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Philip C. Singer, an AWWA member and a contributor and reviewer for JOURNAL AWWA, has been awarded the 2005 Athalie Richardson Clarke Prize for excellence in water research by the National Water Research Institute (NWRI), which is headquartered in Fountain Valley, Calif. The prize, which includes a gold medallion and a $50,000 award, is presented annually. Singer is the Daniel A.

Aim: The aim of our qualitative study was to describe the narrative effects of a specific and structured protocol focused on classical music sessions, which we administered to a patient (Mrs. M, aged 60), who had experienced a metastatic cancer. Material and Methods: The protocol consists of 4 steps (Times): a preliminary exploratory interview (T1), a first moment of musical listening (T2), a second moment of musical listening (T3) and finally, a final interview (T4). We used the software T-LAB version 9.1.3, a linguistic and statistical tool for text analysis. The rationale on choosing T-LAB software is twofold: i) the multitude of instruments offered for text analysis and, ii) the possibility to use them in an integrated way and the possibility of analyzing a very large text. T-LAB works on a corpus that can be comprised of one or more texts and can be divided into different sub-sets, according to the time variables employed for describing the texts. In this research, we used co-occurrence relationship and word associations recalling moments of narrative structures, according to the humanistic/existential tradition. Findings: We showed the presence of the narrative effects before and after the listening experience. More precisely, in a first step (T2) we have identified a hedonic, sensorial and imaged effect of classical music. In a second phase (the final interview, T4) we observed a spiritual (mythological and archetypical) effect of classical music centered on the evocation of the image of the famous French singer \"Barbara\". Conclusion: We believe that \"psychic work with classical music\" cannot only distance the patient from a somatic narrative of the disease (symptoms, complaints, physical pains), but also generate pleasurable body experiences and a rich symbolic and spiritual narrative. Objectif: Cette étude qualitative vise à décrire leseffets narratifs d’un protocole d’écoute musicale (musiqueclassique) chez une patiente atteinte d’un cancer avancé, Mme M. (60 ans).Matériel et méthodes:Ils’agit d’un protocole d’écoutemusicale composé de quatre étapes (temps) : l’entretien pré-liminaire (T1), un premier moment d’écoute musicale (T2),une deuxième rencontre d’écoute musicale (T3), l’entretienfinal (T4). Nous utilisons d’abord le logiciel T-Lab 9.1.3 pour le calcul des associations de mots (cooccurrences) etensuite une interprétation du récit selon l’approche humaniste/existentielle.Résultats: Nous montrons les effets narratifs avant et aprèsl’expérience d’écoute musicale. Plus précisément, dans unpremier temps (T2), nous avons identifié un effet hédonique,sensoriel et imagé de la musique. Dans un second temps(l’entretien final, T4), nous avons observé un effet spirituel(mythologique et archétypique) de la musique classique cen-tré sur l’évocation de l’image de la célèbre chanteuse fran-çaise « Barbara ».Conclusion: Le « travail psychique avec la musique clas-sique » peut non seulement éloigner le patient d’une narra-tion somatique de la maladie (symptômes, plaintes, gènes etdouleurs physiques), mais aussi générer des expériences cor-porelles agréables et une narration riche d’éléments symbo-liques et spirituels.

\"We've only just started, pretty much. We've only been to Sydney and Melbourne. We've still got Perth to go, Adelaide, Brisbane . . .\" \"We don't really know what to expect in the snow, because we've never played it, except with Kisschasy, but that was their show. And even that show was weird. It was a weird crowd. They're just people that come and go. They're on holidays. They're not really out to see a band . . .\" By showtime, their \"one man and his dog\" fears are gone. A steady stream of happy snow bunnies fill the room nicely. And most of them aren't afraid to get down the front and dance, either. [C. Singer Tim Morrison] shouts some encouragement to the fellas from the stage: \"You're never gonna get any ladies up the back!\"

I wouldn't say I was at the top of my game as such, but I did feel I was getting there. I hadn't even scratched the surface yet, to be fair. I had some personal issues, which had to be dealt with straight away. Unfortunately during this time I lost my sense of direction musically and went into (what I call) an 'inartistic hibernation zone.' One of my biggest fears as a singer before starting was being labelled a one-hit wonder and I felt this was exactly what was happening with me. (Laughs) You asked so nicely so how can I say no? The track is called Kai Nat, which means the world, universe and everything in existence. It's a very powerful Urdu word. This is a love song that is a mixture of Punjabi, English and Hindi styles fused with r'n'b. I have dropped a few snippets live and the response to it has been absolutely overwhelming. It has triggered a beautiful reaction between couples and lovers alike. It melts your heart and makes you want to fall in love all over again. Very talented young musician Mr Namz from Nuneaton has produced it. I came across Namz during my uni tours years ago. It's different, it's Des-C, it's me. I haven't done an r'n'b style love song like this before, so I am very excited about it.

Surviving in addition to his wife are two sons, Glenn E., married to Cindy Singer of Lititz, and Michael L., married to Claudia Singer of Newmanstown; two daughters, Kimberly A., married to Thomas G. Szurok of Lancaster, and Karen A., married to Douglas S.

William C. Singer ALGONQUIN - William C. Singer, age 68. Cherished husband of Mary L. Singer, nee Campbell. Devoted father of Kim (Stan) Valle and the late Janelle Singer. Loving papa of Nicky and Alyssa.