(i) The collection G([T.sup.*]) of all edge-weight lassos for [T.sup.*] coincides with the collection of all 'strongly non-bipartite' subsets [laplace] of , i.e, all subsets [laplace] of for which none of the connected components of [laplace] is bipartite.
(ii) The collection B([T.sup.*]) of all tight edge-weight lassos for [T.sup.*] coincides with the collection of all minimal strongly non-bipartite subsets [laplace] of ([MATHEMATICAL EXPRESSION NOT REPRODUCIBLE IN ASCII]) i.e, all subsets [laplace] of for which each connected component of [laplace] contains exactly one circle(ii) and the length of this circle has odd parity.
The above theorem has an interesting application regarding topological lassos:
So it was time to dismount and get some lasso training.
And where else are you going to learn to lasso, or even book a day and night out riding with authentic cowboy camp fires and dinners thrown in?
KNOT SO EASY: Struggling to throw the lasso; SADDLE LAW: Kitted out and ready to learn how to become a cowboy; ROPE TRICK: Brendon finds he's a bit tied up during a lasso lesson; RANCH HANDS: Reuben and our man Brendon, right; RIDE HIM COWBOY: Going for a gallop on trusty steed Oregon
Wolfgang Boetticher ("Das Problem einer chronologischen Bestimmung im Werkbestand Orlando di Lassos") gives an overview of his lifelong scholarship on Lasso as a means of highlighting changes in our understanding of the chronology of Lasso's music and problems that still need addressing.
This large volume contains seventeen essays presented at the 1994 Munich conference celebrating the four hundredth anniversary of Orlando di Lasso's death.
Over half the essays address issues of genre and style in Lasso's music.
It will also become the platform for additional paid plugins from the company, such as the upcoming Profiler plugin, which will identify inefficient functions in Lasso
code to assist in code optimisation.
Among the latter is a handwritten tribute from Johannes Eccard to Orlando di Lasso, dated 1593 (fig.
The only musician to have an entry in the collection is Orlando di Lasso, whose music was highly esteemed by the evangelical church, though his own sympathies undoubtedly lay with the Counter-Reformation.