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The motive line size should correspond to the motive inlet size. Oversize lines will reduce the motive velocity and cause condensation when the motive fluid is a condensible. Undersized lines will result in excessive line pressure drop and, thus, potentially low pressure motive fluid to the nozzle. If the motive fluid is a

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motive clauses are "sentences in which the motivation, or reason for the commandment, is given." It is important to distinguish between motive clauses of laws and ordinary motive speech. By "motive speech" is meant parenetic exhortations to keep the commandments, wherein motives for keeping the Torah as a whole are given.

motive steam into velocity. It has no moving parts. Major components of an ejector consist of the motive nozzle, motive chest, suction chamber, and diffuser (Fig. 2). High velocity is achieved through adiabatic expansion of motive steam across a convergent/divergent steam nozzle. This expansion of steam from the motive pressure

Using the collection of rhythmic building blocks, compose a 4-beat motive by combining two cards. Repeat that motive, creating a a . . . Create the b motive by combining rhythmic building blocks and add this new motive to the form: a a b Create a third motive – c. This is a grea

3/23 3/25 The Motive Learning 3/30 4/1 The Motive Learning 4/6 4/8 Student-run Discussions on The Motive 4/13 4/15 Student-run Discussions on The Motive 4/20 4/22 Student-run Discussions on The Motive 4/27 4/29 Final Project Preparation ***I will not record these

Musical Coherence, Motive, and Categorization 7 note of the motive is lower than the first, so is the last note. In a similar fashion, motives b1 and b3 preserve the basic contour of motive b (the sec- ond note is lower than the first note, and the third note is lower than the

Motive pressure line should always be equipped with an isolation valve, strainer and a steam trap. The motive steam drip trap condensate discharge may be piped to the top of the receiver or pump discharging line. A PRV may also be considered in the motive piping to adjust the pressure to optimum level. 5.

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the motive for particular experiences (i.e., wanting) actually pay off (i.e., having), largely by producing more self-concordant mo-tivation for and, thus, greater attainment of motive-relevant goals (Sheldon & Elliot, 1999). However, we also show that wanting an experience more does not necessarily mean that getting it more

RS Motive 3 Note: Tap and hold touch button on time interface to check your MAC address. (Figure E) Download “RS Motive” from “Apple Store” or “Google Play Store” or scan the QR code below. Compatible with Android 4.4/ iOS 9.0 & above

The motive (or part of it) repeated in the opposite direction, i.e. intervals that went up now go down, and vice versa. Inversion may be strict (usually in twentieth-century music) or tonal (in most common-practice music). [motive length: same as original]

Students will listen and analyze part of a piece music, counting how many times they hear a famous motive. Students will create a new motive and play it on a mallet instrument. Students will evaluate their performance. Materials: recording of Symphony No. 5, first movement, by Ludwig van Beethoven Opening Motive visual (Student copy)

The motive you set up should be genuine: a misapprehension or puzzle that an intelligent reader (not a straw dummy) would really have, a point that such a reader would really overlook. Defining motive should be the main business of your introductory paragraphs, where it is usu

motive in politics is the profi t motive in industry. It analyses techniques (‘constraints’) in the structure of government to make self-interest more nearly coincide with the public interest, as in a competitive market. A main conclusion is that dec

motive dispositions) and several consequences (e.g., per-formance, satisfaction, pleasant affect, worry, and emo-tionality). The results showed that the motive to achieve success (M s) produced positive affects, satisfaction, and increased performance, whereas the motive to avoid failure (

the first half of the motive. The terms that apply are #14 and #5. We must account for the loud dynamic of the motive. According to Cooke, Wagner is expressing Wotan’s great confidence in himself—an attribute that he first possesses in abundance. However, as the motive progresses down

An analysis of the genesis of motive, rhythm, and pitch in the first movement of the sonata for two pianos and percussion by Béla Bartók. AN ANALYSIS OF THE GENESIS OF MOTIVE, RHYTHM, AND PITCH IN THE FIRST MOVEMENT OF THE SONATA FOR TWO PIANOS AND PERCUSSIONBY BÉLA BARTÓK Emöke Ujj-Hilliard, B.M., M.M.

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