1.
Musical instrument
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A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
Musical instrument
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Anne Vallayer-Coster, Attributes of Music, 1770. This still life painting depicts a variety of French Baroque musical instruments, such as a natural horn, transverse flute, musette, violin, and lute.
Musical instrument
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Found in Slovenia, the Divje Babe Flute is considered the world's oldest known musical instrument
Musical instrument
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Two Aztec slit drums, called teponaztli. The characteristic " H " slits can be seen on the top of the drum in the foreground.
Musical instrument
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Ancient Egyptian tomb painting depicting lute players, 18th Dynasty (c. 1350 BC)
2.
Musical acoustics
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Musical acoustics or music acoustics is a branch of acoustics concerned with researching and describing the physics of music – how sounds are employed to make music. Examples of areas of study are the function of musical instruments, the voice, computer analysis of melody. As a result, any sound wave that is not a wave can be modeled by many different sine waves of the appropriate frequencies and amplitudes. In humans the hearing apparatus can usually isolate these tones and hear them distinctly, when two or more tones are played at once, a variation of air pressure at the ear contains the pitches of each, and the ear and/or brain isolate and decode them into distinct tones. When the original sources are perfectly periodic, the note consists of several related sine waves called the fundamental. The sounds have harmonic frequency spectra, the lowest frequency present is the fundamental, and is the frequency at which the entire wave vibrates. The overtones vibrate faster than the fundamental, but must vibrate at integer multiples of the frequency for the total wave to be exactly the same each cycle. Real instruments are close to periodic, but the frequencies of the overtones are slightly imperfect, variations in air pressure against the ear drum, and the subsequent physical and neurological processing and interpretation, give rise to the subjective experience called sound. Most sound that people recognize as musical is dominated by periodic or regular vibrations rather than non-periodic ones, the transmission of these variations through air is via a sound wave. Pure tones can be produced by tuning forks or whistling, the rate at which the air pressure oscillates is the frequency of the tone, which is measured in oscillations per second, called hertz. Frequency is the determinant of the perceived pitch. Frequency of musical instruments can change with altitude due to changes in air pressure, *This chart only displays down to C0, though some pipe organs, such as the Boardwalk Hall Auditorium Organ, extend down to C−1. Also, the frequency of the subcontrabass tuba is B♭−1. The fundamental is the frequency at which the entire wave vibrates, overtones are other sinusoidal components present at frequencies above the fundamental. All of the components that make up the total waveform, including the fundamental. Together they form the harmonic series, overtones that are perfect integer multiples of the fundamental are called harmonics. When an overtone is near to being harmonic, but not exact, it is called a harmonic partial. Sometimes overtones are created that are not anywhere near a harmonic, the fundamental frequency is considered the first harmonic and the first partial
Musical acoustics
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A spectrogram of a violin playing a note and then a perfect fifth above it. The shared partials are highlighted by the white dashes.
3.
Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
Electronic music
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Telharmonium, Thaddeus Cahill, 1897
Electronic music
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Halim El-Dabh at a Cleveland festival in 2009
Electronic music
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Karlheinz Stockhausen in the Electronic Music Studio of WDR, Cologne, in 1991
Electronic music
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Israeli composer Josef Tal at the Electronic Music Studio in Jerusalem (c. 1965). On the right, Hugh Le Caine 's sound synthesizer the Special Purpose Tape Recorder.
4.
Retronym
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A retronym is a neologism for a word created to differentiate between two words, where previously no clarification was required. Advances in technology are responsible for the coinage of retronyms. For example, the acoustic guitar was coined at the advent of electric guitars. Since the end of the 19th century, most bicycles have been expected to have two equal sized wheels, and the type has been renamed penny-farthing or high-wheeler bicycle. Similarly, the term cisgender was coined to describe persons who identify with the gender they were assigned at birth, the term retronym was coined by Frank Mankiewicz in 1980 and popularized by William Safire in The New York Times Magazine. In 2000 The American Heritage Dictionary became the first major dictionary to include the word retronym, back-formation Backronym Contrastive focus reduplication -onym Protologism
Retronym
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This column about "trucks and cars" from Popular Mechanics in 1914 was written when the word truck did not necessarily connote a motor truck and the word car did not necessarily connote a motor car. The same topics today would most likely be talked about with the terms hand trucks and railroad cars. Those terms existed in 1914 as well, but they were not required for clarity, as they would be today.
5.
Electric guitar
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The vibrations of the strings are sensed by a pickup, of which the most common type is the magnetic pickup, which uses the principle of direct electromagnetic induction. The signal generated by a guitar is too weak to drive a loudspeaker, so it is plugged into a guitar amplifier before being sent to a loudspeaker. The output of a guitar is an electric signal. Invented in 1931, the electric guitar was adopted by jazz guitarists. Early proponents of the guitar on record included Les Paul, Lonnie Johnson, Sister Rosetta Tharpe, T-Bone Walker. During the 1950s and 1960s, the guitar became the most important instrument in pop music. It has evolved into an instrument that is capable of a multitude of sounds and styles in genres ranging from pop and rock to country music, blues and jazz. It served as a component in the development of electric blues, rock and roll, rock music, heavy metal music. Electric guitar design and construction vary greatly in the shape of the body and the configuration of the neck, bridge, Guitars may have a fixed bridge or a spring-loaded hinged bridge that lets players bend the pitch of notes or chords up or down or perform vibrato effects. The sound of a guitar can be modified by new playing techniques such as string bending, tapping, hammering on, using audio feedback, in a small group, such as a power trio, one guitarist switches between both roles. In larger rock and metal bands, there is often a rhythm guitarist, many experiments at electrically amplifying the vibrations of a string instrument were made dating back to the early part of the 20th century. Patents from the 1910s show telephone transmitters were adapted and placed inside violins, hobbyists in the 1920s used carbon button microphones attached to the bridge, however, these detected vibration from the bridge on top of the instrument, resulting in a weak signal. With numerous people experimenting with electrical instruments in the 1920s and early 1930s, Electric guitars were originally designed by acoustic guitar makers and instrument manufacturers. Some of the earliest electric guitars adapted hollow-bodied acoustic instruments and used tungsten pickups, the first electrically amplified guitar was designed in 1931 by George Beauchamp, the general manager of the National Guitar Corporation, with Paul Barth, who was vice president. The maple body prototype for the one-piece cast aluminum frying pan was built by Harry Watson, commercial production began in late summer of 1932 by the Ro-Pat-In Corporation, in Los Angeles, a partnership of Beauchamp, Adolph Rickenbacker, and Paul Barth. In 1934, the company was renamed the Rickenbacker Electro Stringed Instrument Company, in that year Beauchamp applied for a United States patent for an Electrical Stringed Musical Instrument and the patent was issued in 1937. The Electro-Spanish Ken Roberts provided players a full 25 scale, with 17 frets free of the fretboard and it is estimated that fewer than 50 Electro-Spanish Ken Roberts were constructed between 1933 and 1937, fewer than 10 are known to survive today. The need for the guitar became apparent during the big band era as orchestras increased in size, particularly when acoustic guitars had to compete with large
Electric guitar
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A Kramer XKG-20 electric guitar circa 1980, modified
Electric guitar
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The "Frying Pan", 1932
Electric guitar
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Gibson Les Paul Custom 1954
Electric guitar
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Detail of a Squier-made Fender Stratocaster. Note the vibrato arm, the 3 single-coil pickups, the volume and tone knobs.
6.
Electric violin
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An electric violin is a violin equipped with an electronic output of its sound. The term most properly refers to an instrument intentionally made to be electrified with built-in pickups and it can also refer to a violin fitted with an electric pickup of some type, although amplified violin or electro-acoustic violin are more accurate in that case. The Electro Stringed Instrument Corporation, National and Vega sold electric violins in the 1930s and 1940s, there has been a great deal more commercial success of well known manufacturers of electric violins since the 1990 for both well known, established companies and new makers too. Acoustic violins may be used with an add-on piezoelectric bridge or body pickup, to avoid feedback from the resonances of the hollow body under high amplification on stage, many instruments have a solid body instead. This raw sound is preferred in rock, pop. Several semi-hollow designs exist, containing a sealed but hollow resonating chamber that provides some approximation of acoustic violin sound while reducing susceptibility to feedback, solid-body electric violins typically have a non-traditional, minimalistic design to keep weight down. Lately, materials such as kevlar, glass and carbon fibres, are used in the build process and they are often seen as experimental instruments, being less established than electric guitar or bass. Hence, there are variations on the standard design, such as frets, extra strings, machine heads, baritone strings that sound an octave lower than normal. Luthier Yuri Landman built a 12 string electric violin for the Belgian band DAAU, the strings on this instrument are clustered in four groups of three strings tuned unison creating a chorus. Also the instrument features an extra pickup in the piece for extra amplification of string resonances. Acoustic 5-string violins are becoming common, and it is not unusual for an electric violin to have 5,6,7 or more strings. The typical solid body also accommodates the extra tension caused by more strings without stressing the instrument too much, the extra strings are usually a low C string for 5-strings, a low C and low F for 6, and a low C, F and B♭ for 7. Electric violin signals usually pass through electronic processing, in the way as an electric guitar. This could include delay, reverb, chorus, distortion, or other effects, today electric violins are even being used to reinvigorate music education. Today stated The perfect blend of instruments and rock and roll is giving kids across the country a whole new appreciation for music. Electric violins may use magnetic, piezoelectric, or electrodynamic pickups, guitar /coil type magnetic pickups require the use of violin strings that have ferrous metal wraps or cores. A few single-coil guitar-style magnetic systems are available, The small body size, one unusual acoustic/electric violin system uses the string itself as a linear active pickup element. Made to fit standard acoustic violins, the only requisite is that the string is electrically conducting, generally, piezoelectric pickups are inexpensive and more common
Electric violin
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Electric Violins
Electric violin
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A traditional acoustic violin and a modern electronic violin from Marc Capuano.
Electric violin
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Acoustic-electric violin bridge with piezoelectric element inlay
7.
Electronic organ
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An electronic organ is an electronic keyboard instrument which was derived from the harmonium, pipe organ and theatre organ. Originally, it was designed to imitate the sound of pipe organs, theatre organs, band sounds, or orchestral sounds. In a fashion not totally unlike that of organs, reed organs generated sound by forcing air over a set of reeds by means of a bellows. While reed organs had limited tonal quality, they were small, inexpensive, self-powered, the reed organ was thus able to bring an organlike sound to venues that were incapable of housing or affording pipe organs. This concept was to play an important role in the development of the electric organ, pipe organ In the 1930s, several manufacturers developed electronic organs designed to imitate the function and sound of pipe organs. At the time, some thought that emulation of the pipe organ was the most promising route to take in the development of an electronic organ. Various types of organs have been brought to market over the years. Electricity arrived on the scene in the first decades of the 20th century. Electrically powered reed organs appeared during the first decades of electricity, cahills techniques were later used by Laurens Hammond in his organ design, and the 200-ton Telharmonium served as the worlds first demonstration of electrically produced music on a grand scale. Meanwhile, some experimentation with producing sound by electric impulses was taking place. Built in Belleville, Ontario, the Robb Wave Organ predates its much more successful competitor Hammond by patent and manufacture, the first widespread success in this field was a product of the Hammond Corporation in 1934. The Hammond organ quickly became the successor of the reed organ, from the start, electronic organs operated on a radically different principle from all previous organs. The organ was electrically powered, replacing the reed organs twin bellows pedals with a swell pedal more like that of a pipe organ. Instead of having to pump at a constant rate, as had been the case with the reed organ, from the beginning, the electronic organ had a second manual, also rare among reed organs. The most revolutionary difference in the Hammond, however, was its number of tonewheel settings. By using the drawbars, the organist could combine a variety of tones and harmonics in varying proportions. In all, the Hammond was capable of producing more than 250 million tones, the classic Hammond sound benefitted from the use of free-standing loudspeakers called tone cabinets that produced a higher-quality sound than small built-in speakers. The sound was further enhanced by rotating speaker units, usually manufactured by Leslie
Electronic organ
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WERSI Scala, an open architecture software organ platform in 2002
Electronic organ
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Yamaha GX-1, an early polyphonic synthesizer organ in the 1970s
Electronic organ
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A custom three-manual Rodgers Trillium organ console installed in a church. Note the sound module (Rodgers MX-200 on right top) for additional pipe and orchestral sounds, and the laptop (left top) used for sequencing the organ and sound module in worship and musical performances.
Electronic organ
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Telharmonium console by Thaddeus Cahill, 1897.
8.
Synthesizer
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A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers
Synthesizer
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Early Minimoog by R.A. Moog Inc. (ca. 1970)
Synthesizer
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Wolfgang von Kempelen's Speaking Machine in 1769–1791 (replica in 2007–2009)
Synthesizer
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Rudolph Koenig 's sound synthesizer in 1865: consists of tuning forks, electromagnets, and Helmholtz resonators.
Synthesizer
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The Teleharmonium console (1897) and Hammond organ (1934).
9.
MTV Unplugged
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MTV Unplugged is an American television series showcasing musical artists usually playing acoustic instruments. The show has received the George Foster Peabody Award and 3 Primetime Emmy nominations among many accolades, MTV launched MTV Unplugged in 1989. The show featured musicians performing unplugged versions of their electric repertoire, many of these performances were subsequently released as albums, often featuring the title Unplugged. The direct inspiration for the series came in the immediately preceding the creation of the MTV program. The catalyst was a series of highly publicized unplugged performances that occurred in the late 1970s, the performances were widely seen and heard on the 1980 live album and the UK-only movie of the benefit and inspired other rock performers to emulate Townshend. The 1982 live album of performances and the US version of The Secret Policemans Other Ball movie both became very successful and were widely seen and heard in the USA. The phenomenon of rock stars re-creating their hits in a manner was thus well established by the early 1980s though the word unplugged had not yet been applied to the concept. In addition, the late 1980s saw a renewed interest in folk, many new acts established during the period had a strong folk/acoustic influence, e. g. Sinéad OConnor, Suzanne Vega, Lyle Lovett, Michael Penn, Enya, and Bruce Hornsby and the Range. The first rock artist to perform in a mode on MTV was Jethro Tull. XTC performed acoustically in May 1989, and Jon Bon Jovi and Richie Sambora performed Livin on a Prayer, the pilot and first seven episodes were produced by Bruce Leddy, after which Associate Producer Alex Coletti took over for the remainder of the series. After the first 13 episodes, the role of host was eliminated, the show was produced by Viacom and RSE Inc and was most frequently directed by Milton Lage and Beth McCarthy. The series first aired November 26,1989, featuring Squeeze, Syd Straw, the first 13 episodes were hosted by American singer-songwriter Jules Shear and featured Aerosmith, Elton John, Sinéad OConnor, Poison and Stevie Ray Vaughan among others. Paul McCartneys 1991 appearance was released on the Unplugged album. Show producer Alex Coletti went on to say that had McCartney not released it, joe Walsh appeared on the show in 1990 with Dr. John. MTV invited Henley to perform on the show, but Henley wanted to have a show featuring only himself, at that point, MTV was sharing the time between different artists. On April 10,1991, Unplugged aired its first ever acoustic rap show, the special kicked off with individual performances by LL Cool J along with MC Lyte, De La Soul, and A Tribe Called Quest and a five piece back-up band, Pops Cool Love. The highlight of the show was LL Cool Js energetic renditions of Jingling Baby, in 1992, Mariah Carey performed a cover version of The Jackson 5s hit Ill Be There along with backup singer Trey Lorenz
MTV Unplugged
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The MTV Unplugged 2.0 logo used for the show's return in the 2000s.
10.
Musician
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A musician is a person who plays a musical instrument or is musically talented. Anyone who composes, conducts, or performs music may also be referred to as a musician, Musicians can specialize in any musical style, and some musicians play in a variety of different styles. Examples of a musicians possible skills include performing, conducting, singing, composing, arranging, in the Middle Ages, instrumental musicians performed with soft ensembles inside and loud instruments outdoors. Many European musicians of this time catered to the Roman Catholic Church, providing arrangements structured around Gregorian chant structure, vocal pieces were in Latin—the language of church texts of the time—and typically were Church-polyphonic or made up of several simultaneous melodies. Giovanni Palestrina Giovanni Gabrieli Thomas Tallis Claudio Monteverdi Leonardo da Vinci The Baroque period introduced heavy use of counterpoint, vocal and instrumental “color” became more important compared to the Renaissance style of music, and emphasized much of the volume, texture and pace of each piece. George Frideric Handel Johann Sebastian Bach Antonio Vivaldi Classical music was created by musicians who lived during a time of a middle class. Many middle-class inhabitants of France at the time lived under long-time absolute monarchies, because of this, much of the music was performed in environments that were more constrained compared to the flourishing times of the Renaissance and Baroque eras. This age included the initial transformations of the Industrial Revolution, a revolutionary energy was also at the core of Romanticism, which quite consciously set out to transform not only the theory and practice of poetry and art, but the common perception of the world. Some major Romantic Period precepts survive, and still affect modern culture, in 20th-century music, composers and musicians rejected the emotion-dominated Romantic period, and strove to represent the world the way they perceived it. Musicians wrote to be. objective, while objects existed on their own terms, while past eras concentrated on spirituality, this new period placed emphasis on physicality and things that were concrete. The advent of recording and mass media in the 20th century caused a boom of all kinds of music—popular music, rock music, electronic music, folk music. Singer Composer Music artist Tour Manager Media related to Musicians at Wikimedia Commons
Musician
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Guy Pratt, a professional session musician, playing bass guitar.
11.
Grunge
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Grunge is a subgenre of alternative rock and a subculture that emerged during the mid-1980s in the Pacific Northwest U. S. state of Washington, particularly in Seattle and nearby towns. The early grunge movement revolved around Seattles independent record label Sub Pop, the success of these bands boosted the popularity of alternative rock and made grunge the most popular form of rock music at the time. Grunge was also an influence on subsequent genres such as post-grunge, Grunge fuses elements of punk rock and heavy metal, such as the distorted electric guitar used in both genres, although some bands performed with more emphasis on one or the other. Like these genres, grunge typically uses electric guitar, bass guitar, a drummer, Grunge also incorporates influences from indie rock bands such as Sonic Youth. Lyrics are typically angst-filled and introspective, often addressing themes such as alienation, apathy, concerns about confinement. A number of factors contributed to decline in prominence. During the mid-late 1990s, many grunge bands broke up or became less visible, the word grunge was used in print in prior to the use of the term in mainstream publications to refer to the Seattle music genre. Rock has always been about it, a reference to distorted sounds in rock in a general sense. Mark Arm, the vocalist for the Seattle band Green River—and later Mudhoney—is generally credited as being the first to use the term grunge to describe the Seattle genre of music. Arm first used the term in 1981, when he wrote a letter under his given name Mark McLaughlin to the Seattle zine Desperate Times, criticizing his own band Mr. Epp and the Calculations as Pure grunge. Sub Pop called Green Rivers 1986 EP Dry as a Bone ultra-loose GRUNGE that destroyed the morals of a generation, Everett True states that when Arm stated that Seattles streets were paved with grunge, he was using the word in a negative way to mean orthless. In this use of the word grunge, Arm was using it as an adjective, Arm used grunge as a descriptive term rather than a genre term, but it eventually came to describe the punk/metal hybrid sound of the Seattle music scene. Catherine Strong states that grunges dirty sound in the late 1980s, when low budgets, unfamiliarity with recording, the term grunge has been extended to other forms, such as writer Josh Henderson referring to Seattle scene members from the 1990s as grungers in 2016. When grunge first developed, music journalists called it pain rock, evergreen State was a progressive college which did not use grading and which had its own alternative music radio station. Bands from Portland, Oregon, such as the Wipers, also influenced the genres pioneers. Some bands associated with the genre, such as Soundgarden, Pearl Jam and Alice in Chains, have not been receptive to the label, preferring instead to be referred to as rock and roll bands. Ben Shepherd from Soundgarden stated that he hates the word grunge, Rolling Stone noted the genres lack of a clear definition. Roy Shuker states that the term obscured a variety of styles, Stetson states that grunge was not a movement, monolithic musical genre, or a way to react to 1980s-era metal pop, he calls the term a misnomer mostly based on hype
Grunge
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Seattle punk/metal band The U-Men performing in Seattle.
Grunge
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Cosmic Psychos, one of several Australian bands which influenced and interacted with the Seattle scene
Grunge
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Nirvana performing at the 1992 MTV Video Music Awards.
12.
Audio technology
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Sound recording and reproduction is an electrical, mechanical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, singing, instrumental music, or sound effects. The two main classes of sound recording technology are analog recording and digital recording, prior to the development of analog recording, there were mechanical systems for reproducing instrumental music, such as wind-up music boxes and later, in the late 19th century, player pianos. Analog sound reproduction is the process, with a bigger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves. Digital recording and reproduction converts the sound signal picked up by the microphone to a digital form by the process of digitization. This lets the audio data be stored and transmitted by a variety of media. Whereas successive copies of an analog recording tend to degrade in quality, as noise is added. A digital audio signal must be reconverted to analog form during playback before it is amplified and connected to a loudspeaker to produce sound, long before sound was first recorded on cylinders or records, music was recorded—first by written music notation, then also by mechanical devices. Fowler, this. cylinder with raised pins on the surface remained the device to produce and reproduce music mechanically until the second half of the nineteenth century. The Banu Musa brothers also invented an automatic flute player, which appears to have been the first programmable machine, according to Fowler, the automata were a robot band that performed. more than fifty facial and body actions during each musical selection. In the 14th century, Flanders introduced a mechanical bell-ringer controlled by a rotating cylinder, similar designs appeared in barrel organs, musical clocks, barrel pianos, and musical boxes. A music box is a musical instrument that produces sounds by the use of a set of pins placed on a revolving cylinder or disc so as to pluck the tuned teeth of a steel comb. They were developed from musical snuff boxes of the 18th century, some of the more complex boxes also have a tiny drum and/or bells, in addition to the metal comb. The fairground organ, developed in 1892, used a system of accordion-folded punched cardboard books, the player piano, first demonstrated in 1876, used a punched paper scroll that could store an long piece of music. The most sophisticated of the rolls were hand-played, meaning that the roll represented the actual performance of an individual. This technology to record a live performance onto a piano roll was not developed until 1904, piano rolls were in continuous mass production from 1896 to 2008. A1908 U. S. Supreme Court copyright case noted that, in 1902 alone, the use of piano rolls began to decline in the 1920s although one type is still being made today. The first device that could record actual sounds as they passed through the air was the phonautograph, the earliest known recordings of the human voice are phonautograph recordings, called phonautograms, made in 1857. They consist of sheets of paper with sound-wave-modulated white lines created by a stylus that cut through a coating of soot as the paper was passed under it
Audio technology
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Frances Densmore recording Blackfoot chief Mountain Chief on a cylinder phonograph for the Bureau of American Ethnology (1916)
Audio technology
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Emile Berliner with disc record gramophone
Audio technology
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Magnetic audio tapes: acetate base (left) and polyester base (right)
Audio technology
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A typical Compact Cassette
13.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
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A 13-digit ISBN, 978-3-16-148410-0, as represented by an EAN-13 bar code
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Acoustic music
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Acoustic music is music that solely or primarily uses instruments that produce sound through acoustic means, as opposed to electric or electronic means. The retronym acoustic music appeared after the advent of electric instruments, such as the guitar, electric violin, electric organ. It has its origins in the music of the 1960s. The trend has also dubbed as acoustic rock in some cases. Navigating the Music Industry, Current Issues & Business Models, Music and the Modern Condition, Investigating the Boundaries
Acoustic music
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A Spanish guitar
