This paper describes the first comprehensive inter-well field trial of low-salinity EOR. The objective of the trial was to demonstrate that reduced-salinity waterflooding works as well at inter-well distances as it does in corefloods and single well tests. The trial was designed to evaluate two risks: 1) whether mixing or other mechanisms prevent achievement of reduced-salinity improved recovery in the reservoir and 2) whether the adverse mobility ratio between the injected water and the oil bank causes viscous fingering – resulting in mobilized oil being left behind. The demonstration was implemented in a single reservoir zone at the Endicott field (North Slope Alaska). The trial involves an injector and a producer 1040 feet apart. The producer was monitored for changes in watercut and ionic composition. In December 2007, produced saline water was injected to pre-flood the pattern until watercut was over 95%. Reduced-salinity water injection commenced June 2008. The associated EOR response was detected in the producer after three months. Data from a wellhead watercut meter and fluid samples from a test separator both revealed a clear drop in watercut, from 95% to 92%. The timing of the drop in watercut coincided with the breakthrough of reduced-salinity water at the producer. Incremental reduced-salinity EOR oil recovery timing and volume matched behaviors observed in corefloods and single well tests. By May 2009, 1.3 pore volumes of reduced-salinity water had been injected. The incremental oil recovery is equal to 10% of the total pore volume in the swept area. Initial oil saturation at Endicott is 95%. In the pilot area, tertiary reduced-salinity waterflooding is expected to drop residual oil saturation from 41% to 28%, a 13 unit drop in residual oil. The inter-well field trial demonstrates that the identified risks did not impact performance.
There has been an increased interest in documenting the growth and learning outcomes of students in all subjects in the past 20 years, and music education has not been immune to the accountability movement. Yet, in spite of the increased sociopolitical pressures put on educators, music has remained a difficult discipline to assess, which in turn has created tension between music educators and policymakers. This review of literature examines the basic nature of assessment in music education and discusses possible concepts and methods to improve practitioner understanding of student growth and learning. Topics include (a) What is assessment? (b) Why does assessment matter? (c) How do we assess in music? and (d) What challenges occur in music assessment?
The transition from the conceptually focused world of the student to the professionally pragmatic world of the teacher can be jarring and difficult. One of the more useful educational experiences for facilitating this transition is that of student teaching. This review of literature examines the personal relationships, expectations, reflective practice, and power structure inherent in the student-teaching experience in both general and music classroom contexts. These facets were selected due to their prevalence in the literature and their potential impact on stakeholders' approaches toward student teachers. Aspects of cooperating teacher preparation in light of the highlighted areas are then discussed, with potential suggestions including communication concerns, possible cooperating teacher framework characteristics, and balancing the conflicting nature of both the student teacher and the university supervisor.
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