Interpreting

The weather forecast that helped you decide what to wear, for example, was an interpretation
made by a meteorologist who analyzed data collected by satellites. Data may take the form of
the number of bacteria colonies growing in soup broth (see our Experimentation in
Science module), a series of drawings or photographs of the different layers of rock that form a
mountain range (see our Description in Science module), a tally of lung cancer victims
in populations of cigarette smokers and non-smokers (see our Comparison in Science module),
or the changes in average annual temperature predicted by a model of global climate (see
our Modeling in Science module).

Hypothesis
A hypothesis is a suggested solution for an unexplained occurrence that does not fit into current
accepted scientific theory. The basic idea of a hypothesis is that there is no pre-determined
outcome. For a hypothesis to be termed a scientific hypothesis, it has to be something that can
be supported or refuted through carefully crafted experimentation or observation. This is called
falsifiability and testability, an idea that was advanced in the mid-20th century a British
philosopher named Karl Popper, according to the Encyclopedia Britannica.

A key function in this step in the scientific method is deriving predictions from the hypotheses
about the results of future experiments, and then performing those experiments to see whether
they support the predictions.

Dependent variables

Imagine that a scientist is testing the effect of light and dark on the behavior of moths by
switching a light on and off. The independent variable is the amount of light, and the dependent
variable is the moths' reaction. A change in the independent variable (amount of light) directly
causes a change in the dependent variable (moth behavior).

Another example of a dependent variable is a test score. How well you perform on a test depends
on other variables, such as how much you studied, the amount of sleep you had the night before,
whether you had breakfast that morning, and so on. The manipulation of these independent
variables has an effect on the dependent variable (the test score).

Independent variables

An independent variable is defines as the variable that is changed or controlled in a

scientific experiment. It represents the cause or reason for an outcome.
Independent variables are the variables that the experimenter changes to test
their dependent variable. A change in the independent variable directly causes a change
in the dependent variable. The effect on the dependent variable is measured and
recorded.

 A scientist is testing the effect of light and dark on the behavior of moths by
turning a light on and off. The independent variable is the amount of light and
the moth's reaction is the dependent variable.
  In a study to determine the effect of temperature on plant pigmentation, the
independent variable (cause) is the temperature, while the amount of pigment or
color is the dependent variable (the effect).

Controlled variables

A controlled variable is one which the researcher holds constant (controls) during an
experiment. It is also known as a constant variable or simply as a "control". The control
variable is not part of an experiment (not the independent or dependent variable), but it
is important because it can have an effect on the results. It is not the same thing as a
control group.

Any given experiment has numerous control variables. It's important for a scientist to try
to hold all variables constant except for the independent variable. If a control variable
changes during an experiment, it may invalidate the correlation between the dependent
and independent variable. When possible, control variables should be identified,
measured, and recorded.

1.

1. 2. Inner Core:
It is the center and the hottest layer of the Earth. The inner core is solid and made up of iron and
nickel with temperature up to 5,500oC. Due to its immense heat energy, the inner core is more
like the engine room of the Earth.

2. Outer Core:
The outer core of the Earth is similar to a very hot ball of metals, whose temperature is around
4000 oF to 9000oF. It is so hot that the metals inside are all in the liquid state. The outer core is
located around 1800 miles under the crust and approximately 1400 miles thick. It is composed
of metals such as iron and nickel. The outer core surrounds the inner core.
The inner core has pressures and temperatures so high that the metals are squeezed together
and not able to move like a liquid, but are forced to vibrate instead of solid.

3. Mantle:
Mantle is the widest section of the Earth. Its thickness is approximately 2,900 km. Mantle is
mainly made up of semi-molten rock known as magma. The rock is hard in the upper part of the
mantle, but lower down the rock is softer and begins to melt.
The mantle is located directly under the Sima. The mantle consists of very hot and dense rock.
This layer of rock flows like asphalt under heavy weight. This flow is because of the greatest
temperature differences from the bottom to the top of the mantle. The reason behind the plates
of the Earth move is the movement of the mantle. Its temperature varies between 1600 oF at
the upper part to 4000 oF near the bottom.

4. Crust:
The crust is the outer layer where we live. The thickness is around 0-60 km. It’s a solid rock
layer divided into two types:
The crust is the most widely studied and understood. Mantle is hotter and capable of flowing.
The outer and inner core are much hotter with great pressures that you can be squeezed into a
ball smaller than a marble if you are able to go in the center of the Earth.

3. A lithosphere (Ancient Greek: λίθος [lithos] for "rocky", and σφαίρα [sphaira] for
"sphere") is the rigid,[1]outermost shell of a terrestrial-type planet, or natural satellite, that
is defined by its rigid mechanical properties. On Earth, it is composed of the crust and the
portion of the upper mantle that behaves elastically on time scales of thousands of years
or greater. The outermost shell of a rocky planet, the crust, is defined on the basis of its
chemistry and mineralogy.

Earth's lithosphere includes the crust and the uppermost mantle, which constitute the hard and
rigid outer layer of the Earth. The lithosphere is subdivided into tectonic plates. The uppermost
part of the lithosphere that chemically reacts to the atmosphere, hydrosphere,
and biosphere through the soil forming process is called the pedosphere. The lithosphere is
underlain by the asthenosphere which is the weaker, hotter, and deeper part of the upper
mantle. The Lithosphere-Asthenosphere boundary is defined by a difference in response to
stress: the lithosphere remains rigid for very long periods of geologic time in which it deforms
elastically and through brittle failure, while the asthenosphere deforms viscously and
accommodates strain through plastic deformation.

4The asthenosphere (from Greek ἀσθενής asthenḗs 'weak' + "sphere") is the highly viscous,
mechanically weak[1] and ductilely deforming region of the upper mantle of the Earth. It lies
below the lithosphere, at depths between approximately 80 and 200 km (50 and 120 miles)
below the surface. The Lithosphere–asthenosphere boundary is usually referred to as
LAB.[2][3] The asthenosphere is almost solid, although some of its regions could be molten (e.g.,
below mid-ocean ridges). The lower boundary of the asthenosphere is not well defined. The
thickness of the asthenosphere depends mainly on the temperature. However, the rheology of
the asthenosphere also depends on the rate of deformation,[4] which suggests that the
asthenosphere could be also formed as a result of a high rate of deformation. In some regions
the asthenosphere could extend as deep as 700 km (430 mi). It is considered the source region
of mid-ocean ridge basalt (MORB).
1.Pelléas et Mélisande (Pelléas and Mélisande) is an opera in five acts with music by Claude
Debussy. The French libretto was adapted from Maurice Maeterlinck's symbolist play Pelléas et
Mélisande. It was premiered at the Salle Favart in Paris by the Opéra-Comique on 30 April 1902
with Jean Périer as Pelléas and Mary Garden as Mélisande in a performance conducted by André
Messager, who was instrumental in getting the Opéra-Comique to stage the work. The only opera
Debussy ever completed, it is considered a landmark in 20th-century music.
The plot concerns a love triangle. Prince Golaud finds Mélisande, a mysterious young woman, lost in
a forest. He marries her and brings her back to the castle of his grandfather, King Arkel of
Allemonde. Here Mélisande becomes increasingly attached to Golaud’s younger half-brother
Pelléas, arousing Golaud’s jealousy. Golaud goes to excessive lengths to find out the truth about
Pelléas and Mélisande’s relationship, even forcing his own child, Yniold, to spy on the couple.
Pelléas decides to leave the castle but arranges to meet Mélisande one last time and the two finally
confess their love for one another. Golaud, who has been eavesdropping, rushes out and kills
Pelléas. Mélisande dies shortly after, having given birth to a daughter, with Golaud still begging her
to tell him “the truth

Debussy's ideal of opera[edit]

Looking back in 1902, Debussy explained the protracted genesis of his only finished opera: "For a
long time I had been striving to write music for the theatre, but the form in which I wanted it to be
was so unusual that after several attempts I had given up on the idea."[1] There were many false
starts before Pelléas et Mélisande. In the 1880s the young composer had toyed with several opera
projects (Diane au Bois, Axël)[2] before accepting a libretto on the theme of El Cid, entitled Rodrigue
et Chimène, from the poet and Wagner aficionado Catulle Mendès.[3]
At this point, Debussy too was a devotee of Wagner's music, but—eager to please his father—he
was probably more swayed by Mendès' promise of a performance at the Paris Opéra and the money
and reputation this would bring. Mendès' libretto, with its conventional plot, offered rather less
encouragement to his creative abilities.[4] In the words of Victor Lederer, "Desperate to sink his teeth
into a project of substance, the young composer accepted the type of old-fashioned libretto he
dreaded, filled with howlers and lusty choruses of soldiers calling for wine."[5] Debussy's letters and
conversations with friends reveal his increasing frustration with the Mendès libretto and the
composer's enthusiasm for the Wagnerian aesthetic was also waning. In a letter of January 1892, he
wrote, "My life is hardship and misery thanks to this opera. Everything about it is wrong for me." And
to Paul Dukas, he confessed that Rodrigue was "totally at odds with all that I dream about,
demanding a type of music that is alien to me."[6]
Debussy was already formulating a new conception of opera. In a letter to Ernest Guiraud in 1890 he
wrote: "The ideal would be two associated dreams. No time, no place. No big scene [...] Music in
opera is far too predominant. Too much singing and the musical settings are too cumbersome [...]
My idea is of a short libretto with mobile scenes. No discussion or arguments between the
characters whom I see at the mercy of life or destiny."[7] It was only when Debussy discovered the
new symbolist plays of Maurice Maeterlinck that he found a form of drama that answered his ideal
requirements for a libretto.
”.
2.Gaspard de la nuit (subtitled Trois poèmes pour piano d'après Aloysius Bertrand), M. 55 is
a suite of piano pieces by Maurice Ravel, written in 1908. It has three movements, each based on a
poem or fantaisie from the collection Gaspard de la Nuit — Fantaisies à la manière de Rembrandt et
de Callot completed in 1836 by Aloysius Bertrand. The work was premiered in Paris, on January 9,
1909, by Ricardo Viñes.
The piece is famous for its difficulty, partly because Ravel intended the Scarbo movement to be
more difficult than Balakirev's Islamey. Because of its technical challenges and profound musical
structure, Scarbo is considered one of the most difficult solo piano pieces in the standard
repertoire.[1]
The manuscript currently resides in the Harry Ransom Center of the University of Texas at Austin.[2]
The name "Gaspard" is derived from its original Persian form, denoting "the man in charge of the
royal treasures": "Gaspard of the Night" or the treasurer of the night thus creates allusions to
someone in charge of all that is jewel-like, dark, mysterious, perhaps even morose.[3]
Of the work, Ravel himself said: "Gaspard has been a devil in coming, but that is only logical since it
was he who is the author of the poems. My ambition is to say with notes what a poet expresses with
words."[4]
Aloysius Bertrand, author of Gaspard de la Nuit (1842), introduces his collection by attributing them
to a mysterious old man met in a park in Dijon, who lent him the book. When he goes in search of M.
Gaspard to return the volume, he asks, 'Tell me where M. Gaspard de la Nuit may be found.' 'He is
in hell, provided that he isn't somewhere else,' comes the reply. 'Ah! I am beginning to understand!
What! Gaspard de la Nuit must be...?' the poet continues. 'Ah! Yes... the devil!' his informant
responds. 'Thank you, mon brave!... If Gaspard de la Nuit is in hell, may he roast there. I shall
publish his book.'[5]