1.
Experimental music
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The practice became prominent in the mid-20th century, particularly in North America. John Cage was one of the earliest composers to use the term and one of experimental musics primary innovators, utilizing indeterminacy techniques and seeking unknown outcomes. Also, in America, a distinct sense of the term was used in the late 1950s to describe computer-controlled composition associated with composers such as Lejaren Hiller. Harry Partch as well as Ivor Darreg worked with other tuning scales based on the laws for harmonic music. For this music they developed a group of experimental musical instruments. Musique concrète, is a form of music that utilises acousmatic sound as a compositional resource. Elements of experimental music include indeterminate music, in which the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance. The Groupe de Recherches de Musique Concrète, under the leadership of Pierre Schaeffer, publication of Schaeffers manifesto was delayed by four years, by which time Schaeffer was favoring the term recherche musicale, though he never wholly abandoned musique expérimentale. John Cage was also using the term as early as 1955, according to Cages definition, an experimental action is one the outcome of which is not foreseen, and he was specifically interested in completed works that performed an unpredictable action. Rebners lecture extended the concept back in time to include Charles Ives, Edgard Varèse, nyman opposes experimental music to the European avant-garde of the time, for whom The identity of a composition is of paramount importance. David Cope also distinguishes between experimental and avant garde, describing music as that which represents a refusal to accept the status quo. That is, for the most part, experimental music studies describes a category without really explaining it and this was an attempt to marginalize, and thereby dismiss various kinds of music that did not conform to established conventions. In 1955, Pierre Boulez identified it as a new definition makes it possible to restrict to a laboratory. He concludes, There is no such thing as experimental music … and it is therefore not a genre, but an open category, because any attempt to classify a phenomenon as unclassifiable and elusive as experimental music must be partial. Furthermore, the indeterminacy in performance guarantees that two versions of the same piece will have virtually no perceptible musical facts in common. The term experimental music was used contemporaneously for electronic music, particularly in the early musique concrète work of Schaeffer, a number of early 20th-century American composers, seen as precedents to and influences on John Cage, are sometimes referred to as the American Experimental School. These include Charles Ives, Charles and Ruth Crawford Seeger, Henry Cowell, Carl Ruggles, for this music they both developed custom-built musical instruments often characterized as experimental instruments. La Monte Young is known for using this technique when he began working on his minimal drone pieces which consisted of layers of sounds in different pitches
2.
John Cage
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John Milton Cage Jr. was an American composer, music theorist, writer, philosopher, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development of dance, mostly through his association with choreographer Merce Cunningham. The content of the composition is not four minutes and 33 seconds of silence, as is often assumed, the works challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the piano, for which he wrote numerous dance-related works. The best known of these is Sonatas and Interludes and his teachers included Henry Cowell and Arnold Schoenberg, both known for their radical innovations in music, but Cages major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, the I Ching, an ancient Chinese classic text on changing events, became Cages standard composition tool for the rest of his life. Cage was born September 5,1912, at Good Samaritan Hospital in downtown Los Angeles and his father, John Milton Cage, Sr. was an inventor, and his mother, Lucretia Harvey, worked intermittently as a journalist for the Los Angeles Times. The familys roots were deeply American, in a 1976 interview, John Milton Sr. taught his son that if someone says cant that shows you what to do. In 1944–45 Cage wrote two small character pieces dedicated to his parents, Crete and Dad, the latter is a short lively piece that ends abruptly, while Crete is a slightly longer, mostly melodic contrapuntal work. During high school, one of his teachers was Fannie Charles Dillon. By 1928, though, Cage was convinced that he wanted to be a writer and he graduated that year from Los Angeles High School as a valedictorian, having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being hushed and silent, he said, we should have the opportunity to hear other people think. Cage enrolled at Pomona College in Claremont as a major in 1928. Instead of doing as they did, I went into the stacks, I received the highest grade in the class. That convinced me that the institution was not being run correctly, Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris, Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it and he then took up painting, poetry and music
3.
Sonatas and Interludes
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Sonatas and Interludes is a collection of twenty pieces for prepared piano by American avant-garde composer John Cage. Significantly more complex than his works for prepared piano, Sonatas. The cycle consists of sixteen sonatas and four more freely structured interludes, the aim of the pieces is to express the eight permanent emotions of the rasa Indian tradition. In Sonatas and Interludes, Cage elevated his technique of rhythmic proportions to a new level of complexity, in each sonata a short sequence of natural numbers and fractions defines the structure of the work and that of its parts, informing structures as localized as individual melodic lines. Cage underwent a crisis in the early 1940s. His compositions were accepted by the public, and he grew more and more disillusioned with the idea of art as communication. He later gave an account of the reasons, Frequently I misunderstood what another composer was saying simply because I had little understanding of his language, and I found other people misunderstanding what I myself was saying when I was saying something pointed and direct. At the beginning of 1946, Cage met Gita Sarabhai, an Indian musician who came to the United States concerned about Western influence on the music of her country, Sarabhai wanted to spend several months in the US, studying Western music. She took lessons in counterpoint and contemporary music with Cage, who offered to teach her for free if she taught him about Indian music in return, Sarabhai agreed and through her Cage became acquainted with Indian music and philosophy. At around the time, Cage began studying the writings of the Indian art historian Ananda K. Coomaraswamy. Among the ideas that influenced Cage was the description of the rasa aesthetic and these emotions are divided into two groups, four white and four black. They are the first eight of the navarasas or navrasas, and they have a tendency towards the ninth of the navarasas. Cage never specified which of the pieces relate to which emotions and he mentioned, though, that the pieces with bell-like sounds suggest Europe and others with a drum-like resonance suggest the East. Cage also stated that Sonata XVI, the last of the cycle, is clearly European and it was the signature of a composer from the West. Cage started working on the cycle in February 1946, while living in New York City, the idea of a collection of short pieces was apparently prompted by the poet Edwin Denby, who had remarked that short pieces can have in them just as much as long pieces can. On several accounts he offered a metaphor for this process. Work on the project was interrupted in early 1947, when Cage made a break to compose The Seasons, immediately after The Seasons Cage returned to Sonatas and Interludes, and by March 1948 it was completed. Cage dedicated Sonatas and Interludes to Maro Ajemian, a pianist, Ajemian performed the work many times since 1949, including one of the first performances of the complete cycle on January 12,1949, in Carnegie Hall
4.
Definition of music
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A definition of music is a definition, or statement of the meaning of, the term music. An accurate and concise definition of music is fundamental to being able to discuss, categorize, explications of the concept of music usually begin with the idea that music is organized sound. Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined, as this article will demonstrate, there is ongoing controversy about how to define music. The Concise Oxford Dictionary defines music as the art of combining vocal or instrumental sounds to produce beauty of form, harmony, a famous example of the dilemma in defining music is modern composer John Cage’s composition titled 433. What is heard are only whatever ambient sounds may occur in the room, the problem of defining music is further complicated by different conceptions of music in different cultures. Inuit and most North American Indian languages do not have a term for music. In Africa there is no term for music in Tiv, Yoruba, Igbo, Efik, Birom, Hausa, Idoma, many other languages have terms which only partly cover what Western culture typically means by the term music. The Mapuche of Argentina do not have a word for music, but they do have words for instrumental versus improvised forms, European and non-Mapuche music, ceremonial songs, and tayil. While some languages in West Africa have no term for music, ben Watson points out that Ludwig van Beethovens Grosse Fuge sounded like noise to his audience at the time. Indeed, Beethovens publishers persuaded him to remove it from its setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro, by all accounts there is no single and intercultural universal concept defining what music might be. An often-cited definition of music is that it is organized sound, varèses concept of music as organized sound fits into his vision of sound as living matter and of musical space as open rather than bounded. He conceived the elements of his music in terms of sound-masses, Varèse thought that to stubbornly conditioned ears, anything new in music has always been called noise, and he posed the question, what is music but organized noises. A human organizing element is often felt to be implicit in music, levi R. Bryant defines music not as a language, but as a marked-based, problem-solving method such as mathematics. As such the search for musical universals would fail and would not provide one with a valid definition and this is primarily because other cultures have different understandings in relation to the sounds that English language writers refer to as music. Many people do, however, share an idea of music. This approach to the definition focuses not on the construction but on the experience of music, an extreme statement of the position has been articulated by the Italian composer Luciano Berio, “Music is everything that one listens to with the intention of listening to music”. This definition distinguishes music, as an end in itself, from compositional technique and it is therefore a certain reciprocal relation established between a person, his behavior, and a sounding object
5.
Zen
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Zen is a school of Mahayana Buddhism that originated in China during the Tang dynasty as Chan Buddhism. Zen school was influenced by Taoism and developed as a distinguished school of Chinese Buddhism. From China, Chan Buddhism spread south to Vietnam, northeast to Korea and east to Japan, the term Zen is derived from the Japanese pronunciation of the Middle Chinese word 禪 which traces its roots to the Indian practice of Dhyana. Zen emphasizes rigorous self-control, meditation-practice, insight into Buddha-nature, as such, it de-emphasizes mere knowledge of sutras and doctrine and favors direct understanding through zazen and interaction with an accomplished teacher. The Prajñāpāramitā literature and, to an extent, Madhyamaka have also been influential in the shaping of the paradoxical language of the Zen-tradition. Central to Zen is the practice of dhyana or meditation, during sitting meditation, practitioners usually assume a position such as the lotus position, half-lotus, Burmese, or seiza postures, using the dhyāna mudrā. To regulate the mind, awareness is directed towards counting or watching the breath or by bringing that awareness to the center below the navel. Often, a square or round cushion placed on a mat is used to sit on, in some other cases. This practice may simply be called sitting dhyāna, which is zuòchán in Chinese, in the Sōtō school of Zen, meditation with no objects, anchors, or content, is the primary form of practice. The meditator strives to be aware of the stream of thoughts, allowing them to arise, in the Japanese language, this practice is called Shikantaza. Intensive group meditation may be practiced occasionally in some temples, in the Japanese language, this practice is called Sesshin. While the daily routine may require monks to meditate for hours each day. In modern Buddhist practice in Japan, Taiwan, and the West, lay students often attend these intensive practice sessions and these are held at many Zen centers, especially in commemoration of the Buddhas attainment of Anuttarā Samyaksaṃbodhi. One distinctive aspect of Zen meditation in groups is the use of a kyosaku, at the beginning of the Sòng dynasty, practice with the kōan method became popular, whereas others practiced silent illumination. This became the source of differences in practice between the Línjì and Cáodòng schools. A kōan, literally public case, is a story or dialogue and these anecdotes give a demonstration of the masters insight. Koans emphasize the non-conceptional insight that the Buddhist teachings are pointing to, koans can be used to provoke the great doubt, and test a students progress in Zen practice. Kōan-inquiry may be practiced during zazen, kinhin, and throughout all the activities of daily life, kōan practice is particularly emphasized by the Japanese Rinzai school, but it also occurs in other schools or branches of Zen depending on the teaching line
6.
The New Grove Dictionary of Music and Musicians
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The New Grove Dictionary of Music and Musicians is an encyclopedic dictionary of music and musicians. Along with the German-language Musik in Geschichte und Gegenwart, it is one of the largest reference works on Western music, in recent years it has been made available as an electronic resource called Grove Music Online, which is now an important part of Oxford Music Online. A Dictionary of Music and Musicians was first published in four volumes edited by George Grove with an Appendix edited by J. A. Fuller Maitland in the fourth volume, an Index edited by Mrs. E. Wodehouse was issued as a separate volume in 1890. In 1900, minor corrections were made to the plates and the series was reissued in four volumes. The original edition and the reprint are now available online. Grove limited the chronological span of his work to begin at 1450 while continuing up to the present day, the second edition, in five volumes, was edited by Fuller Maitland and published from 1904 to 1910, this time as Groves Dictionary of Music and Musicians. The individual volumes of the edition were reprinted many times. An American Supplement edited by Waldo Selden Pratt and Charles N. Boyd was added in 1920 and this edition removed the first editions beginning date of 1450, though important earlier composers and theorists are still missing from this edition. These volumes are now freely available online. The third edition, also in five volumes, was a revision of the 2nd edition. The fourth edition, also edited by Colles, was published in 1940 in five volumes, in addition to the American Supplement, MacMillan also published a Supplementary Volume edited by Colles. The fifth edition, in nine volumes, was edited by Eric Blom and this was the most thoroughgoing revision of the work since its inception, with many articles rewritten in a more modern style and a large number of entirely new articles. Many of the articles were written by Blom personally, or translated by him, an additional Supplementary Volume, prepared for the most part by Eric Blom, followed in 1961. Blom died in 1959, and the Supplementary Volume was completed by Denis Stevens, the fifth edition was reprinted in 1966,1968,1970,1973, and 1975. The next edition was published in 1980 under the name The New Grove Dictionary of Music and its senior editor was Stanley Sadie with Nigel Fortune also serving as one of the main editors for the publication. It was reprinted with minor corrections each subsequent year until 1995, in the mid-1990s, the hardback set sold for about $2,300. A paperback edition was reprinted in 1995 which sold for $500, the second edition under this title was published in 2001, in 29 volumes. It was also available by subscription on the internet in a service called Grove Music Online
7.
Ostinato
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In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The repeating idea may be a pattern, part of a tune. Both ostinatos and ostinati are accepted English plural forms, the reflecting the words Italian etymology. If the cadence may be regarded as the cradle of tonality, within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action. Ostinato plays an important part in improvised music, in which it is referred to as a riff or a vamp. A favorite technique of contemporary writers, ostinati are often used in modal and Latin jazz. Ostinato are used in 20th-century music to stabilize groups of pitches, as in Stravinskys The Rite of Spring Introduction and Augurs of Spring. A famous type of ostinato, called the Rossini crescendo, owes its name to a crescendo that underlies a persistent musical pattern and this style was emulated by other bel canto composers, especially Vincenzo Bellini, and later by Wagner. Applicable in homophonic and contrapuntal textures they are repetitive rhythmic-harmonic schemes, more familiar as accompanimental melodies, the techniques appeal to composers from Debussy to avant-garde composers until at least the 1970s. Lies in part in the need for unity created by the abandonment of functional chord progressions to shape phrases. Relentless, repetitive character help to establish and confirm the modal center and their popularity may also be justified by their ease as well as range of use, though. Ostinato must be employed judiciously, as its overuse can lead to monotony. Ground bass or basso ostinato is a type of form in which a bass line. Aaron Copland describes basso ostinato as, the easiest to recognize of the variation forms wherein. A long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, however, he cautions, it might more properly be termed a musical device than a musical form. Many instruments south of the Sahara Desert play ostinato melodies and these include lamellophones such as the mbira, as well as xylophones like the balafon, the bikutsi, and the gyil. Ostinato figures are also played on string instruments such as the kora, gankoqui bell ensembles, often, African ostinatos contain offbeats or cross-beats, that contradict the metric structure. Other African ostinatos generate complete cross-rhythms by sounding both the main beats and cross-beats, in the following example, a gyil sounds the three-against-two cross-rhythm
8.
Vassar College
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Vassar College is a private, coeducational, liberal arts college in the town of Poughkeepsie, New York, in the United States. Founded in 1861 by Matthew Vassar, it was the first degree-granting institution of education for women in the United States. It became coeducational in 1969, and now has a ratio at the national average. The college offers B. A. degrees in more than 50 majors, Vassar also offers many extracurricular organizations including student theater, a cappella groups, club sports, volunteer and service groups, and a circus troupe. Vassar Colleges varsity sports teams, known as the Brewers, play in the NCAAs Division III as members of the Liberty League. Vassar tied for the 12th best liberal arts college in the nation in the 2017 annual ranking of U. S. News & World Report, for the freshman class entering fall 2016, the college had an acceptance rate of 26. 9%. The total number of attending the college is around 2,450. The Vassar campus comprises over 1,000 acres and more than 100 buildings, a designated arboretum, the campus features more than 200 species of trees, a native plant preserve, and a 400-acre ecological preserve. Vassar was founded as a school under the name Vassar Female College in 1861. The college became coeducational in 1969, Vassar was the second of the Seven Sisters colleges, higher education schools that were formerly strictly for women, and historically sister institutions to the Ivy League. It was chartered by its namesake, brewer Matthew Vassar, in 1861 in the Hudson Valley, the first person appointed to the Vassar faculty was the astronomer Maria Mitchell, in 1865. However, immediately following World War II, Vassar accepted a small number of male students on the G. I. Because Vassars charter prohibited male matriculants, the graduates were given diplomas via the University of the State of New York and these were reissued under the Vassar title after the school formally became co-educational. In its early years, Vassar was associated with the elite of the Protestant establishment. E. Digby Baltzell writes that upper-class WASP families educated their children at such as Harvard, Princeton, Yale. A select and elite few of Vassars students were allowed entry into the secret society Delta Sigma Rho. Before becoming President of the United States, Franklin Delano Roosevelt was a Trustee, roughly 2,450 students attend Vassar, and 98% live on campus. About 60% come from high schools, and 40% come from private schools
9.
New York University
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New York University is a private nonprofit research university based in New York City. Founded in 1831, NYU is considered one of the worlds most influential research universities, University rankings compiled by Times Higher Education, U. S. News & World Report, and the Academic Ranking of World Universities all rank NYU amongst the top 32 universities in the world. NYU is a part of the creativity, energy and vibrancy that is Manhattan, located with its core in Greenwich Village. Among its faculty and alumni are 37 Nobel Laureates, over 30 Pulitzer Prize winners, over 30 Academy Award winners, alumni include heads of state, royalty, eminent mathematicians, inventors, media figures, Olympic medalists, CEOs of Fortune 500 companies, and astronauts. NYU alumni are among the wealthiest in the world, according to The Princeton Review, NYU is consistently considered by students and parents as a Top Dream College. Albert Gallatin, Secretary of Treasury under Thomas Jefferson and James Madison, declared his intention to establish in this immense, a system of rational and practical education fitting and graciously opened to all. A three-day-long literary and scientific convention held in City Hall in 1830 and these New Yorkers believed the city needed a university designed for young men who would be admitted based upon merit rather than birthright or social class. On April 18,1831, an institution was established, with the support of a group of prominent New York City residents from the merchants, bankers. Albert Gallatin was elected as the institutions first president, the university has been popularly known as New York University since its inception and was officially renamed New York University in 1896. In 1832, NYU held its first classes in rented rooms of four-story Clinton Hall, in 1835, the School of Law, NYUs first professional school, was established. American Chemical Society was founded in 1876 at NYU and it became one of the nations largest universities, with an enrollment of 9,300 in 1917. NYU had its Washington Square campus since its founding, the university purchased a campus at University Heights in the Bronx because of overcrowding on the old campus. NYU also had a desire to follow New York Citys development further uptown, NYUs move to the Bronx occurred in 1894, spearheaded by the efforts of Chancellor Henry Mitchell MacCracken. The University Heights campus was far more spacious than its predecessor was, as a result, most of the universitys operations along with the undergraduate College of Arts and Science and School of Engineering were housed there. NYUs administrative operations were moved to the new campus, but the schools of the university remained at Washington Square. In 1914, Washington Square College was founded as the undergraduate college of NYU. In 1935, NYU opened the Nassau College-Hofstra Memorial of New York University at Hempstead and this extension would later become a fully independent Hofstra University. In 1950, NYU was elected to the Association of American Universities, in the late 1960s and early 1970s, financial crisis gripped the New York City government and the troubles spread to the citys institutions, including NYU
10.
Anechoic chamber
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An anechoic chamber is a room designed to completely absorb reflections of either sound or electromagnetic waves. They are also isolated from waves entering from their surroundings. This combination means that a person or detector exclusively hears direct sounds, Anechoic chambers, a term coined by American acoustics expert Leo Beranek, were initially exclusively used to refer to acoustic anechoic chambers. Recently, the term has been extended to RF anechoic chambers, Anechoic chambers range from small compartments the size of household microwave ovens to ones as large as aircraft hangars. The size of the chamber depends on the size of the objects, Anechoic chambers are commonly used in acoustics to conduct experiments in nominally free field conditions, free-field meaning that there are no reflected signals. All sound energy will be traveling away from the source with almost none reflected back, common anechoic chamber experiments include measuring the transfer function of a loudspeaker or the directivity of noise radiation from industrial machinery. In general, the interior of a chamber is very quiet. In 2005, the best anechoic chamber measured at −9.4 dBA, in 2015, an anechoic chamber on the campus of Microsoft broke the world record with a measurement of −20.6 dBA. The human ear can detect sounds above 0 dBA, so a human in such a chamber would perceive the surroundings as devoid of sound. Anecdotally, some humans may not like such quietness and can become disoriented and this wall is composed of a series of wedges W with height H. After the impingement, the incident wave I is reflected as a series of waves R which in turn bounce up-and-down in the gap of air A between the wedges W, such bouncing may produce a standing wave pattern in A. During this process, the energy of the waves R gets dissipated via the airs molecular viscosity. In addition, with the use of materials to fabricate the wedges. As a result, the component of the reflected waves R along the direction of I that escapes the gaps A, even though this explanation is two-dimensional, it is representative and applicable to the actual three-dimensional wedge structures used in anechoic chambers. Full anechoic chambers aim to absorb energy in all directions and this floor is damped and floating on absorbent buffers to isolate it from outside vibration or electromagnetic signals. Uses for RF anechoic chambers include testing antennae, radars, and is used to house the equipment for performing measurements of antenna radiation patterns. Performance expectations constitute primary challenges in designing stand alone or embedded antennae, designs are becoming ever more complex with a single device incorporating multiple technologies such as cellular, WiFi, Bluetooth, LTE, MIMO, RFID and GPS. RAM is designed and shaped to absorb incident RF radiation as effectively as possible, the more effective the RAM, the lower the resulting level of reflected RF radiation
11.
Harvard University
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Although never formally affiliated with any denomination, the early College primarily trained Congregationalist and Unitarian clergy. Its curriculum and student body were gradually secularized during the 18th century, james Bryant Conant led the university through the Great Depression and World War II and began to reform the curriculum and liberalize admissions after the war. The undergraduate college became coeducational after its 1977 merger with Radcliffe College, Harvards $34.5 billion financial endowment is the largest of any academic institution. Harvard is a large, highly residential research university, the nominal cost of attendance is high, but the Universitys large endowment allows it to offer generous financial aid packages. Harvards alumni include eight U. S. presidents, several heads of state,62 living billionaires,359 Rhodes Scholars. To date, some 130 Nobel laureates,18 Fields Medalists, Harvard was formed in 1636 by vote of the Great and General Court of the Massachusetts Bay Colony. In 1638, it obtained British North Americas first known printing press, in 1639 it was named Harvard College after deceased clergyman John Harvard an alumnus of the University of Cambridge who had left the school £779 and his scholars library of some 400 volumes. The charter creating the Harvard Corporation was granted in 1650 and it offered a classic curriculum on the English university model—many leaders in the colony had attended the University of Cambridge—but conformed to the tenets of Puritanism. It was never affiliated with any denomination, but many of its earliest graduates went on to become clergymen in Congregational. The leading Boston divine Increase Mather served as president from 1685 to 1701, in 1708, John Leverett became the first president who was not also a clergyman, which marked a turning of the college toward intellectual independence from Puritanism. When the Hollis Professor of Divinity David Tappan died in 1803 and the president of Harvard Joseph Willard died a year later, in 1804, in 1846, the natural history lectures of Louis Agassiz were acclaimed both in New York and on the campus at Harvard College. Agassizs approach was distinctly idealist and posited Americans participation in the Divine Nature, agassizs perspective on science combined observation with intuition and the assumption that a person can grasp the divine plan in all phenomena. When it came to explaining life-forms, Agassiz resorted to matters of shape based on an archetype for his evidence. Charles W. Eliot, president 1869–1909, eliminated the position of Christianity from the curriculum while opening it to student self-direction. While Eliot was the most crucial figure in the secularization of American higher education, he was motivated not by a desire to secularize education, during the 20th century, Harvards international reputation grew as a burgeoning endowment and prominent professors expanded the universitys scope. Rapid enrollment growth continued as new schools were begun and the undergraduate College expanded. Radcliffe College, established in 1879 as sister school of Harvard College, Harvard became a founding member of the Association of American Universities in 1900. In the early 20th century, the student body was predominately old-stock, high-status Protestants, especially Episcopalians, Congregationalists, by the 1970s it was much more diversified
12.
Robert Rauschenberg
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Milton Ernest Robert Rauschenberg was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his Combines of the 1950s, in which non-traditional materials, Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance. He was awarded the National Medal of Arts in 1993 and he became the recipient of the Leonardo da Vinci World Award of Arts in 1995 in recognition of his more than 40 years of fruitful artmaking. Rauschenberg lived and worked in New York City as well as on Captiva Island, Rauschenberg was born as Milton Ernest Rauschenberg in Port Arthur, Texas, the son of Dora Carolina and Ernest R. Rauschenberg. His father was of German and Cherokee ancestry and his mother of Anglo-Saxon descent, at 16, Rauschenberg was admitted to the University of Texas where he began studying pharmacy. He was drafted into the United States Navy in 1943, based in California, he served as a mental hospital technician until his discharge in 1945. Rauschenberg subsequently studied at the Kansas City Art Institute and the Académie Julian in Paris, France, in 1948 Rauschenberg and Weil decided to attend Black Mountain College in North Carolina. Josef Albers, a founder of the Bauhaus, became Rauschenbergs painting instructor at Black Mountain, Albers preliminary courses relied on strict discipline that did not allow for any uninfluenced experimentation. Rauschenberg described Albers as influencing him to do exactly the reverse of what he was being taught, from 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York, where he met fellow artists Knox Martin and Cy Twombly. Rauschenberg married Susan Weil in the summer of 1950 at the Weil family home in Outer Island and their only child, Christopher, was born July 16,1951. The two separated in June 1952 and divorced in 1953, according to a 1987 oral history by the composer Morton Feldman, after the end of his marriage, Rauschenberg had romantic relationships with fellow artists Cy Twombly and Jasper Johns. An article by Jonathan D. Katz states that Rauschenbergs affair with Twombly began during his marriage to Susan Weil, Rauschenberg died on May 12,2008, on Captiva Island, Florida. He died of heart failure after a decision to go off life support. Rauschenberg is survived by his partner of 25 years, artist Darryl Pottorf, Rauschenberg is also survived by his son, photographer Christopher Rauschenberg, and his sister, Janet Begneaud. Rauschenbergs approach was sometimes called Neo Dadaist, a label he shared with the painter Jasper Johns, at the same time, Johns paintings of numerals, flags, and the like, were reprising Duchamps message of the role of the observer in creating arts meaning. Alternatively, in 1961, Rauschenberg took a step in what could be considered the direction by championing the role of creator in creating arts meaning. Rauschenberg was invited to participate in an exhibition at the Galerie Iris Clert, Rauschenbergs submission consisted of a telegram sent to the gallery declaring This is a portrait of Iris Clert if I say so. From the fall of 1952 to the spring of 1953 Rauschenberg traveled through Europe and North Africa with his fellow artist, in Morocco, he created collages and boxes out of trash
13.
Alphonse Allais
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Alphonse Allais was a French writer and humorist, who was born in Honfleur, Calvados, and who died in Paris. He is the author of many collections of whimsical writings, a poet as much as a humorist, he cultivated the verse form known as holorhyme, i. e. made up entirely of homophonous verses, where entire lines are pronounced the same. For example, Par les bois du djinn où sentasse de leffroi, Parle et bois du gin, Allais wrote the earliest known example of a completely silent musical composition. His Funeral March for the Obsequies of a Great Deaf Man of 1897 consists of twenty-four blank measures and it predates similarly silent but intellectually serious works by John Cage and Erwin Schulhoff by many years. His prose piece Story for Sara was translated and illustrated by Edward Gorey, Allais participated in humorous exhibitions, including those of the Salon des Arts Incohérents of 1883 and 1884, held at the Galerie Vivienne. Allais published his Album primo-avrilesque in 1897, a monograph with seven monochrome artworks, while consuming absinthe at café tables, Allais wrote 1600 newspaper and magazine pieces, and co-founded the Club of the Hydropaths. A film based on his novel LAffaire Blaireau appeared in 1958 as Neither Seen Nor Recognized, earlier versions with the same title as the original novel appeared in 1923 and 1932. Miles Kington, humorous writer and musician, translated some of Allais pieces into idiomatic English as The World of Alphonse Allais, Honfleur has a street, rue Alphonse Allais, and a school, Collège Alphonse Allais, named for him. There is a Place Alphonse-Allais in the 20th arrondissement of Paris, the Académie Alphonse-Allais has awarded an annual prize, the Prix Alphonse-Allais, in his honor since 1954. À se tordre,1891 Vive la vie.1892 Deux et deux font cinq,1895 Amours, Translated by Doug Skinner The Blaireau Affair. Translated by Doug Skinner The Squadrons Umbrella, Translated by Doug Skinner Selected Plays of Alphonse Allais. Translated by Doug Skinner Captain Cap, His Adventures, His Ideas, Translated by Doug Skinner Captain Cap, Vol. I. Translated by Doug Skinner Captain Cap, Vol. II, The Apparent Symbiosis Between the Boa, Translated by Doug Skinner Captain Cap, Vol. III, The Antifilter & Other Inventions. Translated by Doug Skinner Captain Cap, Vol. IV, The Sanatorium of the Future
14.
Erik Satie
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Éric Alfred Leslie Satie, who signed his name Erik Satie after 1884, was a French composer and pianist. Satie was a figure in the early 20th-century Parisian avant-garde. His work was a precursor to later artistic movements such as minimalism, Surrealism, repetitive music, an eccentric, Satie was introduced as a gymnopedist in 1887, shortly before writing his most famous compositions, the Gymnopédies. Satie was the son of Alfred Satie and his wife Jane Leslie, Erik was born at Honfleur in Normandy, his home there is open to the public. When Satie was four years old, his family moved to Paris, his father having been offered a job in the capital. After his mothers death in 1872, he was sent, together with his brother, Conrad. There he received his first music lessons from a local organist, in 1878, when he was 12 years old, his grandmother died, and the two brothers were reunited in Paris with their father, who remarried shortly afterwards. From the early 1880s onwards, Satie started publishing salon compositions by his step-mother and himself, in 1879, Satie entered the Paris Conservatoire, where he was soon labelled untalented by his teachers. Georges Mathias, his professor of piano at the Conservatoire, described his pupils piano technique in flatly negative terms, insignificant and laborious, Émile Decombes called him the laziest student in the Conservatoire. Years later, Satie related that Mathias, with great insistence, however, Saties military career did not last very long, within a few months he was discharged after deliberately infecting himself with bronchitis. Satie moved from his fathers residence to lodgings in Montmartre in 1887, by this time he had started what was to be an enduring friendship with the romantic poet Patrice Contamine, and had his first compositions published by his father. He soon integrated with the clientele of the Le Chat Noir Café-cabaret. Publication of compositions in the same vein followed, in the same period he befriended Claude Debussy. He moved to a room, still in Montmartre, in 1890. Le Fils des étoiles, and the Sonneries de la Rose+Croix, Satie gave performances at the Salon de la Rose + Croix, organized by Péladan. While the comrades from both the Chat Noir and Miguel Utrillos Auberge du Clou sympathised, a brochure was produced for the project. In 1893, Satie met the young Maurice Ravel for the first time, one of Saties own compositions of that period, Vexations, was to remain undisclosed until after his death. By the end of the year he had founded the Église Métropolitaine dArt de Jésus Conducteur
15.
Gaston Leroux
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Gaston Louis Alfred Leroux was a French journalist and author of detective fiction. His novel The Mystery of the Yellow Room is also one of the most famous locked-room mysteries ever, Leroux was born in Paris in 1868 and died in 1927 in France. He went to school in Normandy and studied law in Paris and he inherited millions of francs and lived wildly until he nearly reached bankruptcy. In 1890, he working as a court reporter and theater critic for LÉcho de Paris. His most important journalism came when he began working as a correspondent for the Paris newspaper Le Matin. He was present at, and covered, the 1905 Russian Revolution, another case at which he was present involved the investigation and in-depth coverage of the former Paris Opera. The basement contained a cell that held prisoners of the Paris Commune and he suddenly left journalism in 1907 and began writing fiction. In 1919, he and Arthur Bernède formed their own company, Société des Cinéromans, to publish novels. He first wrote a novel titled Le mystère de la chambre jaune. Lerouxs contribution to French detective fiction is considered a parallel to Sir Arthur Conan Doyles in the United Kingdom, Leroux published his most famous work, The Phantom of the Opera, as a serial in 1909 and 1910, and as a book in 1910
16.
Erwin Schulhoff
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Erwin Schulhoff was a Czech composer and pianist. Schulhoff was born in Prague into a German-Jewish family and his father Gustav Schulhoff was a wool merchant from Prague and his mother Louise Wolff from Frankfurt. The noted pianist and composer Julius Schulhoff was his great-uncle, antonín Dvořák encouraged Schulhoffs earliest musical studies, which began at the Prague Conservatory when he was ten years old. He studied composition and piano there and later in Vienna, Leipzig, and Cologne, where his teachers included Claude Debussy, Max Reger, Fritz Steinbach and he won the Mendelssohn Prize twice, for piano in 1913 and for composition in 1918. He served on the Russian front in the Austro-Hungarian army during World War I and he was wounded and was in an Italian prisoner-of-war camp when the war ended. He lived in Germany after the war returning to Prague in 1923 where he joined the faculty of the conservatory in 1929. He was one of the first generation of composers to find inspiration in the rhythms of jazz music. Schulhoff also embraced the influence of Dadaism in his performances. The idea of revolution in art has evolved for decades, under whatever sun the creators live, Schulhoff occasionally performed as a pianist in the Prague Free Theatre. He also toured Germany, France and England performing his own works, contemporary classical compositions, hereby I acquire phenomenal inspiration for my work, as my conscious mind is incredibly earthly, even animal as it were. Olin Downes praised a Salzburg performance of his Five Pieces for String Quartet in 1924 and they had spontaneous humor, sentiment, a fluent and admirable technic. The idiom has enough modern pepper in it to constantly stimulate the ear, a young composer of talent disported himself in these pieces, and his audience was duly grateful. Not all composers, old or young, have the good sense not to themselves, now and again. Downes reported that following the performance Schulhoff played American ragtime numbers on piano at a local inn till the walls tottered. In 1928, the Flonzaley Quartet played the String Quartet No.1 at their farewell New York concert between works of Beethoven and Brahms, and it was greeted enthusiastically, in the 1930s, Schulhoff faced mounting personal and professional difficulties. Because of his Jewish descent and his politics, he and his works were labelled degenerate. He could no longer give recitals in Germany, nor could his works be performed publicly and his communist sympathies, which became increasingly evident in his works, also brought him trouble in Czechoslovakia. In 1932 he composed a version of The Communist Manifesto
17.
Harold Acton
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Sir Harold Mario Mitchell Acton CBE was a British writer, scholar, and aesthete. He was born near Florence, Italy, of a prominent Anglo-Italian family, at Eton College, he was a founding member of the Eton Arts Society, before going up to Oxford to read Modern Greats at Christ Church. Between the wars, Acton lived between Paris, London, and Florence, proving most successful as a historian, his magnus opus being a 3-volume study of the Medicis and he also wrote fiction, biography and autobiography. Moving to China, he studied Chinese language, traditional drama, after serving as an RAF liaison officer in the Mediterranean, he returned to Florence, restoring his childhood home La Pietra to its earlier glory. Acton was knighted in 1974, and died in Florence, leaving La Pietra to New York University, Acton was born into a prominent Anglo-Italian-American family at Villa La Pietra, his parents house one mile outside the walls of Florence, Italy. The only modern furniture in the villa was in the nurseries, and his early schooling was at Miss Penroses private school in Florence. In 1913 his parents sent him to Wixenford Preparatory School near Reading in southern England, among his contemporaries at Eton were Eric Blair, Cyril Connolly, Robert Byron, Alec Douglas-Home, Ian Fleming, Brian Howard, Oliver Messel, Anthony Powell, and Henry Yorke. In his final years at school Acton became a member of the Eton Arts Society. In October 1923 Acton went up to Oxford to read Modern Greats at Christ Church and it was from the balcony of his rooms in Meadow Buildings that he declaimed passages from The Waste Land through a megaphone. While at Oxford he co-founded the avant garde magazine The Oxford Broom and he thanked me profusely, raised the bowler with a dazzling smile, and propelled himself Deanward, an Oriental diplomat off to leave a jewelled carte de visite. Theyre supposed to eat new-born babies cooked in wine, Evelyn Waugh peopled his novels with composite characters based upon individuals he personally knew. Harold Acton is reputed to have inspired, at least in part, in a letter to Lord Baldwin, Waugh wrote, There is an aesthetic bugger who sometimes turns up in my novels under various names – that was 2/3 Brian and 1/3 Harold Acton. People think it was all Harold, who is a sweeter and saner man. However, Waugh also wrote, The characters in my novels often wrongly identified with Harold Acton were to a great extent drawn from Brian Howard, in 1926 Acton acted as a special constable during the General Strike, apolitical as he was, and took his degree. In October he took an apartment in Paris, at 29 Quai de Bourbon, moving between Paris and London in the next few years, Acton sought to find his voice as a writer. In 1927 he began work on a novel, and a book of poems, Five Saints. This was followed by a fable, Cornelian, in March. In July Acton acted as Best Man at the wedding of Evelyn Waugh to the Honourable Evelyn Gardner, in the later 1920s Harold frequented the London salon of Lady Cunard, where at various times he encountered Ezra Pound, Joseph Duveen and the Irish novelist George Moore
18.
Dave Tough
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Dave Tough was an American jazz drummer associated with both Dixieland and swing jazz in the 1930s and 1940s. He has been described as the most important of the drummers of the Chicago circle, born in Oak Park, Illinois, Toughs interest for drumming was not fully supported by his family or community. Fortunately, his suburban Chicago home allowed Tough to find his way to southside Chicago, here Tough broke cultural and musical boundaries taking the scenes fresh sense back to a seemingly different suburban upper-middle class world. He worked with musicians as Bud Freeman, Woody Herman, Eddie Condon, Red Nichols, Red Norvo, Tommy Dorsey, Bunny Berigan. Berendt describes him as one of the most subtle and inspired of drummers with a rhythmic palette on which he held in readiness the right colour for each soloist. Dave Tough appears as the poet-drummer Dick Rough, who played at Chicagos legendary Green Mask, Rexroth describes Tough as the first and greatest of the hipsters and one of the few really great musicians in the history of jazz. In the later 1920s, Tough floated between Nice and Paris doing freelance work, overseas he worked loosely with George Carhart and while in Paris sessioned extensively with Mezz Mezzrow. He toured and recorded throughout early 1930s Europe, mostly on the Tri-Ergon label, though without official record, Tough spent portions of 1942-44 in the Navy playing behind Shaws Naval Band. Tough led only one album, a release by the Jamboree label. Although he had varied successes, he also had difficulties with alcoholism, dave Tough died, aged 41, from cerebral trauma after falling down in a Newark street. He was survived by family members. He was inducted into the Big Band and Jazz Hall of Fame in 2000, with Benny Goodman The Complete RCA Victor Small Group Recordings Scott Yanow, Allmusic Drummerworld
19.
Yves Klein
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Yves Klein was a French artist considered an important figure in post-war European art. He is the member of the French artistic movement of Nouveau réalisme founded in 1960 by art critic Pierre Restany. Klein was a pioneer in the development of art, and is seen as an inspiration to. Klein was born in Nice, in the Alpes-Maritimes department of France and his parents, Fred Klein and Marie Raymond, were both painters. From 1942 to 1946, Klein studied at the École Nationale de la Marine Marchande, at this time, he became friends with Arman and Claude Pascal and started to paint. During the years 1948 to 1952, he traveled to Italy, Great Britain, Spain, and Japan. In Japan, at the age of 25, he became a master at judo receiving the rank of yodan from the Kodokan and he also stayed in Japan in 1953. Klein later wrote a book on judo called Les Fondements du judo, in 1954, Klein settled permanently in Paris and began in earnest to establish himself in the art world. Parodying a traditional Catalogue raisonné, the featured a series of intense monochromes linked to various cities he had lived in during the previous years. Yves Peintures anticipated his first two shows of oil paintings, at the Club des Solitaires, Paris, October 1955 and Yves, Proposition monochromes at Gallery Colette Allendy, February 1956. From the reactions of the audience, realized that. viewers thought his various, uniformly colored canvases amounted to a new kind of bright, abstract interior decoration. Discovered with the help of Edouard Adam, a Parisian paint dealer, the optical effect retained the brilliance of the pigment which, Klein later deposited a Soleau envelope for this recipe to maintain the authenticity of the pure idea. This colour, reminiscent of the lapis lazuli used to paint the Madonnas robes in medieval paintings, was to become known as International Klein Blue, the paintings were attached to poles placed 20 cm away from the walls to increase their spatial ambiguities. The show was a critical and commercial success, traveling to Paris, Düsseldorf, the Parisian exhibition, at the Iris Clert Gallery in May 1957, became a seminal happening. To mark the opening,1001 blue balloons were released and blue postcards were sent out using IKB stamps that Klein had bribed the postal service to accept as legitimate, concurrently, an exhibition of tubs of blue pigment and fire paintings was held at Galerie Collette Allendy. Thanks to a publicity drive,3,000 people queued up. The art historian Olivier Berggruen situates Klein as one who strove for total liberation, Klein had studied judo in Japan between 1952 and 1954, and also displayed an interest in Zen Buddhism. Recently my work with color has led me, in spite of myself, to search little by little, with assistance, for the realization of matter
20.
Richard Taruskin
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As a choral conductor he directed the Columbia University Collegium Musicum. He played the viola da gamba with the Aulos Ensemble from the late 1970s to the late 1980s, Taruskin received his B. A. magna cum laude, M. A. and Ph. D. in historical musicology from Columbia University. On the faculty of Columbia University until 1986, he moved to California as a professor of musicology at the University of California, Berkeley and he retired from Berkeley at the end of 2014. His writings have taken up social, cultural, and political issues in connection with music—for example. A specific instance was the debate over John Adams’s opera The Death of Klinghoffer, smart and R. Taruskin A History of Western Music
21.
I Ching
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The I Ching, or Classic of Changes, is an ancient divination text and the oldest of the Chinese classics. The I Ching uses a type of divination called cleromancy, which produces apparently random numbers. Four numbers,6 to 9, are turned into a hexagram, the hexagrams themselves have often acquired cosmological significance and paralleled with many other traditional names for the processes of change such as yin and yang and Wu Xing. The core of the I Ching is a Western Zhou divination text called the Changes of Zhou, various modern scholars suggest dates ranging between the 10th and 4th centuries BC for the assembly of the text in approximately its current form. It is possible that other systems existed at this time. The name Zhou yi literally means the changes of the Zhou dynasty, the changes involved have been interpreted as the transformations of hexagrams, of their lines, or of the numbers obtained from the divination. Feng Youlan proposed that the word for changes originally meant easy, as in a form of divination easier than the oracle bones, there is also an ancient folk etymology that sees the character for changes as containing the sun and moon, the cycle of the day. Modern Sinologists believe the character to be derived either from an image of the sun emerging from clouds, the Zhou yi was traditionally ascribed to the Zhou cultural heroes King Wen of Zhou and the Duke of Zhou, and was also associated with the legendary world ruler Fu Xi. The Zhou yi itself does not contain this legend and indeed says nothing about its own origins, the Rites of Zhou, however, also claims that the hexagrams of the Zhou yi were derived from an initial set of eight trigrams. During the Han dynasty there were various opinions about the relationship between the trigrams and the hexagrams. The basic unit of the Zhou yi is the hexagram, a composed of six stacked horizontal lines. Each line is broken or unbroken. The received text of the Zhou yi contains all 64 possible hexagrams, along with the name, a short hexagram statement. The book opens with the first hexagram statement, yuán hēng lì zhēn, edward Shaughnessy describes this statement as affirming an initial receipt of an offering, beneficial for further divining. The word zhēn was also used for the divine in the oracle bones of the late Shang dynasty. It also carried meanings of being or making upright or correct, the names of the hexagrams are usually words that appear in their respective line statements, but in five cases an unrelated character of unclear purpose appears. The hexagram names could have been chosen arbitrarily from the line statements, the line statements, which make up most of the book, are exceedingly cryptic. Each line begins with a word indicating the number, base,2,3,4,5, top
22.
David Tudor
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David Eugene Tudor was an American pianist and composer of experimental music. Tudor was born in Philadelphia, Pennsylvania and he studied piano with Irma Wolpe and composition with Stefan Wolpe and became known as one of the leading performers of avant garde piano music. He gave the first American performance of the Piano Sonata No.2 by Pierre Boulez in 1950, karlheinz Stockhausen dedicated his Klavierstück VI to Tudor. Tudor also gave performances of works by Morton Feldman, Earle Brown, Christian Wolff. The composer with whom Tudor is particularly associated is John Cage, he gave the premiere of Cages Music of Changes, Concert For Piano and Orchestra and the notorious 433. Cage said that many of his pieces were written specifically for Tudor to perform or with him in mind. That was the role he played, after a stint teaching at Darmstadt from 1956 to 1961, Tudor began to wind up his activities as a pianist to concentrate on composing. He wrote mostly electronic works, many commissioned by Cages partner, choreographer Merce Cunningham and his homemade musical circuits are considered landmarks in live electronic music and electrical instrument building as a form of composition. One piece, Reunion, written jointly with Lowell Cross features a chess game, at the premiere, the game was played between John Cage and Marcel Duchamp. Reunion is erroneously attributed to Cage in James Pritchetts book The Music Of John Cage, in 1969, Tudor set up Indias first electronic music studio at the National Institute of Design in Ahmedabad. Upon Cages death in 1992, Tudor took over as director of the Merce Cunningham Dance Company. Tudor died in Tomkins Cove, New York at the age of 70
23.
Maverick Concert Hall
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Maverick Concerts is the oldest continuous summer chamber music festival in America. The festival was founded in 1916 by Hervey White, and Alexander Platt is the current music director, jazz and world music have been given more prominence in recent seasons, and Mavericks Saturday morning Young People’s Concerts are popular with families. The festival is held in a concert hall in Hurley, New York, on the outskirts of Woodstock. The hall was constructed without the services of an architect and with volunteer labor, the festival is a winner of the Award for Adventurous Programming, accorded jointly by Chamber Music America and the American Society of Composers, Authors and Publishers. Mr. White’s intention was to offer “young talent a chance to earn its living until its recognition. ”From its very beginning, violinist Pierre Henrotte, concertmaster at the time of the Metropolitan Opera, was the first director of music programming, discharging these duties annually until 1937. Gently encouraged by Mr. White, first-chair symphonists and established soloists began spending their summers in Woodstock, and so the resident colony grew. The Maverick festival’s opening concert was on July 23,1916,1, Max Bruchs Kol Nidrei for cello and piano, and Robert Schumanns piano quintet. The charge for admission to the first concert was 25 cents, support also comes from the tax-deductible contributions of individual donors, who are honored each year with a special concert for the Friends of Maverick. A special area, “Rock Bottom, ” is set aside for listeners who pay what they can afford, Mr. White visited his sister in Colorado in the 1890s. In the summer of 1924, Mr. White commissioned John Flannagan, Flannagan, one of the first direct carvers to work in the United States, was paid the prevailing wage of fifty cents an hour. Using an ax as his only major tool, in a few days he had carved a piece from the trunk of a chestnut tree. The statue depicts the horse emerging from the hands of a man. The iconic 18-foot sculpture stood, for 36 years, at the entrance of the road to the concert hall, after the horse began to weather alarmingly, it was moved to a nearby studio until 1979, when it was moved to the stage of the Maverick Concert Hall. Arguably Cages most famous piece, 4′33″ has commonly referred to as “four minutes and thirty-three seconds of silence. ”Cage demonstrated, however. The Maverick program schedule includes eminent musicians from the United States and around the world, John, violists lEON bARZIN, Harry Zaratzian and Samuel Quintal, and sopranos Julia Bentley, Maria Jette, and Nancy Allen Lundy. Maverick is dedicated to the belief that chamber music encompasses more than just the classical western European canon, the last few Maverick seasons have seen several important premieres, some of them arrangements of staples of the orchestral repertoire by Maverick’s music director Alexander Platt. These have included Final Alice by David Del Tredici, Daron Hagen’s concerto for piano left-hand and orchestra, Seven Last Words, many of the musicians who come to perform at the Maverick also give special Young People’s Concerts, popular events on Saturday mornings at 11,00. Indie rocker Elizabeth Mitchell, singer-songwriter Mark Rust, and percussionists Garry Kvistad and Bill Cahn have also given children’s concerts
24.
Woodstock, New York
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Woodstock is a town in Ulster County, New York, United States. The population was 5,884 at the 2010 census, down from 6,241 at the 2000 census, Woodstock is in the northern part of the county, northwest of Kingston, and lies within the borders of the Catskill Park. The first non-indigenous settler arrived around 1770, the Town of Woodstock was established in 1787. Later, Woodstock contributed some of its territory to form the towns of Middletown, Windham, Shandaken, Woodstock played host to numerous Hudson River School painters during the late 1800s. The Arts and Crafts Movement came to Woodstock in 1902, with the arrival of Ralph Radcliffe Whitehead, Bolton Brown and Hervey White, who formed the Byrdcliffe Colony. In 1906, L. Birge Harrison and others founded the Summer School of the Art Students League of New York in the area, ever since, Woodstock has been considered an active artists colony. From 1915 through 1931, Hervey Whites Maverick Art Colony held the Maverick Festivals, in hundreds of free spirits gathered each summer for music, art, theater. A series of Woodstock Sound-Outs were staged at Pan Copelands Farm just over the line in Saugerties from 1967 to 1970. These featured folk and rock acts like Richie Havens, Paul Butterfield, Dave van Ronk, Woodstock is also home to the Karma Triyana Dharmachakra Buddhist monastery, situated at the top of Meads Mountain Road. According to the United States Census Bureau, the town has an area of 67.8 square miles, of which 67.3 square miles is land and 0.54 square miles. The north town line is the border of Greene County, as of the census of 2000, there were 6,241 people,2,946 households, and 1,626 families residing in the town. The population density was 92.5 people per square mile, there were 3,847 housing units at an average density of 57.0 per square mile. The racial makeup of the town was 94. 25% White,1. 30% Black or African American,0. 21% Native American,1. 57% Asian,0. 02% Pacific Islander,0. 79% from other races, and 1. 87% from two or more races. Hispanic or Latino of any race were 2. 56% of the population,35. 5% of all households were made up of individuals and 10. 6% had someone living alone who was 65 years of age or older. The average household size was 2.10 and the family size was 2.71. In the town, the population was out with 18. 0% under the age of 18,3. 7% from 18 to 24,23. 0% from 25 to 44,38. 0% from 45 to 64. The median age was 48 years, for every 100 females there were 94.7 males. For every 100 females age 18 and over, there were 93.1 males, the median income for a household in the town was $49,217, and the median income for a family was $65,938
25.
Noise music
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Noise music is a category of music that is characterised by the expressive use of noise within a musical context. This type of music tends to challenge the distinction that is made in conventional musical practices between musical and non-musical sound, Noise music includes a wide range of musical styles and sound-based creative practices that feature noise as a primary aspect. Some of the music can feature acoustically or electronically generated noise, there may also be emphasis on high volume levels and lengthy, continuous pieces. More generally noise music may contain aspects such as improvisation, extended technique, cacophony, in many instances, conventional use of melody, harmony, rhythm or pulse is dispensed with. Contemporary noise music is associated with extreme volume and distortion. In the domain of experimental rock, examples include Jimi Hendrixs use of feedback, Lou Reeds Metal Machine Music, genres such as industrial, industrial techno, lo-fi music, black metal, sludge metal, and glitch music employ noise-based materials. According to Danish noise and music theorist Torben Sangild, one definition of noise in music is not possible. According to Murray Schafer there are four types of noise, unwanted noise, unmusical sound, any sound. Definitions regarding what is considered noise, relative to music, have changed over time, ben Watson, in his article Noise as Permanent Revolution, points out that Ludwig van Beethovens Grosse Fuge sounded like noise to his audience at the time. Indeed, Beethovens publishers persuaded him to remove it from its setting as the last movement of a string quartet. He did so, replacing it with a sparkling Allegro and he defines noise at different times as intrusive, unwanted, lacking skill, not being appropriate and a threatening emptiness. He traces these trends starting with 18th-century concert hall music, Hegarty contends that it is John Cages composition 433, in which an audience sits through four and a half minutes of silence, that represents the beginning of noise music proper. Writing about Japanese noise music, Hegarty suggests that it is not a genre, but it is also a genre that is multiple, Japanese noise music can come in all styles, referring to all other genres. But crucially asks the question of genre—what does it mean to be categorized, in Noise, The Political Economy of Music, Jacques Attali explores the relationship between noise music and the future of society. He indicates that noise in music is a predictor of social change, like much of modern and contemporary art, noise music takes characteristics of the perceived negative traits of noise mentioned below and uses them in aesthetic and imaginative ways. In common use, the word noise means unwanted sound or noise pollution, Noise can block, distort, or change the meaning of a message in both human and electronic communication. White noise is a signal with a flat power spectral density. In other words, the signal contains equal power within a fixed bandwidth at any center frequency, White noise is considered analogous to white light which contains all frequencies
26.
Arnold Schoenberg
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Arnold Franz Walter Schoenberg or Schönberg was an Austrian composer, music theorist, and painter. He was associated with the expressionist movement in German poetry and art, by 1938, with the rise of the Nazi Party, Schoenbergs works were labeled degenerate music, because he was Jewish. He moved to the United States in 1934, Schoenbergs approach, both in terms of harmony and development, has been one of the most influential of 20th-century musical thought. Many European and American composers from at least three generations have consciously extended his thinking, whereas others have reacted against it. Schoenberg was known early in his career for simultaneously extending the traditionally opposed German Romantic styles of Brahms, later, his name would come to personify innovations in atonality that would become the most polemical feature of 20th-century art music. In the 1920s, Schoenberg developed the technique, an influential compositional method of manipulating an ordered series of all twelve notes in the chromatic scale. He also coined the term developing variation and was the first modern composer to embrace ways of developing motifs without resorting to the dominance of a melodic idea. Schoenbergs archival legacy is collected at the Arnold Schönberg Center in Vienna, Arnold Schoenberg was born into a lower middle-class Jewish family in the Leopoldstadt district of Vienna, at Obere Donaustraße 5. His father Samuel, a native of Bratislava, was a shopkeeper and he took only counterpoint lessons with the composer Alexander Zemlinsky, who was to become his first brother-in-law. In his twenties, Schoenberg earned a living by orchestrating operettas, while composing his own works and he later made an orchestral version of this, which became one of his most popular pieces. Strauss turned to a more conservative idiom in his own work after 1909, Mahler adopted him as a protégé and continued to support him, even after Schoenbergs style reached a point Mahler could no longer understand. Mahler worried about who would look after him after his death, Schoenberg, who had initially despised and mocked Mahlers music, was converted by the thunderbolt of Mahlers Third Symphony, which he considered a work of genius. Afterward he spoke of Mahler as a saint, in 1898 Schoenberg converted to Christianity in the Lutheran church. According to MacDonald this was partly to strengthen his attachment to Western European cultural traditions and he would self-identify as a member of the Jewish religion later in life. In October 1901, he married Mathilde Zemlinsky, the sister of the conductor and composer Alexander von Zemlinsky and he and Mathilde had two children, Gertrud and Georg. Gertrud would marry Schoenbergs pupil Felix Greissle in 1921, during the summer of 1908, his wife Mathilde left him for several months for a young Austrian painter, Richard Gerstl. This period marked a change in Schoenbergs work. This was the first composition without any reference at all to a key, also in this year, he completed one of his most revolutionary compositions, the String Quartet No
27.
The Rite of Spring
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The Rite of Spring is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilevs Ballets Russes company, when first performed, at the Théâtre des Champs-Élysées on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation and a near-riot in the audience. Stravinsky was a young, virtually unknown composer when Diaghilev recruited him to create works for the Ballets Russes, the Rite was the third such project, after the acclaimed Firebird and Petrushka. Massines was the forerunner of many productions directed by the worlds leading ballet-masters. In the 1980s, Nijinskys original choreography, long believed lost, was reconstructed by the Joffrey Ballet in Los Angeles, Stravinskys score contains many novel features for its time, including experiments in tonality, metre, rhythm, stress and dissonance. Analysts have noted in the score a significant grounding in Russian folk music, the music has influenced many of the 20th-centurys leading composers and is one of the most recorded works in the classical repertoire. Fyodors association with many of the figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky. In 1901 Stravinsky began to study law at St Petersburg University, while taking lessons in harmony. Having impressed Rimsky-Korsakov with some of his compositional efforts, Stravinsky worked under the guidance of the older composer. In 1909 Feu dartifice was performed at a concert in St Petersburg, among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world, in 1907 he began his theatrical career by presenting five concerts in Paris, in the following year he introduced Mussorgskys opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodins Polovtsian Dances from Prince Igor, to present these works Diaghilev recruited the choreographer Michel Fokine, the designer Léon Bakst and the dancer Vaslav Nijinsky. Diaghilevs intention, however, was to new works in a distinctively 20th-century style. Having heard Feu dartifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening Nocturne and the closing Valse Brillante, his reward was a bigger commission, to write the music for a new ballet. Stravinsky worked through the winter of 1909–10, in association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was an observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature, on the other hand, Stravinsky found Diaghilev an inspiration, the very essence of a great personality
28.
TED Talk
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TED is a media organization which posts talks online for free distribution, under the slogan ideas worth spreading. TED was founded in February 1984 as a conference, which has been held annually since 1990. TEDs early emphasis was technology and design, consistent with its Silicon Valley origins, but it has broadened its focus to include talks on many scientific, cultural. The main TED conference is held annually in Vancouver, British Columbia, prior to 2014, the conference was held in Long Beach. TED events are held throughout North America and in Europe and Asia. They address a range of topics within the research and practice of science and culture. The speakers are given a maximum of 18 minutes to present their ideas in the most innovative, TEDs current curator is the British former computer journalist and magazine publisher Chris Anderson. Since June 2006, TED Talks have been offered for free viewing online, under an Attribution-NonCommercial-NoDerivatives Creative Commons license, as of March 2016, over 2,400 TED Talks are freely available on the website. In June 2011, TED Talks combined viewing figure stood at more than 500 million, not all TED Talks are equally popular, however. Those given by academics tend to be watched more online while art, TED was conceived in 1984 by architect and graphic designer Richard Saul Wurman, who observed a convergence of the fields of technology, entertainment, and design. Presentations were given by famous mathematician Benoit Mandelbrot and influential members of the community, like Nicholas Negroponte. The event was unsuccessful, it took six years before the second conference was organized. In 2000, Wurman, looking for a successor at age 65, met with new-media entrepreneur, Andersons UK media company Future bought TED. And in November 2001, Andersons non-profit The Sapling Foundation acquired TED from Future for £6m, in February 2002, Anderson gave a TED Talk in which he explained his vision of the conference and his future role of curator. Wurman left after the 2002 conference, in 2006, attendance cost was $4,400 per person and was by invitation only. The membership model was shifted in January 2007 to a membership fee of $6,000, which includes attendance of the conference, club mailings, networking tools. The 2017 conference will be $8,500 per attendee, in 2014, the conference was relocated to Vancouver. TED is currently funded by a combination of revenue streams, including conference attendance fees, corporate sponsorships, foundation support, licensing fees
29.
Conceptual art
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Conceptual art, sometimes simply called conceptualism, is art in which the concept or idea involved in the work take precedence over traditional aesthetic and material concerns. Some works of art, sometimes called installations, may be constructed by anyone simply by following a set of written instructions. The notion that art should examine its own nature was already a potent aspect of the art critic Clement Greenbergs vision of Modern art during the 1950s. One of the first and most important things they questioned was the assumption that the role of the artist was to create special kinds of material objects. Thus, in describing or defining a work of art as conceptual it is important not to confuse what is referred to as conceptual with an artists intention. The French artist Marcel Duchamp paved the way for the conceptualists, providing them examples of prototypically conceptual works — the readymades. The artistic tradition does not see an object as art because it is not made by an artist or with any intention of being art. This concept, also called Art esthapériste, derived from the infinitesimals of Gottfried Wilhelm Leibniz - quantities which could not actually exist except conceptually, the current incarnation of the Isouian movement, Excoördism, self-defines as the art of the infinitely large and the infinitely small. In 1961 the term art, coined by the artist Henry Flynt in his article bearing the term as its title. By the mid-1970s they had produced publications, indices, performances, texts, in 1970 Conceptual Art and Conceptual Aspects, the first dedicated conceptual-art exhibition, took place at the New York Cultural Center. Conceptual art emerged as a movement during the 1960s - in part as a reaction against formalism as then articulated by the influential New York art critic Clement Greenberg. According to Greenberg Modern art followed a process of progressive reduction and those elements that ran counter to this nature were to be reduced. The task of painting, for example, was to define precisely what kind of object a painting truly is, later artists continued to share a preference for art to be self-critical, as well as a distaste for illusion. Lawrence Weiner said, Once you know about a work of mine you own it, theres no way I can climb inside somebodys head and remove it. It is sometimes reduced to a set of written instructions describing a work, Language was a central concern for the first wave of conceptual artists of the 1960s and early 1970s. This linguistic turn reinforced and legitimized the direction the artists took. Osborne also notes that the early conceptualists were the first generation of artists to complete degree-based university training in art, osborne later made the observation that contemporary art is post-conceptual in a public lecture delivered at the Fondazione Antonio Ratti, Villa Sucota in Como on July 9,2010. It is a claim made at the level of the ontology of the work of art
30.
New York Public Library
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The New York Public Library is a public library system in New York City. With nearly 53 million items, the New York Public Library is the second largest public library in the United States and it is a private, non-governmental, independently managed, nonprofit corporation operating with both private and public financing. The library has branches in the boroughs of Manhattan, The Bronx, and Staten Island, the City of New Yorks other two boroughs, Brooklyn and Queens, are served by the Brooklyn Public Library and the Queens Library, respectively. The branch libraries are open to the public and consist of circulating libraries. The New York Public Library also has four libraries which are open to the general public as well. At the behest of Joseph Cogswell, John Jacob Astor placed a codicil in his will to bequeath $400,000 for the creation of a public library. After Astors death in 1848, the board of trustees executed the wills conditions. The library created was a reference library, its books were not permitted to circulate. An act of the New York State Legislature incorporated the Lenox Library in 1870, the library was built on Fifth Avenue, between 40th and 42nd streets, in 1877. Bibliophile and philanthropist James Lenox donated a vast collection of his Americana, art works, manuscripts, at its inception, the library charged admission and did not permit physical access to any literary items. Both the Astor and Lenox libraries were struggling financially, although New York City already had numerous libraries in the 19th century, almost all of them were privately funded and many charged admission or usage fees. On May 23,1895, Bigelow and representatives of the two agreed to create The New York Public Library, Astor, Lenox and Tilden Foundations. The plan was hailed as an example of philanthropy for the public good. The newly established library consolidated with the grass-roots New York Free Circulating Library in February 1901, the trustees hired McKim, Mead & White, Carrère and Hastings, and Walter Cook to design all the branch libraries. The notable New York author Washington Irving was a friend of Astor for decades and had helped the philanthropist design the Astor Library. They saw their role as protecting the librarys autonomy from politicians as well as bestowing upon it status, resources, representative of many major board decisions was the purchase in 1931 of the private library of Grand Duke Vladimir Alexandrovich, uncle of the last tsar. This was one of the largest acquisitions of Russian books and photographic materials, at the time, the military drew extensively from the librarys map and book collections in the world wars, including hiring its staff. For example, the Map Divisions chief Walter Ristow was appointed as head of the section of the War Departments New York Office of Military Intelligence from 1942 to 1945
31.
Museum of Modern Art
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The Museum of Modern Art is an art museum located in Midtown Manhattan in New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA has been important in developing and collecting modernist art, and is identified as one of the largest and most influential museums of modern art in the world. The MoMA Library includes approximately 300,000 books and exhibition catalogs, over 1,000 periodical titles, the archives holds primary source material related to the history of modern and contemporary art. The idea for The Museum of Modern Art was developed in 1929 primarily by Abby Aldrich Rockefeller and they became known variously as the Ladies, the daring ladies and the adamantine ladies. They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, and it opened to the public on November 7,1929, nine days after the Wall Street Crash. Abby had invited A. Conger Goodyear, the president of the board of trustees of the Albright Art Gallery in Buffalo, New York. At the time, it was Americas premier museum devoted exclusively to art. One of Abbys early recruits for the staff was the noted Japanese-American photographer Soichi Sunami. Goodyear enlisted Paul J. Sachs and Frank Crowninshield to join him as founding trustees, Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, under Barrs guidance, the museums holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne. Abbys husband was opposed to the museum and refused to release funds for the venture. Nevertheless, he donated the land for the current site of the museum, plus other gifts over time. During that time it initiated many more exhibitions of noted artists, the museum also gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago. In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars, Boy Leading a Horse was briefly contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the exhibition, Indian Art of the United States. His brother, David Rockefeller, also joined the board of trustees in 1948. David subsequently employed the noted architect Philip Johnson to redesign the garden and name it in honor of his mother
32.
Henry R. Kravis
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Henry R. Kravis is an American businessman. He is the co-founder of Kohlberg Kravis Roberts & Co. a private equity firm with $94.3 billion in assets as of December 31,2013. He has a net worth of $4.8 billion as of September 2015, ranked by Forbes as the 108th richest man in America. Kravis was born into a Jewish family in Tulsa, Oklahoma, the son of Bessie and Raymond Kravis and he attended Claremont McKenna College and majored in economics. He was a member of the CMC varsity golf teams for four years and was a member of the Knickerbockers student service organization and he served as his sophomore class Secretary/Treasurer. He graduated from CMC in 1967 before going on to Columbia Business School, after working at various jobs in New York Citys financial sector, he and his first cousin, George R. Roberts, joined the staff of Bear Stearns. Kravis and Roberts share the same grandfather, an immigrant from Russia, there, they worked under the corporate finance manager, Jerome Kohlberg, Jr. They both became partners at Bear Stearns at a young age,30 and 31. Working for Bear Stearns in the late 1960s and early 1970s, Kravis, alongside Kohlberg, although they had a number of highly successful investments, the $27 million investment in Cobblers ended in bankruptcy. By 1976, tensions had built up between Bear Stearns and the trio of Kohlberg, Kravis and Roberts leading to their departure, in 1987, Jerome Kohlberg, Jr. resigned from KKR, and Henry Kravis and George Roberts continued to lead the firm. Under Kravis and Roberts the firm was responsible for the 1988 leveraged buyout of RJR Nabisco, at a cost of $31.4 billion, it was then the highest price ever paid for a commercial enterprise. The publicity surrounding the event led to the story being dramatized in the book and film, in early 1995, Kohlberg Kravis Roberts & Co divested its remaining holdings in RJR Nabisco. On December 24,2013, KKR closed their first real estate investment fund. With additional funds from within KKR, the new fund provided over $1.5 billion to utilize, Kravis has been married three times. His first marriage to Helene Diane Hedi Shulman ended in divorce and they had three children, Harrison S. Kravis, Robert R. Kravis, and Kimberly Kravis Schulhof. Hedi remarried to James Thompson Ruger, son of William B, Ruger and died of cancer on April 2,1997 at age 49. Kravis later married New York designer Carolyne Roehm in 1985, the home decorated for the couple by Robert Denning and Vincent Fourcade was parodied in the 1990 movie The Bonfire of the Vanities. Kravis is currently married to a prominent Canadian economist, and former columnist and TV personality in Canada and she sits on the boards of the Memorial Sloan-Kettering Cancer Center, the Robin Hood Foundation, and is the president of the Museum of Modern Art board of directors
33.
Tacet
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Tacet is Latin for it is silent. It is a term to indicate that an instrument or voice does not sound. In vocal polyphony and in scores, it usually indicates a long period of time. In more modern music such as jazz, tacet tends to mark considerably shorter breaks and it is also commonly used in accompaniment music to indicate that the instrument does not play on a certain run through a portion of the music, i. e. Tacet 1st time. The phrase tacet al fine is used to indicate that the performer should remain silent for the remainder of the piece, a unique usage of this term is in John Cages 1952 composition 4′33″. A tacet is indicated for all three movements, for all instruments, the piece lasts a total of 4 minutes and 33 seconds, without a note being played
34.
Number Pieces
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The term Number Pieces refers to a body of late compositions by John Cage. Time brackets can be fixed or flexible, all of the Number Pieces were composed during the last six years of Cages life, 1987–1992. Most are for traditional instruments, with six exceptions that range from works for the Japanese aerophone shō and this article lists all Number Pieces, organized by number of performers. Cages late orchestral works are to be performed without a conductor, a John Cage Compendium Haskins, Rob. An Anarchic Society of Sounds, The Number Pieces of John Cage, eastman School of Music, University of Rochester. John Cage’s Number Pieces, The Meta-Structure of Time-Brackets and the Notion of Time, perspectives of New Music, pp. 65–84, 48/1. Indeterminate music and probability spaces, The case of John Cages number pieces, Springer Lecture Notes in Computer Science, Volume 6726 LNAI, pp. 220–229 Popoff, A.2015. A Statistical Approach to the Global Structure of John Cage’s Number Piece Five5, Springer Lecture Notes in Artificial Intelligence, Volume 9110 LNAI, pp. 231-236 Weisser, the whole paper would potentially be sound, Time-Brackets and the Number Pieces. Perspectives of New Music, pp. 176-225, 41/2, james Pritchett, Liner Notes, One8 for cello and curved bow Publication Release Notice by the C. F. Peters Corp. New York, One13 for cello with curved bow and 3 loud-speakers
35.
Sound reinforcement system
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In both cases, these systems reinforce sound to make it louder or distribute it to a wider audience. Some audio engineers and others in the audio industry disagree over whether these audio systems should be called sound reinforcement systems or PA systems. Distinguishing between the two terms by technology and capability is common, while others distinguish by intended use, in some regions or markets, the distinction between the two terms is important, though the terms are considered interchangeable in many professional circles. These primary parts involve varying amounts of components to achieve the desired goal of reinforcing and clarifying the sound to the audience, performers. These signal inputs are plugged into the input jacks of a thick multicore cable, the snake then routes the signals of all of the inputs to either one or two mixing consoles. In these cases, at least two audio engineers are required, one to do the FOH Main mix and one to do the Monitor mix, once the signal arrives at a channel on the mixing console, this signal can be adjusted in many ways by the sound engineer. A signal can be equalized, compressed, or panned before being routed to an output bus. The signal may also be routed into an effects processor, such as a reverb effect, which outputs a wet version of the signal. Many electronic effects units are used in sound reinforcement systems, including digital delay, some concerts use pitch correction effects, which electronically correct any out-of-tune singing. A group of signals may be routed through a bus before being sent to the main bus to allow the engineer to control the levels of several related signals at once. A bus can often be processed just like an input channel. The mix of all the different signals and channels to the master faders on the console. Mixing consoles also have additional sends, also referred to as auxes or aux sends, on each channel so that a different mix can be created. One usage for aux sends is to create a mix of the vocal, another use of an aux send is to select varying amounts of certain channels, and then route these signals to an effects processor. A common example of the use of aux sends is to send all of the vocal signals from a rock band through a reverb effect. While reverb is usually added to vocals in the mix, it is not usually added to electric bass. The next step in the path generally depends on the size of the system in place. In smaller systems, the outputs are often sent to an additional equalizer, or directly to a power amplifier
36.
Audio feedback
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Audio feedback is a special kind of positive feedback which occurs when a sound loop exists between an audio input and an audio output. In this example, a received by the microphone is amplified and passed out of the loudspeaker. The sound from the loudspeaker can then be received by the microphone again, amplified further, for small PA systems the sound is readily recognized as a loud squeal or screech. Feedback is almost always considered undesirable when it occurs with a singers or public speakers microphone at an event using a reinforcement system or PA system. The sound of guitar feedback is considered to be desirable musical effect in metal music, hardcore punk. Jimi Hendrix was an innovator in the use of guitar feedback in his guitar solos to create unique sound effects not possible with more traditional playing techniques. The principles of audio feedback were first discovered by Danish scientist Søren Absalon Larsen, if the small signal gain is greater than 1 for some frequency then the system will start to oscillate at that frequency because noise at that frequency will be amplified. Sound will be produced without anyone actually playing, the sound level will increase until the output starts clipping, reducing the loop gain to exactly unity. This is the principle upon which electronic oscillators are based, although in case the feedback loop is purely electronic. Early academic work on acoustical feedback was done by Dr. C. Paul Boner, Boner reasoned that when feedback happened, it did so at one precise frequency. He also reasoned that it could be stopped by inserting a very narrow notch filter at that frequency in the signal chain. He worked with Gifford White, founder of White Instruments to hand craft notch filters for specific feedback frequencies in specific rooms, Boner was responsible for establishing basic theories of acoustic feedback, room-ring modes, and room-sound system equalizing techniques. To maximize gain before feedback, the amount of energy that is fed back to the microphones must be reduced as much as is practical. As well, microphones should not be positioned in front of speakers, additionally, the loudspeakers and microphones should have non-uniform directivity and should stay out of the maximum sensitivity of each other, ideally at a direction of cancellation. Public address speakers often achieve directivity in the mid and treble region via horn systems, sometimes the woofers have a cardioid characteristic. This allows independent control of the pressure levels for the audience. If monitors are oriented at 180 degrees to the microphones that are their sources, almost all microphones for sound reinforcement are directional. Almost always, the frequency responses of sound reinforcement systems is not ideally flat
37.
Frank Zappa
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Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse rock musicians of his generation, as a self-taught composer and performer, Zappas diverse musical influences led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical composers such as Edgard Varèse, Igor Stravinsky and he began writing classical music in high school, while at the same time playing drums in rhythm and blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach, irrespective of whether the format was rock. Zappas output is unified by a conceptual continuity he termed Project/Object, with musical phrases, ideas. His lyrics reflected his views of established social and political processes, structures and movements. Unlike many other musicians of his era, he personally disapproved of and seldom used drugs. During Zappas lifetime, he was a productive and prolific artist, earning widespread acclaim from critics. He had some success, particularly in Europe, and worked as an independent artist for most of his career. He remains an influence on musicians and composers. His honors include an induction into the 1995 Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award. In 2004, Rolling Stone magazine ranked him at number 71 on its list of the 100 Greatest Artists of All Time, Zappa was born in Baltimore, Maryland. His mother, Rosemarie was of Italian and French ancestry, his father, whose name was Anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents, the family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the returned to Maryland. Due to their homes proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident and this had a profound effect on Zappa, and references to germs, germ warfare and the defense industry occur throughout his work. Zappa was often sick as a child, suffering from asthma, earaches, a doctor treated his sinusitis by inserting a pellet of radium into each of Zappas nostrils
. As in all number pieces, "One" refers to the number of performers required, the score instructs the performer to build a sound system in the concert hall, so that "the whole hall is on the edge of feedback, without actually feeding back." The content of the piece is the electronically amplified sound of the hall and the audience.[35]