Part II(c): Inline Elements

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<level5>
    <pagenum id="IDANOLN">53</pagenum>
    <list type="ol">
        <li>natural branch, or a vase filled with white lilies. Feel 
            free to alter the subject to emphasize the kind of line 
            you have chosen.</li>
    </list>
    <sidebar render="optional">
        <hd>Computer Option</hd>
        <p>Choose at least two objects with different visual weights, 
            such as a feather and a book, and arrange them in a still 
            life. Using a paint program, open an 8 1/2" x 11" blank 
            canvas. Using only the color black, experiment with a 
            combination of different types and sizes of brushes to 
            find the style that will describe each object best. Use 
            light, thin brushstrokes to express any delicate qualities 
            of the objects, and bolder lines where the objects appear 
            heavier. Save and print for critique.</p>
    </sidebar>
    <imggroup>
        <img src="images/p053-001.png" width="198" height="261" alt=""/>
        <caption>3-39 Student work, Ian Brennan. Marker, 24" x 18" 
            (61 x 45.7 cm).</caption>
    </imggroup>
    <imggroup>
        <img src="images/p053-002.png" 
            width="198" height="261" alt=""/>
        <caption>3-40 Student work, David Jou. Marker, 24" x 18" (61 
            x 45.7 cm).</caption>
    </imggroup>
</level5>
<level5>
    <h5>Evaluate It</h5>
    <list type="ul">
        <li> How would you describe the linear quality of your 
            images?</li>
        <li>In what ways is the linear quality of your images constant 
            and expressive?</li>
        <li>Which images are most successful? Why?</li>
    </list>
</level5>
<level5>
    <h5>Art History - Studio Background</h5>
    <p>For centuries, the great masters of China and Japan have 
        explored the expressive qualities of line. The brushstroke is 
        the single most important part of their craft. The Japanese 
        often employ line in the interest of another of their 
        passions, satire. Consider this detail from the <em>Scroll of 
        Frolicking Animals (Choju Giga).</em> Here the artist has 
        relied on fluid lines to describe the flower vase as well as 
        the droll expression and pose of the Buddha-frog. Compare the 
        feeling of these lines with those in <em>Dr. J. Robert 
        Oppenheimer</em><strong>(fig. 3-17, page 40).</strong> In 
        what different ways do the artists distort visual information 
        to create drama?</p>
    <imggroup>
        <img src="images/p053-003.png" width="236" height="146" alt=""/>
        <caption>3-41 <strong>This scroll is one of several in a 
            series that depict cavorting animals engaged in satirical 
            human-like behavior.</strong> <em>Monkeys Worshiping a 
            Frog</em> (detail), from Choju Giga Handscrolls attributed 
            to Toba Sojo, c. late 12th century. Ink on paper, detail 
            c. 12" x 18" (30.5 x 45.7 cm). <sup>©</sup> Barney 
            Burstein Collection/Corbis.</caption>
    </imggroup>
</level5>

<abbr> is a NIMAS-optional element.

1. In abbreviations, a period that is part of the abbreviation should be included in the <abbr> tag, however, punctuation for the surrounding sentence should not be included. This can be confusing, particularly in situations where a sentence ends with an abbreviation. In these situations, err on the side of including the proper punctuation for the sentence.

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<level3>
    <pagenum id="IDAYVLN">295</pagenum>
    <h3>Veronese</h3>
    <p><strong>(1528-1588)</strong></p>
    <p>Paolo Caliari was called Veronese because he came from Verona, 
        some distance west of Venice. Tintoretto was concerned with 
        turbulent and swirling light and action in religious scenes. 
        Veronese emphasized the material beauty of marble, gold, 
        textiles and other materials of superb quality and great 
        expense. Like other Mannerist painters, he was adept at using 
        perspective to create startling effects--such as looking 
        straight up at figures on a ceiling or looking upward or 
        downward diagonally. He was so skilled at foreshortening that 
        he had no trouble portraying figures in any conceivable 
        location and position.</p>
    <p> His interest in the luxurious quality of fabrics can be seen 
        in <em>The Finding of Moses</em> (fig. 9-44). Although the 
        event happened in Egypt over three thousand years earlier, 
        Veronese placed the scene in northern Italy--the Alps and a 
        Tyrolian town are in the background--and peopled it with a 
        sixteenth-century princess and her court. The basis for the 
        painting is the hiding of Moses by his mother when all first-
        born sons of Israel were to be put to death by the Egyptian 
        Pharaoh. The princess, out on her daily walk, finds Moses in 
        a basket in the reeds by the river bank. The flowing colors 
        and spiraling, twisting figures are designed to lead the 
        viewer's eyes to the face of the princess, even though the 
        baby Moses is the reason for the painting. While Veronese 
        leads the viewer's eyes along many paths, they always return 
        to the face of the princess. Her light complexion is set off 
        by the dark foliage behind her. The arbitrary use of light, 
        placed just where the artist wants it, is contradictory to 
        the use of natural light so admired by Renaissance artists.</p>
    <p><em>Christ in the House of Levi</em> (fig. 9-45), like High 
        Renaissance paintings, is symmetrically balanced. The figures, 
        which are full of action and motion, are placed in a Classical 
        architectural setting. Christ is seated in the center and 
        surrounded by men of high station and their servants. The 
        painting was originally titled <em>The Last Supper.</em> 
        However, the Inquisition charged Veronese with impiety for 
        including drunkards and dwarfs in such a solemn occasion. 
        Rather than make changes in his painting, Veronese simply 
        changed the title to one with less religious significance.</p>
    <imggroup>
        <img src="images/U14C04/p295-001.png" width="540" height="231" alt=""/>
        <caption><strong>9-45 Compare this work to Leonardo's Last 
            Supper.</strong></caption>
        <caption>Paolo Veronese, <em>Christ in the House of Levi,</em> 
            c. 1573. Oil on canvas, 18' 2" × 42' (5.5 × 12.8 m). 
            Academy, Venice.</caption>
     </imggroup>
</level3>

<acronym> is a NIMAS-optional element.

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<level3>
    <pagenum id="IDANIZN">170</pagenum>
    <h3>Lesson 2 How do species change?</h3>
    <p><em>Parents in every species pass traits to their offspring. 
        Traits of species may change and may help the species 
        survive.</em></p>
    <imggroup>
        <img src="images/U13C08/p170-001.png" alt="" width="226" 
            height="293"/>
        <caption>Different genes result in different colors of fur 
            and eyes.</caption>
    </imggroup>
    <level4>
        <h4>Inheriting DNA</h4>
        <p>Small changes occur in ecosystems over many years. Some of 
            these changes happen because offspring are not exactly 
            like their parents.</p>
        <p>Remember, heredity is the process in which plants and 
            animals receive, or <strong>inherit,</strong> half of the 
            genes from each parent. The genes determine almost 
            everything about how the organism grows. Since every 
            animal inherits a new mix of genes from its parents, every 
            animal is different. This kind of small change from 
            parents to offspring usually is neither helpful nor 
            harmful to the ecosystem.</p>
        <p>Different combinations of DNA may cause offspring to be 
            different from their parents in many ways. Some offspring 
            may be taller than their parents. Some may have different-
            colored eyes. However, most things will be the same. The 
            dog shown on this page has the same organ systems as its 
            parents. It has the same number of legs and placement of 
            eyes. The dog's body has thick fur like its parents, 
            though the color may be different.</p>
        <imggroup>
            <img src="images/U13C08/p170-002.png" alt="" width="342" 
                height="498"/>
            <caption>This dog inherited a set of genes that gave it 
                blue eyes and brown fur.</caption>
        </imggroup>
    </level4>
</level3>

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<pagenum id="IDAGPLN">235</pagenum>
<imggroup>
    <img src="images/U12C01/p235-001.png" width="306" height="272" alt=""/>
    <caption>9-37 <strong>The photos in an Alix Pearlstein 
        display consist of stills drawn from her various video 
        performances. In what way do you think creating still shots 
        from a video might increase an artist's creative choices? 
        </strong>Alix Pearlstein, <em>Partners/ Parallel Play,</em> 
        1998. Large color photographs, nylon thread, video, and mixed 
        media, dimensions variable. Courtesy of the artist.</caption>
</imggroup>
<p>The brain of the computer, the central processing unit (CPU), is 
    basically a board with electrical circuits and transistors. The 
    smallest unit of information for the CPU is a <em>bit</em> or 
    <em>binary</em> digit. Binary refers to two numbers: 1 and 0. 
    Think of a bit as an electrical switch: 1 is on, 0 is off. A 
    string of binary numbers, that is, a pattern of on-off switches, 
    makes up a <em>pixel.</em> A pixel can be translated into a dot 
    in a specific location on the video screen. Of course, dots can 
    be extended into lines, and lines can form images.</p>
<p>To create the effect of three dimensions, the artist uses the 
    tools of foreshortening, perspective, aerial perspective, 
    shading, texture, cast shadows, and reflections--just as a 
    traditional painter would. Special <em>programs</em> are required 
    for these tools on a computer.</p>
<p>David Szafranski prints out his computer-generated compositions 
    <strong>(fig. 9-38)</strong> that, like paintings or prints, can 
    be hung on a wall. Employing the power of the computer, he creates 
    tantalizingly complex colorful abstractions.</p>
<imggroup>
    <img src="images/U12C01/p235-002.png" width="309" height="309" alt=""/>
    <caption>9-38 <strong>Notice how the computer artist has created 
        a seemingly endless modular pattern in this work. How do 
        computer abstractions like this one differ from the abstract 
        paintings in other media that you've seen in this book?
        </strong> David Szafranski, <em>God Is in the Details,</em> 
        1998. Digital ink jet on paper, variable dimensions. Courtesy 
        of the artist.</caption>
</imggroup>

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<level2>
    <pagenum id="IDAWMYQ">92</pagenum>
    <h2>Lesson 7 Variety</h2>
    <p>If a composition is unified but has no variety, it can appear 
        visually boring. <strong>Variety</strong>, the use of 
        different elements to add interest to a work of art, is the 
        final principle of design. It works hand in hand with unity 
        to create a pleasing composition. In an artwork with many 
        repeated elements, an artist can introduce variety to add 
        emphasis and meaning.</p>
    <p>This is one of Belgian artist René Magritte's early works 
        of art. Magritte (1898-1967) created it soon after finishing 
        art school, when he worked as a designer for a wallpaper 
        factory. While the designs he would have created for wallpaper 
        would focus on repetition to achieve unity, this composition 
        introduces variety, yet remains unified.</p>
    <p>In a composition dominated by geometric shapes, the natural 
        shapes stand out and add variety. For example, notice how each 
        human figure is different from the others in both color and 
        shape. On the other hand, the houses in the background have a 
        similar color and shape. Where else can you detect the 
        principle of variety in this artwork?</p>
    <imggroup>
        <img src="images/U11C10/p092-001.png" width="477" 
            height="342" alt="" />
        <caption><strong>René Magritte.</strong><em>Untitled (The 
            Horsewoman),</em>  1922. Oil on cardboard on wood, 
            approximately 24 1/2 by 35 inches. Private collection.
            </caption>
        <caption>Magritte introduced variety using shapes and colors.
            </caption>
    </imggroup>
    <!-- ... -->
</level2>

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<level3>
    <pagenum id="IDAWUON">7</pagenum>
    <h3>Lesson 1 Why do we classify?</h3>
    <p><em>From 1804 to 1806, Meriwether Lewis, William Clark, and 
        their team described hundreds of plants and animals so these 
        could be classified. To classify organisms, the skills of 
        observation and comparison are used.</em></p>
    <level4>
        <h4>Lewis and Clark's Mission of Discovery</h4>
        <p>Lewis and Clark led their team to find a route between the 
            Atlantic and Pacific Oceans, and to investigate the 
            organisms that lived in the West. The team described 
            hundreds of animals and plants. They also collected many 
            samples of plants and animals. Later, biologists used the 
            samples and descriptions to classify the organisms. To 
            <strong>classify</strong> means to put things into 
            groups.</p>
        <p>To classify an organism, these biologists used skills of 
            observation and comparison that most scientists use in 
            their work. First, they observed each organism carefully. 
            Then they compared and contrasted their observations with 
            known plants and animals. They tried to place similar 
            organisms in one group. A plant or animal that was very 
            different from others would be put in a new group.</p>
    </level4>
    <level4>
        <h4>Reasons to Classify</h4>
        <p>A classification system makes it easier to communicate 
            clearly by having just one name for each organism. Without 
            a classification system, scientists might call one organism 
            by different names. Or they might use one name for more 
            than one organism. That could be confusing!</p>
        <p>A system can also help to organize information about 
            organisms. By just knowing what category an organism is 
            in, much can be known about it. For example, an organism 
            classified as a plant most likely needs light to live.</p>
        <list type="pl">
            <li>1. <strong>Checkpoint</strong> How do scientists 
                classify organisms?</li>
            <li>2. <strong>Art in Science</strong> Research the 
                animals that Lewis and Clark observed. Draw a picture 
                of two of them and label ways they are different and 
                ways they are the same.</li>
        </list>
    </level4>
</level3>

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<level2>
    <pagenum id="IDALIBR">D-14</pagenum>
    <h2>4 Xylophones and Marimbas</h2>
    <p>The marimba, a member of the xylophone family, is played worldwide. 
        The word <em>xylophone</em> comes from the Greek words <em>xylon, 
      </em>  which means "wood," and <em>phone</em>, which means "voice." 
        Marimbas and xylophones can play both melodies and harmonies. Some 
        are designed with whole-step or pentatonic scales, while others have 
        complete diatonic or even chromatic scales. Marimbas can have a 
        range of up to five octaves and can be almost nine feet long!</p>
    <p><strong>Listen</strong> to <em>Crunchy, Crunchy, Crunchy</em>. 
        <strong>Read</strong> the notation on page D-15 as you listen. 
        <strong>Identify</strong> the repeated rhythmic <em>motives</em> 
        in each part. How are the four parts related?</p>
    <sidebar render="optional">
        <img src="images/thruout/cdhp.png" alt="" width="38" height="30"/>
        <hd> 8-19 <em>Crunchy, Crunchy, Crunchy</em></hd>
        <p>
            <strong>by Walt Hampton as performed by students from Marcus 
            Whitman Elementary School, Richland, Washington</strong>
        </p>
        <p>This ensemble is based on a familiar Caribbean melody.</p>
    </sidebar>
    <level3>
        <h3>Play Crunchy</h3>
        <p><strong>Play</strong> the melody of the <strong>A</strong> section 
            of "Crunchy, Crunchy, Crunchy" on the soprano xylophone. When you 
            can play <strong>A,</strong> learn the <em>B</em> section melody.</p>
        <p><strong>Identify</strong> the three pitches of the contrabass bars 
            part. These pitches are the roots of the chords that create the 
            harmonies of "Crunchy, Crunchy, Crunchy." <strong>Play</strong> the 
            contrabass bars part.</p>
         <p><strong>Listen</strong> to the alto xylophone part. Notice that it 
             has the same rhythm as the melody. Echo each phrase, and then 
             <strong>play</strong> the entire part.</p>
        <p><strong>Compare</strong> the bass xylophone part to the other parts, 
            and then play this part by ear.</p>
        <p><strong>Play</strong> a steady beat with a pair of <em>hosho</em> or 
            gourd rattles.</p>
        <imggroup>
            <caption>African xylophone</caption>
            <img src="images/U07C04/pD14-001.png" alt="" 
                width="528" height="310"/>
        </imggroup>
        <sidebar render="optional">
            <strong>motives</strong> Rhythmic or melodic fragments that serve as 
                the basic elements from which a more complex musical structure can 
                be created.
        </sidebar>
        <!-- ... -->
    </level3>
</level2>

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<pagenum id="IDA2UKN">123</pagenum>
<p>variety of Pei's court. Yet the rotunda is as dramatic as the newer 
    interior. Pope's design is formal and follows traditional rules of 
    public architecture. Pei's design is modern and informal. Which of 
    the two spaces do you prefer? Why? </p>
<p>Space is also important to the sculptor. Modern sculptors often work 
    with open forms, as George Rickey did in <em>Four Lines Oblique</em> 
    <strong>(fig. 4-39, page 75)</strong>. Barbara Hepworth's 
    <em>Pendour</em> <strong>(fig. 6-13)</strong> is of carved wood. 
    The artist intentionally carved openings in it to create a unique 
    relationship between form and space, or <strong>positive</strong> 
    and <strong>negative.</strong></p>
<p>An example of open form on a much larger scale is Alexander Calder's 
    huge <em>mobile.</em> Part of this mobile can be seen in <strong>figure 
    6-11</strong>. The mobile hangs in the East Building of the National 
    Gallery.</p>
<imggroup>
    <img src="images/p123-001.png" alt="" 
        width="306" height="225"/>
    <caption>6-13 <strong>It is said that the holes, or space, in 
        Hepworth's sculptures are just as important as the material, 
        or mass. Using this work as an example, do you agree or 
        disagree with this statement?</strong> Barbara Hepworth, 
        <em>Pendour,</em> 1947. Painted wood, 12 1/8" x 28 3/8" x 9 3/8" 
        (31 x 72 x 24 cm). Hirshhorn Museum and Sculpture Garden, 
        Smithsonian Institution, Gift of Joseph H. Hirshhorn, 1966.</caption>
</imggroup>
<imggroup>
    <img src="images/p123-002.png" alt="" 
        width="414" height="300"/>
    <caption>6-12 <strong>This architect also designed the Jefferson 
        Memorial, where he again made use of a circular, domed space. 
        What words would you use to describe a circular space? 
        In what ways is it different from a rectilinear space?</strong> 
        John Russell Pope, architect, West Building of the National Gallery 
        of Art, Washington (Rotunda). Image © 2003 Board of Trustees, National 
        Gallery of Art, Washington.</caption>
</imggroup>

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<level3>
    <!-- ... -->
    <pagenum id="IDAD4KN">91</pagenum>
    <p>and pyramidically tapered tower is filled with sculptured 
        and painted panels from Hindu mythology. </p>
    <p>Bronze casting in the lost-wax method was practiced by another 
        medieval kingdom, the <em>Chola</em>. The sculpture of 
        Siva dancing the <em>nataraja</em>, or dance of reincarnation, 
        is rendered in minute detail (fig.4-18). Graceful movement is 
        depicted in metal that would be impossible to portray in 
        stone. The flame-encrusted <em>halo</em> shows a remarkable 
        and delicate use of line and shape.</p>
</level3>
<level3>
    <h3>The Mughal Period</h3>
    <p>The final phase of traditional Indian art arrived with the 
        successive waves of Moslem invasions between the twelfth and 
        sixteenth centuries. The greatest of the <em>Mughal</em> 
        emperors was Akbar. Akbar reunited the divided medieval 
        kingdoms into the mighty Mughal empire. Because the Moslem 
        religion prohibited the use of imagery, many Hindu temples 
        and their sculptures were destroyed during the Mughal period. 
        The Mughals replaced them with mosques and beautiful palaces 
        of symmetrical simplicity. Mughals brought the Persian style 
        with them, a style mixed with Indian ideas. Mosaics of stone 
        and ceramic decorated the floors and walls in arabesque 
        patterns of leaves, flowers and geometric motifs. Most famous 
        of the structures from Mughal India is the <em>Taj Mahal</em> 
        (figs.4-17, 4-24).</p>
    <p>Typical of Mughal art was the production of fine small objects 
        in enamel, mother-of-pearl, glass or metalwork. Miniature 
        paintings were made on palm leaves and paper. Here, earthly 
        rulers (never deities) were portrayed. The faces were often in 
        profile, and much attention was given to bodily ornament.</p>
    <imggroup>
        <img src="images/U09C03/p091-001.png" alt="" 
            width="443" height="281"/>
        <caption><strong>4-24 The Taj Mahal was built by Shah 
            Jahan to memorialize his beloved wife. He used 20,000 
            workers to construct this lavish mausoleum.</strong>
            </caption>
        <caption><em>Taj Mahal</em>, 1632. Marble. Agra, 
            India.</caption>
    </imggroup>
</level3>
<level3>
    <h3>Lesson 4.2 Review </h3>
    <list type="pl">
        <li>1 Name several types of art made by the Indus Valley 
            civilization. </li>
        <li>2 What are stupas and harmikas? </li>
        <li>3 Why were the earliest Buddhist sculptures similar to 
            classical Greek sculpture? </li>
        <li>4 How is a temple constructed if it is carved from live 
            rock? </li>
        <li>5 Which era is considered the high point of Buddhist 
            Indian art? Describe the temple art of this period. </li>
        <li>6 Name two structures built by the Pallavas. </li>
        <li>7 Describe the Shore Temple at Mamallapuram. What does 
            the bull on this temple represent? </li>
        <li>8 Who was Akbar? What was his great achievement? </li>
        <li>9 Why did the Mughals destroy the Hindu temples and 
            sculptures? </li>
        <li>10 What is the most famous Mughal Indian structure?</li>
    </list>
</level3>

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<level3>
    <pagenum id="IDAKUKN">199</pagenum>
    <h3>Lesson 1 How can the oceans be described?</h3>
    <p><em>Unlike other planets, Earth has huge amounts of water. This 
        water covers most of the surface of the planet. It is in 
        different forms, but most of it is in the salty oceans.</em>
        </p>
    <img src="images/U14C03/p199-001.png" alt="" width="155" 
        height="159"/>
    <level4>
    <h4>The Hydrosphere</h4>
        <p>What body of water is closest to where you live? More than 
            half the people in the United States live within about 80 
            kilometers of an ocean. Many people live near other bodies 
            of water, such as rivers and lakes. Bodies of water play a 
            huge role in our lives. They give us a way to travel, 
            places to catch food, and beautiful sights to visit. What 
            are some ways that oceans or lakes have affected your 
            life?</p>
        <p>All the waters of Earth make up the hydrosphere. Almost 
            all of the hydrosphere is ocean water. Only 3/100, or 3 
            percent, of the hydrosphere is in other places. The 
            hydrosphere covers a little less than 3/4 of the Earth's 
            surface.</p>
        <p>The Pacific Ocean is the largest, followed by the Atlantic 
            Ocean, the Indian Ocean, the Southern Ocean, and the 
            Arctic Ocean. On a map or globe, you can see that the 
            oceans are all connected. The Pacific is not only the 
            largest ocean, it is also the deepest. The average depth 
            of the Pacific Ocean is about 4,000 meters. In its deepest 
            place, it is more than 11,000 meters deep.</p>
        <p>The oceans are all a bit different from one another. Some 
            have more storms than others. Many properties of the 
            water are different, such as how salty the water is or 
            the average temperature. Even the levels of the oceans' 
            surfaces, called sea level, are slightly different. </p>
        <list type="pl">
            <li>1. <strong>Checkpoint</strong> How much of Earth is 
                covered by water?</li>
            <li>2. <strong>Math in Science</strong> The deepest part 
                of the Arctic Ocean is about 5,500 meters. How many 
                times as deep is the deepest part of the Pacific Ocean 
                than the deepest part of the Arctic Ocean?</li>
        </list>
    </level4>
</level3>

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<pagenum id="id89235223">109</pagenum>
<p>carefully selecting and arranging words, a poet also establishes 
    an effective rhythm for a poem. In traditional verse, poets use a 
    fixed rhyme scheme and a set pattern of syllables to establish a 
    constant rhythm. In free verse, poets experiment with a loose 
    rather than a fixed pattern, and they tend to avoid rhyming.</p>
<p>One type of poem with a fixed rhythm and rhyme scheme is the 
    <strong>limerick</strong>. The limerick is a humorous, rhyming 
    poem of five lines. The first, second and fifth lines of a 
    limerick rhyme and have three feet (repeating rhythmic patterns). 
    The third and fourth lines rhyme and have two feet. To help you 
    pick up the rhythm, try tapping your pen or pencil as you read 
    this limerick. Also, notice the AABBAA rhyme scheme.</p>

<line>There was a young woman named Bright (A)</line>
<line>Whose speed was much faster than light. (A)</line>
<line>She set out one day (B)</line>
<line>In a relative way (B)</line>
<line>And returned on the previous night (A)</line>

<p>Now, listen to the rhythm as you say the poem again (da = short 
    beat; dum =  stressed beat). Here is the beat: </p>
<p>da dum da/ da dum da /da dum (3 feet)<br/> 
    da dum da /da dum da /da dum (3 feet)<br/> 
    da dum da /da dum (2 feet)<br/> 
    da dum da /da dum (2 feet)<br/> 
    da dum da /da dum da /da dum (3 feet)</p>

<br> is a NIMAS-required element.

    	
<level3>
    <pagenum id="IDAA3QQ">17 </pagenum>
    <h3>Proofread a Poster</h3>
    <p>Mr. Lee runs the summer camp at Elm Park. He wants children to 
        join the fun. Read the poster Mr. Lee started to write.</p>
    <p>Summer Fun<br />
        do you like to paly outside?<br />
        come to Elm Park fore summer camp.</p>
    <sidebar render="optional">
        <hd>Proofreading Tip</hd>
        <p>Don't make the same mistake Mr. Lee did. Remember to start 
            every sentence with a capital letter.</p>
    </sidebar>
</level3>
<level3>
    <h3>Write A Poster</h3>
    <p>Write Mr. Lee's poster. </p>
    <list type="ul">
        <li>Fix the two spelling mistakes.</li>
        <li>Add two capital letters.</li>
        <li>Then write more about the camp. Use some of your spelling 
            words and a word of your own.</li>
    </list>
    <list type="pl">
        <li>pay</li>
        <li>play</li>
        <li>for</li>
        <li>fort</li>
        <li>sing</li>
        <li>spring</li>
        <li>fat</li>
        <li>flat</li>
        <li>bed</li>
        <li>bend</li>
        <li>cap</li>
        <li>camp</li>
    </list>
    <p><em>My Words</em></p>
    <list type="pl">
        <li><em>1 </em> .____</li>
        <li><em>2. </em>____</li>
    </list>
    <sidebar render="optional">
        <img src="images/thruout/house.png" alt="House Icon" 
            width="34" height="30"/>
        <p>Read each spelling word on the list and ask your child to 
            write it. Have your child check his or her spelling 
            against the word list and rewrite any words that were 
            misspelled.</p>
    </sidebar>
    <!-- ... -->
</level3>

    

<linenum> is a NIMAS-required element. This example is therefore identical to the preceding DAISY example.

<poem>
    <linegroup>
        <!-- ... -->
        <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>
    </linegroup>
    <dateline>1921</dateline>
</poem>
<poem>
    <hd>To Waken an Old Lady</hd>
    <linegroup>
        <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>
    </linegroup>
    <dateline>1921</dateline>
</poem>
<poem>
    <hd>The Widow's Lament in Springtime</hd>
    <linegroup>
        <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>
        <!-- ... -->
    </linegroup>
</poem>

    

<pagenum> is a NIMAS-required element. This example markup for <pagenum> is identical to the preceding DAISY example.

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="IDA3UVN">110</pagenum>
    <h3>Lesson 4 How Do Plants Grow?</h3>
    <p><em>Different plants grow in different ways. A plant's growth depends 
        on its DNA and its environment.</em></p>
    <level4>
        <h4>DNA and Growth</h4>
        <p>When conditions are right a seed will sprout. Sprouting is sometimes 
            called germination. Roots will grow out of the seed and grow downward. 
            A tiny stem will grow out of the seed and grow upward. A plant embryo 
            will not grow out of the seed if it is too cold or too dry for that 
            kind of seed. The conditions a plant needs depend on its DNA. 
            Different plants have different needs.</p>
        <p>How many different shapes of plants can you describe? Some trees 
            are tall and skinny. Some pines are cone-shaped. Bushes are often 
            round like a ball. These shapes are the result of how the plant's 
            DNA instructs the branches to grow.</p>
        <p>How fast a plant grows is due partly to the environment and partly 
            to its DNA. If the environment has the best conditions, the plant 
            will grow more quickly than if the soil is too dry or if the air is 
            too cold. But even if the conditions are perfect, plants will grow 
            at different rates because of their different DNA. One of the 
            fastest-growing plants was a yucca plant that grew about 4 meters 
            (13 feet) in only two weeks!</p>
        <imggroup>
            <caption>A huge tree has different DNA than the small plants 
                that cover it. This results in the very different shapes and growth 
                patterns of the plants.</caption>
            <img src="images/U13C06/p110-001.png" alt="" width="247" 
                height="617"/>
        </imggroup>
        <!-- ... -->
    </level4>
</level3>

<pagenum> is a NIMAS-required element. This example markup for <pagenum> is identical to the preceding DAISY example.

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="IDAPGUQ">G-19</pagenum>
    <h3>More ABBA-Inspired Sounds</h3>
    <p><strong>Listen </strong>to <em>Dancing Queen,</em> another ABBA hit. 
        <strong>Compare</strong> it to "Take a Chance on Me." What elements 
        are the same? Which are different?</p>
    <sidebar render="optional">
        <img src="images/thruout/cdhp.png" alt="CD Icon" width="38" height="30"/>
        <hd> 12-3 <em>Dancing Queen</em></hd>
        <p><strong>by Benny Andersson, Stig Anderson, and Björn Ulvaeus as performed 
            by the Real Group with Frida</strong></p>
        <p>The vocal harmonies in this version are typical of ABBA songs.</p>
    </sidebar>
    <sidebar render="optional">
        <hd>Music Makers ABBA</hd>
        <p><strong>ABBA</strong> was a collaboration among four Swedish musicians--Agnetha 
            Faltskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid Lyngstad. 
            The name ABBA is taken from the first letters of their first names. 
            <em>Waterloo</em> was ABBA's first big hit in 1974. It was followed 
            by a string of others including <em>Dancing Queen</em> and <em>Fernando</em>. 
            In the late 1990s, Ulvaeus and Andersson took a number of ABBA's 
            songs, wove a story around them, and created a hit musical, <em>Mamma 
            Mia</em>. The musical has played in London, Toronto, New York, 
            Melbourne, Sydney, Hamburg, and Tokyo.</p>
        <img src="images/U10C06/pG19-001.png" alt="" width="504" height="480"/>
    </sidebar>
</level3>

<pagenum> is a NIMAS-required element. This example markup for <pagenum> is identical to the preceding DAISY example.

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:

<level1>
    <pagenum id="IDA0QKN">v</pagenum>
    <h1>Contents</h1>
    <list type="pl">
        <li><strong>Part One Introduction to Art</strong>
            <list type="pl">
                <li><strong>Chapter 1 What Is Art?</strong> 2
                    <list type="pl">
                        <li>1.1 The Variety of Art 4</li>
                        <li><strong>Artists' Showcase</strong> 10 </li>
                        <li><strong>Chapter Review </strong>11 </li>
                        <li>
                            <imggroup>
                                <img src="images/U04C00/pr05-001.png" 
                                    height="150" width="175" alt=""/>
                                <caption>See page 2</caption>
                            </imggroup>
                        </li>
                    </list>
                </li>
                <li><strong>Chapter 2 How Should We Look at Art? </strong>12
                    <list type="pl">
                        <li>2.1 Philosophy of Art 14 </li>
                        <li>2.2 Criticism and Critics 18</li>
                        <li>2.3 A Critical Method 20</li>
                        <li><strong>Artists' Showcase</strong> 28</li>
                        <li><strong>Chapter Review</strong> 29 </li>
                        <li>
                            <imggroup>
                                <img src="images/U04C00/pr05-002.png" 
                                    height="126" width="126" 
                                    alt=""/>
                                <caption>See page 12</caption>
                            </imggroup>
                        </li>
                    </list>
                </li>
            </list>
        </li>
        <li><strong>Part Two Elements of Art and Principles of Design</strong>
            <list type="pl">
                <li><strong>Chapter 3  Line</strong> 32
                    <list type="pl">
                        <li>3.1 A Quick Look 34</li>
                        <li>3.2 Descriptive Lines 36</li>
                        <li>3.3 Implied Lines 38</li>
                        <li>3.4 Expressive Lines 40 </li>
                        <li><strong>Art Criticism Step by Step</strong>
                            <list type="pl">
                                <li>3.5 A Japanese Ukiyo-e Artwork  44</li>
                            </list>
                        </li>
                        <li><strong>Studio Experiences</strong>
                            <list type="pl">
                                <li>3.6 Hockney-Inspired Still Life Drawing 46</li>
                                <li>3.7  Drawing with Hatching and Crosshatching 48</li>
                                <li>3.8  Contour Line Investigation 50</li>
                                <li>3.9  Drawing with Expressive Line 52  </li>
                                <li>3.10 Calder-Inspired Wire Drawing 54</li>
                            </list>
                        </li>
                        <li><strong>Artists' Showcase</strong> 56 </li>
                        <li><strong>Chapter Review</strong> 57 </li>
                        <li>
                            <imggroup>
                                <img src="images/U04C00/pr05-003.png" 
                                    height="242" width="163" 
                                    alt=""/>
                                <caption>See page 32</caption>
                            </imggroup>
                        </li>
                    </list>
                </li>
            </list>
        </li>
    </list>
</level1>

<prodnote> is a NIMAS-optional 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:

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.

<rearmatter>
    <level1 class="glossary">
        <pagenum id="IDAKEL">426</pagenum>
        <h1>Glossary</h1>
        <p>Highlighted terms appear as vocabulary words on the 
            indicated lesson pages.</p>
        <dl>
            <dt>AB form</dt>
                <dd>A musical plan that has two sections or parts. 
                    p. 167</dd>
            <dt>ABA form </dt>
                <dd>A musical plan that has three sections or parts. 
                    The first and last sections are the same. The 
                    middle section is different. p. 201</dd>
            <dt><span class="vocabulary">accent</span></dt>
                <dd><img src="images/thruout/accmark.png" 
                    width="22" height="13" alt="" /> Gives extra importance 
                    to a note in a rhythm pattern. p. 78</dd>
            <dt><span class="vocabulary">accompaniment</span></dt>
                <dd>Music that is performed to go with a melody. p. 
                    142</dd>
            <dt><span class="vocabulary">bar line</span></dt>
                <dd><img src="images/U15C00/bline.png" 
                    width="36" height="20" alt="" /> A vertical line drawn 
                    through a staff to separate measures. p. 83</dd>
            <dt><span class="vocabulary">borduns</span></dt>
                <dd>Repeated patterns used to accompany music. They 
                    have two pitches, one of which is the home tone. 
                    p. 419</dd>
            <dt><span class="vocabulary">call and response</span></dt>
                <dd>A style of choral singing. First one person sings 
                    the call and then the rest of the chorus sings a 
                    response, or an answer. p. 19</dd>
            <dt><span class="vocabulary">coda</span></dt>
                <dd><img src="images/thruout/coda.png" width="14" 
                    height="13" alt=""/> A short section added to 
                    the end of a song. p. 168</dd>
            <dt><span class="vocabulary"><em>crescendo</em></span></dt>
                <dd><img src="images/thruout/cres.png" 
                    width="35" height="16" alt="" /> A word or music symbol 
                    that tells the performer to get gradually louder. 
                    p. 116</dd>
            <dt><span class="vocabulary">cumulative song</span></dt>
                <dd>A song that gets longer as each new verse is 
                    added. p. 360</dd>
            <dt><span class="vocabulary"><em>D.C. al Fine</em></span>
                </dt>
                <dd>An Italian phrase that tells the performer to go 
                    back to the beginning of the song and sing until 
                    the word Fine. p. 200</dd>
            <dt><span class="vocabulary">dynamics</span></dt>
                <dd>A word that describes the loudness or softness of 
                    music. p. 6</dd>
            <dt><span class="vocabulary"><em>fermata</em></span></dt>
                <dd><img src="images/thruout/formata.png" 
                    width="27" height="17" alt="" /> A symbol that tells a 
                    performer to hold a note for an extra long time. 
                    p. 191</dd>
            <dt><span class="vocabulary">form</span></dt>
                <dd>The order of same and different ideas in music. 
                    p. 52</dd>
            <dt><em>forte</em></dt>
                <dd><strong>f</strong> loud. p. 6</dd>
            <dt><span class="vocabulary">improvise</span></dt>
                <dd>To make up music as it is being performed. p. 
                    219</dd>
            <dt><span class="vocabulary">introduction</span></dt>
                <dd>A short section placed at the beginning of a song. 
                    p. 345</dd>
            <dt><span class="vocabulary">ledger line</span></dt>
                <dd><img src="images/U15C00/p426-001.png" width="15" height="19" alt="" /> An extra line used 
                    for pitches above or below the staff. p. 101</dd>
            <dt><span class="vocabulary"><em>legato</em></span></dt>
                <dd>Describes a melody that has smooth, connected 
                    pitches p. 152</dd>
            <dt><span class="vocabulary">measure </span></dt>
                <dd><img src="images/U15C00/p426-002.png" 
                    width="44" height="20" alt="" /> A grouping of beats 
                    separated by bar lines. p. 83</dd>
            <dt><span class="vocabulary">melody</span></dt>
                <dd>A row of pitches that move up or down or repeat. 
                    p. 24</dd>
            <dt><span class="vocabulary">meter</span></dt>
                <dd>The way beats of music are grouped together. They 
                    are often in sets of two or sets of three. p. 
                    196</dd>
            <!-- ... -->
        </dl>
    </level1>
</rearmatter>

<prodnote> is a NIMAS-optional 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:

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.

<level2>
    <pagenum id="IDAOKNO">56</pagenum>
    <h2>4 you 2 Do</h2>
    <level3>
        <h3>Word Play</h3>
        <p>With a partner, write a list of five words from the 
            letters in the words MOUNTAIN CLIMBER.</p>
        <p>Then compare your list to another pair's list. Add any new 
            words to your list.</p>
    </level3>
    <level3>
        <h3>Making Connections</h3>
        <p>How is reaching the summit, or top, of the highest 
            mountain the same or different from free diving in a 
            large body of water? Give at least two examples for your 
            answer.</p>
    </level3>
    <level3>
        <h3>On Paper</h3>
        <p>You're a sports reporter interviewing a mountain climber 
            or professional free diver. What three questions would 
            you ask?</p>
        <p>Possible answers to Word Play: tan, man, brim, name, noun, 
            mount, climb, limb, lime</p>
    </level3>
    <!-- ... -->
</level2>

<q> 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="IDA0ZMN">76</pagenum>
    <h3>4.5 Art Criticism Step by Step </h3>
    <level4>
        <h4>A Contemporary Metalwork</h4>
        <imggroup>
            <img src="images/p076-002.png" alt="" 
                width="397" height="546"/>
            <caption>4-41<strong> Today's metal artists 
                often work with traditional and modern materials to create objects 
                that combine jewelry and sculpture. Looking at the components of 
                these works separately and carefully will help you to appreciate 
                their complexity. It might also help stir your emotions and stimulate 
                your thoughts.</strong> Chunghi Choo, <em>Orb in Cradle,</em> 1998. 
                Aluminum sculpture, acrylic urethane paint, 79" x 53" x 49" (200.6 
                x 134.6 x 124.5 cm). Photo by Steven Tatum. Courtesy of the artist.</caption>
        </imggroup>
        <sidebar render="optional">
            <hd>About the Artist Chunghi Choo (b. 1938)</hd>
            <p>
                <img src="images/p076-001.png" alt="" 
                    width="70" height="72"/>
                <strong>Chunghi Choo</strong> says her 
                    goal is to create <q>"graceful and timeless objects"</q> 
                    that reflect simplicity and harmony. The influence of her 
                    early training in the arts of Asia is evident in much of 
                    her artwork. </p>
            <p>Born in Inchon, Korea, Ms. Choo was educated at Ewha Women's University, 
                in Seoul, where she majored in Oriental painting and also studied 
                the philosophy of Oriental art. In 1961 she came to the United States 
                to pursue studies in metalsmithing, weaving, and ceramics at the 
                Cranbrook Academy of Art in Bloomfield, Michigan, receiving her 
                master of fine arts degree. Since 1968, she has taught jewelry and 
                metal arts at the University of Iowa, in Iowa City. Her hollowware, 
                jewelry, flatware, sculpture, mixed media objects, and textiles 
                have been exhibited internationally and her pieces are owned by 
                major museums in the US and Europe.</p>
        </sidebar>
    </level4>
</level3>

<q> 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:

<pagenum id="IDA3VAO"> 23</pagenum>
<p><strong>Biography</strong></p>
<level2>
    <h2>Thomas Edison</h2>
    <p><strong>1847-1931</strong></p>
    <p>At the age of two, Thomas Alva Edison was 
        already full of questions. He asked adults to explain everything 
        he saw and heard. If they could not give him an answer, he would 
        ask, <q>"Why don't you know?"</q></p>
    <p>As a young man, Edison found a way  to use his questioning spirit. He 
        experimented with all kinds of gadgets, learning how to fix machines 
        and invent new ones. According to one story, in 1869 Edison came to 
        New York City to look for work. One day a stock ticker, an important 
        machine that broadcast news by telegraph throughout the city's business 
        district, broke down. No one knew how to fix it except young Edison. 
        He wrote: </p>
    <blockquote>
        <p>"I ventured to say that I knew what the 
            trouble was, and [the man in charge] said, `Fix it! Fix it! Be 
            quick!'...In about two hours things were working again."</p>
    </blockquote>
    <p>Edison continued to tinker with machines. He became one of the most 
        successful inventors and businessmen of his time. Life as we know it 
        today would not be possible without his inventions, which include the 
        phonograph, a microphone for telephones, and electric light.</p>
    <p>Yet even more than for these inventions, Thomas Edison was known for 
        his determination. When he got an idea, he worked on it tirelessly. 
        You may have heard one of Edison's most famous sayings, <q>"Genius is 
        one percent inspiration and ninety-nine percent perspiration."</q></p>
    <sidebar render="optional">
        <hd>Biofact</hd>
        <imggroup>
            <img src="images/p023-001.png" width="107" height="161" alt=""/>
            <caption>Edison invented the kinetoscope, which allowed a person to view 
                moving images.</caption>
        </imggroup> 
    </sidebar>
    <level3><h3>Learn from Biographies</h3>
        <p>How did Edison's life reflect his belief that "Genius is one percent 
            inspiration and ninety-nine percent perspiration?" </p>
        <sidebar render="optional">For more information, go online to <em>Meet the People</em> 
            at <strong>www.sfsocialstudies.com.</strong></sidebar>
    </level3>
</level2>

<sent> is a NIMAS-optional 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:

Note: There is no appropriate NIMAS-required substitute for <sent>.

<pagenum id="id4509977">36</pagenum>
<p>Pig in a wig is big, you see.</p>

<sent> is a NIMAS-optional 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:

Note: There is no appropriate NIMAS-required substitute for <sent>.

<level2>
    <pagenum id="IDASIXQ">110</pagenum>
    <h2>Lesson 3 How do unbalanced forces affect motion?</h2>
    <sidebar render="optional">
        <img src="images/thruout/toclz.png" alt="" 
            width="28" height="37"/>
        <hd>South Carolina Science Indicator 5-5.3:</hd>
        <p>Explain how unbalanced forces affect the rate and direction 
            of motion in objects.</p>
    </sidebar>
    <p><em>If the combined forces acting on a moving object are 
        unbalanced, the forces will change the speed and direction of 
        the object's motion.</em></p>
    <level3>
        <h3>Balanced and Unbalanced Forces</h3>
        <p>You learned that at any given time, an object may have 
            several forces acting on it. Think about this book sitting 
            on a flat table. The force of the table pushes up on the 
            book. At the same time,the force of gravity pulls downward 
            on the book.</p>
        <p><strong>Unbalanced forces</strong> are forces that are not 
            equal in size and direction. They cause an object to move. 
             They also can cause a moving object to change direction 
            or speed.  The dogs in the picture are pulling on the toy 
            in opposite directions. As long as the dogs pull with the 
            same force, the toy will not move. The forces are 
            balanced. However, suppose one dog pulls harder than the 
            other. What will happen to the toy? The forces will be 
            unbalanced. The toy will move in the direction of the dog 
            pulling with greater force.</p>
        <imggroup>
            <caption>What would happen if the dog on the right 
                suddenly stopped pulling on the toy?</caption>
            <img src="images/U09C04/p110-001.png" alt="two puppies 
                playing" width="650" height="253"/>
        </imggroup>
        <level4>
            <h4>Checkpoint</h4>
            <list type="ol">
                <li>1. Underline the definition of <em>unbalanced 
                    forces</em>.</li>
                <li>2. How are unbalanced forces different from 
                    balanced forces? ____</li>
            </list>
            <!-- ... -->
        </level4>
    </level3>
</level2>

<span> is a NIMAS-optional element.

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<level4>
    <pagenum id="id4670043">436</pagenum>
    <h4>The Mind of the Chimpanzee</h4>
    <p>Animals are much smarter than scientists used to think. I was 
        told at school (fifty years ago) that only human beings have 
        personalities, can think and reason, feel pain, or have 
        emotions. Luckily, as a child, I had spent hours learning 
        about animal behavior from my dog, Rusty—so I knew none of 
        that was true!</p>
    <p>The more we have learned about chimpanzees, the clearer it is 
        that they have brains very like ours and can, in fact, do 
        many things that we used to think only humans could do. I've 
        described how the Gombe chimps use grass stems and twigs to 
        fish termites from their nests. The chimps also use long 
        smooth sticks to catch vicious biting army ants. They use 
        crumpled leaves to soak up water from hollows in trees that 
        they cannot reach with their lips, then suck the homemade 
        sponge. They wipe dirt from their bodies with leaf napkins. 
        They use stout sticks to open up holes in trees to get at 
        birds' nests or honey and as clubs to intimidate one another 
        or other animals. They pick up and throw rocks as missiles. 
        In other parts of Africa, chimps have different tool-using 
        behaviors. For instance, in west Africa and parts of central 
        Africa, they use two stones, a hammer and an anvil, to crack 
        open nuts. It seems that infant chimps learn these behaviors 
        by watching the adults, and then imitating and practicing 
        what they have seen. So the chimps have their own primitive 
        culture.</p>
    <p>Many scientists are finding out more about the chimpanzee mind 
        from tests in captive situations. For example, chimps will go 
        and find sticks to pull in food that has been placed outside 
        the cage, beyond their reach. They can join two short sticks 
        together to make one long tool. They have excellent memories—
        after eleven years' separation, a female named Washoe 
        recognized the two humans who had brought her up. A chimp can 
        plan what he or she is going to do. Often I've watched a chimp 
        wake up, scratch himself</p>
    <!-- ... -->
</level4>

<sup> is a NIMAS-required element.

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<pagenum id="id4626855">2</pagenum>
<imggroup>
    <img src="images/thruout/ar.png" alt="" 
        height="21" width="26"/>
</imggroup>
<p>Accelerated Reader<sup>®</sup></p>
<level3>
    <h3>About the Cover Artist</h3>
    <p>Tim Jessell draws and paints in Stillwater, Oklahoma. He and his wife 
        are raising three great children, whom he coaches in many sports. 
        When not playing catch or illustrating, Tim trains falcons for the 
        sport of falconry. Occasionally, he can still be found making a 
        racket behind his drum set, with kids dancing around. </p>
    <p>ISBN-13: 978-0-328-24352-5</p>
    <p>ISBN-10: 0-328-24352-3</p>
    <p>Copyright © 2008 Pearson Education, Inc.</p>
    <p>All Rights Reserved. Printed in the United States of America. This 
        publication is protected by Copyright, and permission should be 
        obtained from the publisher prior to any prohibited reproduction, 
        storage in a retrieval system, or transmission in any form by any 
        means, electronic, mechanical, photocopying, recording, or likewise. 
        For information regarding permission(s), write to: Permissions 
        Department, Scott Foresman, 1900 East Lake Avenue, Glenview, Illinois 
        60025. </p>
    <p>Many of the designations used by manufacturers and sellers to distinguish 
        their products are claimed as trademarks. Where those designations 
        appear in this book, and Scott Foresman was aware of a trademark 
        claim, the designations have been printed with initial capitals and 
        in cases of multiple usage have also been marked with either ® or 
        TM where they first appear. </p>
    <p>2 3 4 5 6 7 8 9 10 V057 16 15 14 13 12 11 10 09 08 07</p>
    <p>CC:N1</p>
    <!-- ... -->
</level3>

<sup> is a NIMAS-required element.

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<level3>
    <pagenum id="IDA13RN">52</pagenum>
    <h3>Math In Science Large Number of Small Cells</h3>
    <p><strong>The number of cells in the human body has been estimated to 
        be in the trillions! It would take about 35,000 red blood cells to 
        fill an area of 0.035 cm<sup>2</sup>. That's about half the space 
        inside a printed zero on this page. </strong></p>
    <p>You can think of one trillion as one thousand billion, or one million 
        million. In standard form, one trillion is written as 1,000,000,000,000.</p>
    <table>
        <tr>
            <td><strong>hundred trillions</strong></td>
            <td><strong>ten trillions</strong></td>
            <td><strong>trillions</strong></td>
            <td><strong>hundred billions</strong></td>
            <td><strong>ten billions</strong></td>
            <td><strong>billions</strong></td>
            <td><strong>hundred millions</strong></td>
            <td><strong>ten millions</strong></td>
            <td><strong>millions</strong></td>
            <td><strong>hundred thousands</strong></td>
            <td><strong>ten thousands</strong></td>
            <td><strong>thousands</strong></td>
            <td><strong>hundreds</strong></td>
            <td><strong>tens</strong></td>
            <td><strong>ones</strong></td>
            <td><strong>tenths</strong></td>
            <td><strong>hundredths</strong></td>
            <td><strong>thousandths</strong></td>
        </tr>
        <tr>
            <td> </td>
            <td> </td>
            <td>1</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
        </tr>
        <tr>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td>3</td>
            <td>5</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
            <td>0</td>
        </tr>
        <tr>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td> </td>
            <td>0</td>
            <td>0</td>
            <td>3</td>
            <td>5</td>
        </tr>
    </table>
    <img src="images/U11C00/pr30-002.png" width="170" height="27" 
        alt=""/>
    <!-- ... -->
</level3>

<sub> 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:

<pagenum id="IDAPRDS">E-5</pagenum>
<sidebar render="optional">
    <hd>Music Makers Jeff Hellmer</hd>
    <p>As a young child in Iowa, <strong>Jeff Hellmer</strong> (born 1959) 
        dreamed of playing the piano. As a matter of fact, his favorite 
        childhood toy was a toy piano. Hellmer's mother, a pianist, began 
        teaching him when he was five years old.</p>
    <p>In the fourth grade, Hellmer started trumpet lessons so he could play 
        in the band. In eighth grade, he joined the school jazz band. There 
        Hellmer learned to improvise on the trumpet and soon began to improvise 
        on the piano. In college he studied both classical and jazz piano.</p>
    <p>Hellmer now lives in Austin, Texas, where he is Director of Jazz 
        Studies at the University of Texas. He performs as a soloist and 
        with his trio at jazz clubs and jazz festivals throughout the country. 
        He also conducts workshops and clinics for high school and college 
        students. Although best known as a jazz musician, Hellmer still 
        enjoys playing classical music. He frequently performs as a soloist 
        and an accompanist for other classical musicians.</p>
    <imggroup>
        <img src="images/U08C01/pE5-001.png" width="180" height="282" alt=""/>
    </imggroup>
</sidebar>
<level3>
    <h3>Comping in a New Key</h3>
    <p>Musicians who comp can play music in other keys. You can <em>transpose</em> 
        "Goodbye, Julie" to the key of C. You will need to play C(I) and 
        G<sub>7</sub> (V<sub>7</sub>) chords. Practice the F root and 
        C<sub>7</sub> chords again. Then move your hand down until the thumb 
        rests on middle C and play the first chord in the same position there. That 
        is your C root chord. Move your hand to the V<sub>7</sub> position 
        and play the G<sub>7</sub> chord. Remember that the top note of the 
        chord is shared. Practice playing the I and V<sub>7</sub> chords in 
        C major, then <strong>play</strong> in the new key while the other 
        students <strong>sing</strong> the song.</p>
    <p>For more information on key signatures, see page H-19 in Sounds and 
        Symbols.</p>
    <sidebar render="optional">
        <hd>On Your Own</hd>
        <p>Find another song in the book that is harmonized by I and V<sub>7</sub> 
            chords and comp an accompaniment for that song. Ask someone to sing 
            the melody as you play the accompaniment.</p>
    </sidebar>
    <sidebar render="optional">
        <dl>
            <dt>transpose</dt>
                <dd>To write or perform music in a new key.</dd>
        </dl>
    </sidebar>
    <!-- ... -->
</level3>

<sub> is a NIMAS-required element.

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<pagenum id="IDALUNN">383</pagenum>
<p>Sometimes chemical properties can be used to separate elements from 
    solutions. For example, lead can be taken out of a solution that 
    contains water, lead, and other materials. The solution is poured 
    into a container with a second solution that contains iodine. Both 
    solutions are clear liquids. As soon as the solutions mix, the lead 
    reacts with the iodine. These two elements form a compound called 
    lead iodide. This is a yellow solid. The lead iodide can be filtered 
    out of the liquid to remove the lead from the solution.</p>
<imggroup>
    <img src="images/U15C04/p383-001.png" alt="" 
        width="489" height="717"/>
</imggroup>
<list type="pl">
    <li>1. <strong>Checkpoint</strong> How can chemical properties be used 
        to separate substances in a mixture or compound?</li>
    <li>2. <img src="images/thruout/tocts.png" width="41" height="37" alt=""/>
        <strong>Draw Conclusions</strong> The chemical reaction for 
        purifying iron ore looks like this: 2FeO iron oxide + C carbon 
        <img src="images/U15C04/p384-002.png" alt="" 
        width="39" height="38"/> 2Fe iron + CO<sub>2</sub> carbon 
        dioxide Review the different kinds of reactions discussed in Lesson 
        2. What kind of reaction is shown here?</li>
</list>

<w> is a NIMAS-optional element.

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<pagenum id="id4511713">64</pagenum>
<img alt="The ox cooking in a big pan on the stove as a fan blows 
    on him." src="images/U04C03/64.png" width="740" height="852"/>
<p>Ox can help! Use big pans.</p>
<p>He is hot. Use big fans!</p>