Commoning Energy Resources Installer Workshop Report

Mass electrification is a key part of efforts to reduce carbon emissions by shifting from combustion-based machines to electric technologies. While much research has explored consumer attitudes and choices regarding these technologies, less is known about the role of middle actors like installers in shaping policies and consumer decisions. This workshop report examines the role of installers in the transition to renewable energy - a crucial middle actor. Enhancing their effectiveness can contribute to the successful adoption of renewable energy as they are often the only human face to an otherwise intimidating, impersonal energy system. Consumer perception of installers and factors influencing their decisions in choosing renewable energy solutions, including the forms of control aggregators and other actors may play over their operation

Orion-KL Observations with the Extended Tuning Range of the New SEPIA660 APEX Facility Instrument

During Science Verification of the new SEPIA660 facility receiver at APEX, we carried out a shallow line survey of the archetypal Kleinmann- Low Nebula in the Orion star forming region (Orion-KL). These observations cover the tuning range towards the band edges, which has recently been extended beyond ALMA Band 9 specifications. At these frequencies, atmospheric transmission is very low but still sufficient to detect bright lines in Orion-KL. We present the collected spectra and compare with surveys from the literature, demonstrating the capabilities of the instrument

Oidhreacht na nDéise: A Study of the Music of the Déise 1800-1950 Volumes 1 & 2

The subject of this study is the exploration of the musical heritage of the Déise region of the south-east of Ireland from c.1800-1950. A number of music manuscripts, published music collections and audio music collections made in the Déise region, in the above time period, were analysed in this study to determine the nature of the music, its role in Déise society and the role of the collectors in the music’s representation. This thesis discusses the nature of the music in the Déise region: song, instrumental music and dance. Song in the Déise region was sung principally in the Irish language and consisted of songs composed by Gaelic poets from the 18th century and locally composed songs from within the Déise community. Instrumental music consisted largely of dance music but also contained popular Scottish songs and stage music. Various dance types, from the allemande to the hornpipe, existed in the Déise region throughout the time period of this study. Information regarding this wide array of dances is extrapolated from the catalogues of the handwritten manuscripts included in the accompanying appendices, while the contents of the audio and published collections are included in the text. While the repertoire contained within the extant music collections from the Déise region is considerable, this repertoire was not significantly different from the music collected elsewhere in Ireland during the same period. The music played in the Déise region at the beginning of the 19th century, however, differed somewhat from that played in the 20th century. Due to the similarity of repertoire between the Déise and general Irish music repertoires in the stated time period, this study’s examination of the developing or changing Déise repertoire is indicative of the corresponding developments or changes in the greater Irish repertoire. It has been shown in this study that music fulfilled two roles in Déise society. Music was a projection of an immediate Déise communal identity and it also projected a broader Gaelic cultural identity. These ‘identity markers’ of the Déise people are gleaned from the Déise music collections which, therefore, place the collectors themselves primarily in the role of custodians of the music and, indirectly, custodians of the cultural identity of the Déise people themselves. While there have been other studies of Déise music undertaken, they were often of a limited nature which addressed only a particular aspect of the region’s musical heritage. This thesis, however, provides a comprehensive study of the musical heritage of the entire Déise region from c. 1800 to 1950

‘The Forgotten Voice’ The Richard Henebry (1863-1916) Collection of Irish Music

Richard Henebry (1863-1916) was ordained to the priesthood at All Hallows College, Dublin in 1892, but subsequently established a linguistic career for himself centred on the study of the Gaelic language. In 1898 he was appointed Associate Professor of Celtic Studies at the Catholic University of America, Washington DC, where he remained for two years, and in 1909 he was appointed Professor of Irish Language and Literature at University College Cork. Henebry was also a traditional fiddler and made field recordings and transcriptions of Irish music. Indeed, he was one of the first Irish music collectors in Ireland to recognise the potential of the Edison phonograph for the documentation of Irish music. Henebry’s wax cylinder collection of Irish music was one of the first of such aural collections made in Ireland. This thesis will give biographical details on Richard Henebry, explore his theories and analyses of Irish music, and provide a catalogue of the extant Henebry wax cylinder collection. Chapter 1 offers biographical detail on Richard Henebry and chronicles the three main periods in his life: his birth and education; his sojourn in America; and his return to Ireland. Chapter 2 discusses how an antiquarian and political connection with Irish music can be traced through the lineage of antiquarians, and how the antiquarian and political influences may have shaped Henebry as a music collector and analyst. In Chapter 3 Henebry’s analytical approach to Irish music in his publications is examined in detail. The first publication, ‘Gaelic Melody Schemes in Word and Sound’ (published lecture notes 1900), was a somewhat tentative and confused exploration of the structure of Irish music. His second, Irish Music (1903), is a more detailed document describing unique scales and modes in Irish music, and the third, A Handbook of Irish Music (1928), was Henebry’s most definitive, and utilises a scientific, tonometric analysis of music on phonograph recordings to verify his conclusions. Henebry’s wax cylinder recordings are catalogued and discussed in Chapter 4. His wax cylinder collection is preserved in three different locations: University College Cork; University College Dublin; and the Berliner Phonogram-Archiv, with copies in the Irish Traditional Music Archive. Detailed descriptions of the collection in each location and biographies of Henebry’s sources are given in the chapter. Henebry’s music transcriptions have also been catalogued and copies of which are included at the end of the thesis in Appendices A, B, and C

Art. IV.—Translation of the Japji

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Patents and their Purpose

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