abstract: This article lists spokesperson of Parti KEADILAN Rakyat (PKR) of Malaysia in the 14th Parliament as of 4 July 2020. The purpose of the spokesperson in parliament is solely to shadow the ministries and portfolios under the Perikatan Nasional government, in other words, to act as a shadow cabinet.

text:
# People's Justice Party (Malaysia) Spokesperson

This article lists **spokesperson of *Parti KEADILAN Rakyat (PKR)* of Malaysia in the 14th Parliament** as of 4 July 2020. The purpose of the spokesperson in parliament is solely to shadow the ministries and portfolios under the *Perikatan Nasional* government, in other words, to act as a shadow cabinet.

## Spokesperson

Spokesperson
| Spokesperson | Portfolio | Constituency |
| --- | --- | --- |
| Dato' Seri Anwar Ibrahim | Leader of the Opposition | Port Dickson |
| Dato' Seri Dr Wan Azizah Wan Ismail | Chairman of KEADILAN Spokesperson | Pandan |
| Dato Johari Abdul | Defence and Home Affairs | Sungai Petani |
| Datuk Seri Saifuddin Nasution Ismail | Finance, Cost of Living and Consumer Affairs | Kulim-Bandar Baharu |
| Dato' Dr Xavier Jayakumar | Natural Resources, Water and Energy | Kuala Langat |
| Chang Lih Kang | Housing, Local Government and Infrastructure | Tanjong Malim |
| Nurul Izzah Anwar | Women, Family and Community Development | Permatang Pauh |
| Dr Lee Boon Chye | Health | Gopeng |
| Hajjah Fuziah Salleh | Environment | Kuantan |
| Wong Chen | International Trade and Industry | Subang |
| Nik Nazmi Nik Ahmad | Education | Setiawangsa |
| Larry Sng Wei Shien | Sabah and Sarawak | Julau |
| Datuk Seri Shamsul Iskandar Mohd. Akin | Rural Development | Hang Tuah Jaya |
| Akmal Nasir | Youth and Sports | Johor Bahru |
| Syed Ibrahim Syed Noh | Digital Technology, Telecommunications and Transport | Ledang |
| Dato' Abdullah Sani Abdul Hamid | Work and Worker's Rights | Kapar |
| Ahmad Fahmi Mohamed Fadzil | Communications, Arts and Culture | Lembah Pantai |
| William Leong Jee Keen | Parliament and Administration | Selayang |
| Muhammad Bakhtiar Wan Chik | Tourism | Balik Pulau |
| Sim Tze Tzin | Agriculture and Commodities | Bayan Baru |
| Sivarasa Rasiah | Law | Sungai Buloh |

## Deputy Spokesperson

Besides these Spokesperson, there are also several deputy spokesperson for some portfolios.

Deputy Spokesperson
| Spokesperson | Portfolio | Constituency |
| --- | --- | --- |
| Karuppaiya Muthusamy | Defence and Home Affairs | Padang Serai |
| Steven Choong Shiau Yoon | Finance, Cost of Living and Consumer Affairs | Tebrau |
| Dr Michael Teo Yu Keng | Natural Resources, Water and Energy | Miri |
| Noor Amin Ahmad | Housing, Local Government and Infrastructure | Kangar |
| Nor Azrina Surip | Women, Family and Community Development | Merbok |
| Dr Azman Ismail | Health | Kuala Kedah |
| Maria Chin Abdullah | Environment | Petaling Jaya |
| Datin Paduka Dr Tan Yee Kew | International Trade and Industry | Wangsa Maju |
| Rusnah Aluai | Education | Tangga Batu |
| Awang Husaini Sahari | Sabah and Sarawak | Putatan |
| Kesavan Subramaniam | Rural Development | Sungai Siput |
| P. Prabakaran | Youth and Sports | Batu |
| June Leow Hsiad Hui | Digital Technology, Telecommunications and Transport | Hulu Selangor |
| Hassan Abdul Karim | Work and Worker's Rights | Pasir Gudang |
| Chan Ming Kai | Communications, Arts and Cultures | Alor Setar |
| Datuk Christina Liew Chin Jin | Tourism | Tawau |
| Hajah Natrah Ismail | Agriculture and Commodities | Sekijang |


title: Volleyball England

abstract: Volleyball England is the national governing body for indoor volleyball, sitting volleyball and beach volleyball in England. It selects the national teams and coordinates several national competitions, including the National Volleyball League, National Cup, Student Cup and Sitting Volleyball competitions. For beach volleyball it partners with the UK Beach Tour (UKBT) to deliver tournaments across the UK and a national ranking system for players. Volleyball England also coordinates national junior development squads via the Volleyball England Talent Pathway, and organises the training and assessment of referees and coaches. It is a member body of the FIVB and has its offices at SportPark, Loughborough University, Loughborough, Leicestershire. Volleyball England works closely with, and is supported by, the Volleyball England Foundation, which is a charity providing financial support to volleyball development projects. It also partners with the governing bodies for volleyball from the other UK Home Nations to form the British Volleyball Federation. Volleyball England is the trading name for the English Volleyball Association Limited, which was formed in 1972.

text:
# Volleyball England

**Volleyball England** is the national governing body for indoor volleyball, sitting volleyball and beach volleyball in England. It selects the national teams and coordinates several national competitions, including the National Volleyball League, National Cup, Student Cup and Sitting Volleyball competitions. For beach volleyball it partners with the UK Beach Tour (UKBT) to deliver tournaments across the UK and a national ranking system for players.

Volleyball England also coordinates national junior development squads via the **Volleyball England Talent Pathway**, and organises the training and assessment of referees and coaches. It is a member body of the FIVB and has its offices at SportPark, Loughborough University, Loughborough, Leicestershire. Volleyball England works closely with, and is supported by, the **Volleyball England Foundation**, which is a charity providing financial support to volleyball development projects. It also partners with the governing bodies for volleyball from the other UK Home Nations to form the British Volleyball Federation.

Volleyball England is the trading name for the **English Volleyball Association** Limited, which was formed in 1972.

## National Volleyball Centre

With £3.5million of funding from both the UK Government and the UK National Lottery in the run-up to London 2012, in 2007 Volleyball England signed an agreement to accommodate the National Volleyball Centre within the Kettering Conference Centre. Made possible with a grant from Kettering Borough Council, Northamptonshire Enterprise Ltd, and the East Midlands Development Agency, the four-year agreement came into place on the opening of the centre in November 2010.

The 2,000 square metres (22,000 sq ft) facility houses both National Volleyball Centre, as well as home of Volleyball England's national men's and women's volleyball squads, and several national competitions.

## National Volleyball League

### NVL organisation

The National Volleyball League (NVL) is an indoor volleyball league, split into men's and women's competitions, each with 4 levels. In season 2018–19, the top three levels are the same for men and women: National Super League, Division 1 and Division 2 (North & South). Men's Division 3 is divided into North, Central and South. Women's Division 3 is divided into North, Central, South-East and South-West.

The latest information on National Volleyball League participants and ranking can be found in the National Volleyball League Tables on the Volleyball England website The information below is a snapshot showing the numbers of teams in each division for the 2018–19 season, though this varies from year to year:

| Division | Men's Teams | Women's Teams |
| --- | --- | --- |
| National Super League | 9 | 9 |
| Division 1 | 9 | 10 |
| Division 2 (North) | 9 | 10 |
| Division 2 (South) | 9 | 10 |
| Division 3 (North) | 7 | 6 |
| Division 3 (Central) | 7 | 9 |
| Division 3 (South) | 9 | - |
| Division 3 (South-West) | - | 9 |
| Division 3 (South-East) | - | 8 |

### NVL History

In the past, men's volleyball in England has been dominated by London Malory, led by Canadian coach Jefferson Williams. In recent years, IBB Polonia London have been the most successful team winning 3 of the last 4 editions.

Women's volleyball in England has also been dominated by London Malory in the past, again led by Jefferson Williams. However, in 2008, the University of London Union (ULU) women's team defeated London Malory in the Cup quarter-finals and left them out of the Final for the first time in 13 years. The student side, which competes in the London Premier League and is led by coach Mark Kontopoulos, then defeated Wessex-Team Bath in the semi-finals and London Polonia in the Final to become the first ever non-national league team to win the National Cup. In recent years, women's volleyball has been dominated by northern sides with Team Northumbria winning the title five times in a row from 2012 to 2016, followed by Team Durham's two consecutive titles in 2017 and 2018. In 2019, Tendring VC Ladies won their first National league championship to bring the trophy to Essex.


title: Urewe

abstract:
The Urewe culture developed and spread in and around the Lake Victoria region of Africa during the African Iron Age. The culture's earliest dated artefacts are located in the Kagera Region of Tanzania, and it extended as far west as the Kivu region of the Democratic Republic of the Congo, as far east as the Nyanza and Western provinces of Kenya, and north into Uganda, Rwanda and Burundi. Sites from the Urewe culture date from the Early Iron Age, from the 5th century BC to the 6th century AD. The Urewe people certainly did not disappear, and the continuity of institutional life was never completely broken. One of the most striking things about the Early Iron Age pots and smelting furnaces is that some of them were discovered at sites that the local people still associate with royalty, and still more significant is the continuity of
language.

text:
# Urewe

The **Urewe** culture developed and spread in and around the Lake Victoria region of Africa during the African Iron Age. The culture's earliest dated artefacts are located in the Kagera Region of Tanzania, and it extended as far west as the Kivu region of the Democratic Republic of the Congo, as far east as the Nyanza and Western provinces of Kenya, and north into Uganda, Rwanda and Burundi. Sites from the Urewe culture date from the Early Iron Age, from the 5th century BC to the 6th century AD. The Urewe people certainly did not disappear, and the continuity of institutional life was never completely broken. One of the most striking things about the Early Iron Age pots and smelting furnaces is that some of them were discovered at sites that the local people still associate with royalty, and still more significant is the continuity of language.

## Chronology

This civilisation emerges in the region during the transition from the second to the first millennium B.C. and seems to have thrived in various sites well into the second millennium A.D. It underwent its greatest period of expansion, allied to an important metalworking activity, from the first to the sixth century A.D. and covered the Kivu region (in the Democratic Republic of the Congo) to the west up to Uganda, Rwanda, and Burundi in north-west Tanzania and south-west Kenya.

Urewe seems to be a fully developed civilisation recognizable through its distinctive, stylish earthenware and highly technical and sophisticated iron working techniques. Their pottery incorporated such distinctive features as dimples and concentric lines. However, minor local variations in the ceramic ware can be observed.

The origins of the Urewe culture are thought to ultimately be in the Bantu expansion originating in Cameroon.  Research into early Iron Age civilisations in sub-Saharan Africa has been undertaken concurrently with studies on Niger–Congo linguistics on Bantu expansion. The Urewe culture may correspond to the Eastern subfamily of Bantu languages, spoken by the descendants of the first wave of Bantu peoples to settle East Africa. The inhabitants were likely cattle herders and millet and sorghum farmers.

## Language

The people of the Urewe Culture spoke the Proto-Great Lakes Bantu language.

## The Urewe civilisation in Burundi and Rwanda

Urewe ceramics are modest in size, measuring from 30 cm up to a maximum of 36 cm in height. Three distinct shapes have been observed: vases, small vases, both closed s-shaped pieces, open-bowls on which stereotyped patterns have been crafted: and bevelling on the rim, hatching on the neck surface for ease of handling, the body decorated with a ribboned pattern of crafted geometrical designs, and a dimple base finish. The decorative markings are adapted to and emphasise the shape of the vase with its 4 components, often seen on the little vase in simplified form. Conversely, these '4 component' patterns are all stuck on the bowl; regardless of its '3 components' shape. One proposed hypothesis suggests the bowl was developed later than the vase. Support for this comes from the identification, in terms of Bantu linguistics, of a new term first appearing around 1000 B.C. meaning "frying pan" probably serving as a clue to a change in cooking techniques reflecting adaptation to a more sedentary lifestyle when Bantu-speaking people began to settle in the Rwanda and Burundi hills.

The ironsmelting furnace associated to these Urewe ceramics comprised a basin filled with fresh green leafy branches and herbs which served as a filter for the slag deposit at the base. Above the basin was a cone-shaped shaft, not unlike a chimney, made by superimposing rolls of damp clay. The decorated furnace, with its fluted patterns on the upper roll and deeply incised criss-cross or s-shaped patterns on the outer surface, may be reminiscent of the rim or neck of the ceramic pottery. Analyses carried out on the ironworking residue have not yet provided data on the efficiency of these furnaces, or whether they were a measure of their technical nature. Iron ore and fuel were readily available. The word "ubutare" meaning "iron" still crops up in many place names. The wooded crown cover was used to produce charcoal. As new wood was always used for this purpose, radiocarbon dating of this material is relatively reliable.

## Favorable environments and changes due to climatic variations and human activity

Environmental studies combine the tree species identification of charcoal collected from iron smelting furnaces and open hearths, palynological analyses of high altitude and valley peat bogs as well as in archaeological structures as well as phyto-sociological and geomorphologic data. The settlement period of the Urewe civilisation should be seen in the context of a cooling and drying out period in about 1000 BC. Those members of the Urewe civilisation who settled in Rwanda and Burundi did so exclusively in the hills region (central plain) in a 1700 and 1300 meters high zone on clay soils on primary substrate which are some of Africa's richest. The undulating countryside, covered with woodland savanna (tree cover vegetation, sparser on the slopes and denser in valleys and on crests) together provided good living conditions (moderate temperatures and average rainfall, protected from carriers of human and animal disease) encouraged a variety of activities. The Urewe would have lived a relatively sedentary life as farmers, devoting themselves to agriculture (including cereal growing) and small-scale cattle rearing. They do not appear to have supplemented their diet by hunting and fishing as will be the case in these areas in the late Iron Age, and which occurred in the early Iron Age in those more east-lying Urewe civilisations around Lake Victoria, influenced perhaps by contacts with nomadic communities along the east African Rift Valley.

Combined human activities, land clearance, ironworking, cereal growing, etc., led to the deforestation of fringes of the great forest which once covered the north–south backbone as well as the forest corridors along the water sources which caused soil erosion on the slopes. This phenomenon led to the extensive erosion of Kabuye hill near Butare as a result of their occupation of the site for about 500 years.

The hilly region of Rwanda and Burundi was probably a well frequented route from the northern to the southern hemisphere in Africa and would therefore have regularly experienced the relative overcrowding of people fleeing the drought-ridden Sahel regions which impeded soil regeneration. On the contrary, the impact of human activity, combined with consecutive periods of hot, dry climatic conditions have only served to aggravate soil degradation up to modern times.

Since the 7th century, the appearance of simpler, roulette-decorated, ceramic pottery as well as new types of iron furnace, heralded a major change towards the late Iron Age. However, the Urewe civilisation did manage to survive in isolated pockets at least up to the 14th century.

## Archaeologists in the field area

The authors and major institutions linked to research into the Urewe civilisation in the Great Lakes region are: Mary Leakey (Owen collection published in 1948), Jean Hiernaux (excavations and publications 1960–70), Merrick Posnansky (excavations and publications 1960–70), David Phillipson (Synthesis of the Early Iron Age in Eastern Africa in 1976), the British Institute in Eastern Africa (BIEA), in Nairobi, under the aegis of J.E.G. Sutton (within the Bantu Studies Project, excavations and publications 1960–70), Peter Schmidt (excavations and publications 1970–80, synthesis 1997), Marie-Claude Van Grunderbeek, Emile Roche and Hugues Doutrelepont (excavations 1978–87, publications up to the present day). New on-site research is ongoing in the Great Lakes region on the initiative of London University in collaboration with the BIEA.

* Van Grunderbeek, M.C., Roche, E. et Doutrelepont, H. (1982) L'Age du Fer Ancien au Rwanda et au Burundi. Archéologie et environnement, Journal des Africanistes, 52, pp. 5–58.
* Van Grunderbeek M.C. Roche E. et Doutrelepont H., 1983, Le Premier Age du Fer au Rwanda et au Burundi. Archéologie et environnement, Publication de l'Institut national de Recherche scientifique, Butare, Rwanda, nr. 23: VIII + 57 pp.
* Roche E., Van Grunderbeek M.C., 1987, Apports de la palynologie à l'étude du Quaternaire supérieur au Rwanda, in: Palynologie et milieux tropicaux, Montpellier (1–3 octobre 1986), IXe symposium de l'A.P.L.F. Mémoires et travaux E.P.H.E., Institut de Montpellier, 17:
* Van Grunderbeek M.C., 1988, Essai d'étude typologique de céramique urewe de la région des collines au Burundi et Rwanda, Azania, XXIII, Nairobi, Kenya:
* Van Grunderbeek M.C. et Doutrelepont H., 1989, Etude de charbons de bois provenant des sites métallurgiques de l'Age du Fer Ancien au Rwanda et au Burundi, in: Bois et archéologie, Louvain-la-Neuve (2–3 octobre 1987), PACT nr. 22: 281–295.
* Van Grunderbeek M.C., 1992, Essai de délimitation chronologique de l'Age du Fer Ancien au Burundi, au Rwanda et dans la région des Grands Lacs, Azania, XXVII, Nairobi, Kenya: 53–80.
* Van Grunderbeek M.C., Roche E. et Doutrelepont H. 2002, Type de fourneau de fonte de fer, associé à la culture urewe (Age du fer ancien), au Rwanda et au Burundi, in: Descœudres J.-P., Huysecom E., Serneels V. & Zimmermann J.-L. (eds) The Origins of Iron Metallurgy, Proceedings of the First International Colloquium on the Archaeology of Africa and the Mediterranean Basin, held at The Museum of Natural History in Geneva, 4–7 June 1999, Mediterranean archaeology Vol. 14, 2001: 271–298.
* Van Grunderbeek M.C. & Roche E. (2008) Multi-Disciplinary Evidence of Mixed Farming during the Early Iron Age in Rwanda and Burundi. (presented at the World Archaeological Congress, Washington 2003) in: T.P. Denham, J. Iriarte, L. Vrydaghs (eds) Rethinking Agriculture. Archaeological en Ethnoarchaeological Perspectives. One World Archaeology 51, Left Coast Press, inc. California: 299–319.
* Craddock P., Freestone I., Middleton A. & Van Grunderbeek M.C. (2007) The Scientific Study of Some Early Iron Age iron Smelting Debris from Rwanda and Burundi, East Africa, Journal of the Historical Metallurgy Society. Historical Metallurgy 41(1): 1–14.
* Roche E. & Van Grunderbeek M.C. (2009) \[Environmental degradation resulting from human activities. Essay to further recognition through pollen and charcoal analysis. SAfA-website http://cohesion.rice.edu/centersandinst/safa/emplibrary/VanGrunderbeeketalSafa2008.ppt.pdf\]

0°02′51″S 34°20′15″E / 0.04750°S 34.33750°E / -0.04750; 34.33750


title: Mutsu Hirokichi

abstract: Mutsu Hirokichi Count Mutsu Hirokichi was a Japanese diplomat and an educator in Meiji- and Taishō-period Japan. He was the oldest son of Mutsu Munemitsu who was Minister for Foreign Affairs. He was sent to the U.K. to study in 1887 as a barrister and by 1895 was appointed to diplomatic positions, residing in London, Washington, DC and Rome. While in Europe he met Gertrude Ethel Passingham whom he later married in 1905. She took the Japanese name Mutsu Iso and followed him back to Japan 1910 where she created a name for herself as a writer. Mutsu was again called upon to serve as a diplomat in 1914 and was appointed Envoy to Brussels but with failing health he retired to Kamakura in Kanagawa Prefecture until his death in 1942. Count Mustu and his wife were financial sponsors of Kamakura-jo-gakkō, a girl's high school in Kamakura, and exerted themselves to conserve historic site.

text:
# Mutsu Hirokichi

Count **Mutsu Hirokichi** (陸奥 広吉, March 5, 1869 – November 19, 1942) was a Japanese diplomat and an educator in Meiji\- and Taishō-period Japan.

He was the oldest son of Mutsu Munemitsu who was Minister for Foreign Affairs. He was sent to the U.K. to study in 1887 as a barrister and by 1895 was appointed to diplomatic positions, residing in London, Washington, DC and Rome. While in Europe he met Gertrude Ethel Passingham whom he later married in 1905. She took the Japanese name Mutsu Iso and followed him back to Japan 1910 where she created a name for herself as a writer.

Mutsu was again called upon to serve as a diplomat in 1914 and was appointed Envoy to Brussels but with failing health he retired to Kamakura in Kanagawa Prefecture until his death in 1942. Count Mustu and his wife were financial sponsors of *Kamakura-jo-gakkō*, a girl's high school in Kamakura (now *Kamakura-jo-gakuin* girl's junior high and high school), and exerted themselves to conserve historic site.

## Family tree

|  | |  | |  | | Count Mutsu Munemitsu | | | | | |  | |  | |  | | Countess Mutsu Ryōko | | | | | |  | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| |  | | | |  | |  |  | || |
|  | |  | |  | |  | |  | |  | |  | |  |  |  | |  | |  | |  | |  | |  | |
| || | | | | | | | | | | | | |
|  | |  | | Countess Iso Mutsu | | | | | |  | | Count Mutsu Hirokichi | | | | | |  | |  | |  | |  | |
| |  | |  | || | | | |
|  | |  | |  | |  | |  | |  |  |  | |  | |  | |  | |  | |  | |  | |  | |
| || | | | | | | | | | | | | |
|  | |  | |  | |  | | Ian Mutsu | | | | | |  | |  | |  | |  | |  | |  | |
| || | | | | | | | | |

## InfoBox

| Mutsu Hirokichi
陸奥 広吉 | |
| --- | --- |
| Mutsu in 1899 | |
| Born | March 5, 1869
Japan |
| Died | 1942
Kamakura, Japan |
| Occupation(s) | Diplomat, Educator |
| Spouse | Mutsu Iso |
| Children | Mutsu Ian Younosuke |


abstract:
In enzymology, a GDP-4-dehydro-6-deoxy-D-mannose reductase (EC 1.1.1.281) is an enzyme that catalyzes the chemical reaction
  - GDP-6-deoxy-D-mannose + NAD(P)+ ⇌ GDP-4-dehydro-6-deoxy-D-mannose + NAD(P)H + H+ The 3 substrates of this enzyme are GDP-6-deoxy-D-mannose, NAD+, and NADP+, whereas its 4 products are GDP-4-dehydro-6-deoxy-D-mannose, NADH, NADPH, and H+. This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-OH group of donor with NAD+ or NADP+ as acceptor. The systematic name of this enzyme class is GDP-6-deoxy-D-mannose:NAD(P)+ 4-oxidoreductase (D-rhamnose-forming). Other names in common use include GDP-4-keto-6-deoxy-D-mannose reductase [ambiguous], GDP-6-deoxy-D-lyxo-4-hexulose reductase, and Rmd. This enzyme participates in fructose and mannose metabolism.

text:
# GDP-4-dehydro-6-deoxy-D-mannose reductase

In enzymology, a **GDP-4-dehydro-6-deoxy-D-mannose reductase** (EC 1.1.1.281) is an enzyme that catalyzes the chemical reaction

GDP-6-deoxy-D-mannose + NAD(P)+ $\rightleftharpoons $ GDP-4-dehydro-6-deoxy-D-mannose + NAD(P)H + H+

The 3 substrates of this enzyme are GDP-6-deoxy-D-mannose, NAD+, and NADP+, whereas its 4 products are GDP-4-dehydro-6-deoxy-D-mannose, NADH, NADPH, and H+.

This enzyme belongs to the family of oxidoreductases, specifically those acting on the CH-OH group of donor with NAD+ or NADP+ as acceptor. The systematic name of this enzyme class is **GDP-6-deoxy-D-mannose:NAD(P)+ 4-oxidoreductase (D-rhamnose-forming)**. Other names in common use include **GDP-4-keto-6-deoxy-D-mannose reductase \[ambiguous\]**, **GDP-6-deoxy-D-lyxo-4-hexulose reductase**, and **Rmd**. This enzyme participates in fructose and mannose metabolism.

* Messner P; Graninger, M; Adam, G; Puchberger, M; Kosma, P; Zayni, S; Messner, P (2001). "Identification of two GDP-6-deoxy-D-lyxo-4-hexulose reductases synthesizing GDP-D-rhamnose in *Aneurinibacillus thermoaerophilus* L420-91T". *J. Biol. Chem*. **276** (8): 5577–83. doi:10.1074/jbc.M010027200. PMID 11096116.
* Maki M, Jarvinen N, Rabina J, Roos C, Maaheimo H, Renkonen R (2002). "Functional expression of *Pseudomonas aeruginosa* GDP-4-keto-6-deoxy-D-mannose reductase which synthesizes GDP-rhamnose". *Eur. J. Biochem*. **269** (2): 593–601. doi:10.1046/j.0014-2956.2001.02688.x. PMID 11856318.

## InfoBox

| GDP-4-dehydro-6-deoxy-D-mannose reductase | |
| --- | --- |
| Identifiers | |
| EC no. | 1.1.1.281 |
| Databases | |
| IntEnz | IntEnz view |
| BRENDA | BRENDA entry |
| ExPASy | NiceZyme view |
| KEGG | KEGG entry |
| MetaCyc | metabolic pathway |
| PRIAM | profile |
| PDB structures | RCSB PDB PDBe PDBsum |
| Search  PMC articles  PubMed articles  NCBI proteins | |


title: Pissy (song)

abstract: "Pissy" is a song by American rapper Gucci Mane featuring American rappers Roddy Ricch and Nardo Wick. It was released on May 5, 2023, as the third single from his sixteenth studio album Breath of Fresh Air. It was produced by Avo No Sleep, Koncept P, and Will No Sleep.

text:
# Pissy (song)

"**Pissy**" is a song by American rapper Gucci Mane featuring American rappers Roddy Ricch and Nardo Wick. It was released on May 5, 2023, as the third single from his sixteenth studio album *Breath of Fresh Air*. It was produced by Avo No Sleep, Koncept P, and Will No Sleep.

## Composition

The song contains a melodic hook performed by Roddy Ricch, who also performs the first verse. Gucci Mane and Nardo Wick respectively perform the second and third verses. The three rap about their luxurious lifestyles, including extravagant possessions and women, and "other vices".

## Critical reception

Noah Grant of *HotNewHipHop* praised the song, writing, "As some listeners have pointed out, Roddy Ricch carries the song. It may technically be Gucci Mane's song, but Roddy really delivers the goods. In fact, listening to it without knowing what it is, one could be forgiven for thinking Gucci is the feature. Regardless, it's a banger."

## Music video

The music video was directed by 20KVisuals and released alongside the single. It features a range of yellow items (as a reference to Gucci Mane's song "Lemonade") such as caution tape, sports cars, and the makeup and bikinis worn by models in the clip. The rappers are seen showing off their jewelry, including diamonds, Cuban chains, large pendants and rings. Gucci Mane also cruises in a car.

## Charts

Chart performance for "Pissy"
| Chart (2023) | Peak
position |
| --- | --- |
| US Bubbling Under Hot 100 Singles (*Billboard*) | 15 |
| US Hot R&B/Hip-Hop Songs (*Billboard*) | 37 |

## InfoBox

| "Pissy" | |
| --- | --- |
|  | |
| Single by Gucci Mane featuring Roddy Ricch and Nardo Wick | |
| from the album  *Breath of Fresh Air* | |
| Released | May 5, 2023 |
| Length | 3:38 |
| Label |  |
| Songwriter(s) |  |
| Producer(s) | * Avo No Sleep * Koncept P * Will No Sleep |
| Gucci Mane singles chronology | |
| "06 Gucci"
(2023) "**Pissy**"
(2023) "Bluffin"
(2023) | |
|  | |
| Roddy Ricch singles chronology | |
| "I Remember"
(2023) "**Pissy**"
(2023) | |
| Nardo Wick singles chronology | |
| "Hot Boy"
(2023) "**Pissy**"
(2023) "Gun Class II"
(2023) | |
| Music video | |
| "Pissy" on YouTube | |
|  | |


abstract: Music of Quality and Distinction Volume Three is the final album released by the British Electric Foundation, released in 2013. The album took 22 years to complete.

text:
# Music of Quality and Distinction Volume Three

***Music of Quality and Distinction Volume Three*** is the final album released by the British Electric Foundation, released in 2013. The album took 22 years to complete.

| No. | Title | Artist | length |
| --- | --- | --- | --- |
| 1. | "Every Time I See You I Go Wild" | Kim Wilde | 3.52 |
| 2. | "Didn't I Blow Your Mind This Time" | Green Gartside | 3.57 |
| 3. | "Don't Want to Know" | Sarah Jane Morris | 4.13 |
| 4. | "Picture This" | Kate Jackson | 6.38 |
| 5. | "Breathing" | Andy Bell | 5.25 |
| 6. | "It Was a Very Good Year" | Glenn Gregory | 4.09 |
| 7. | "I Wanna Be Your Dog" | Boy George | 3.07 |
| 8. | "The Same Love That Made Me Laugh" | David J Roch | 5.06 |
| 9. | "God Only Knows" | Shingai Shoniwa | 2.40 |
| 10. | "Make Up" | Boy George | 2.54 |
| 11. | "Just Walk in My Shoes" | Sandie Shaw | 3.02 |
| 12. | "The Look of Love" | Polly Scattergood | 4.22 |
| 13. | "Party Fears Two" | Glenn Gregory | 6.33 |
| 14. | "Smalltown Boy" | Billie Godfrey | 7.40 |
|


title: Nylas Mail

abstract: Nylas Mail is an open-source desktop email client by Nylas, known for its emphasis on user-contributed extensions. It was formerly known as Nylas N1 and was rebranded as Nylas Mail starting with the January 17, 2017 release. Nylas discontinued Nylas Mail, ceased further development, and made the code available under the MIT License on September 6, 2017. One of the lead developers has continued development of the software on a fork named Mailspring.

text:
# Nylas Mail

**Nylas Mail** is an open-source desktop email client by Nylas, known for its emphasis on user-contributed extensions. It was formerly known as Nylas N1 and was rebranded as Nylas Mail starting with the January 17, 2017 release.

Nylas discontinued Nylas Mail, ceased further development, and made the code available under the MIT License on September 6, 2017. One of the lead developers has continued development of the software on a fork named Mailspring.

## Features

Nylas Mail is compatible with multiple Gmail, Yahoo, Microsoft Exchange, and IMAP accounts, and is cross-platform on Linux, OS X, and Windows. The application accommodates user-written plugins. It has several layout styles in single or double panels, and has fullscreen and offline modes. By default, its mail sync functions are processed in a cloud owned by Nylas, the company responsible for the project. N1 added a unified inbox in February 2016 and PGP encryption support in June 2016.

## Reception

At the beginning of 2016, *Macworld* wrote that the software looked promising and had a better chance of enduring longer than past software—such as Sparrow and Mailbox—due to its open source license. *The Next Web* highly praised N1's extensions features and wrote that it could become for email what Google Chrome is to web browsing. N1 was the third most popular email desktop client among *AppleInsider* readers as of January 2016.

## InfoBox

Nylas N1
| Developer(s) | Nylas |
| --- | --- |
| Repository |  |
| Written in | Electron (software framework) (C++, JavaScript, etc.), React (JavaScript library) |
| Operating system | Windows, Linux and OS X |
| License | MIT |
| Website | nylas.com/nylas-mail/ |


title: Satuit

abstract:
Satuit is a Native American Wampanoag Indian word meaning "cold brook". The town of Scituate, a seacoast town in Plymouth County, Massachusetts, United States, on the South Shore, midway between Boston and Plymouth; derived its name from this word. Satuit changed name to Scituate in 1640. The Wampanoag Indians inhabited the area and were referring to a brook by that name which runs into the inner harbour at what is now called Scituate. Seteat was an alternative Indian spelling of Satuit. Satuit Brook still flows into the head of the harbour, at the southern end of front street next to Bank of America. There is a locating marker on the south side of the road. More recently Satuit has been incorporated in the name of several businesses located in the greater Boston area.
  - Satuit Technologies, Inc. A software company that specialises in Customer Relationship Management (CRM) software for the investment management industry, whose headquarters are in Braintree, Massachusetts.
  - Satuit Tavern in Scituate.

text:
# Satuit

**Satuit** is a Native American Wampanoag Indian word meaning "cold brook" (salt, cold stream?). The town of Scituate, a seacoast town in Plymouth County, Massachusetts, United States, on the South Shore, midway between Boston and Plymouth; derived its name from this word. Satuit changed name to Scituate in 1640. The Wampanoag Indians inhabited the area and were referring to a brook by that name which runs into the inner harbour at what is now called Scituate. Seteat was an alternative Indian spelling of Satuit. Satuit Brook still flows into the head of the harbour, at the southern end of front street next to Bank of America. There is a locating marker on the south side of the road.

More recently Satuit has been incorporated in the name of several businesses located in the greater Boston area.


title: Peter Basch

abstract: Peter Basch was an American magazine and glamour photographer. He was born in Berlin, lived and died in New York City. The main body of his work was produced in the fifties and sixties.

text:
# Peter Basch

**Peter Basch** (September 23, 1921 – March 15, 2004) was an American magazine and glamour photographer. He was born in Berlin, lived and died in New York City. The main body of his work was produced in the fifties and sixties.

## Early life

Peter Basch was born in Berlin, Germany, the only child of Felix Basch and Grete Basch-Freund, both prominent theater and film personalities of the German-speaking world.

In 1933 the family came to New York due to fears of rising anti-Jewish sentiment and laws in Germany. The family had US citizenship because Felix's father, Arthur Basch, was a wine trader who lived in San Francisco. After moving back to Germany, Arthur Basch kept his American citizenship, and passed it to his children and, thence, to his grandchildren.

## United States

When the Basch family arrived in New York in 1933, they opened a restaurant on Central Park South in the Navarro Hotel. The restaurant, Gretel's Viennese, became a hangout for the Austrian expatriate community. Peter Basch had his first job there as a waiter. While in New York, Basch attended the De Witt Clinton High School. The family moved to Los Angeles to assist in Basch's father's career, during which time Basch went to school in England. Upon returning to the United States, Basch joined the Army. He was mobilized in the US Army Air Forces' First Motion Picture Unit, where he worked as a script boy.

## Career

After the war, he started attending UCLA, but his mother asked him to join her back in New York. His parents had decided that Basch should be a photographer, and they obtained a photography studio for their son.

For over twenty years, Peter Basch's had a successful career as a magazine photographer. He was known for his images of celebrities, artists, dancers, actors, starlets, and glamour-girls in America and Europe. His photos appeared in many major magazines such as *Life*, *Look* and *Playboy*.

### Publications

Basch authored and co-authored a number of books containing his photographs.

#### Partial bibliography

* *Candid Photography* (1958 with Peter Gowland and Don Ornitz)
* *Peter Basch's Glamour Photography (A Fawcett How-To Book)* (1958)
* *Peter Basch photographs beauties of the world* (1958)
* *Camera in Rome* (1963 with Nathan and Simon Basch)
* *Peter Basch Photographs 100 Famous Beauties* (1965)
* *The nude as form and figure* (1966)
* *Put a Girl in Your Pocket: The Artful Camera of Peter Basch* (1969)
* *Peter Basch's Guide to Figure Photography* (1975 with Jack Rey)

## People photographed by Peter Basch

## Personal life

In 1950 Peter met Jacqueline Clara Marie-Marguerite Bertrand, a model/actress from Quebec. They were married in 1951. The couple had a daughter, Michele, in 1952, and a son, Peter Michael, 1956.


title: Ursula of Brandenburg

abstract:
Ursula, Margravine of Brandenburg was a German noblewoman. She was born in Berlin, the daughter of John Cicero, Elector of Brandenburg, and Margarethe of Saxony. At age 19, on 16 February 1507 she married Duke Henry V of Mecklenburg-Schwerin (1479–1552). They had three children:
  - Sophia of Mecklenburg-Schwerin (1508–1541), married Ernest I, Duke of Brunswick-Lüneburg
  - Magnus III of Mecklenburg-Schwerin (1509–1550)
  - Ursula of Mecklenburg-Schwerin, abbess of Ribnitz She died in Güstrow in 1510 at the age of 21, less than a month after the birth of her third child.

text:
# Ursula of Brandenburg

**Ursula, Margravine of Brandenburg** (17 October 1488 – 18 September 1510) was a German noblewoman.

She was born in Berlin, the daughter of John Cicero, Elector of Brandenburg, and Margarethe of Saxony.

At age 19, on 16 February 1507 she married Duke Henry V of Mecklenburg-Schwerin (1479–1552). They had three children:

1. Sophia of Mecklenburg-Schwerin (1508–1541), married Ernest I, Duke of Brunswick-Lüneburg
2. Magnus III of Mecklenburg-Schwerin (1509–1550) (predeceased his father)
3. Ursula of Mecklenburg-Schwerin (30 August 1510 – 22 April 1586), abbess of Ribnitz

She died in Güstrow in 1510 at the age of 21, less than a month after the birth of her third child.

## Ancestry

## InfoBox

| Ursula of Brandenburg | |
| --- | --- |
| Born | (1488-10-17)17 October 1488
Berlin |
| Died | 18 September 1510(1510-09-18) (aged 21)
Güstrow |
| Buried | Doberan Minster |
| Noble family | House of Hohenzollern |
| Spouse(s) | Henry V, Duke of Mecklenburg |
| Father | John Cicero, Elector of Brandenburg |
| Mother | Margarethe of Saxony |


title: Mutsu Province (1868)

abstract: Mutsu Province, officially called Rikuō Province was an old province of Japan in the area of Iwate and Aomori prefecture. It was also known as Ōshū (奥州) or Rikushū (陸州). In the Meiji era, the province was cut down to cover only present-day Aomori and given the new name Rikuō Province, which retained the original kanji.

text:
# Mutsu Province (1868)

**Mutsu Province** (陸奥国, *Mutsu no kuni*), officially called **Rikuō Province** (陸奥国, *Rikuō no kuni*) was an old province of Japan in the area of Iwate and Aomori prefecture.

It was also known as **Ōshū** (奥州) or **Rikushū** (陸州). In the Meiji era, the province was cut down to cover only present-day Aomori and given the new name **Rikuō Province**, which retained the original kanji.

## History

On December 7, 1868 (January 19, 1869 in the Gregorian calendar), four additional provinces (Rikuchū, Rikuzen, Iwaki, and Iwashiro) were separated from Mutsu, leaving only a rump corresponding to today's Aomori Prefecture (with Ninohe District of Iwate Prefecture). At the same time, while the characters of the name were unchanged, the official reading was changed to the *on'yomi* version "Rikuō".

## Historical districts

Mutsu (Rikuō) Province consisted of nine districts:

## Other websites

Media related to Mutsu Province (1868) at Wikimedia Commons

## InfoBox

| Rikuō Province陸奥国 | |
| --- | --- |
| Province of Japan | |
| 1869–1871 | |
|
Map of Japanese provinces (1869) with Rikuō Province highlighted | |
|  | |
| History |  |
|  | |
| Established | 1869 |
| Disestablished | 1871 |
|  | |
|  | |
|  | |
|  | |
| Today part of | Iwate Prefecture
Aomori Prefecture |


title: Piazza del Duomo, Altamura

abstract: Piazza del Duomo is the main square of the city of Altamura, Italy. It is located in the center of the historic city center, as well as in the middle of the main street of the city, that is corso Federico II di Svevia. Moreover, Altamura Cathedral, the main church of the city, is located on the square. It is also known because the Tree of Liberty was planted in this square during the so-called Altamuran Revolution (1799).

text:
# Piazza del Duomo, Altamura

**Piazza del Duomo** (also **piazza Duomo**) is the main square of the city of Altamura, Italy. It is located in the center of the historic city center, as well as in the middle of the main street of the city, that is *corso Federico II di Svevia*. Moreover, Altamura Cathedral, the main church of the city, is located on the square. It is also known because the Tree of Liberty was planted in this square during the so-called Altamuran Revolution (1799).

## History

The square has always been in the center of the city of Altamura, both in terms of position and importance. One of the most crucial decisions about the square is undoubtedly the intervention of Frederick of Naples who, in 1494, bought several houses located in the area where today is the square and had them demolished in order to enlarge the square.

At the time it was known because there was an important daily market and the prices of foodstuffs were decided inside the square. Moreover, in front of the entrance of Altamura Cathedral (the area of the current *palazzo Melodia*), there was a refuge for the poor, known as *hospitium maioris ecclesie*. In the 16th century, the premises were turned into ten shops with arcades and it remained property of the cathedral, which rented the premises according to emphyteusis to private individuals. The existence of those ten shops is also confirmed by the drawing P/33, dating back to the late 16th century and stored in the Angelica Library of Rome; the doors in the drawing are exactly ten. In the 18th century, the shops were the only place where meat could be bought in the city, because of the tax on meat to be paid to the cathedral.

As shown in the same drawing (P/33) of Angelo Rocca, today's clock tower hadn't been built at that time yet. It was built in 1858 based on a project by the architect Corradino de Judicibus. Previously, in the same place where today it is the clock tower there was the *seggio*, a sort of stage in which the representatives of both nobles and commoners met in order to discuss the issues the city had to face. Initially, the *seggio* was located in the area of the current chapel of San Biagio (alongside the Church of San Nicola dei Greci); in the end of the 16th century, it was moved to the area where the clock tower is located now; in 1654, it was demolished and rebuilt in the same place.

Close to the area of the current clock tower, Altamura Cathedral also had an additional rose window as well as normal windows; al of them were walled and they are no longer visible.

## A fight

On July 1, 1580, a fight broke out in the square, which involved Epifanio Corrado and Graziano Filo. The two contenders died of the injuries caused by sword blows and stone throws. Graziano Filo first attacked Epifanio Corrado, "who wounded fell to the caissons of the square, where the fruits were sold". After a few days, Graziano Filo also died because of the stabs received and the wounds to the head.

## The statue of Astraea

Cesare Orlandi, in his work  *Delle città d'Italia*  (1770), wrote that in the square there was a statue of goddess Astraea, denoting justice and peace, on a very high pedestal and it was located "at the bottom of the square". In the same work, it is described as the "Genius of Altamura". The goddess held a scale with her left hand and a sword with her right hand. She also wore a diadem on her head. The inscription *Justitia & Pax osculatae sunt* accompanied the monument. The statue is not present anymore, and its demolition date is unknown.

## Bibliography

## InfoBox

Piazza del Duomo
| Piazza del Duomo, the square where Altamura Cathedral is located | |
| --- | --- |
| Native name | *Piazza del Duomo* (Italian) |
| Former name(s) | piazza delle Spezierie, *platea rerum venalium*, piazza del Mercato |
| Type | Square |
| Location | Altamura, Italy |
| Postal code | 70022 |
| Coordinates | 40°49′39″N 16°33′12″E / 40.827466°N 16.553237°E / 40.827466; 16.553237 |
| Construction | |
| Construction start | 1494 |


title: Pissy-Pôville

abstract: Pissy-Pôville is a commune in the Seine-Maritime department in the Normandy region in northern France. The 19th-century historian Théodore Bachelet (1820–1879) was born in this village.

text:
# Pissy-Pôville

**Pissy-Pôville** (French pronunciation: \[pisi povil\]) is a commune in the Seine-Maritime department in the Normandy region in northern France. The 19th-century historian Théodore Bachelet (1820–1879) was born in this village.

## Geography

A farming village situated approximately 9 miles (14 km) northwest of Rouen, at the junction of the D6015, D47 and the D104 roads. The A151 autoroute passes through the commune's territory.

## History

The commune was formed in 1822 through the merger of the towns of Pissy and Pôville.

## Population

Historical population
| Year | Pop. | ±% p.a. |
| --- | --- | --- |
| 1968 | 568 |  |
| 1975 | 683 | +2.67% |
| 1982 | 947 | +4.78% |
| 1990 | 1,089 | +1.76% |
| 1999 | 1,256 | +1.60% |
| 2007 | 1,284 | +0.28% |
| 2012 | 1,248 | −0.57% |
| 2017 | 1,264 | +0.26% |
| Source: INSEE | | |

## Places of interest

* The church of St. Martin, dating from the thirteenth century.
* A sixteenth century manorhouse with a dovecote.
* Traces of a Roman villa.

## InfoBox

| Pissy-Pôville | |
| --- | --- |
| Commune | |
| A railway tunnel in Pissy-Pôville | |
| Location of Pissy-Pôville | |
| Pissy-PôvillePissy-Pôville | |
| Coordinates: 49°31′46″N 0°59′38″E / 49.5294°N 0.9939°E / 49.5294; 0.9939 | |
| Country | France |
| Region | Normandy |
| Department | Seine-Maritime |
| Arrondissement | Rouen |
| Canton | Notre-Dame-de-Bondeville |
| Government | |
| Mayor (20202026) | Paul Lesellier |
| Area**1** | 11.26 km2 (4.35 sq mi) |
| Population (2021) | 1,281 |
| Density | 110/km2 (290/sq mi) |
| Time zone | UTC+01:00 (CET) |
| Summer (DST) | UTC+02:00 (CEST) |
| INSEE/Postal code | 76503 /76360 |
| Elevation | 47–144 m (154–472 ft)
(avg. 120 m or 390 ft) |
| **1** French Land Register data, which excludes lakes, ponds, glaciers \> 1 km2 (0.386 sq mi or 247 acres) and river estuaries. | |


title: Music of Rewrite

abstract: .mw-parser-output.tracklist{border-spacing:0}.mw-parser-output.tracklist tr{background-color:var(--background-color-base,#fff)}.mw-parser-output.tracklist tr:nth-child(2n-1){background-color:var(--background-color-neutral-subtle,#f8f9fa)}.mw-parser-output.tracklist caption{text-align:left;font-weight:bold}.mw-parser-output.tracklist td,.mw-parser-output.tracklist th[scope="row"]{vertical-align:top}.mw-parser-output.tracklist th[scope="col"]{text-align:left;background-color:var(--background-color-neutral,#eaecf0)}.mw-parser-output.tracklist th.tracklist-length-header,.mw-parser-output.tracklist th.tracklist-number-header,.mw-parser-output.tracklist th[scope="row"],.mw-parser-output.tracklist-length,.mw-parser-output.tracklist-total-length td{padding-right:10px;text-align:right}.mw-parser-output.tracklist th[scope="row"]{font-weight:normal}.mw-parser-output.tracklist-number-header{width:2em;padding-left:10px}.mw-parser-output.tracklist-length-header{width:4em}.mw-parser-output.tracklist tr.tracklist-total-length{background-color:transparent}.mw-parser-output.tracklist.tracklist-total-length th{padding:0;font-weight:bold}.mw-parser-output.tracklist-total-length th>span{float:right;padding:0 10px;background-color:var(--background-color-neutral,#eaecf0)}.mw-parser-output.tracklist-total-length td{background-color:var(--background-color-neutral,#eaecf0);font-weight:bold;padding:0 10px 0 0} Rewrite is a visual novel developed by Key and published by VisualArt's in 2011. A fan disc for Rewrite titled Rewrite Harvest festa! was released in 2012. The discography of Rewrite and Harvest festa! consists of one studio album, seven singles, three soundtracks and seven remix albums. The core of the discography consists of two original soundtrack albums for the visual novels, one for Rewrite and the other for Harvest festa!. The soundtracks were produced by Key Sounds Label and released in 2011 and 2012. The music on the soundtracks was composed and arranged by Jun Maeda, Shinji Orito, Maiko Iuchi, Sōshi Hosoi, and Ryō Mizutsuki. An image song album was released in 2016. Seven singles were released between 2011 and 2017: two theme song singles for the visual novel, and five singles for the anime adaptation. A third soundtrack for the anime adaptation was released in 2017. The remix albums contains tracks from the games remixed by various artists and were released between 2011 and 2021.

text:
# Music of Rewrite

*Rewrite* is a visual novel developed by Key and published by VisualArt's in 2011. A fan disc for *Rewrite* titled *Rewrite Harvest festa!* was released in 2012. The discography of *Rewrite* and *Harvest festa!* consists of one studio album, seven singles, three soundtracks and seven remix albums. The core of the discography consists of two original soundtrack albums for the visual novels, one for *Rewrite* and the other for *Harvest festa!*. The soundtracks were produced by Key Sounds Label and released in 2011 and 2012. The music on the soundtracks was composed and arranged by Jun Maeda, Shinji Orito, Maiko Iuchi, Sōshi Hosoi, and Ryō Mizutsuki. An image song album was released in 2016. Seven singles were released between 2011 and 2017: two theme song singles for the visual novel, and five singles for the anime adaptation. A third soundtrack for the anime adaptation was released in 2017. The remix albums contains tracks from the games remixed by various artists and were released between 2011 and 2021.

## Albums

### *Soil*

*Soil* is a remix album which contains a selection of songs from the visual novel *Rewrite*, remixed by various artists. The album is otherwise composed, and produced by Shinji Orito, Maiko Iuchi, Sōshi Hosoi, and Ryō Mizutsuki. This album was released as a bonus item, included with the limited edition first printing of the PC version of *Rewrite* released on June 24, 2011 by Key Sounds Label bearing the catalog number *KSLA-0070*. As a result, it was not released for individual sale. The album contains one disc with ten remixed background music tracks from the visual novel. Annabel provides vocals for the song "Reply".

Track listing
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Hinagiku" (ヒナギク *Daisy*) | Maiko Iuchi | Keiji Inai (Imagine) | 3:37 |
| 2. | "Sanka" (散花 *Scattered Flowers*) | Ryō Mizutsuki | Nakayama Raiden | 3:51 |
| 3. | "Watabōshi" (綿帽子 *Bridal Headdress*) | Sōshi Hosoi | Shōhei Tsuchiya (Zuntata) | 4:16 |
| 4. | "Phobia" | Sōshi Hosoi | Sōichirō Sakamoto (Supersweep) | 4:09 |
| 5. | "Asagao" (アサガオ *Morning Glory*) | Maiko Iuchi | Manyo (Little Wing) | 4:08 |
| 6. | "Exploration" | Shinji Orito | Maki Kirioka (Procyon Studio) | 4:02 |
| 7. | "Genkyō ～ Nirinsō" (幻境 ～ ニリンソウ *Illusion Border ～ Soft Wildflower*) | Ryō Mizutsuki ("Genkyō")
Sōshi Hosoi ("Nirinsō") | Technouchi | 5:11 |
| 8. | "Retribution" | Shinji Orito | Soyo Oka | 4:22 |
| 9. | "Reply" (Performed by Annabel) | Shinji Orito | Myu | 4:38 |
| 10. | "Anthurium" (アンスリウム *Ansuriumu*) | Ryō Mizutsuki | Hideki Sakamoto (Noisycroak) | 4:07 |
| Total length: | | | | 42:21 |

### *Rewrite Original Soundtrack*

The *Rewrite Original Soundtrack*, from the visual novel *Rewrite*, was first released on August 12, 2011 at Comiket 80 in Japan by Key Sounds Label bearing the catalog numbers *KSLA-0073–0075*. It was later released for general sale on October 28, 2011. The soundtrack contains three discs totaling 63 songs composed, arranged, and produced by Jun Maeda, Shinji Orito, Maiko Iuchi, Sōshi Hosoi, Ryō Mizutsuki, Anant-Garde Eyes, MintJam, Donmaru, Manyo, and Manack. Four artists provide vocals for seven songs: Runa Mizutani sings "Philosophyz" and "Yami no Kanata e", Aoi Tada sings "Watari no Uta" and "Canoe", Nagi Yanagi sings "Koibumi" and "Itsuwaranai Kimi e", and Psychic Lover performs "Rewrite".

Disc 1
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Philosophyz" (Lyrics by Yūto Tonokawa; Performed by Runa Mizutani) | Shinji Orito | MintJam | 4:51 |
| 2. | "Tabi" ( *Journey*) | Jun Maeda | Anant-Garde Eyes | 1:54 |
| 3. | "Mebuki" (芽吹き *Bud*) | Ryō Mizutsuki | Ryō Mizutsuki | 3:26 |
| 4. | "Fertilizer" | Shinji Orito | Maiko Iuchi | 2:49 |
| 5. | "Karai" (花蕾 *Flower Bud*) | Maiko Iuchi | Maiko Iuchi | 3:51 |
| 6. | "Kajitsu" (果実 *Fruit*) | Ryō Mizutsuki | Ryō Mizutsuki | 2:12 |
| 7. | "Raised Bed" | Ryō Mizutsuki | Ryō Mizutsuki | 4:36 |
| 8. | "Nirinsō" (ニリンソウ *Soft Windflower*) | Sōshi Hosoi | Sōshi Hosoi | 3:08 |
| 9. | "Asagao" (アサガオ *Morning Glory*) | Maiko Iuchi | Maiko Iuchi | 2:30 |
| 10. | "Anthurium" (アンスリウム *Ansuriumu*) | Ryō Mizutsuki | Ryō Mizutsuki | 2:45 |
| 11. | "Carnation" (カーネーション *Kānēshon*) | Shinji Orito | Maiko Iuchi | 2:41 |
| 12. | "Sunbright" (サンブライト *Sanburaito*) | Shinji Orito | MintJam | 3:38 |
| 13. | "Hinagiku" (ヒナギク *Daisy*) | Maiko Iuchi | Maiko Iuchi | 2:58 |
| 14. | "Honesty" | Shinji Orito | Maiko Iuchi | 3:16 |
| 15. | "Shinsō Shinrin" (深層森林 *Deep Forest*) | Maiko Iuchi | Maiko Iuchi | 2:09 |
| 16. | "Exploration" | Shinji Orito | Shinji Orito | 3:49 |
| 17. | "Tōdo" (凍土 *Frozen Soil*) | Sōshi Hosoi | Sōshi Hosoi | 2:47 |
| 18. | "Kappanbyō" (褐斑病 *Cercospora*) | Maiko Iuchi | Maiko Iuchi | 2:33 |
| 19. | "Watabōshi" (綿帽子 *Bridal Headdress*) | Sōshi Hosoi | Sōshi Hosoi | 2:37 |
| 20. | "DIS is a Pain" | Shinji Orito | Shinji Orito | 1:39 |
| 21. | "Eruptible" | Shinji Orito | Shinji Orito | 2:28 |
| 22. | "Yami no Kanata e" (闇の彼方へ *Beyond the Darkness*)
(Lyrics by Yūichirō Tsukagoshi; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 5:14 |

Disc 2
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Rewrite" (Lyrics by Yoffy; Performed by Psychic Lover) | Yoffy | Kenichiro Ōishi | 3:55 |
| 2. | "Retribution" | Shinji Orito | Shinji Orito | 2:19 |
| 3. | "Potted One" | Maiko Iuchi | Maiko Iuchi | 3:02 |
| 4. | "YO-SHI-NO" | Shinji Orito | Shinji Orito | 2:13 |
| 5. | "Sorrowless" | Shinji Orito | Maiko Iuchi | 2:58 |
| 6. | "Yuriha" (揺葉 *Swinging Leaves*) | Shinji Orito | Maiko Iuchi | 3:36 |
| 7. | "Sanka" (散花 *Scattered Flowers*) | Ryō Mizutsuki | Ryō Mizutsuki | 3:36 |
| 8. | "Genkyō" (幻境 *Illusion Border*) | Ryō Mizutsuki | Ryō Mizutsuki | 3:29 |
| 9. | "Kari" (刈り *Shear*) | Maiko Iuchi | Maiko Iuchi | 2:34 |
| 10. | "Scene of Carnage" | Maiko Iuchi | Maiko Iuchi | 2:11 |
| 11. | "Scene of Carnage Aggressiveness" | Maiko Iuchi | Maiko Iuchi | 2:11 |
| 12. | "Phobic" | Sōshi Hosoi | Sōshi Hosoi | 1:33 |
| 13. | "Phobia" | Sōshi Hosoi | Sōshi Hosoi | 3:35 |
| 14. | "Scene Shifts There" | Ryō Mizutsuki | Ryō Mizutsuki | 4:22 |
| 15. | "Kuroboshibyō" (黒星病 *Black Spot Disease*) | Sōshi Hosoi | Sōshi Hosoi | 2:25 |
| 16. | "Koshi" (枯死 *Wither*) | Sōshi Hosoi | Sōshi Hosoi | 2:16 |
| 17. | "Finale" | Maiko Iuchi | Maiko Iuchi | 2:36 |
| 18. | "Reply" | Shinji Orito | Ryō Mizutsuki | 4:48 |
| 19. | "Toxoplasma" | Sōshi Hosoi | Sōshi Hosoi | 2:46 |
| 20. | "Minori" (実り *Ripen*) | Ryō Mizutsuki | Ryō Mizutsuki | 2:58 |
| 21. | "Philosophy of Ours" | Shinji Orito | Manack | 3:45 |
| 22. | "Philosophy of Yours" | Shinji Orito | Shinji Orito | 3:14 |
| 23. | "Exploration2 Symphonic" | Shinji Orito | Manack | 4:01 |

Disc 3
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Philosophyz (GT Ver.)" | Shinji Orito | MintJam | 4:53 |
| 2. | "Rewrite (instrumental)" | Yoffy | Kenichiro Ōishi | 3:55 |
| 3. | "Remembrance" | Shinji Orito | Manack | 4:26 |
| 4. | "Daichi" (大地 *Ground*) | Sōshi Hosoi | Sōshi Hosoi | 2:27 |
| 5. | "Radiance" | Sōshi Hosoi | Sōshi Hosoi | 3:18 |
| 6. | "Koiuta" (恋歌 *Love Song*)
(Performed by Nagi Yanagi) | Shinji Orito | Manyo | 2:44 |
| 7. | "Koibumi" (恋文 *Love Letter*)
(Lyrics by Yūto Tonokawa; Performed by Nagi Yanagi) | Shinji Orito | Manyo | 6:28 |
| 8. | "Itsuwaranai Kimi e" (偽らない君へ *To You Who Does Not Lie*)
(Lyrics by Ryukishi07; Performed by Nagi Yanagi) | Shinji Orito | Shōji Morifuji | 6:46 |
| 9. | "Watari no Uta" (渡りの詩 *Ferry Poem*)
(Lyrics by Jun Maeda; Performed by Aoi Tada) | Jun Maeda | Anant-Garde Eyes | 4:15 |
| 10. | "Canoe" (Lyrics by Jun Maeda and Romeo Tanaka; Performed by Aoi Tada) | Jun Maeda | Anant-Garde Eyes | 6:06 |
| 11. | "Hinagiku (orgel Ver.)" (ヒナギク *Daisy*) | Maiko Iuchi | Donmaru | 3:02 |
| 12. | "Philosophyz (Game size Ver)" (Lyrics by Yūto Tonokawa; Performed by Runa Mizutani) | Shinji Orito | MintJam | 2:57 |
| 13. | "Rewrite (Game size Ver)" (Lyrics by Yoffy; Performed by Psychic Lover) | Yoffy | Kenichiro Ōishi | 1:33 |
| 14. | "Yami no Kanata e (Game size Ver)" (闇の彼方へ *Beyond the Darkness*)
(Lyrics by Yūichirō Tsukagoshi; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 3:27 |
| 15. | "Koibumi (Game size Ver)" (恋文 *Love Letter*)
(Lyrics by Yūto Tonokawa; Performed by Nagi Yanagi) | Shinji Orito | Manyo | 4:24 |
| 16. | "Itsuwaranai Kimi e (Game size Ver)" (偽らない君へ *To You Who Does Not Lie*)
(Lyrics by Ryukishi07; Performed by Nagi Yanagi) | Shinji Orito | Shōji Morifuji | 4:11 |
| 17. | "Bonus Track (Horobi no Uta)" (Bonus Track (滅びの歌 *Song of Destruction*); Produced by reversing the melodies of "Tabi") | Jun Maeda, Shinji Orito |  | 1:30 |
| 18. | "Bonus Track (Lucia Chakushin'on)" (Bonus Track (ルチア着信音 *Lucia's Ringtone*)) | Shinji Orito |  | 1:07 |
| Total length: | | | | 205:07 |

### *Branch*

*Branch* is a remix album which contains a selection of songs from the visual novel *Rewrite*, remixed by various artists. The album is otherwise composed, and produced by Jun Maeda, Shinji Orito, Maiko Iuchi, Sōshi Hosoi, and Ryō Mizutsuki. The album was released on December 29, 2011 at Comiket 81 by Key Sounds Label bearing the catalog number *KSLA-0076*. The album contains eight remixed background music tracks from the visual novel. Three artists provide vocals for five songs: Annabel provides the chorus for "Orbita", Mao sings "Fertilizer" and "Kajitsu Renka", and Nagi Yanagi sings "Little Forest" and "Reply".

Track listing
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Tabi" ( *Journey*) | Jun Maeda | Keiji Inai | 2:30 |
| 2. | "Fertilizer" (Lyrics by Ryukishi07; Performed by Mao) | Shinji Orito | Manyo | 5:09 |
| 3. | "Nirinsō" (ニリンソウ *Soft Windflower*) | Sōshi Hosoi | Maki Kirioka | 4:15 |
| 4. | "Little Forest" (Lyrics and performance by Nagi Yanagi) | Maiko Iuchi | Maki Kirioka | 4:41 |
| 5. | "Orbita" (Lyrics by Ayaha and Manyo; Performed by Annabel) | Maiko Iuchi | Manyo | 5:03 |
| 6. | "Kajitsu Renka" (過日憐歌 *Love Song From the Other Day*)
(Lyrics by Yūto Tonokawa; Performed by Mao) | Ryō Mizutsuki | Hideki Sakamoto | 6:09 |
| 7. | "Daichi ～ Radiance" (大地 ～ Radiance *Ground ～ Radiance*) | Sōshi Hosoi | Hideki Sakamoto | 5:26 |
| 8. | "Reply" (Lyrics and performance by Nagi Yanagi) | Shinji Orito | Keiji Inai | 5:12 |
| Total length: | | | | 38:25 |

### *Feast*

*Feast* is the original soundtrack from the visual novel *Rewrite Harvest festa!*. It was first released with the original release of the game on July 27, 2012 in Japan, and is produced by Key Sounds Label bearing the catalog number *KSLA-0081*. The soundtrack contains one disc with 14 music tracks composed, arranged, and produced by Shinji Orito, Maiko Iuchi, Sōshi Hosoi, Ryō Mizutsuki, Yūichirō Tsukagoshi of NanosizeMir, and Manabu Miwa. Aoi Tada sings the full and game size versions of "Harvest", and Runa Mizutani of NanosizeMir sings the full and game size versions of "Sasayaka na Hajimari".

Track listing
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Harvest" (Lyrics by Yūto Tonokawa; Performed by Aoi Tada) | Maiko Iuchi | Maiko Iuchi | 4:10 |
| 2. | "Irrigated Land" | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 3:32 |
| 3. | "Hōga" (萌芽 *Sprout*) | Shinji Orito | Shinji Orito, Manabu Miwa | 4:20 |
| 4. | "Moonbright" (ムーンブライト *Mūnburaito*) | Shinji Orito | Ryō Mizutsuki | 3:34 |
| 5. | "Quaesitor" | Sōshi Hosoi | Sōshi Hosoi | 3:26 |
| 6. | "Fight for nowhere" | Shinji Orito | Shinji Orito | 3:00 |
| 7. | "Winners!" | Shinji Orito | Shinji Orito | 1:06 |
| 8. | "Redemptor" | Sōshi Hosoi | Sōshi Hosoi | 3:41 |
| 9. | "Ai o Sosogu" (愛を灌ぐ *Fill With Love*) | Maiko Iuchi | Ryō Mizutsuki | 4:52 |
| 10. | "Yotsuyu" (夜露 *Evening Dew*) | Shinji Orito | Manabu Miwa | 4:48 |
| 11. | "Sasayaka na Hajimari" (ささやかなはじまり *Modest Beginning*)
(Lyrics by NanosizeMir; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 5:56 |
| 12. | "Irrigated Land (echo)" | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 3:32 |
| 13. | "Harvest (Game size Ver)" (Lyrics by Yūto Tonokawa; Performed by Aoi Tada) | Maiko Iuchi | Maiko Iuchi | 1:39 |
| 14. | "Sasayaka na Hajimari (Game size Ver)" (ささやかなはじまり *Modest Beginning*)
(Lyrics by NanosizeMir; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 2:20 |
| Total length: | | | | 49:56 |

### *Dye Mixture*

*Dye Mixture* is a remix album with songs taken from the *Rewrite* and *Rewrite Harvest festa!* visual novels and arranged into rock versions. It was released on December 29, 2012 at Comiket 83 in Japan by Key Sounds Label bearing the catalog number *KSLA-0091*. The album contains one disc with ten tracks all arranged by the rock group MintJam. Three artists provide vocals for three songs: Aoi Tada sings "Harvest", Nagi Yanagi sings "Koibumi", and Runa Mizutani sings "Sasayaka na Hajimari". The album is otherwise composed and produced by Shinji Orito, Sōshi Hosoi, Maiko Iuchi, and NanosizeMir.

Track listing
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Harvest" (Lyrics by Yūto Tonokawa; Performed by Aoi Tada) | Maiko Iuchi | a2c, Terra | 4:11 |
| 2. | "Potted One" | Maiko Iuchi | Terra | 2:57 |
| 3. | "Kari" (刈り *Shear*) | Maiko Iuchi | a2c, Terra | 2:54 |
| 4. | "Fight for nowhere" | Shinji Orito | a2c | 3:46 |
| 5. | "Sorrowless" | Shinji Orito | a2c, Terra | 3:27 |
| 6. | "Remembrance" | Shinji Orito | a2c, Terra | 3:47 |
| 7. | "Koibumi" (恋文 *Love Letter*)
(Lyrics by Yūto Tonokawa; Performed by Nagi Yanagi) | Shinji Orito | a2c | 6:26 |
| 8. | "Radiance" | Sōshi Hosoi | a2c | 4:53 |
| 9. | "Reply" | Shinji Orito | a2c | 5:00 |
| 10. | "Sasayaka na Hajimari" (ささやかなはじまり *Modest Beginning*)
(Lyrics by NanosizeMir; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | a2c | 5:54 |
| Total length: | | | | 43:15 |

### *Crann Mor*

*Crann Mor* (Irish for *Great Tree*) is a remix album with songs taken from the *Rewrite* visual novel. It was released on December 29, 2015 at Comiket 89 bearing the catalog number *KSLA-0112*. The album contains one disc with 12 tracks remixed by Hideki Higuchi. Aoi Tada provide vocals for two songs: "Kono Ki no Shita de" and "Sleeping Forest". The album is otherwise composed and produced by Jun Maeda, Shinji Orito, Maiko Iuchi, Sōshi Hosoi and Ryō Mizutsuki.

Track listing
| No. | Title | Music | Length |
| --- | --- | --- | --- |
| 1. | "Tabi" ( *Journey*) | Jun Maeda, Ryō Mizutsuki | 4:04 |
| 2. | "Mebuki" (芽吹き *Bud*) | Ryō Mizutsuki | 4:20 |
| 3. | "Karai" (花蕾 *Flower Bud*) | Maiko Iuchi | 3:30 |
| 4. | "Asagao" (アサガオ *Morning Glory*) | Maiko Iuchi | 3:11 |
| 5. | "Nirinsō" (ニリンソウ *Soft Windflower*) | Sōshi Hosoi | 6:20 |
| 6. | "Kono Ki no Shita de" (この木の下で *Under This Tree*)
(Lyrics by Kai; Performed by Aoi Tada) | Ryō Mizutsuki | 6:48 |
| 7. | "Raised Bed" | Ryō Mizutsuki | 4:18 |
| 8. | "Remembrance" | Shinji Orito | 5:00 |
| 9. | "Sorrowless" | Shinji Orito | 3:37 |
| 10. | "Yuriha" (揺葉) | Shinji Orito | 3:45 |
| 11. | "Hinagiku" (ヒナギク *Daisy*) | Maiko Iuchi | 3:58 |
| 12. | "Sleeping Forest" (Lyrics by Kai; Performed by Aoi Tada) | Ryō Mizutsuki | 6:07 |
| Total length: | | | 54:58 |

### *Selene*

*Selene* is a remix album with songs taken from the *Rewrite* and *Rewrite Harvest festa!* visual novels remixed into rock and electronic dance music. It was bundled with *Rewrite+* released on July 29, 2016 bearing the catalog number *KSLA-0116*. The album contains one disc with 11 tracks remixed by a variety of artists. The album is otherwise composed and produced by Shinji Orito, Sōshi Hosoi and Maiko Iuchi. "Philosophyz (Mizonokuchi Yūma remix)" is performed by Runa Mizutani, and "Sunbright (ALR Remix)" is performed by Ayaka Kitazawa.

Track listing
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Philosophyz (Mizonokuchi Yūma remix)" (Lyrics by Yūto Tonokawa; Performed by Runa Mizutani) | Shinji Orito | Yūma Mizonokuchi | 4:43 |
| 2. | "DIS is a Pain (morbid Rock mix)" | Shinji Orito | Irus | 3:38 |
| 3. | "Eruptible (Freezer Remix)" | Shinji Orito | Freezer | 4:17 |
| 4. | "Quaesitor (Shouya Namai Remix)" | Sōshi Hosoi | Shōya Namai | 5:04 |
| 5. | "Sunbright (ALR Remix)" (サンブライト *Sanburaito*)
(Lyrics by Ryukishi07; Performed by Ayaka Kitazawa) | Shinji Orito | Masayoshi Minoshima | 5:37 |
| 6. | "Redemptor (Digital Universum ver)" | Sōshi Hosoi | Shoyu | 4:24 |
| 7. | "Phobia (LU-I Remix)" | Sōshi Hosoi | LU-I | 5:48 |
| 8. | "Finale (Kissing the Mirror Mix)" | Maiko Iuchi | Wooming, Kenkawa, Akira Natsuki | 4:09 |
| 9. | "Retribution (Muzik Servant & Freezer Remix)" | Shinji Orito | Muzik Servant, Freezer | 4:12 |
| 10. | "Fight for nowhere (Kissing the Mirror Mix)" | Shinji Orito | Wooming | 3:51 |
| 11. | "Kari (Mizonokuchi Yūma remix)" (刈り *Shear*) | Maiko Iuchi | Yūma Mizonokuchi | 4:01 |
| Total length: | | | | 49:44 |

### *Pureness Rhapsody*

*Pureness Rhapsody* (ピュアネスラプソディー) is an image song album for the *Rewrite* visual novel, and was first released on December 29, 2016 at Comiket 91 in Japan by Key Sounds Label bearing the catalog number *KSLA-0128*. The album is for the heroines Chihaya Ohtori and Lucia Konohana, and contains one disc with 14 tracks sung by Saya Shinomiya and Risa Asaki, the voice actresses who voiced Chihaya and Lucia, respectively. The album is composed, arranged, and produced by Shinji Orito, Tomohiro Takeshita, Maiko Iuchi and Shoyu.

Track listing
| No. | Title | Lyrics | Music | Artist / Arrangement | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "Princess is The Princess" | Ryukishi07 | Tomohiro Takeshita | Saya Shinomiya, Risa Asaki / Tomohiro Takeshita | 4:28 |
| 2. | "Fledglings girls!!" | Ryukishi07 | Tomohiro Takeshita | Saya Shinomiya, Risa Asaki / Tomohiro Takeshita, Shoyu | 4:45 |
| 3. | "Philosophyz" | Yūto Tonokawa | Shinji Orito | Saya Shinomiya, Risa Asaki / Shoyu | 4:51 |
| 4. | "Sunbright" (サンブライト) | Ryukishi07 | Shinji Orito | Risa Asaki / Shoyu | 4:39 |
| 5. | "Koizakura Kaika Zensen" (恋桜開花前線) | Kai | Maiko Iuchi | Saya Shinomiya / Shoyu | 4:22 |
| 6. | "Koi no Lucihaya Rolling" (恋のルチはや♡ローリング) | Ryukishi07 | Shinji Orito | Saya Shinomiya, Risa Asaki / Shoyu | 4:08 |
| 7. | "Princess is The Princess Lucia Solo ver." (Princess is The Princess ルチアソロ ver.) | Ryukishi07 | Tomohiro Takeshita | Risa Asaki / Tomohiro Takeshita | 4:28 |
| 8. | "Princess is The Princess Chihaya Solo ver." (Princess is The Princess ちはやソロ ver.) | Ryukishi07 | Tomohiro Takeshita | Saya Shinomiya / Tomohiro Takeshita | 4:28 |
| 9. | "Fledglings girls!! Lucia Solo ver." (Fledglings girls!! ルチアソロ ver.) | Ryukishi07 | Tomohiro Takeshita | Risa Asaki / Tomohiro Takeshita, Shoyu | 4:45 |
| 10. | "Fledglings girls!! Chihaya Solo ver." (Fledglings girls!! ちはやソロ ver.) | Ryukishi07 | Tomohiro Takeshita | Saya Shinomiya / Tomohiro Takeshita, Shoyu | 4:45 |
| 11. | "Philosophyz Lucia Solo ver." (Philosophyz ルチアソロ ver.) | Yūto Tonokawa | Shinji Orito | Risa Asaki / Shoyu | 4:51 |
| 12. | "Philosophyz Chihaya Solo ver." (Philosophyz ちはやソロ ver.) | Yūto Tonokawa | Shinji Orito | Saya Shinomiya / Shoyu | 4:51 |
| 13. | "Koi no Lucihaya Rolling Lucia Solo ver." (恋のルチはや♡ローリング ルチアソロ ver.) | Ryukishi07 | Shinji Orito | Risa Asaki / Shoyu | 4:08 |
| 14. | "Koi no Lucihaya Rolling Chihaya Solo ver." (恋のルチはや♡ローリング ちはやソロ ver.) | Ryukishi07 | Shinji Orito | Saya Shinomiya / Shoyu | 4:06 |
| Total length: | | | | | 63:35 |

### *Rewrite Original Soundtrack*

*Rewrite Original Soundtrack* is a soundtrack containing music tracks featured in the *Rewrite* anime series by 8-Bit. It was released on June 28, 2017 in Japan by Key Sounds Label bearing the catalog numbers *KSLA-0136–0139*. The soundtrack contains four discs totaling 89 tracks, although only 14 are original to this soundtrack. The tracks were composed, arranged, and produced by Jun Maeda, Shinji Orito, Maiko Iuchi, Sōshi Hosoi, Ryō Mizutsuki, Anant-Garde Eyes, MintJam, Donmaru, Manyo, and Manack.

Disc 1
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Philosophyz (TV animation ver.) (TV size)" (Lyrics by Yūto Tonokawa; Performed by Runa Mizutani) | Shinji Orito | MintJam |  |
| 2. | "Hinagiku" (ヒナギク *Daisy*) | Maiko Iuchi | Maiko Iuchi |  |
| 3. | "Shinsō Shinrin" (深層森林 *Deep Forest*) | Maiko Iuchi | Maiko Iuchi |  |
| 4. | "Nirinsō" (ニリンソウ *Soft Windflower*) | Sōshi Hosoi | Sōshi Hosoi |  |
| 5. | "Raised Bed" | Ryō Mizutsuki | Ryō Mizutsuki |  |
| 6. | "Karai" (花蕾 *Flower Bud*) | Maiko Iuchi | Maiko Iuchi |  |
| 7. | "Sunbright" (サンブライト *Sanburaito*) | Shinji Orito | MintJam |  |
| 8. | "DIS is a Pain" | Shinji Orito | Shinji Orito |  |
| 9. | "Irrigated Land" | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi |  |
| 10. | "Asagao" (アサガオ *Morning Glory*) | Maiko Iuchi | Maiko Iuchi |  |
| 11. | "Carnation" (カーネーション *Kānēshon*) | Shinji Orito | Maiko Iuchi |  |
| 12. | "Kajitsu" (果実 *Fruit*) | Ryō Mizutsuki | Ryō Mizutsuki |  |
| 13. | "Fertilizer" | Shinji Orito | Maiko Iuchi |  |
| 14. | "Genkyō" (幻境 *Illusion Border*) | Ryō Mizutsuki | Ryō Mizutsuki |  |
| 15. | "Exploration" | Shinji Orito | Shinji Orito |  |
| 16. | "Tōdo" (凍土 *Frozen Soil*) | Sōshi Hosoi | Sōshi Hosoi |  |
| 17. | "Kuroboshibyō" (黒星病) | Sōshi Hosoi | Sōshi Hosoi |  |
| 18. | "Scene of Carnage" | Maiko Iuchi | Maiko Iuchi |  |
| 19. | "Radiance" | Sōshi Hosoi | Sōshi Hosoi |  |
| 20. | "Watabōshi" (綿帽子 *Bridal Headdress*) | Sōshi Hosoi | Sōshi Hosoi |  |
| 21. | "Anthurium" (アンスリウム *Ansuriumu*) | Ryō Mizutsuki | Ryō Mizutsuki |  |
| 22. | "Lucia Chakushin'on" (ルチア着信音 *Lucia's Ringtone*) | Shinji Orito |  |  |
| 23. | "Eruptible" | Shinji Orito | Shinji Orito |  |
| 24. | "Kappanbyō" (褐斑病) | Maiko Iuchi | Maiko Iuchi |  |
| 25. | "Sasayaka na Hajimari (TV animation ver.) (TV size)" (ささやかなはじまり)
(Lyrics by NanosizeMir; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi |  |

Disc 2
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Honesty" | Shinji Orito | Maiko Iuchi |  |
| 2. | "Reply" | Shinji Orito | Ryō Mizutsuki |  |
| 3. | "Sanka" (散花 *Scattered Flowers*) | Ryō Mizutsuki | Ryō Mizutsuki |  |
| 4. | "Scene Shifts There" | Ryō Mizutsuki | Ryō Mizutsuki |  |
| 5. | "Koibumi (TV size)" (恋文 *Love Letter*)
(Lyrics by Yūto Tonokawa; Performed by Nagi Yanagi) | Shinji Orito | Manyo |  |
| 6. | "Fight for nowhere" | Shinji Orito | Shinji Orito |  |
| 7. | "Winners!" | Shinji Orito | Shinji Orito |  |
| 8. | "Koshi" (枯死 *Wither*) | Sōshi Hosoi | Sōshi Hosoi |  |
| 9. | "Potted One" | Maiko Iuchi | Maiko Iuchi |  |
| 10. | "Sunbright (TV size)" (サンブライト *Sanburaito*)
(Lyrics by Ryukishi07; Performed by Ayaka Kitazawa) | Shinji Orito | Shoyu |  |
| 11. | "Sorrowless" | Shinji Orito | Maiko Iuchi |  |
| 12. | "Toxoplasma" | Sōshi Hosoi | Sōshi Hosoi |  |
| 13. | "End of the World (TV size)" (Lyrics by Jun Maeda; Performed by Anri Kumaki) | Jun Maeda | Manyo |  |
| 14. | "Bloom" | Maiko Iuchi | Donmaru |  |
| 15. | "Minori" (実り *Ripen*) | Ryō Mizutsuki | Ryō Mizutsuki |  |
| 16. | "Moonbright" (ムーンブライト *Mūnburaito*) | Shinji Orito | Ryō Mizutsuki |  |
| 17. | "Scene of Carnage Aggressiveness" | Maiko Iuchi | Maiko Iuchi |  |
| 18. | "Kari" (刈り *Shear*) | Maiko Iuchi | Maiko Iuchi |  |
| 19. | "Exploration2 Symphonic" | Shinji Orito | Manack |  |
| 20. | "Sorrowless" (From *Dye Mixture*) | Shinji Orito | a2c, Terra |  |
| 21. | "DIS is a Pain" (From *Selene*) | Shinji Orito | Irus |  |
| 22. | "Kari" (刈り *Shear*)
(From *Dye Mixture*) | Maiko Iuchi | a2c, Terra |  |
| 23. | "Phobic" | Sōshi Hosoi | Sōshi Hosoi |  |
| 24. | "Word of Dawn (TV size)" (Lyrics by Kai; Performed by Aoi Tada) | Tomohiro Takeshita |  |  |

Disc 3
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Tabi" ( *Journey*) | Jun Maeda | Anant-Garde Eyes |  |
| 2. | "Daichi" (大地 *Ground*) | Sōshi Hosoi | Sōshi Hosoi |  |
| 3. | "Nirinsō" (ニリンソウ *Soft Windflower*)
(From *Crann Mor*) | Sōshi Hosoi | Hideki Higuchi |  |
| 4. | "Yuriha" (揺葉) | Shinji Orito | Maiko Iuchi |  |
| 5. | "Hōga" (萌芽 *Sprout*) | Shinji Orito | Shinji Orito, Manabu Miwa |  |
| 6. | "Rewrite instrumental" | Yoffy | Kenichiro Ōishi |  |
| 7. | "Itsuwaranai Kimi e (TV size)" (偽らない君へ *To You Who Does Not Lie*)
(Lyrics by Ryukishi07; Performed by Nagi Yanagi) | Shinji Orito | Shōji Morifuji |  |
| 8. | "Repress" | Yoffy | Shōji Morifuji |  |
| 9. | "Horobi no Uta" (滅びの歌 *Song of Destruction*) | Jun Maeda, Shinji Orito |  |  |
| 10. | "Finale" | Maiko Iuchi | Maiko Iuchi |  |
| 11. | "Kari" (刈り *Shear*)
(From *Selene*) | Maiko Iuchi | Yūma Mizonokuchi |  |
| 12. | "Ai o Sosogu" (愛を灌ぐ *Fill With Love*) | Maiko Iuchi | Ryō Mizutsuki |  |
| 13. | "Yume" ( *Dream*) | Jun Maeda | Ryō Mizutsuki |  |
| 14. | "Philosophy of Yours" | Shinji Orito | Shinji Orito |  |
| 15. | "Koiuta" (恋歌 *Love Song*)
(Performed by Nagi Yanagi) | Shinji Orito | Manyo |  |
| 16. | "Aogarebyō" (青枯病 *Bacterial Wilt*) | Ryō Mizutsuki | Ryō Mizutsuki |  |
| 17. | "Hinagiku orgel Ver." (ヒナギク *Daisy*) | Maiko Iuchi | Donmaru |  |
| 18. | "Hinagiku" (ヒナギク *Daisy*)
(From *Crann Mor*) | Maiko Iuchi | Hideki Higuchi |  |
| 19. | "Seitsui" (星墜 *Shooting Star*) | Tomohiro Takeshita | meeon |  |
| 20. | "Daichi – Radiance" (大地 – Radiance *Ground – Radiance*) | Sōshi Hosoi | Hideki Sakamoto |  |
| 21. | "Yami no Kanata e" (闇の彼方へ *Beyond the Darkness*)
(Lyrics by Yūichirō Tsukagoshi; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi |  |

Disc 4
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Innocence Eye" (Lyrics by Ryō Mizutsuki; Performed by Runa Mizutani) | Maiko Iuchi | Donmaru |  |
| 2. | "Philosophy of Ours" | Shinji Orito | Manack |  |
| 3. | "Species" | Maiko Iuchi | Ryō Mizutsuki |  |
| 4. | "Phobia" | Sōshi Hosoi | Sōshi Hosoi |  |
| 5. | "Rewrite (TV size)" (Lyrics by Yoffy; Performed by Psychic Lover) | Yoffy | Kenichiro Ōishi |  |
| 6. | "Record" | Yoffy | Shōji Morifuji |  |
| 7. | "Watari no Uta (TV size)" (渡りの詩 *Ferry Poem*)
(Lyrics by Jun Maeda; Performed by Aoi Tada) | Jun Maeda | Anant-Garde Eyes |  |
| 8. | "Last Desire (TV size)" (Lyrics by Kai; Performed by Maon Kurosaki) | Shinji Orito | Ryōsuke Shigenaga |  |
| 9. | "Instincts (TV size)" (Lyrics by Kai; Performed by Runa Mizutani) | Donmaru | Yūichirō Tsukagoshi |  |
| 10. | "Retribution" | Shinji Orito | Shinji Orito |  |
| 11. | "Remembrance" | Shinji Orito | Manack |  |
| 12. | "Scar" | Shinji Orito | Ryō Mizutsuki |  |
| 13. | "Anemone" (アネモネ) | Shinji Orito | Shinji Orito |  |
| 14. | "Liberation" | Yoffy | Shinji Orito |  |
| 15. | "Sinner" | Shinji Orito | Ryō Mizutsuki |  |
| 16. | "Sorrowless" (From *Crann Mor*) | Shinji Orito | Hideki Higuchi |  |
| 17. | "In the Pocket" | Shinji Orito | Ryō Mizutsuki |  |
| 18. | "Wedge" | Donmaru | Yūichirō Tsukagoshi |  |
| 19. | "Canoe (TV size)" (Lyrics by Jun Maeda and Romeo Tanaka; Performed by Aoi Tada) | Jun Maeda | Anant-Garde Eyes |  |

### *Re:Change*

*Re:Change* is a remix album of songs taken from the *Rewrite* and *Rewrite Harvest festa!* visual novels, as well as the *Rewrite* anime series, and remixed into electronic dance music. It was released on August 9, 2017 for the VisualArt's summer 2017 event at the Gamers store in Akihabara, Japan by Key Sounds Label bearing the catalog number *KSLA-0140*. The album contains one disc with ten tracks originally composed by Jun Maeda, Shinji Orito, Maiko Iuchi, Yuichiro Tsukagoshi, Donmaru, Tomohiro Takeshita and Yoffy, and features 12 remix artists. Performers featured on the album include Anri Kumaki, Maon Kurosaki, Runa Mizutani, Psychic Lover and Aoi Tada.

Track listing
| No. | Title | Lyrics | Music | Artist / Arrangement | Length |
| --- | --- | --- | --- | --- | --- |
| 1. | "Philosophyz (Nizikawa Remix)" | Yūto Tonokawa | Shinji Orito | Runa Mizutani / Nizikawa | 5:31 |
| 2. | "Yami no Kanata e (Shadowy DNB Remix)" (闇の彼方へ *Beyond the Darkness*) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | Runa Mizutani / Irus | 5:52 |
| 3. | "Rewrite (The Lasttrak Remix)" | Yoffy | Yoffy | Psychic Lover / The Lasttrak | 5:47 |
| 4. | "Harvest (taqumi Remix)" | Yūto Tonokawa | Maiko Iuchi | Aoi Tada / taqumi | 4:59 |
| 5. | "End of the World (LU-I Remix)" | Jun Maeda | Jun Maeda | Anri Kumaki / LU-I | 6:31 |
| 6. | "Word of Dawn (Halozy SMJ Remix)" | Kai | Tomohiro Takeshita | Aoi Tada / sumijun | 6:21 |
| 7. | "Okiraku Kyūsai (you Remix)" (おきらく☆きゅうさい) | Kai | Tomohiro Takeshita | Aoi Tada / you | 5:44 |
| 8. | "Instincts (Yuma vs. Tracy Remix)" | Kai | Donmaru | Runa Mizutani / Yūma Mizonokuchi & Tracy | 5:45 |
| 9. | "Ignis Memory (Muzik Servant vs Freezer Remix)" | Kai | Shinji Orito | Maon Kurosaki / Muzik Servant & Freezer | 6:43 |
| 10. | "Last Desire (DJ Shimamura Remix)" | Kai | Shinji Orito | Maon Kurosaki / DJ Shimamura | 5:09 |
| Total length: | | | | | 58:22 |

### *Forestia*

*Forestia* is a remix album which contains a selection of songs from the visual novels *Rewrite* and *Rewrite Harvest festa!*. It was released on December 18, 2021 at Visual Arts Winter Fes in Japan by Key Sounds Label bearing the catalog number *KSLA-0188*. The album contains one disc with nine tracks originally composed by Jun Maeda, Shinji Orito, Maiko Iuchi, Sōshi Hosoi, Ryō Mizutsuki, Yūichirō Tsukagoshi and Tomohiro Takeshita, and features eight separate remix artists. Runa Mizutani sings "Philosophyz -■(memorial)-", "Sasayaka na Hajimari", and "White stars"; and Aoi Tada sings "Word of Dawn" and "Harvest".

Track listing
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Philosophyz -■(memorial)-" (Lyrics by Yūto Tonokawa; Performed by Runa Mizutani) | Shinji Orito | Yūichirō Tsukagoshi | 4:46 |
| 2. | "Word of Dawn" (Lyrics by Kai; Performed by Aoi Tada) | Tomohiro Takeshita | Meis Clauson | 4:40 |
| 3. | "Shinsō Shinrin" (深層森林 *Deep Forest*) | Maiko Iuchi | Hideaki Kuroda | 3:41 |
| 4. | "Sasayaka na Hajimari" (ささやかなはじまり *Modest Beginning*)
(Lyrics by NanosizeMir; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Kidlit | 6:02 |
| 5. | "Hinagiku" (ヒナギク *Daisy*) | Maiko Iuchi | a2c (MintJam) | 4:32 |
| 6. | "Tabi" ( *Journey*) | Jun Maeda | Ryō Mizutsuki | 5:46 |
| 7. | "Harvest" (Lyrics by Yūto Tonokawa; Performed by Aoi Tada) | Maiko Iuchi | Okka | 4:12 |
| 8. | "Sanka" (散花 *Scattered Flowers*) | Ryō Mizutsuki | Shuhei Ōhashi | 3:44 |
| 9. | "White stars" (Lyrics by Yūichirō Tsukagoshi; Performed by Runa Mizutani) | Sōshi Hosoi | Yūichirō Tsukagoshi | 4:57 |
| Total length: | | | | 42:20 |

## Singles

### Philosophyz

"Philosophyz" is a single from the visual novel *Rewrite* containing the game's first opening theme and one of the ending themes, both sung by Runa Mizutani of the dōjin music group NanosizeMir. The single was first released on January 28, 2011 in Japan by Key Sounds Label bearing the catalog number *KSLA-0067*. The single contains six tracks including original, short, and instrumental versions of "Philosophyz" and "Yami no Kanata e". The single is composed, arranged, and produced by Shinji Orito, Yūto Tonokawa, MintJam and Yūichirō Tsukagoshi of NanosizeMir.

Track listing
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Philosophyz" (Lyrics by Yūto Tonokawa; Performed by Runa Mizutani) | Shinji Orito | MintJam | 4:52 |
| 2. | "Yami no Kanata e" (闇の彼方へ *Beyond the Darkness*)
(Lyrics by Yūichirō Tsukagoshi; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 5:16 |
| 3. | "Philosophyz (Game size Ver.)" (Lyrics by Yūto Tonokawa; Performed by Runa Mizutani) | Shinji Orito | MintJam | 2:58 |
| 4. | "Yami no Kanata e (Game size Ver.)" (闇の彼方へ *Beyond the Darkness*)
(Lyrics by Yūichirō Tsukagoshi; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 3:27 |
| 5. | "Philosophyz (off vocal Ver.)" | Shinji Orito | MintJam | 4:52 |
| 6. | "Yami no Kanata e (off vocal Ver.)" (闇の彼方へ *Beyond the Darkness*) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 5:15 |
| Total length: | | | | 26:40 |

### Rewrite

"Rewrite" is a single by Psychic Lover released on May 27, 2011 in Japan by Key Sounds Label bearing the catalog number *KSLA-0069*. "Rewrite" was used as the second opening theme song to the visual novel *Rewrite*. The single contains four tracks including original, short, off vocal and instrumental versions of "Rewrite".

All tracks are written by Yoffy and arranged by Kenichiro Ōishi

Track listing
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Rewrite" | 3:55 |
| 2. | "Rewrite (Game size Ver.)" | 1:33 |
| 3. | "Rewrite (off vocal Ver.)" | 3:55 |
| 4. | "Rewrite (Instrumental Ver.)" | 3:53 |
| Total length: | | 13:16 |

### Philosophyz / Sasayaka na Hajimari

"Philosophyz / Sasayaka na Hajimari" (ささやかなはじまり) is a single for the *Rewrite* anime series by 8-Bit, which was released on July 27, 2016 in Japan by Key Sounds Label bearing the catalog number *KSLA-0118*. The single contains the opening and ending themes from the anime version in full length, TV length, and instrumental versions. The opening theme is "Philosophyz" and the ending theme is "Sasayaka na Hajimari", both sung by Runa Mizutani of NanosizeMir. Both songs are remixes of the theme songs featured in the *Rewrite* and *Rewrite Harvest festa!* visual novels. The single is composed and produced by Shinji Orito and Yūichirō Tsukagoshi.

Track listing
| No. | Title | Music | Arrangement | Length |
| --- | --- | --- | --- | --- |
| 1. | "Philosophyz (TV animation ver.)" (Lyrics by Yūto Tonokawa; Performed by Runa Mizutani) | Shinji Orito | MintJam | 4:55 |
| 2. | "Sasayaka na Hajimari (TV animation ver.)" (ささやかなはじまり)
(Lyrics by NanosizeMir; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 5:53 |
| 3. | "Philosophyz (TV animation ver.) (TV Size)" (Lyrics by Yūto Tonokawa; Performed by Runa Mizutani) | Shinji Orito | MintJam | 1:39 |
| 4. | "Sasayaka na Hajimari (TV animation ver.) (TV Size)" (ささやかなはじまり)
(Lyrics by NanosizeMir; Performed by Runa Mizutani) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 1:31 |
| 5. | "Philosophyz (TV animation ver.) (Instrumental)" | Shinji Orito | MintJam | 4:53 |
| 6. | "Sasayaka na Hajimari (TV animation ver.) (Instrumental)" (ささやかなはじまり) | Yūichirō Tsukagoshi | Yūichirō Tsukagoshi | 5:52 |
| Total length: | | | | 24:43 |

### End of the World / Hetakuso na Uta

"End of the World / Hetakuso na Uta" (へたくそな唄) is a single by Anri Kumaki for the *Rewrite* anime series by 8-Bit, which was released on September 21, 2016 in Japan by Key Sounds Label bearing the catalog number *KSLA-0120*.

All tracks are written by Jun Maeda and arranged by Manyo

Track listing
| No. | Title | Length |
| --- | --- | --- |
| 1. | "End of the World" | 5:15 |
| 2. | "Hetakuso na Uta" (へたくそな唄) | 6:27 |
| 3. | "End of the World (TV size)" | 1:34 |
| 4. | "End of the World (Instrumental)" | 5:13 |
| 5. | "Hetakuso na Uta (Instrumental)" (へたくそな唄) | 6:29 |
| Total length: | | 24:58 |

### Word of Dawn / Okiraku Kyūsai

"Word of Dawn / Okiraku Kyūsai" (おきらく☆きゅうさい) is a single by Aoi Tada for the *Rewrite* anime series by 8-Bit, which was released on September 21, 2016 in Japan by Key Sounds Label bearing the catalog number *KSLA-0121*.

All lyrics are written by Kai; all music is composed by Tomohiro Takeshita

Track listing
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Word of Dawn" | 4:44 |
| 2. | "Okiraku Kyūsai" (おきらく☆きゅうさい) | 4:25 |
| 3. | "Word of Dawn (TV size)" | 1:35 |
| 4. | "Word of Dawn (Instrumental)" | 4:45 |
| 5. | "Okiraku Kyūsai (Instrumental)" (おきらく☆きゅうさい) | 4:27 |
| Total length: | | 19:56 |

### Last Desire

"Last Desire" is a single by Maon Kurosaki for the *Rewrite* anime series by 8-Bit, which was released on March 22, 2017 in Japan by Key Sounds Label bearing the catalog number *KSLA-0129*.

All lyrics are written by Kai; all music is composed by Shinji Orito and arranged by Ryōsuke Shigenaga

Track listing
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Last Desire" | 4:10 |
| 2. | "Ignis Memory" | 4:56 |
| 3. | "Last Desire (TV size)" | 1:35 |
| 4. | "Last Desire (Instrumental)" | 4:10 |
| 5. | "Ignis Memory (Instrumental)" | 4:54 |
| Total length: | | 19:45 |

### Instincts

"Instincts" is a single by Runa Mizutani or the *Rewrite* anime series by 8-Bit, which was released on March 22, 2017 in Japan by Key Sounds Label bearing the catalog number *KSLA-0130*.

All lyrics are written by Kai; all music is composed by Donmaru and arranged by Yūichirō Tsukagoshi

Track listing
| No. | Title | Length |
| --- | --- | --- |
| 1. | "Instincts" | 5:24 |
| 2. | "Cradles Tale" | 5:44 |
| 3. | "Instincts (TV size)" | 1:37 |
| 4. | "Instincts (Instrumental)" | 5:24 |
| 5. | "Cradles Tale (Instrumental)" | 5:42 |
| Total length: | | 23:51 |

## Chart positions

| Albums | Release date | Label | Format | Peak Oricon chart positions |
| --- | --- | --- | --- | --- |
| *Rewrite Original Soundtrack* | August 12, 2011 | Key Sounds Label (KSLA-0073–0075) | CD | 96 |
| "Philosophyz / Sasayaka na Hajimari" | July 27, 2016 | Key Sounds Label (KSLA-0118) | CD | 37 |
| "End of the World / Hetakuso na Uta" | September 21, 2016 | Key Sounds Label (KSLA-0120) | CD | 23 |
| "Word of Dawn / Okiraku Kyūsai" | | Key Sounds Label (KSLA-0121) | CD | 29 |
| "Last Desire" | March 22, 2017 | Key Sounds Label (KSLA-0129) | CD | 29 |
| "Instincts" | | Key Sounds Label (KSLA-0130) | CD | 46 |
| *Rewrite Original Soundtrack* | June 28, 2017 | Key Sounds Label (KSLA-0136–0139) | CD | 252 |

## InfoBox

| *Rewrite* and *Rewrite Harvest festa!* discography | |
| --- | --- |
| Studio albums | 1 |
| Singles | 7 |
| Soundtrack albums | 3 |
| Remixes | 7 |


title: Nylanderia yerburyi

abstract: Nylanderia yerburyi, is a species of Formicinae ant found in India, Nicobar Islands, Sri Lanka, and China. It is named after the collector of the type specimen, John William Yerbury.

text:
# Nylanderia yerburyi

***Nylanderia yerburyi***, is a species of Formicinae ant found in India, Nicobar Islands, Sri Lanka, and China. It is named after the collector of the type specimen, John William Yerbury.

* "Nylanderia yerburyi - Facts". *AntWeb*. Retrieved 19 January 2014.
* "Nylanderia yerburyi". at *antwiki.org*

## InfoBox

| *Nylanderia yerburyi* | |
| --- | --- |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Hymenoptera |
| Family: | Formicidae |
| Subfamily: | Formicinae |
| Genus: | *Nylanderia* |
| Species: | ***N. yerburyi*** |
| Binomial name | |
| ***Nylanderia yerburyi***<br>(Forel, 1894) | |
|


title: ICT Express

abstract: ICT Express is a peer-reviewed scientific journal of Information and Communications Technology established in 2015. It is published four times a year by Elsevier on behalf of The Korean Institute of Communications Information Sciences. The journal is edited by Eun-Soo Kim.

text:
# ICT Express

**ICT Express** is a peer-reviewed scientific journal of Information and Communications Technology established in 2015. It is published four times a year by Elsevier on *behalf* of The Korean Institute of Communications Information Sciences. The journal is edited by Eun-Soo Kim.

## Indexing and abstracting

The journal is abstracted and indexed in the following bibliographic databases:

According to Scopus, the journal has a 2019 CiteScore of 5.9.

## InfoBox

*ICT Express*
|  | |
| --- | --- |
| Discipline | Information and Communications Technology |
| Language | English |
| Edited by | Eun-Soo Kim |
| Publication details | |
| History | 2015–present |
| Publisher | Elsevier on behalf of
The Korean Institute of Communications Information Sciences (South Korea) |
| Frequency | Quarterly |
| Open access | Yes |
| Standard abbreviations
 | |
| ISO 4 | *ICT Express* |
| Indexing
 | |
| ISSN | 2405-9595 (print)
2405-9595 (web)
 |
| OCLC no. | 927919822 |
| Links | |
|  | |


title: Pere Johan

abstract: Pere Johan or Pere Joan was a Catalan Gothic sculptor. He was the son of sculptor Jordi de Déu, a former slave and disciple of sculptor Jaume Cascalls. His first solo works are known from the late 1410s, such as a keystone in the nave of the Cathedral of Barcelona representing the Eternal Father in Glory surrounded by Angels (1418), the eastern façade of the Palau de la Generalitat de Catalunya and several gargoyles in the Gothic façade of the Casa della Ciutat in Barcelona. His main works are the retablo for the Cathedral of Tarragona (1426) and panels for the high altar in the Cathedral of Zaragoza (1434), both commissioned by archbishop of Tarragona Dalmau de Mur. He also executed the frontal of the sepulchre of Hugo de Urriés, in the Cathedral of Huesca. In 1450, at the request of King Alfonso V of Aragon, Pere Johan went to Naples to work on the decoration of the Castel Nuovo, collaborating in the triumphal arch of the entrance with Guillem Sagrera from Majorca. This is his last known work.

text:
# Pere Johan

**Pere Johan** or **Pere Joan** (born c. 1400) was a Catalan Gothic sculptor.

He was the son of sculptor Jordi de Déu, a former slave and disciple of sculptor Jaume Cascalls. His first solo works are known from the late 1410s, such as a keystone in the nave of the Cathedral of Barcelona representing the Eternal Father in Glory surrounded by Angels (1418), the eastern façade of the Palau de la Generalitat de Catalunya and several gargoyles in the Gothic façade of the Casa della Ciutat in Barcelona.

His main works are the retablo for the Cathedral of Tarragona (1426) and panels for the high altar in the Cathedral of Zaragoza (1434), both commissioned by archbishop of Tarragona Dalmau de Mur. He also executed the frontal of the sepulchre of Hugo de Urriés, in the Cathedral of Huesca.

In 1450, at the request of King Alfonso V of Aragon, Pere Johan went to Naples to work on the decoration of the Castel Nuovo, collaborating in the triumphal arch of the entrance with Guillem Sagrera from Majorca. This is his last known work.


title: Vojin Bakić

abstract: Vojin Bakić was a prominent Yugoslav sculptor. Educated at the Zagreb Academy of Fine Arts and by Ivan Meštrović and Frano Kršinić, Bakić's early works were dominated by a figurative depiction of female nudity with reduced breasts and closed volumes. After 1945, he moved towards the impressionistic treatment of the surface with expressive transitions of light and shadow without superfluous details, which, according to him, represented the expression of the joy of life, flash, and light, something he shared with his contemporaries who wanted to create a better and more humane world in post-World War II Yugoslavia. He was at first influenced by the socialist realism, but later shifted towards modernism in the late 50s, embracing the challenges of an open form, interior spaces and light reflections, being among the first sculptors in Croatia that followed the program principles of geometric - in his case mostly circular - abstraction and optical research. His best-known works are busts of I. G. Kovačić and S. S. Kranjčević, Bjelovarac, Taurus, Light Forms, and WWII monuments at Petrova Gora, Kamenska, Kragujevac and Dotršćina. Bakić succeeded in realizing the avant-gardism of abstraction with the monumentality and immediacy that were traditionally features of classical figurative sculpture. During his lifetime, Bakić exhibited in over 200 group exhibitions in Yugoslavia, of which 75 were organized abroad. Uninterested in his own promotion, deeply immersed in creation, he had only a handful of solo exhibitions. In 1979, he received the Vladimir Nazor Award for lifetime and achievements in the arts.

text:
# Vojin Bakić

**Vojin Bakić** (Serbian Cyrillic: Војин Бакић; 5 June 1915 – 18 December 1992) was a prominent Yugoslav sculptor.

Educated at the Zagreb Academy of Fine Arts and by Ivan Meštrović and Frano Kršinić, Bakić's early works were dominated by a figurative depiction of female nudity with reduced breasts and closed volumes. After 1945, he moved towards the impressionistic treatment of the surface with expressive transitions of light and shadow without superfluous details, which, according to him, represented the expression of the joy of life, flash, and light, something he shared with his contemporaries who wanted to create a better and more humane world in post-World War II Yugoslavia. He was at first influenced by the socialist realism, but later shifted towards modernism in the late 50s, embracing the challenges of an open form, interior spaces and light reflections, being among the first sculptors in Croatia that followed the program principles of geometric - in his case mostly circular - abstraction and optical research. His best-known works are *busts of I. G. Kovačić and S. S. Kranjčević*, *Bjelovarac*, *Taurus*, *Light Forms*, and WWII monuments at Petrova Gora, Kamenska, Kragujevac and Dotršćina. Bakić succeeded in realizing the avant-gardism of abstraction with the monumentality and immediacy that were traditionally features of classical figurative sculpture.

During his lifetime, Bakić exhibited in over 200 group exhibitions in Yugoslavia, of which 75 were organized abroad. Uninterested in his own promotion, deeply immersed in creation, he had only a handful of solo exhibitions. In 1979, he received the Vladimir Nazor Award for lifetime and achievements in the arts.

## Work and artistic career

Bakić was an important figure, particularly in the 1950s and 1960s Croatian contemporary art scene, and collaborated with the group EXAT-51 and the Nove tendencije (New Tendencies) movement. He executed many public sculptures notably, the *Call to Arms (the man from Bjelovar)*, Bjelovar (1946) the *Monument to the Revolution* in Kamenska (1958–1968), the *Monument to the Train Accident Victims* in Zagreb (1975–1978), the *Monument to the Uprising of the People of Kordun and Banija* on Petrova Gora (1982) as well as monuments in Kragujevac and Dotrščina (Valley of Graves).

After 1945 he gravitated towards the impressionistic treatment of the surface. This period is primarily marked by his portraits of Ivan Goran Kovačić (1946) and Silvije Strahimir Kranjčević (1948). During the 1950s Bakić reduced the volume of his sculptures by the use of sharp fractures as edges, and later by merging the details of the sculptural mass (*Self-portrait*, 1952 and *sketch for the Marx and Engels Monument*, 1950–1953). During that time, he made an entire series of bull sculptures in various dimensions (*Bull*, 1950, 1956). With the series entitled *Nudes, Torsos and Heads* he completed his focus on organic, associative shapes, and from 1958 he turned towards the challenge of open forms, inner spaces and light reflections. Further professional development made him the first artist in a local context to follow the principles of geometric abstraction and to start the study of optic effects. By alternating concave and convex surfaces, he made "light shapes" which were close to constructivist poetics. In *Elaborated Surfaces* (1960–1964) he articulated strict and consistent units made of lined-up elements, whereas in *Light-bearing Shapes* (1963–1964) he created effective structures by means of modulating identical mirror units, for which he also used new materials, such as stainless steel.

## Exhibitions and awards

At his first solo exhibition (Bjelovar, 1940) he exhibited drawings and sculptures where the predominating subjects were female nudes in stone, characterized by reduced curves and closed volumes. From 1940 he participated at many national and international exhibitions: the Venice Biennial (1950, 1956, 1964), the Mediterranean Biennial in Alexandria (1956, 1969), the Milan Triennial XI (1957), Documenta in Kassel (1959), the Rijeka Salon (1959, 1961). He also exhibited with Ivan Picelj and Aleksandar Srnec in Paris (Gallery Denis René, 1959) and London (1960). He participated at the New Tendencies exhibitions (Zagreb, 1963, 1969, Gelsenkirchen, 1969 and Mainz, 1971), the São Paulo Biennial (1969), and at the exhibition *Constructivism and Kinetic Art* (Zagreb, 1995). Gallery Nova (Zagreb, 2007), in collaboration with the artist's family, organized the opening of Bakić's first solo exhibition in Croatia after 41 years. In 1979 he received the Vladimir Nazor Award for life achievement.

## Destruction of Bakić's monuments

During the early 1990s, after the fall of the Communist regime, many of Bakić's Yugoslav World War II monuments and memorials in Croatia were damaged, destroyed or removed from public spaces.

a) Destroyed monuments from 1990 to 1995:

b) Damaged monuments:

## Works published on Vojin Bakić

* Matić, Dušan – *Vojin Bakić: Moj prijatelj*, (Euroknjiga, 2007)
* Galerija Nova – *Novine #12*, (Zagreb, June 2007)

## InfoBox

| Vojin Bakić | |
| --- | --- |
| Војин Бакић | |
| Bakić working in his atelier (1956) | |
| Born | 5 June 1915
Bjelovar, Kingdom of Croatia-Slavonia, Austria-Hungary |
| Died | 18 December 1992(1992-12-18) (aged 77)
Zagreb, Croatia |
| Known for | Sculpture |
| Movement | Modernism |