>

    <line><linenum>4</linenum> often before but not</line>

    <line><linenum>5</linenum> with the cold fire</line>

    <line><linenum>6</linenum> that closes round me this year.</line>

    <line><linenum>7</linenum> Thirtyfive years</line>

    <line><linenum>8</linenum> I lived with my husband.</line>

    <line><linenum>9</linenum> The plumtree is white today</line>

    <line><linenum>10</linenum> with masses of flowers.</line>

    <line><linenum>11</linenum> Masses of flowers</line>

    <!-- ... -->

</level2>

<epigraph> is a NIMAS-optional element.

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<level1>

    <pagenum id="IDAVBKP"></pagenum>

    <h1>Investigations In Number, Data, And Space <sup>®</sup></h1>

    <p>Student Activity Book</p>

    <imggroup>

        <caption><strong><em>Spiral to Infinity</em></strong> Steve 

            Allen</caption>

        <img src="images/thruout/spi2in.png" height="285" width="257" />

    </imggroup>

    <p><q>"Fractal images are often made up of small images-within-

        images, constantly repeating and going smaller and 

        smaller."</q>- Steve Allen</p>

</level1>

<kbd> is a NIMAS-optional element.

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<pagenum id="igubjk">5</pagenum>

<p>Program 1.1 just prints the name of every file in a directory, and 

    nothing else. If the source file is named myls.c, we compile it 

    into the default a.out executable file by </p>

<p>cc myls.c</p>

<p>Some sample output is</p>

<p>

    $ <strong>a.out /dev</strong><br/>

    <strong><em>.<br/>

    ..<br/>

    MAKEDEV<br/>

    console<br/>

    tty<br/>

    mem<br/>

    kmem<br/>

    null<br/></em></strong>

</p>

<p><em>many more lines that aren't shown</em></p>

<p>

    <strong><em>printer<br/></em></strong>

    $ <strong>a.out /var/spool/mqueue</strong><br/>

    <strong><em>can't open /var/spool/mqueue: Permission denied</em>

        </strong><br/>

    $ <strong>a.out /dev/tty</strong><br/>

    <strong><em>can't open /dev/tty: Not a directory</em></strong><br/>

</p>

<p>Throughout this text we'll show commands that we enter and the 

    resulting output in this fashion: characters that we enter are 

    shown in <strong>this font</strong> while output from 

    programs is shown <strong><em>like this</em></strong>. If we 

    need to add comments to this output we'll show the comments in 

    <em>italics</em>. The dollar sign that precedes our input is the 

    prompt that is printed by the shell. We'll always show the shell 

    prompt as a dollar sign.</p>

<p>Note that the directory listing is not in alphabetical order. The 

    ordering that we are familiar with is done by the ls 

    command itself.</p>

<p>There are many details to consider in this 20-line program:</p>

<list type="ul">

    <li>First, we include a header of our own, ourhdr.h. We include 

        this header in almost every program in this text. It includes 

        some standard system headers and defines numerous constants 

        and function prototypes that we use throughout the examples 

        in the text. A listing of this header is in Appendix B. </li>

    <li>The declaration of the main function uses the new style 

        supported by the ANSI C standard. (We'll have more to say 

        about the ANSI C standard in the next chapter.)</li>

    <li>We take an argument from the command line, argv[1], as the 

        name of the directory to list. In Chapter 7 we'll look at how 

        the main function is called, and how the command-line 

        arguments and environment variables are accessible to the 

        program. </li>

    <li>Since the actual format of directory entries varies from one 

        Unix system to another, we use the functions opendir, readdir, 

        and closedir to manipulate the directory.</li>

    <li>The opendir function returns a pointer to a DIR structure, 

        and we pass this pointer to the readdir function. We don't 

        care what's in the DIR structure. We then call readdir in a 

        loop, to read each directory entry. It returns a pointer to 

        a dirent structure, or a null pointer when it's finished with 

        the directory. All we examine in</li>

</list>

<linegroup> is a NIMAS-optional element.

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<level3>

    <pagenum id="id4702574">465</pagenum>

    <h3>A Confectioner</h3>

    <p>by</p> <author>Myra Cohn Livingston</author>

    <line>A confectioner living in Skittle</line>

    <line>Once confessed, "I'm so skinny and little</line>

    <line>That unless I put glue</line>

    <line>On the sole of my shoe</line>

    <line>I'd fall into my own peanut brittle."</line>

</level3>

<level3>

    <h3>Expert</h3>

    <p>Author Unknown</p>

    <line>A prominent lady in Brooking</line>

    <line>Was a recognized genius at cooking.</line>

    <line>She could bake thirty pies</line>

    <line>All quite the same size</line>

    <line>And tell which was which without looking.</line>

</level3>

<level3>

    <h3>Reading Across Texts</h3>

    <p>Find words in these poems that link them to <em>The King in 

        the Kitchen</em>.</p>

    <level4>

        <h4>Writing Across Texts</h4>

        <p>Write a limerick of your own about the king. The first line 

            might be: "There once was a king from Chinook . . . ." </p>

        <sidebar render="optional">

            <hd>Monitor &amp; Fix Up</hd>

            What might you misunderstand in poetry?

        </sidebar>

    </level4>

</level3>

<linegroup> is a NIMAS-optional element.

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<level4>  

    <pagenum id="IDAUBVQ">33</pagenum>

    <h4>Name That Voice</h4>

    <p><strong>Listen</strong> to another song with a verse and 

        refrain. Which part is sung by a man? Which part is sung by a 

        group? <strong>Sing</strong> along when the group sings.</p>

    <sidebar render="optional">

        <img src="images/thruout/cd.png" width="38" 

            height="37" alt=""/>

        <hd>CD 1-55 The Hippopotamus Song</hd>

        <byline>by Michael Flanders and Donald 

            Swann</byline>

        <p><em>The Hippopotamus Song</em> is part of a show called 

           <em>At the Drop of a Hat.</em> The show opened in 1956 and 

           ran for over ten years.</p>

    </sidebar>

    <level5>

        <h5>The Hippopotamus Song</h5>

        <p>by Michael Flanders and Donald Swann</p>

        <p>Verse</p>

        <line>A bold hippopotamus was standing one day</line>

        <line>On the banks of the cool Shalimar.</line>

        <line>He gazed at the bottom as it peacefully lay</line>

        <line>By the light of the evening star.</line>

        <line>Away on a hilltop sat, combing her hair,</line>

        <line>His fair hippopotamine maid.</line>

        <line>The hippopotamus was no ignoramus</line>

        <line>And sang her this sweet serenade.</line>

        <p>Refrain</p>

        <line>Mud, mud, glorious mud, </line>

        <line>Nothing quite like it for cooling the blood.</line>

        <line>So follow me, follow, down to the hollow</line>

        <line>And there let us wallow in glorious mud.</line>

    </level5>

    <!-- ... -->

</level4>

<list> is a NIMAS-required element.

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<level2>

    <pagenum id="IDAQTWQ">56</pagenum>

    <h2>Portfolio Project Say It with Painted Flowers</h2>

    <imggroup>

        <img src="images/U10C13/p056-001.png" width="316" height="416" alt=""/>

        <caption><strong>Christian Pierre.</strong><em>Purple Irises,

            </em> 1995. Mixed media. Private collection.</caption>

    </imggroup>

    <level3>

        <h3>Plan</h3>

        <p>In this unit, you read how artists use lines, shapes, color 

            schemes, and textures to create a particular mood or 

            feeling. In this artwork, Christian Pierre (1962- ) used 

            a variety of color values in the background. The flowers 

            are organic shapes that fill the canvas. The swirling 

            strokes on the tabletop create a sense of energy.</p>

        <list type="ul">

            <li>What colors do you see in this painting? Are they 

                warm or cool colors? What color scheme did the artist 

                use?</li>

            <li>Describe the shading in the background and on the 

                tabletop. What techniques did Pierre employ? What mood 

                do these techniques create?</li>

            <li>What kind of mood do you associate with a vase of 

                flowers? How could you use the elements of art to 

                create such a mood in your own artwork?</li>

        </list>

        <p>Use what you have learned about the elements of art to 

            express a mood or feeling with a still life of sunflowers 

            in a vase on a table.</p>

        <sidebar render="optional">

            <hd>Sketchbook Journal</hd>

            <p>Experiment with drawing organic and geometric flower 

                shapes. First, draw the flower in its recognizable 

                organic shape. Then, draw it using various geometric 

                shapes. Keep in mind the mood the flowers convey and 

                try to create that mood using organic and geometric 

                shapes.</p>

        </sidebar>

    </level3>

</level2>

<list> is a NIMAS-required element.

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<level3>

    <pagenum id="IDAPINN">11</pagenum>

    <h3>Chapter Review</h3>

    <level4>

        <h4>Summary</h4>

        <p>Usually, the word <em>art</em> makes people think of 

            artworks, museums, and galleries. Art, however, is also 

            people: artists, viewers, art historians, archaeologists, 

            teachers, and students. </p>

        <p>You have read just one chapter in this book. Yet you have 

            already learned that today's art comes in an endless 

            variety of forms. Most of this variety came about in the 

            twentieth century. Before that, painting and sculpture 

            were the only objects people thought of as art. Today the 

            idea of what art is, and can be, has broadened. Everyday 

            objects from the past and from other cultures are now 

            considered art. </p>

        <p>The objective of this book is to introduce you to some of 

            the rich variety of today's art--a world of objects, 

            places, and people for you to see, wonder about, and 

            enjoy.</p>

    </level4>

    <level4>

        <h4>Review Questions</h4>

        <list type="ol" enum="1">

            <li><strong>Recall:</strong> Define the word <em>medium

                </em> as it is used in art. </li>

            <li><strong>Understand:</strong> Explain why people today 

                might think of a stuffed goat as an artwork. </li>

            <li><strong>Apply:</strong> Choose an object you like and 

                use regularly--a pen, a mug, or a key chain, for 

                example--and write a short paragraph describing what 

                the object tells about life in your culture today.</li>

            <li><strong>Analyze:</strong> Divide the works in this 

                chapter into two groups: those made before 1940 and 

                those made after 1940. Explain what the works in each 

                group have in common. </li>

            <li><strong>Synthesize:</strong> Write two short stories or poems. 

                Base one on the Lascaux cave paintings and the other on Josef 

                Albers's <em>Homage to the Square: Glow.</em> Use 

                words that seem to match the paintings.

                <img src="images/p011-001.png" width="123" height="78" alt=""/>

                <img src="images/p011-002.png" width="71" height="72" alt=""/>

            </li>

            <li><strong>Evaluate:</strong> Imagine you are an art 

                buyer for a museum. Recommend three nontraditional 

                works from this chapter for purchase by the museum. 

                Justify your choices: What makes these works 

                nontraditional?</li>

        </list>

    </level4>

    <level4>

        <h4>Electronic Research</h4>

        <p>Using the Internet, conduct a search using only the names 

            of artists found in this chapter. Examine and evaluate 

            the Web sites of the ones you are able to find. Which 

            sites seem to have the most credibility? Which sites are 

            the best designed? Which sites have the most significant 

            content? Make a list of the criteria you develop to 

            evaluate the sites. Share and discuss your list with 

            another student.</p>

    </level4>

    <level4>

        <h4>Going Further</h4>

        <p>In the history of Western art, there are five basic 

            theories that explain beliefs about art: formalism, 

            instrumentalism, imitationalism, expressionism, and 

            institutionalism. Find out more about each of these 

            theories. Then select one artwork from any of the chapter 

            openers in this book and try to explain it from each of 

            these theories. By doing this, you might find that some 

            theories are more applicable than others. You might also 

            reflect on and perhaps modify or reaffirm your beliefs 

            about art.</p>

    </level4>

</level3>

<list> is a NIMAS-required element.

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<pagenum id="IDAFNUN">91</pagenum>

<list type="pl">

    <hd>Chapter 4 Vocabulary</hd>        

    <li><strong>photosynthesis</strong> page 96 </li>

    <li><strong>xylem</strong> page 98 </li>

    <li><strong>phloem</strong> page 98 </li>

    <li><strong>pollen</strong> page 104 </li>

    <li><strong>embryo</strong> page 106 </li>

    <li><strong>spore</strong> page 108 </li>

    <li><strong>tropism</strong> page 112 </li>

    <li><strong>growth hormone</strong> page 112 </li>

</list>

<imggroup>

    <caption>tropism</caption>

    <caption>growth hormone</caption>

    <img src="images/U13C06/p091-001.png" width="276" height="372" alt=""/>

</imggroup>

<imggroup>

    <caption>embryo</caption>

    <img src="images/U13C06/p091-002.png" width="271" height="189" alt=""/>

</imggroup>

<imggroup>

    <caption>spore</caption>

    <img src="images/U13C06/p091-003.png" width="278" height="192" alt=""/>

</imggroup>

<dl> is a NIMAS-required element.

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<level2>

    <pagenum id="IDSAAKLJE">599</pagenum>

    <h2>Glossary</h2>

    <p>Correct pronunciation of difficult words is Indicated.</p>

    <p><em>Italics indicate emphasis or accent in pronunciation.

        </em></p>

    <dl>

        <dt>abbey</dt>

        <dd>A complex of buildings comprised of a monastery and a 

            church.</dd>

        <dt>aborigine</dt>

        <dd>(a-bor-<em>ij</em>-i-nee) Indigenous or native inhabitants 

            as differentiated from an invading or colonizing people.

            </dd>

        <dt>abrade</dt>

        <dd>To scrape or rub off.</dd>

        <dt>Abstract Expressionism</dt>

        <dd>A twentieth-century painting style that features large-

            scale works and expression of feelings through slashing, 

            active brushstrokes.</dd>

        <dt>abstraction</dt>

        <dd>(ab-<em>strak</em>-shun) A work of art that emphasizes 

            design and a simplified or systematic investigation of 

            forms. The subject matter may be recognized or may be 

            completely transformed into shape, color and/or line.</dd>

        <dt>acropolis</dt>

        <dd>The citadel of a Greek city; its highest point, containing 

            temples and public buildings.</dd>

        <dt>acrylic paint</dt>

        <dd>(a-<em>krill</em>-ik) A mixture of pigments that can 

            adhere to almost any surface.</dd>

        <dt>adobe</dt>

        <dd>(a <em>doh</em> bee) A clay brick made of sun-dried earth 

            used as a building material. Any structure made of adobe 

            bricks.</dd>

        <dt>aerial perspective</dt>

        <dd>A method of creating the illusion of distance by 

            representing objects further away with less clarity of 

            contour and in diminished color. Also called <strong>

            atmospheric perspective.</strong></dd>

        <dt>aesthetic</dt>

        <dd>(es-<em>thet</em>-ik) Pertaining to the philosophically 

            pleasing, beautiful and emotional nature of man; also, a 

            pattern of thinking so oriented.</dd>

        <dt>aesthetics</dt>

        <dd>(es-<em>thet</em>-iks) The description and explanation of 

            artistic phenomena and aesthetic experience by means of 

            psychology, sociology, ethnology or history.</dd>

        <dt>agora</dt>

        <dd>(ah-<em>go</em>-rah) Greek word for assembly; the square 

            or marketplace that was the center of public life in an 

            ancient Greek city.</dd>

        <dt>aisle</dt>

        <dd>(<em>eye</em>-l) The long, narrow space on each side of 

            the nave of a church, usually between a row of columns and 

            the outer wall. Often referred to as "side aisles."</dd>

        <dt>alabaster</dt>

        <dd>A fine-grained gypsum or calcite (like marble), often 

            white and translucent (though sometimes delicately 

            tinted), used for sculpture and architectural columns.</dd>

        <dt>allegorical</dt>

        <dd>Symbolic of truths or generalizations about human nature.

            </dd>

        <dt>altar</dt>

        <dd>A structure on which to place or sacrifice offerings to a 

            deity.</dd>

        <dt>altarpiece</dt>

        <dd>A painted and/or sculpted work of art that stands above or 

            at the back of the altar. It usually represents visual 

            symbols of the Mass or depicts the saint to whom the 

            chapel is dedicated, and may contain scenes from his or 

            her life. See <strong>retable</strong> and <strong>reredos.

            </strong></dd>

        <dt>ambulatory</dt>

        <dd>(<em>am</em>-byoo-lah-tor-ee) Any passageway around a 

            central space. A place for walking around the apse of a 

            church, often a continuation of the side aisles; also, a 

            covered walkway around a cloister.</dd>

        <dt>Amida</dt>

        <dd>(ah-<em>me</em>-dah) The Buddha of the Western Paradise, 

            particularly popular in eleventh-century Japan. Pictured 

            with short curly hair, elongated ear lobes, long arms and 

            an urna on his forehead.</dd>

        <dt>amphitheatre</dt>

        <dd>(<em>am</em>-fi-<em>the</em>-a-ter) A double theater or 

            closed arena, such as the Roman Colosseum; an elliptical 

            or circular space surrounded by rising tiers of seats.</dd>

        <dt>amphora</dt>

        <dd>(am-<em>for</em>-ah) A storage jar having an egg-shaped 

            body, a foot and two handles, each attached at the neck 

            and shoulders of the jar.</dd>

        <dt>Anasazi</dt>

        <dd>(ah-nah-<em>sah</em>-zee) "The Ancient Ones"; early 

            pueblo-dwelling peoples of the plateaus of the American 

            Southwest.</dd>

        <dt>anatomy</dt>

        <dd>The structure of the human body (or of animals or plants).

            </dd>

        <dt>Andean</dt>

        <dd>(an-<em>dee</em>-an) Region of the Andes mountains of 

            western South America and the mountain-oriented highland 

            culture of indigenous people there.</dd>

        <dt>Angkor</dt>

        <dd>(ong-<em>kore</em>) Ancient Khmer temple complex in 

            Northwest Cambodia and center of the ancient Khmer 

            kingdoms from the tenth to thirteenth centuries.</dd>

        <dt>animal style</dt>

        <dd>Artistic practice of making objects in the shape of, or 

            with motifs based on, animals; specifically refers to a 

            tradition of art among the nomads of Eastern Europe and 

            Central and Northern Asia.</dd>

        <dt>animism</dt>

        <dd>The religious or spiritual attribution of conscious life 

            to natural objects; the belief in the existence of spirits 

            separable from bodies.</dd>

        <dt>anthropomorphic</dt>

        <dd>(an-thro-po-<em>more</em>-fik) Refers to giving human 

            characteristics to non-human objects or beings. Many 

            Egyptian and Brahmanic gods were animals in the form of 

            humans.</dd>

        <dt>Apache</dt>

        <dd>(ah-<em>patch</em>-ee) Tribe of Native Americans 

            inhabiting the American Southwest, artistically 

            distinguished by their coiled basketry, large beaded 

            women's collars and decorated fine leatherwork.</dd>

        <dt>Apollo</dt>

        <dd>(ah-<em>pall</em>-oh) Greek god of the sun, prophecy, 

            music, medicine and poetry; artistically significant as a 

            model of physical beauty, dignity and serenity.</dd>

        <dt>apostle</dt>

        <dd>(ah-<em>pos</em>-ell) In Christian usage, refers to the 

            twelve followers of Christ who spread his teachings 

            throughout the Mediterranean world. The apostles of Buddha 

            are known as "lohan."</dd>

        <dt>apse</dt>

        <dd>A large semi-circular (or polygonal) area at the choir end 

            of a church. Usually contains the altar. May also be found 

            at the ends of transepts or at the ends of smaller chapels.

            </dd>

        <dt>aqueduct</dt>

        <dd>(<em>ak</em>-wah-dukt) An artificial channel for carrying 

            water from a distance.</dd>

        <dt>arabesque</dt>

        <dd>(<em>ar</em>-uh-besk) Intricate and fanciful surface 

            decoration generally based on geometric patterns and using 

            combinations of flowering vines, tendrils, etc.</dd>

        <dt>arcade</dt>

        <dd>A series of arches and their supports (columns). 

            When placed against a wall and used mainly as decoration, 

            the result is called a "blind arcade."</dd>

        <dt>arch</dt>

        <dd>An architectural construction (semi-circular or pointed) 

            built of wedge-shaped blocks (voussoirs) to span an 

            opening and usually supported by columns or piers. A 

            corbeled arch is made by overlapping layers of stones, 

            each one projecting slightly farther over the opening than 

            the one below it. A building dependent upon arches for 

            its structure is said to be "arculated."</dd>

        <dt>archaeology</dt>

        <dd>Unearthing and study of evidences from past cultures which 

            have been hidden from human eyes for centuries.</dd>

        <dt>archaic</dt>

        <dd>(ar-<em>kay</em>-ik) Referring to the early phase of an 

            artistic development; specifically applies to the span of 

            ancient Greek art prior to the Classical period.</dd>

    </dl>

</level2>

<note> is a NIMAS-required element.

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<level2>

    <pagenum id="IDAEDAQ">318</pagenum>

    <h2>Lesson 13-1 Equal or Not Equal</h2>

    <img src="images/CA.png" width="33" 

        height="30" alt=""/>

    <p><strong>AF 2.1</strong> <img src="images/key.png" 

        width="22" height="13" alt=""/> Know and understand 

        that equals added to equals are equal.</p>

    <p><strong>AF 2.2</strong> <img src="images/key.png" 

        width="22" height="13" alt=""/> Know and understand 

        that equals multiplied by equals are equal.</p>

    <p>Also <strong>AF 2.0</strong></p>

    <img src="images/p318-001.png" 

        width="1176" height="264" alt=""/>

    <level3>

        <h3>Guided Practice<noteref idref="#p318">*</noteref></h3>

        <level4>

            <h4>Do you know how?</h4>

            <p>For <strong>1</strong> through <strong>4</strong>, 

                tell if the equation is true or false.</p>

            <list type="pl">

                <li>1. 8 + 6 + 2 = 14 + 2</li>

                <li>2. 50 ÷ 5 ÷ 2 = 8 ÷ 2</li>

                <li>3. 12 × 2 = 24 × 2</li>

                <li>4. 15 - 5 = 10 - 5</li>

            </list>

        </level4>

        <level4>

            <h4>Do you understand?</h4>

            <list type="pl">

                <li>5. In the first example above, how can you tell 

                    that the equation is true using a pan balance?</li>

                <li>6. <strong>Writing to Explain</strong> If 5 is 

                    being subtracted from different numbers on both 

                    sides of an equation, is the equation true?</li>

            </list>

        </level4>

    </level3>

    <level3>

        <h3>Independent Practice</h3>

        <p>For <strong>7</strong> through <strong>12</strong>, tell 

            if the equation is true or false.</p>

        <list type="pl">

            <li>7. 5 × 3 - 8 = 12 - 8</li>

            <li>8. 8 ÷ 2 + 4 = 4 + 4</li>

            <li>9. 4 + 7 - 2 = 11 - 9</li>

            <li>10. 6 × 3 + 10 = 18 + 10</li>

            <li>11. 2 × 3 + 6 = 6 + 6</li>

            <li>12. 18 ÷ 3 - 2 = 6 - 2</li>

        </list>

        <p>For <strong>13</strong> through <strong>18</strong>, write 

            the missing number that makes each equation true.</p>

        <list type="pl">

            <li>13. 4 × 6 = (2 × 2) × ____</li>

            <li>14. (14 - 2) ÷ 2 = ____ ÷ 2</li>

            <li>15. 6 + ____ = (3 × 2) + 9</li>

            <li>16. (6 + 8) ÷ ____ = 14 ÷ 2</li>

            <li>17. (4 + 5) ÷ 3 = ____ ÷ 3</li>

            <li>18. ____ + (9 - 5) = 8 + (9 - 5)</li>

        </list>

        <sidebar render="optional">

            <img src="images/dig-a.png" width="164" height="39" alt=""/>

            <p>Animated Glossary www.pearsonsuccessnet.com</p>

        </sidebar>

        <note id="p318">

            <p><em>*For another example, see Set A on page 

                332.</em></p>

        </note>

    <!-- ... -->

    </level3>

</level2>

<note> is a NIMAS-required element.

While the use of optional tags is recommended, if one is only using the required tag set, the above section might be formatted as follows:

<level2>

    <pagenum id="IDAKAKP">52</pagenum>

    <h2>Tubemaking</h2>

    <p>There are many cases where a jeweler will need a tube of a 

        specific size and wall thickness. Tubes are easy to make and 

        handy for stone settings, bails, findings and hinges.</p>

    <list type="pl">

        <li>With scissors, cut a strip of metal having parallel sides; 

            dividers are handy for marking this. Cut a point on the 

            strip. Lay the annealed strip in a V-block, across the 

            open jaws of a vise or on a lead block.

            <img src="images/p052-001.png" alt=""/>

        </li>

        <li>Set a rod along the center line and strike it with a 

            mallet. With pliers or a mallet, continue bending this 

            trough into a tube near the point.

            <img src="images/p052-002.png" alt="" />

        </li>

        <li>Once this is curled enough to fit in the drawplate the 

            rest of the strip will curl evenly.

            <img src="images/p052-003.png" alt="" />

        </li>

        <li>Try to pull the tube straight out; i.e. perpendicular to 

            the drawplate. Continue pulling until the edges just meet.

            <img src="images/p052-004.png" alt="" />

        </li>

        <li>If the seam looks rough, pause before closing to even the 

            edges with a needle file. Do not overlap the seam. If the 

            tube ripples, anneal it before proceeding.

            <img src="images/p052-005.png" alt=""/>

        </li>

        <li>In most cases it's a good idea to solder the seams. Use a 

            bushy flame and draw the solder into the seam.

            <img src="images/p052-006.png" alt="" />

        </li>

    </list>

    <p>Tubemaking works best with metal 24 gauge or thinner. To make 

        thick-walled tubing, follow the directions above, making a 

        tube of a much larger diameter than what is needed. Solder 

        the seam. After pickling and drying, the tube may be drawn, 

        making it smaller in diameter, longer and thicker walled.</p>

    <p>To achieve a desired inside diameter, set a steel or brass 

        wire of this diameter into the tube midway in the process. 

        Oil the wire lightly and be sure it is longer than the tube. 

        To remove it, put the wire through the plate from the front 

        and pull it out with tongs.</p>

    <img src="images/p052-007.png" alt="" />

    <level3>

        <h3>Calculations</h3>

        <list type="ul">

            <li>For a given <em>outside diameter:</em> O.D. + 

                thickness<noteref idref="#p52">*</noteref> × 3.14 (&#x3c0;)

            </li>

            <li>For a given <em>inside diameter:</em> I.D. - 

                thickness<noteref idref="#p52">*</noteref> × 3.14 (&#x3c0;)

            </li>

        </list>

        <note id="p52"><p>* Thickness of the sheet being used.</p></note>

    <!-- ... -->

    </level3>

</level2>

<annotation> is a NIMAS-optional element.

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<pagenum id="IDAZCKN">40</pagenum>

<level2>

    <h2>7 Short e</h2>

    <level3>

        <h3>Introduction</h3>

        <bridgehead>Spelling Focus</bridgehead>

        <p><strong>Short e</strong> is often spelled <strong>e: 

            sm<em>e</em>ll.</strong> It can also be spelled 

            <strong>ea: h<em>ea</em>d.</strong></p>

        <level4>

            <h4>Study</h4>

            <p>Say each word. Read the sentence.</p>

            <list type="pl">

                <li>1. smell 

                    <span>The cheese has a strong 

                            <strong>smell.</strong></span>

                </li>

                <li>2. then<noteref idref="#anno_01">*</noteref>

                    <span>The sun rises, <strong>then</strong> 

                            sets.</span>

                </li>

                <li>3. together 

                    <span>Everyone sat <strong>together.</strong></span>

                </li>

                <li>4. getting<noteref idref="#anno_01">*</noteref>

                    <span>They are <strong>getting</strong> a new 

                            car.</span>

                </li>

                <li>5. head 

                    <span>She put a hat on her 

                            <strong>head.</strong></span>

                </li>

                <li>6. ready 

                    <span>Class is <strong>ready</strong> to 

                            begin.</span>

                </li>

                <li>7. instead 

                    <span>Say yes <strong>instead </strong>of 

                            maybe.</span>

                </li>

                <li>8. fresh 

                    <span>The farmer sells <strong>fresh</strong> 

                            fruit.</span>

                </li>

                <li>9. spelling 

                    <span>The <strong>spelling</strong> test is 

                            easy.</span>

                </li>

                <li>10. else 

                    <span>Give someone <strong>else</strong> a 

                            turn.</span>

                </li>

                <li>11. breakfast 

                    <span>I eat cereal for 

                            <strong>breakfast.</strong></span>

                </li>

                <li>12. dead 

                    <span>The toy has a <strong>dead</strong> 

                            battery.</span>

                </li>

                <li>13. feather 

                    <span>A bird <strong>feather</strong> is 

                            soft.</span>

                </li>

                <li>14. bread 

                    <span>Dad toasted our <strong>bread.</strong></span>

                </li>

            </list>

            <note id="anno_01">

                <img src="images/thruout/laster.png" width="23" height="21" alt=""/>

                <p>Watch Out for Frequently Misspelled Words!</p>

            </note>

        </level4>

        <level4>

        <h4>Practice</h4>

            <p>Sort the words by writing</p>

            <list type="pl">

                <li>seven words with <strong>short e</strong> spelled 

                    <strong>ea</strong></li>

                <li>seven words with <strong>short e</strong> spelled 

                    <strong>e</strong></li>

            </list>

        </level4>

        <level4>

            <h4>Write</h4>

            <p>Choose two sentences to use in riddles or rhymes.</p>

            <sidebar render="optional">

                <hd>Challenge!</hd>

                <list type="pl">

                    <li>arrest</li>

                    <li>pretend</li>

                    <li>heavier</li>

                    <li>jealous</li>

                </list>

            </sidebar>

            <!-- ... -->

        </level4>

    </level3>

</level2>

<annotation> is a NIMAS-optional element.

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<pagenum id="IDA1BNO">39</pagenum>

<imggroup>

    <caption>A climber gets ready to climb a mountain.</caption>

    <img src="images/p039-001.png" width="246" height="445" alt=""/>

</imggroup>

<p>You should also practice being calm. A mountain climber's 

    <noteref idref="#p39">gear</noteref> feels heavy. Climbers will 

    get tired. They must stay calm. Otherwise, they will not reach 

    the top.</p>

<p>The air on a mountain is very cold. Mountain climbers bring extra 

    clothes. They layer them to stay warm.</p>

<note id="p39">

    <dl>

        <dt>gear</dt>

        <dd>things used for a climb, such as backpacks</dd>

    </dl>

</note>

<p> is a NIMAS-required element.

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<pagenum id="IDA53NN">23</pagenum>

<p class="block">called a "line of sight." The lines of sight in 

    <em>Luncheon</em> help to pull the composition together. </p>

<p class="indent">Still another issue in composition is 

    <em>balance.</em> Balance occurs when visual "weight" on both 

    sides of a picture is about equal. If a picture is absolutely 

    <em>symmetrical</em> (the same on both sides of an imagined 

    center line), such as <em>Homage to the Square</em> by Albers 

    <strong>(fig. 2-21),</strong> then balance is not an issue. But 

    if it is <em>asymmetrical,</em> like Renoir's, it is an issue. 

    The deck railing in <em>Luncheon</em> tends to lead our 

    attention toward the right. But this is countered by the airy 

    river view on the left. In looking at <em>Luncheon,</em> most 

    viewers do not sense that it is out of balance. Do you? </p>

<imggroup>

    <img src="images/p023-001.png" height="200" width="198" alt=""/>

    <caption>2-21 <strong>This abstract painting offers the viewer 

        multiple optical effects. Why isn't balance an issue in this 

        work?</strong> Josef Albers, <em>Homage to the Square: Glow,

        </em> 1966. Acrylic on fiberboard, 48" x 48" (122 x 122 cm). 

        Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 

        Gift of Joseph H. Hirshhorn, 1966.</caption>

</imggroup>

<p class="indent">Another device for unifying a work is <em>emphasis,

    </em> which refers to a dominant feature. The dominant feature of 

    <em>Blue Hole</em> by Duncanson <strong>(fig. 2-22)</strong> is 

    the body of water. In <em>Luncheon,</em> it is difficult to 

    identify a single dominant feature. Is it the man at the left 

    who seems to gaze off into space, the little dog, the objects 

    on the table, or the threesome on the right? Clearly, as a group, 

    the revelers gathered around the table compose an area of 

    emphasis.</p>

<imggroup>

    <img src="images/p023-002.png" width="415" height="272" alt=""/>

    <caption>2-22 <strong>The pond in the center of this painting 

        serves as its dominant element. What is it that draws your 

        attention to this feature?</strong> Robert S. Duncanson, 

        <em>Blue Hole, Flood Waters, Little Miami River,</em> 1851. 

        Oil on canvas, 29 1/4" x 42 1/4" (74 x 107 cm). Cincinnati Art 

        Museum, Gift of Norbert Heermann and Arthur Helbig.</caption>

</imggroup>

<p class="indent">You can read a more thorough explanation of 

    compositional strategies and terminology in <strong>Chapter 8, 

    Principles of Design.</strong></p>

This example has made use of the class attributes "indent" and "block". Neither of these class attributes are required, however, they can be of great use and are recommended.

<p> is a NIMAS-required element.

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<level3>

    <pagenum id="IDASTRN">46</pagenum>

    <h3>Lesson 3 How do organs work together?</h3>

    <p><em>Organs work together in organ systems to carry out major 

        life functions. Organ systems also interact with each other.

        </em></p>

    <level4>

        <h4>Organ Systems</h4>

        <p>In dogs, cats, fish, ferns, and you, many cells work 

            together in tissues. Many tissues work together in organs. 

            Organs work together in groups too. An <strong>organ 

            system</strong> is a group of organs and tissues that work 

            together to carry out a life process. For instance, the 

            mouth, stomach, intestines, and other organs work together 

            to digest food.</p>

    </level4>

    <level4>

        <h4>Bones Form a System</h4>

        <p>Each of your bones is an organ. Together, about 200 bones 

            make up the skeletal system. This organ system has several 

            important jobs. It provides the body with a strong support 

            system. Imagine what life would be like if you did not 

            have bones to help you stand or sit up. You would move 

            like wiggling worms! Another job of the skeletal system is 

            to protect internal organs. The skull is made of several 

            bones that work together to protect the brain. The rib 

            cage protects your lungs and heart. Bones have other jobs 

            too.</p>

        <imggroup>

            <img src="images/U13C04/p046-001.png" 

                width="480" height="776" alt=""/>

            <caption><strong>Bones Work Together</strong><br />

                This is a cut-away view of where the bone in your 

                leg meets the bone in your hip.</caption>

        </imggroup>

    </level4>

    <level4>

        <h4>Muscles Work as a System</h4>

        <p>Muscles are organs that work together to move your body. 

            You have about 640 muscles that you control. When you run 

            or dance, your brain tells dozens of these muscles how to 

            work together. In other cases, muscles work by themselves 

            without your thinking. Have you ever shivered in cold 

            weather? Shivering can help you survive the cold. When you 

            shiver, many muscles are working together to warm the 

            body. You do not have to think about shivering for it to 

            happen.</p>

    </level4>

</level3>

<prodnote> is a NIMAS-optional element.

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<pagenum id="IDAIWLN">361</pagenum>

<imggroup>

    <img src="images/U15C03/p361-001.png" 

        width="110" height="236" alt=""/>

    <prodnote render="optional">Photo of a glass bottle filled with a 

        clear solution, mixed with a small amount of a purple solution 

        that swirls through the clear solution.</prodnote>

    <caption>A dilute solution has little solute in comparison with 

        how much could dissolve.</caption>

</imggroup>

<imggroup>

    <img src="images/U15C03/p361-002.png" 

        width="105" height="231" alt=""/>

    <prodnote render="optional">A glass bottle with a concentrated 

        purple solution that is the same dark purple all the way 

        through.</prodnote>

    <caption>A concentrated solution has a large amount of 

        solute in comparison with the amount of solvent.</caption>

</imggroup>

<imggroup>

    <img src="images/U15C03/p361-003.png" 

        width="124" height="228" alt=""/>

    <prodnote render="optional">A glass bottle with a concentrated 

        purple solution settling to the bottom of the bottle after 

        more purple solution has been added.</prodnote>

    <caption>If you add more solid solute to a saturated solution, 

        the extra solute will settle to the bottom.</caption>

</imggroup>

<p>Not all solutions are made by dissolving a solid in a liquid. Two 

    liquids can make a solution. A gas can dissolve in a liquid. For 

    example, water in a lake contains dissolved oxygen and carbon 

    dioxide gases. Why would it be important that these gases are 

    dissolved in the water?</p>

<p>Solubility is a property of a substance. Solubility is how much of 

    a substance can be dissolved by a solvent at a certain 

    temperature. The hotter a solution is, the more solid solute can 

    be dissolved.</p>

<p>Solutions can be described as being saturated, concentrated, or 

    dilute. A solution that is <strong>saturated</strong> contains 

    all the solute that can be dissolved without changing the 

    temperature. If more solute is added to a saturated solution, the 

    solute will not dissolve. A <strong>concentrated</strong> solution 

    has so much solute that it is relatively close to being saturated. 

    A <strong>dilute</strong> solution is far from being saturated.</p>

<p>In many cases, a material will not dissolve at all in a particular 

    liquid, no matter how hot it is. For example, salt will not 

    dissolve in oil.</p>

<sidebar render="optional">

    <hd>Lesson Checkpoint </hd>

    <list type="pl">

        <li>1. Could a mixture of pepper and water also be called a 

            solution? Could a mixture of salt and water also be called 

            a solution? Explain your answers.</li>

        <li>2. How can you cause more solid solute to be dissolved in 

            a liquid?</li>

        <li>3. <strong>Writing in Science Descriptive</strong> Observe 

            the pictures on this page that show the making of a 

            saturated solution of water and a purple salt. In your 

            <strong>science journal,</strong> write a description of 

            the solution's appearance in each of the photos.</li>

    </list>

</sidebar>

<prodnote> is a NIMAS-optional element.

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Note: There is no appropriate NIMAS-required substitute for <prodnote>; the content enclosed by this element would not be added if only using NIMAS-required elements. <prodnote> is included below for reference purposes only.

<pagenum id="IDANRSN">351</pagenum>

<p>folk and upset baskets. In <em>The Feast of St. Nicholas</em> 

    (fig.11-27), Steen weaves a tender narrative of a children's 

    festival for the viewer to enjoy. Some children are happy, having 

    been given candy and toys. Another is crying because others are 

    making fun of him. But, the child clutching the statue of a saint 

    and her grandmother receive the most light and the most attention. 

    Steen loved to portray older folks enjoying the pleasure of small 

    children. The loose shoe and spilled fruit are almost trademarks 

    of the clutter in his paintings. Much family interplay is taking 

    place in the warm room. A whole story could be written about the 

    actions and appearances of all the family members and of their 

    relationships to each other and to the scene.</p>

<imggroup>

    <img src="images/U16C04/p351-001.png" width="447" height="366" alt=""/>

    <prodnote render="optional">A painting by Jacob van Ruisdael 

        entitled The Mill at Wijk by Durstede. The painting is of a 

        riverscape with a ship in the water and a large windmill on 

        shore.</prodnote>

    <caption><strong>11-26 The sky is the focus of the activity while 

        the water remains calm.</strong></caption>

    <caption>Jacob van Ruisdael, <em>The Mill at Wijk by Durstede,</em> 

        not dated. 32 1/4" - 40 1/4" (82 - 102 cm). The Rijksmuseum, 

        Amsterdam.</caption>

</imggroup>

<imggroup>

    <img src="images/U16C04/p351-002.png" width="261" height="301" alt=""/>

    <prodnote render="optional">A painting titled, The Feast of 

        St. Nicholas, by Jan Steen. The painting shows a family 

        gathered in a cluttered room with toys and food.</prodnote>

    <caption><strong>11-27 In contrast to the traditional portrayal 

        of immaculate Dutch interiors, Steen often shows family life 

        in action complete with clutter.</strong></caption>

    <caption>Jan Steen, <em>The Feast of St. Nicholas,</em> 

        about 1660-1665. Oil on canvas, 32 1/4" - 27 1/2" (82 - 70 

        cm). Rijksmuseum, Amsterdam.</caption>

</imggroup>

<blockquote> is a NIMAS-required element.

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<level3>

    <pagenum id="IDANKCS">249</pagenum>

    <h3>Put It All Together</h3>

    <imggroup>

        <img src="images/U14C13/p249-001.png" width="305" height="473" alt=""/>

        <caption><strong>Pablo Picasso.</strong> <em>Dancer,</em> 

            1907. Burstein Collection.</caption>

    </imggroup>

    <p>F. Discuss or write about Pablo Picasso's painting Dancer 

        using the four steps below for viewing artwork critically.</p>

        <list type="ol">

            <li>1. <strong>Describe</strong> What is the subject 

                of this work of art? What kinds of colors did the 

                artist use?</li>

            <li>2. <strong>Analyze</strong> How can you tell what 

                this abstract figure represents? How did Picasso 

                use lines and color to show the figure? What type 

                of balance does the painting show?</li>

            <li>3. <strong>Interpret</strong> What is the mood of 

                this painting? What elements contribute to this 

                mood? What do you think the artist is trying to 

                say with this artwork?</li>

            <li>4. <strong>Judge</strong> Spanish artist Pablo 

                Picasso (1881-1973) was inspired by the art of 

                Africa when he first saw it in about 1905. He drew 

                on the elegant and simplified forms of African 

                sculpture as he began to create innovative, 

                abstracted works. Judging from this painting and 

                the information you have read in this unit, how 

                do you think this painting reflects Picasso's 

                interest in African art? How does Picasso's quote 

                below remind you of landscape art from China?</li>

        </list>

    <blockquote>

        <p><em>"The hidden harmony is better than the obvious."</em> 

            - </p>

        <author>Pablo Picasso</author>

    </blockquote>

    <imggroup>

        <img src="images/U14C13/p249-002.png" 

            width="263" height="347" alt=""/>

        <caption>The art of Pablo Picasso was very influential among 

            artists of the twentieth century.</caption>

    </imggroup>

</level3>

<blockquote> is a NIMAS-required element.

While the use of optional tags is recommended, if one is only using the required tag set, the above section might be formatted as follows:

<level3><h3>Put It All Together</h3>

    <pagenum id="IDA4S3Q">153</pagenum>

    <imggroup>

        <img src="images/U12C14/p153-001.png" width="329" height="347" alt=""/>

        <caption><strong>Willie Bester.</strong><em>Kakebeen,</em> 

            1996. Mixed-media collage. © Contemporary African Art 

            Collection Limited.</caption>

    </imggroup>

    <p>F. Discuss or write about Willie Bester's work of art Kakebeen 

        using the four steps for viewing artwork critically.</p>

    <list type="pl">

        <li>1. Describe What media has the artist used in this work 

            of art? What objects can you identify? What colors did 

            the artist use, and where did he use them? What do you 

            think is the subject of this artwork?</li>

        <li>2. Analyze How did the artist create unity in this 

            artwork? How did the artist introduce variety? What kind 

            of rhythm does the artwork show?</li>

        <li>3. Interpret What do you think the artist was trying to 

            say with this work of art? What mood has the artist 

            created? What elements contribute to this mood? Why do 

            you think the artist has used such a wide range of media 

            in this one artwork? </li>

        <li>4. Judge Willie Bester (1956- ) uses his collages to focus 

            on the realities of life in the townships of South Africa. 

            How do you think this collage reflects his purpose?</li>

    </list>

    <imggroup>

        <img src="images/U12C14/p153-002.png" width="266" height="381" alt=""

           />

        <caption>Willie Bester is one of South Africa's foremost 

            artists.</caption>

    </imggroup>

    <blockquote>

        <p><em>"I am not a political painter. I don't want to be. But 

            in this . . . country, you can paint flowers-and it is 

            political."</em>  </p>

        <author>Willie Bester</author>

    </blockquote>

</level3>

<samp> is a NIMAS-optional element.

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<pagenum id="igubjk">5</pagenum>

<p>Program 1.1 just prints the name of every file in a directory, and 

    nothing else. If the source file is named myls.c, we compile it 

    into the default a.out executable file by </p>

<p>cc myls.c</p>

<p>Some sample output is</p>

<p>

    $ <strong>a.out /dev</strong><br/>

    <strong><em>.<br/>

    ..<br/>

    MAKEDEV<br/>

    console<br/>

    tty<br/>

    mem<br/>

    kmem<br/>

    null<br/></em></strong>

</p>

<p><em>many more lines that aren't shown</em></p>

<p>

    <strong><em>printer<br/></em></strong>

    $ <strong>a.out /var/spool/mqueue</strong><br/>

    <strong><em>can't open /var/spool/mqueue: Permission denied</em>

        </strong><br/>

    $ <strong>a.out /dev/tty</strong><br/>

    <strong><em>can't open /dev/tty: Not a directory</em></strong><br/>

</p>

<p>Throughout this text we'll show commands that we enter and the 

    resulting output in this fashion: characters that we enter are 

    shown in <strong>this font</strong> while output from 

    programs is shown <strong><em>like this</em></strong>. If we 

    need to add comments to this output we'll show the comments in 

    <em>italics</em>. The dollar sign that precedes our input is the 

    prompt that is printed by the shell. We'll always show the shell 

    prompt as a dollar sign.</p>

<p>Note that the directory listing is not in alphabetical order. The 

    ordering that we are familiar with is done by the ls command 

    itself.</p>

<p>There are many details to consider in this 20-line program:</p>

<list type="ul">

    <li>First, we include a header of our own, ourhdr.h. We include 

        this header in almost every program in this text. It includes 

        some standard system headers and defines numerous constants 

        and function prototypes that we use throughout the examples 

        in the text. A listing of this header is in Appendix B. </li>

    <li>The declaration of the main function uses the new style 

        supported by the ANSI C standard. (We'll have more to say 

        about the ANSI C standard in the next chapter.)</li>

    <li>We take an argument from the command line, argv[1], as the 

        name of the directory to list. In Chapter 7 we'll look at how 

        the main function is called, and how the command-line 

        arguments and environment variables are accessible to the 

        program. </li>

    <li>Since the actual format of directory entries varies from one 

        Unix system to another, we use the functions opendir, readdir, 

        and closedir to manipulate the directory.</li>

    <li>The opendir function returns a pointer to a DIR structure, 

        and we pass this pointer to the readdir function. We don't 

        care what's in the DIR structure. We then call readdir in a 

        loop, to read each directory entry. It returns a pointer to 

        a dirent structure, or a null pointer when it's finished with 

        the directory. All we examine in</li>

</list>

<sidebar> is a NIMAS-required element.

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<level4>

    <pagenum id="IDADALN">224</pagenum>

    <h4>Fresco</h4>

    <sidebar render="optional">

        <hd>Write About It!</hd>

        <p>Imagine yourself standing in front of Diego Rivera's 

            <em>Detroit Industry.</em> What do you think he's trying to 

            tell us about the working conditions in industry? How do the 

            image size and medium illustrate the hardship of the working 

            class in Detroit? How do you think you would feel standing in 

            front of such a huge image?</p>

    </sidebar>

    <p>If acrylic is the newest paint medium, fresco is one of the 

        oldest. It is used to make <em>murals,</em> that is, paintings 

        on walls. True fresco consists of mixing pigments in water, 

        spreading an area of wet plaster onto a wall or ceiling, and 

        applying the colors to the plaster before it dries. (Many 

        cultures painted on a wall or ceiling after the plaster dried, 

        a method called <em>secco.</em>) </p>

    <p>As you know, plaster dries quickly. Therefore the artist must 

        plan ahead when spreading plaster. He or she must be able to 

        paint the area within a few hours. A large mural, such as 

        Raphael's <em>School of Athens,</em><strong>(fig. 6-23, page 

        128)</strong> or Michelangelo's mural on the Sistine ceiling 

        (see<strong> Chapter 15</strong>), had to be painted in 

        sections.</p>

    <p>This would also be true for Diego Rivera's large mural, 

        <em>Detroit Industry</em><strong> (fig. 9-22).</strong> To 

        avoid leaving a watermark, Rivera probably ended each section 

        at the edge of a figure or object, rather than in the middle 

        of it. Probably this meant that Rivera could do only a few of 

        the laborers or one machine at a time. Because of the 

        difficulties of working with the fresco method, the artist 

        cannot easily make in-process changes or add fussy details. 

        Perhaps this is why Rivera made the forms in his mural so 

        clear and imposing.</p>

    <imggroup>

        <img src="images/p224-001.png" width="523" height="387" alt=""/>

        <caption>9-22 <strong>A fresco is part of a wall or ceiling and 

            will survive as long as that wall or ceiling does. Why does 

            this make fresco a useful medium for historical subjects?

            </strong> Diego Rivera, <em>Detroit Industry,</em> North Wall, 

            1932-33. Fresco, mural. Gift of Edsel B. Ford, Photograph © 

            2001 Detroit Institute of the Arts.</caption>

    </imggroup>

    <!-- ... -->

</level4>

<sidebar> is a NIMAS-required element.

While the use of optional tags is recommended, if one is only using the required tag set, the above section might be formatted as follows:

<level3>

    <pagenum id="IDA2GTQ">A-18</pagenum>

    <h3>Which Comes First?</h3>

    <p>Some performers are songwriters first. <strong>John Hiatt

        </strong> is a singer/songwriter whose songs have been 

        recorded by numerous other musicians, including Bonnie Raitt, 

        Don Henley, Bob Dylan, The Everly Brothers and Jewel. Hiatt's 

        songwriting gift is his ability to write songs that so many 

        musicians are able to perform well.</p>

    <p>Hiatt has written in many styles over his long career, 

        including folk, pop, and blues.</p>

    <p><strong>Listen</strong> to <em>Have a Little Faith in Me</em>. 

        What qualities of music make this easy to perform?</p>

    <imggroup>

        <img src="images/U04C06/pA18-001.png" width="191" height="137" alt=""/>

        <caption>John Hiatt</caption>

    </imggroup>

    <sidebar render="optional">

        <img src="images/thruout/cdhp.png" width="38" height="30" alt=""/>

        <hd>1-12 <em>Have a Little Faith in Me</em></hd>

        <p><strong>by John Hiatt as performed by Kenny Rogers

            </strong></p>

        <p>This rendition is performed in a country style.</p>

    </sidebar>

    <imggroup>

        <img src="images/U04C06/pA18-002.png" width="305" height="242" alt=""/>

        <caption>Pat Metheny</caption>

    </imggroup>

</level3>

<level3>

    <h3>Breaking with Tradition</h3>

    <p>Pat Metheny's grandfather, father, and brother were trumpet 

        players, so he began trumpet lessons at age eight. At twelve, 

        he decided the trumpet was not for him and switched to guitar. 

        By the time he was fifteen, he was playing with the top jazz 

        groups in his hometown of Kansas City. At age eighteen, 

        Metheny became the youngest teacher ever at the University of 

        Miami, and at nineteen, the youngest teacher at the Berklee 

        College of Music.</p>

    <p><strong>Listen</strong> to <em>April Joy</em>.</p>

    <sidebar render="optional">

        <img src="images/thruout/cdhp.png" width="38" 

            height="30" alt=""/>

        <hd>1-13 <em>April Joy</em></hd>

        <p><strong>by Pat Metheny as performed by the Pat Metheny 

            Group</strong></p>

        <p>This selection displays Metheny's outstanding melodic 

            style and technical ability.</p>

    </sidebar>

    <sidebar render="optional">

        <hd>Note This</hd>

        <p>Besides performing, Metheny has developed several new 

            types of guitars, including one with 42 strings!</p>

    </sidebar>

    <pagenum id="IDAXJTQ">A-19</pagenum>

    <sidebar render="optional">

        <hd>Checkpoint</hd>

        <p><strong>Listen</strong> to recordings of young performing 

            artists. Make a list of the skills, instruments, styles, 

            and other attributes that you think contribute to their 

            musical success. <strong>Compare</strong> answers with 

            your classmates.</p>

    </sidebar>

    <sidebar render="optional">

        <img src="images/thruout/cdhp.png" width="38" height="30" alt=""/>

        <hd>1-15 <em>Brace Yourself</em></hd>

        <p><strong>written and performed by Howie Day</strong></p>

        <p>Day's signature style includes playing each song 

            differently each time he performs it.</p>

    </sidebar>

    <imggroup>

        <img src="images/U04C06/pA19-001.png" width="370" height="396" alt=""/>

        <caption>A native of Bangor, Maine, Howie Day played piano as 

            a child and took up the guitar at age 14.</caption>

    </imggroup>

    <sidebar render="optional">

        <img src="images/thruout/cdhp.png" width="38" height="30" alt=""/>

        <hd>1-16 <em>Bairagi</em></hd>

        <p><strong>by Ravi Shankar as performed by Anoushka 

            Shankar</strong></p>

        <p>This composition for sitar describes the Earth as mother.</p>

    </sidebar>

    <imggroup>

        <caption>Anoushka Shankar began studying <em>sitar</em> with 

            her father, world-famous sitarist Ravi Shankar, when she 

            was very young.</caption>

        <img src="images/U04C06/pA19-002.png" width="205" height="269" alt=""/>

    </imggroup>

    <!-- ... -->

</level3>

<sidebar> is a NIMAS-required element.

1. In this example, only the first of the two <sidebar> instances is identified. This is because this example is meant to illustrate the use of setting the render attribute to "required".

2. While the use of optional tags is recommended, if one is only using the required tag set, the above section might be formatted as follows:

<pagenum id="IDAEWUQ">70</pagenum>

<level2>

    <h2><img src="images/U06C04/p019-001.png" width="88" height="95" alt=""/><strong>Activity</strong></h2>

    <level3>

        <h3>Why do we see the phases of the Moon?</h3>

        <p>From new Moon to full Moon and back again, the Moon appears 

            to change shape over the course of each month. The 

            positions in space of the Moon, Earth, and the Sun cause 

            these changes, which are called the phases of the Moon.</p>

        <level4>

            <h4>Materials</h4>

            <imggroup>

                <img src="images/U07C09/p070-001.png" alt="" width="106" height="43"/>

                <caption>shoe box with holes (prepared by 

                    teacher)</caption>

            </imggroup>

            <imggroup>

                <img src="images/U07C09/p070-002.png" alt="" width="105" 

                    height="55"/>

                <caption>black construction paper and scissors</caption>

            </imggroup>

            <imggroup>

                <img src="images/U07C09/p070-003.png" alt="" width="93" height="60"/>

                <caption>flashlight, glue and tape</caption>

            </imggroup>

            <imggroup>

                <img src="images/U07C09/p070-004.png" alt="" 

                    width="72" height="28"/>

                <caption>table tennis ball, black thread, and 

                    thumbtack</caption>

            </imggroup>

            <imggroup>

                <img src="images/U07C09/p070-005.png" alt="" width="97" height="21"/>

                <caption>metric ruler</caption>

            </imggroup>

        </level4>

        <level4>

            <h4>What to Do</h4>

            <list type="pl">

                <li>1. Cover the inside of the box with black paper.

                    Glue the paper in place.</li>

                <li>2. Make holes in the black paper where there are

                    holes in the box. Label the holes <em>A, B, C,</em> 

                    and <em>D.</em></li>

                <li>3. Put the flashlight into the large hole, and 

                    tape it in place. Hold the flashlight level, or 

                    prop it up with a book.</li>

                <li>4. Attach the thread to the ball with a thumbtack.

                    Tape the thread in place in the center of the lid 

                    so that the ball hangs down about 4 centimeters.</li>

            </list>

            <sidebar render="required">

                <img src="images/U06C05/p025-001.png" alt="" width="55" height="56"/>

                <p>Handle the thumbtack safely.</p>

            </sidebar>

            <sidebar render="optional">

                <img src="images/U06C05/p024-001.png" alt="" width="43" height="13"/>

                <p><strong>Making and using a model</strong> can help 

                    you understand why the phases of the Moon occur.</p>

            </sidebar>

            <!-- ... -->

        </level4>

    </level3>

</level2>