LRT... gumagana pa ba?
Late na naman ako kanina...guess what...dahil ulit sa LRT...Sira daw...antay kami ng 15 mins. saktong pasakay na ko ng dyip,tska ngpapasok ulit...ang gulo!
Sabi kasi sa card...Fast,Safe,Reliable! Mukang d na to makatotohanan ah! Mas maganda pag ganito... Very Slow, Unsafe, Unreliable! haaayyy. Dami naman sumasakay...ibig sabihin...kumikita pa! And i think d lang basta kita...limpak limpak na kita...Pero tingnan mo maintanenance, mas maintained pa ata sa mga public CR sa mga bus Stops ng pang Province na PUB e....haaay talaga...Wala na nga masyado chicks sa LRT, parang pusali pa....MRT na lang kya ako?
Sana ayusin ng pamahalaan natin ang kanilang pagbulsa...este paggamit ng mga pondo ng gobyerno para sa bayan...because TAX is from the people...and for the people
...O, for president ha...wag nyo ko kalimutan :)
Sana pg nakita mo ko ulit na late...isipin mo...d na naman nagamit sa hustong pamamaraan ang TAX na binayaran natin,hehehe...
A Practical Guide to Musical Composition
by Alan Belkin 1995-1999
Foreground vs. Background
It is a well known fact that human perception can operate simultaneously on several levels: more
than one sensation may impinge on our consciousness at a time. When this happens we prioritize
our perceptions: we cannot pay equal attention to more than one element at any given moment.
This prioritization is ongoing, and changes in the order of priority may result accidentally (e.g.
the telephone rings while one is reading a book) or - more interesting from our point of view -
from artistic intention (a previously almost inaudible detail may attract more and more attention
to eventually become the most important event of the moment).
Musically speaking, we may refer to the elements in a multi-layered texture that most engage
that listener's attention at any given moment as "foreground", while the secondary elements
constitute "background". (2)
While the specifics determining what will be perceived as foreground or background in a
particular case can occasionally get complex, usually they are quite easy to define. As a general
guide, all other things being equal, the ear follows as foreground:
• complexity: usually the element with the greatest level of activity attracts the most
attention, e.g. in a texture consisting of simultaneous held notes and moving lines, the
moving lines take precedence.
Beethoven, 6th Symphony, 1st movement, m.115 ff: Here the violin line emerges over sustained
pedal tones in the other instruments, due to its greater complexity of pitch, rhythm, and
• novelty: when presented with familiar and new material at the same time, the new
material demands more attention.
Ravel, Rapsodie espagnole, "Prélude à la nuit", m. 28: When the new melody arrives at m. 28, it
stands out because of its novelty, compared to the four note ostinato that has been playing since
the beginning of the piece.
• loudness or timbral richness: if playing lines of equal complexity in the same register, a
trumpet will demand more attention than a flute.
Bartok, Concerto for Orchestra, 2nd movement, m. 90: despite a very active accompaniment by
the strings in the same register, the main line, played by 2 trumpets, has no trouble emerging
In fact a good deal of the study of orchestral balance is nothing more than learning to predict
reliably what will dominate the texture in a given combination.
Possibly simple curiosity plays an important role in the listener's response here: in trying to
follow the music, an attentive listener will try to make sense of the things which require the most
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