1.
Keyboard instrument
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A keyboard instrument is a musical instrument played using a keyboard. The most common of these are the piano, organ, and various keyboards, including synthesizers. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, and carillons, today, the term keyboard often refers to keyboard-style synthesizers. Another important use of the keyboard is in historical musicology. Particularly in the 18th century, the harpsichord, the clavichord, and the piano were in competition. Hence in a phrase like Mozart excelled as a player the word keyboard is usefully noncommittal. The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, the keys were likely balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu. Intent, that is “let him thunder forth as he presses out mighty roarings with a light touch”, from its invention until the fourteenth century, the organ remained the only keyboard instrument. Often, the organ did not feature a keyboard at all, almost every keyboard until the fifteenth century had seven naturals to each octave. The clavichord and the harpsichord appeared during the 14th century—the clavichord probably being earlier, the harpsichord and clavichord were both common until widespread adoption of the piano in the 18th century, after which their popularity decreased. The piano was revolutionary, because a pianist could vary the volume of the sound by varying the vigor with which each key was struck. The pianos full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late 19th century, in fact, the modern piano is significantly different from even the 19th-century pianos used by Liszt, Chopin, and Brahms. See Piano history and musical performance, keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century and this was a very important contribution to the keyboards history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size, the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period, more recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Concerns celebrated keyboard players and the various instruments used over the centuries
2.
Chordophone
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A chordophone is a musical instrument that makes sound by way of a vibrating string or strings stretched between two points. It is one of the four divisions of instruments in the original Hornbostel-Sachs scheme of musical instrument classification. What many would call string instruments are classified as chordophones, violins, guitars, lyres, and harps are examples. However, the word also embraces instruments that many would hesitate to call string instruments, such as the musical bow, Hornbostel-Sachs divides chordophones into two main groups, instruments without a resonator as an integral part of the instrument, and instruments with such a resonator. Most western instruments fall into the group, but the piano. Hornbostel and Sachs criterion for determining which sub-group an instrument falls into is that if the resonator can be removed without destroying the instrument, then it is classified as 31. This is not true of the violin, because the passes over a bridge located on the resonator box. Electric string instruments often have a pickup that produces a signal that can be amplified. The electric guitar is the most common example, but many other chordophones use pickups—including mandolins, violins, when a chordophone is played, the strings vibrate and interact with each other. There is usually something that makes the sound resonate, such as the body of a guitar or violin, the strings are set into motion by either plucking, strumming, by rubbing with a bow, or by striking. Common chordophones are the banjo, cello, double bass, dulcimer, guitar, harp, lute, piano, sitar, ukulele, viola and violin
3.
Musical keyboard
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A musical keyboard is the set of adjacent depressible levers or keys on a musical instrument. Depressing a key on the causes the instrument to produce sounds, either by mechanically striking a string or tine, plucking a string, causing air to flow through a pipe. On electric and electronic keyboards, depressing a key connects a circuit, since the most commonly encountered keyboard instrument is the piano, the keyboard layout is often referred to as the piano keyboard. The twelve notes of the Western musical scale are laid out with the lowest note on the left, because these keys were traditionally covered in ivory they are often called the white notes or white keys. The keys for the remaining five notes—which are not part of the C major scale— are raised, because these keys receive less wear, they are often made of black colored wood and called the black notes or black keys. The pattern repeats at the interval of an octave, the arrangement of longer keys for C major with intervening, shorter keys for the intermediate semitones dates to the 15th century. The break was between middle C and C-sharp, or outside of Iberia between B and C, broken keyboards reappeared in 1842 with the harmonium, the split occurring at E4/F4. The reverse-colored keys on Hammond organs such as the B3, C3, the chromatic compass of keyboard instruments has tended to increase. Harpsichords often extended over five octaves in the 18th century, while most pianos manufactured since about 1870 have 88 keys, some modern pianos have even more notes. While modern synthesizer keyboards commonly have either 61,76 or 88 keys, organs normally have 61 keys per manual, though some spinet models have 44 or 49. An organ pedalboard is a keyboard with long pedals that are played by the organists feet, pedalboards vary in size from 12 to 32 notes. In a typical layout, black note keys have uniform width. In the larger gaps between the keys, the width of the natural notes C, D and E differ slightly from the width of keys F, G, A and B. This allows close to uniform spacing of 12 keys per octave while maintaining uniformity of seven natural keys per octave, over the last three hundred years, the octave span distance found on historical keyboard instruments has ranged from as little as 125 mm to as much as 170 mm. Several reduced-size standards have been proposed and marketed, a 15/16 size and the 7/8 DS Standard keyboard developed by Christopher Donison in the 1970s and developed and marketed by Steinbuhler & Company. There have been variations in the design of the keyboard to address technical and musical issues, thus, an octave would have eight white keys and only four black keys. During the sixteenth century, when instruments were tuned in meantone temperament, some harpsichords were constructed with the G♯. The broken octave, a variation of the short octave
4.
Medieval music
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Medieval music consists of songs and instrumental pieces from about 400 A. D. to 1400. Medieval music was an era of Western music, including music used for the church. Medieval music includes vocal music, such as Gregorian chant and choral music, solely instrumental music. Gregorian chant was sung by monks during Catholic Mass, the Mass is a reenactment of Christs Last Supper, intended to provide a spiritual connection between man and God. Part of this connection was established through music and this era begins with the fall of the Western Roman Empire in the fifth century and ends sometime in the early fifteenth century. Establishing the end of the era and the beginning of the Renaissance music era is difficult. The date range in this article is the one adopted by musicologists. S. Bach and Classical music period composers from the 1700s such as W. A. Mozart, the most obvious of these is the development of a comprehensive music notational system which enabled composers to write out their song melodies and instrumental pieces on parchment or paper. Prior to the development of musical notation, songs and pieces had to be learned by ear and this greatly limited how many people could be taught new music and how wide music could spread to other regions or countries. The development of music made it easier to disseminate songs and musical pieces to a larger number of people. Many instruments used to perform medieval music still exist in the 21st century, the flute was made of wood in the medieval era] rather than silver or other metal, and could be made as a side-blown or end-blown instrument. While modern orchestral flutes are made of metal and have complex key mechanisms and airtight pads. The recorder was made of wood during the Medieval era, and despite the fact that in the 2000s, it may be made of synthetic materials, it has more or less retained its past form. The gemshorn is similar to the recorder as it has holes on its front. One of the predecessors, the pan flute, was popular in medieval times. This instruments pipes were made of wood, and were graduated in length to produce different pitches, Medieval music used many plucked string instruments like the lute, a fretted instrument with a pear-shaped hollow body which is the predecessor to the modern guitar. Other plucked stringed instruments included the mandore, gittern, citole, the bowed lyra of the Byzantine Empire was the first recorded European bowed string instrument. Like the modern violin, a performer produced sound by moving a bow with tensioned hair over tensioned strings, the hurdy-gurdy was a mechanical violin using a rosined wooden wheel attached to a crank to bow its strings
5.
Renaissance music
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Renaissance music is vocal and instrumental music written and performed in Europe during the Renaissance era. From this changing society emerged a common, unifying musical language, in particular the style of the Franco-Flemish school. The invention of the press in 1440 made it cheaper and easier to distribute music and musical theory texts on a wider geographic scale. Prior to the invention of printing, songs and music that were written down and music theory texts had to be hand-copied, demand for music as entertainment and as a leisure activity for educated amateurs increased with the emergence of a bourgeois class. These musicians were sought throughout Europe, particularly in Italy, where churches and aristocratic courts hired them as composers, performers. This reversed the situation from a hundred years earlier, opera, a dramatic staged genre in which singers are accompanied by instruments, arose at this time in Florence. Opera was developed as an attempt to resurrect the music of ancient Greece. Music was increasingly freed from constraints, and more variety was permitted in range, rhythm, harmony, form. In the Renaissance, music became a vehicle for personal expression, composers found ways to make vocal music more expressive of the texts they were setting. Secular music absorbed techniques from sacred music, and vice versa, popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists, Music also became more self-sufficient with its availability in printed form, existing for its own sake. Precursor versions of familiar modern instruments developed into new forms during the Renaissance. These instruments were modified to responding to the evolution of musical ideas, Early forms of modern woodwind and brass instruments like the bassoon and trombone also appeared, extending the range of sonic color and increasing the sound of instrumental ensembles. From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works, an enormous diversity of musical styles and genres flourished during the Renaissance. These can be heard on recordings made in the 20th and 21st century, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, beginning in the late 20th century, numerous early music ensembles were formed. One of the most pronounced features of early Renaissance European art music was the reliance on the interval of the third. Polyphony – the use of multiple, independent melodic lines, performed simultaneously – became increasingly elaborate throughout the 14th century, the beginning of the 15th century showed simplification, with the composers often striving for smoothness in the melodic parts. The modal characteristics of Renaissance music began to break down towards the end of the period with the use of root motions of fifths or fourths
6.
Baroque music
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Baroque music is a style of Western art music composed from approximately 1600 to 1750. This era followed the Renaissance music era, and was followed in turn by the Classical era, Baroque music forms a major portion of the classical music canon, being widely studied, performed, and listened to. The Baroque period saw the creation of tonality, an approach to writing music in which a song or piece is written in a particular key, during the Baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts. A characteristic Baroque form was the dance suite, while the pieces in a dance suite were inspired by actual dance music, dance suites were designed for listening, not for accompanying dancers. During the period, composers and performers used more elaborate ornamentation, made changes in musical notation. Many musical terms and concepts from this era, such as toccata, fugue, dense, complex polyphonic music, in which multiple independent melody lines were performed simultaneously, was an important part of many Baroque choral and instrumental works. The word baroque comes from the Portuguese word barroco, meaning misshapen pearl, the term Baroque is generally used by music historians to describe a broad range of styles from a wide geographic region, mostly in Europe, composed over a period of approximately 150 years. The systematic application by historians of the baroque to music of this period is a relatively recent development. In 1919, Curt Sachs became the first to apply the five characteristics of Heinrich Wölfflins theory of the Baroque systematically to music, all of these efforts resulted in appreciable disagreement about time boundaries of the period, especially concerning when it began. In English the term acquired currency only in the 1940s, in the writings of Bukofzer, nevertheless, the term has become widely used and accepted for this broad range of music. It may be helpful to distinguish the Baroque from both the preceding and following periods of musical history, the Baroque period is divided into three major phases, early, middle, and late. Although they overlap in time, they are dated from 1580 to 1630, from 1630 to 1680. In reference to music, they based their ideals on a perception of Classical musical drama that valued discourse, the early realizations of these ideas, including Jacopo Peris Dafne and LEuridice, marked the beginning of opera, which were a catalyst for Baroque music. Concerning music theory, the widespread use of figured bass represents the developing importance of harmony as the linear underpinnings of polyphony. Harmony is the end result of counterpoint, and figured bass is a representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as players or pipe organists. The numbers, accidentals or symbols indicated to the player what intervals she should play above each bass note. The keyboard player would improvise a chord voicing for each bass note and this led to the idea that certain sequences of chords, rather than just notes, could provide a sense of closure at the end of a piece—one of the fundamental ideas that became known as tonality
7.
Classical period (music)
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The dates of the Classical period in Western music are generally accepted as being between about the year 1730 and the year 1820. This article is about the period in most of the 18th century to the early 19th century, though overlapping with the Baroque. The Classical period falls between the Baroque and the Romantic periods, Classical music has a lighter, clearer texture than Baroque music and is less complex. It is mainly homophonic, using a melody line over a subordinate chordal accompaniment. It also makes use of style galant which emphasized light elegance in place of the Baroques dignified seriousness, variety and contrast within a piece became more pronounced than before and the orchestra increased in size, range, and power. The harpsichord was replaced as the keyboard instrument by the piano. Instrumental music was considered important by Classical period composers, vocal music, such as songs for a singer and piano, choral works, and opera were also important during this period. Ludwig van Beethoven is regarded either as a Romantic composer or a Classical period composer who was part of the transition to the Romantic era, Franz Schubert is also a transitional figure, as were Johann Nepomuk Hummel, Luigi Cherubini, and Carl Maria von Weber. The period is referred to as the era of Viennese Classic or Classicism, since Gluck, Mozart, Haydn, Salieri. In the middle of the 18th century, Europe began to move toward a new style in architecture, literature, and this style sought to emulate the ideals of Classical antiquity, especially those of Classical Greece. Classical music was still linked to aristocratic Court culture and supported by absolute monarchies. Classical music used formality and emphasis on order and hierarchy, in contrast with the richly layered music of the Baroque era, Classical music moved towards simplicity rather than complexity. In addition, the size of orchestras began to increase. The remarkable development of ideas in natural philosophy had already established itself in the public consciousness, in particular, Newtons physics was taken as a paradigm, structures should be well-founded in axioms and be both well-articulated and orderly. This move meant that chords became a more prevalent feature of music. As a result, the structure of a piece of music became more audible. The new style was encouraged by changes in the economic order. As the 18th century progressed, the nobility became the patrons of instrumental music, while public taste increasingly preferred lighter
8.
Latin
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Latin is a classical language belonging to the Italic branch of the Indo-European languages. The Latin alphabet is derived from the Etruscan and Greek alphabets, Latin was originally spoken in Latium, in the Italian Peninsula. Through the power of the Roman Republic, it became the dominant language, Vulgar Latin developed into the Romance languages, such as Italian, Portuguese, Spanish, French, and Romanian. Latin, Italian and French have contributed many words to the English language, Latin and Ancient Greek roots are used in theology, biology, and medicine. By the late Roman Republic, Old Latin had been standardised into Classical Latin, Vulgar Latin was the colloquial form spoken during the same time and attested in inscriptions and the works of comic playwrights like Plautus and Terence. Late Latin is the language from the 3rd century. Later, Early Modern Latin and Modern Latin evolved, Latin was used as the language of international communication, scholarship, and science until well into the 18th century, when it began to be supplanted by vernaculars. Ecclesiastical Latin remains the language of the Holy See and the Roman Rite of the Catholic Church. Today, many students, scholars and members of the Catholic clergy speak Latin fluently and it is taught in primary, secondary and postsecondary educational institutions around the world. The language has been passed down through various forms, some inscriptions have been published in an internationally agreed, monumental, multivolume series, the Corpus Inscriptionum Latinarum. Authors and publishers vary, but the format is about the same, volumes detailing inscriptions with a critical apparatus stating the provenance, the reading and interpretation of these inscriptions is the subject matter of the field of epigraphy. The works of several hundred ancient authors who wrote in Latin have survived in whole or in part and they are in part the subject matter of the field of classics. The Cat in the Hat, and a book of fairy tales, additional resources include phrasebooks and resources for rendering everyday phrases and concepts into Latin, such as Meissners Latin Phrasebook. The Latin influence in English has been significant at all stages of its insular development. From the 16th to the 18th centuries, English writers cobbled together huge numbers of new words from Latin and Greek words, dubbed inkhorn terms, as if they had spilled from a pot of ink. Many of these words were used once by the author and then forgotten, many of the most common polysyllabic English words are of Latin origin through the medium of Old French. Romance words make respectively 59%, 20% and 14% of English, German and those figures can rise dramatically when only non-compound and non-derived words are included. Accordingly, Romance words make roughly 35% of the vocabulary of Dutch, Roman engineering had the same effect on scientific terminology as a whole
9.
Monochord
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A monochord, also known as sonometer, is an ancient musical and scientific laboratory instrument, involving one string. The term monochord is sometimes used as the class-name for any musical stringed instrument having only one string, according to the Hornbostel–Sachs system, string bows are bar zithers while monochords are traditionally board zithers. A string is fixed at both ends and stretched over a sound box, one or more movable bridges are then manipulated to demonstrate mathematical relationships among the frequencies produced. With its single string, movable bridge and graduated rule, the monochord straddled the gap between notes and numbers, intervals and ratios, sense-perception and mathematical reason, however, music, mathematics, and astronomy were inexorably linked in the monochord. For example, when a string is open it vibrates at a particular frequency. When the length of the string is halved, and plucked, it produces a pitch an octave higher, half of this length will produce a pitch two octaves higher than the original—four times the initial frequency —and so on. Standard diatonic Pythagorean tuning is easily derived starting from superparticular ratios, /n, constructed from the first four counting numbers, the mathematics involved include the multiplication table, least common multiples, and prime and composite numbers. A bichord instrument is one, having two strings in unison for each note, such as the mandolin, with two strings one can easily demonstrate how various musical intervals sound. Parts of a monochord include a tuning peg, nut, string, moveable bridge, fixed bridge, calibration marks, belly or resonating box, instruments derived from the monochord include the guqin, dan bau, koto, vina, hurdy-gurdy, and clavichord. A monopipe is the wind instrument version of a monochord, an open pipe which can produce variable pitches. End correction must be used with this method, to achieve accuracy, the monochord is mentioned in Sumerian writings, while some attribute its invention to Pythagorus. Dolge attributes the invention of the bridge to Guido of Arezzo around 1000 CE. In 1618, Robert Fludd devised a mundane monochord that linked the Ptolemaic universe to musical intervals, was it physical intuition or a Pythagorean confidence in the importance of small whole numbers. 1,5 &10, which is music that uses pitch ratios extended to higher partials beyond the standard Pythagorean tuning system. A modern playing technique used in rock as well as contemporary classical music is 3rd bridge. This technique shares the same mechanism as used on the monochord, a sonometer is a diagnostic instrument used to measure the tension, frequency or density of vibrations. They are used in medical settings to test both hearing and bone density, a sonometer, or audiometer, is used to determine hearing sensitivity, while a clinical bone sonometer measures bone density to help determine such conditions as the risk of osteoporosis. In audiology, the device is used to test for hearing loss, the audiometer measures the ability to hear sounds at frequencies normally detectable by the human ear
10.
Mute (music)
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A mute is a device fitted to a musical instrument to alter the sound produced, by affecting the timbre, reducing the volume, or most commonly both. The use of a mute is usually indicated in musical notation by the Italian direction con sordino and removed with the senza sordino direction, which means without mute. On string instruments of the family, the mute takes the form of a device attached to the bridge of the instrument, dampening vibrations and resulting in a softer, darker. On the cello and double bass, a mute is often attached to the G-string. On the guitar, a player may palm mute their guitar, some instruments, such as the Fender Jaguar and the Rickenbacker 4001 and 4003 electric bass guitars have built-in string mutes. A variety of mutes have been used on instruments, most of which either squeeze inside the bell of the instrument. The most common type is the mute, a hollow. The second most common brass mute is the cup mute, there are a range of other mutes for brass, such as the solotone mute, the buzz-wah mute, the Wah-wah mute, bucket mutes, and hats or plungers. Muting woodwind instruments is very uncommon, saxophone mutes which are usually made of a soft material, which is placed in the bell to soften the tone. Percussion instruments often require no specialist mutes, the triangle is muted by simply gripping the instrument with the hand, stopping it from vibrating so much. Drums may require muting if they ring too much with cloth, the soft pedal of the piano can be seen as having the effect of a mute. It used to be common for pianos to be fitted with another kind of mute — a piece of felt or similar material which would sit between the hammers and the strings and this results in a very muffled and much quieter sound. It was not used in any context, but was useful for reducing the volume of the instrument when practicing and was often termed a Practice Pedal. Few pianos, apart from some uprights, have this device today, the use of a mute is usually indicated in musical notation by the Italian direction con sordino, which means with mute. The mute should be removed with the senza sordino direction, which means without mute, when written in English the directions, mute and open or unmute are used. The equivalent German terms for with mute are mit Dämpfer, the word Dämpfer is cognate to English damper. In French music, the word for the mute is sourdine, in the case of strings, mute-on and mute-off indications are often written into their parts by players in the form of signs. One example of a sign is an E to indicate when the mute is put on
11.
Harpsichord
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A harpsichord is a musical instrument played by means of a keyboard. It produces sound by plucking a string when a key is pressed, Harpsichord designates the whole family of similar plucked keyboard instruments, including the smaller virginals, muselar, and spinet. The harpsichord was used in Renaissance and Baroque music. During the late 18th century, it disappeared from the musical scene with the rise of the piano. In the 20th century, it made a resurgence, being used in historically informed performances of music, in compositions. Harpsichords vary in size and shape, but all have the basic functional arrangement. The player depresses a key that rocks over a pivot in the middle of its length, the other end of the key lifts a jack that holds a small plectrum, which plucks the string. When the player releases the key, the far end returns to its rest position, the plectrum, mounted on a tongue that can swivel backwards away from the string, passes the string without plucking it again. As the key reaches its rest position, a felt damper atop the jack stops the strings vibrations and these basic principles are explained in detail below. The keylever is a pivot, which rocks on a balance pin that passes through a hole drilled through the keylever. The jack is a thin, rectangular piece of wood that sits upright on the end of the keylever, the jacks are held in place by the registers. These are two strips of wood, which run in the gap between pinblock and bellyrail. The registers have rectangular mortises through which the pass as they can move up. The registers hold the jacks in the location needed to pluck the string. In the jack, a plectrum juts out almost horizontally and passes just under the string, historically, plectra were made of bird quill or leather, many modern harpsichords have plastic plectra. When the front of the key is pressed, the back of the key rises, the jack is lifted, the vertical motion of the jack is then stopped by the jackrail, which is covered with soft felt to muffle the impact. When the key is released, the falls back down under its own weight. This is made possible by having the plectrum held in a tongue attached with a pivot and a spring to the body of the jack
12.
Hugh Denys
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Hugh Denys of Osterley was a courtier of Kings Henry VII and of the young Henry VIII. Denys was thus a player in facilitating the first Tudor kings controversial fiscal policies. Denys was probably born at Olveston Court, Gloucestershire, c,1440, the second son of Maurice Denys, Lord of the Manor of Alveston and Earthcott Green, Gloucestershire. His mother was Maurices second wife, Alice Poyntz, daughter of Nicholas Poyntz of Iron Acton and that Hugh was a second son is suggested by his use of a crescent as a mark of difference in his armorials. The Heraldic Visitation of the Co. of Glos. of 1623, on the other hand, shows him as the third son. Denys married very advantageously to Mary Ros, the daughter and only child of Richard Ros, younger son of Thomas de Ros, 9th Baron de Ros, of Hamlake Castle, the latter had drowned in the River Seine while on campaign in France. Richards mother was Eleanor Beauchamp, daughter of Richard de Beauchamp, 13th Earl of Warwick and Elizabeth Berkeley, daughter of Thomas 5th. Marys brother Thomas de Ros, 10th Baron de Ros of Hamlake married Philippa de Tiptoft, sister of John Tiptoft, 1st Earl of Worcester, Thomas de Ros, Denyss brother-in-law was an ardent Lancastrian and was attainted in 1461, and beheaded at Newcastle in 1464. Marys aunt was Margaret de Ros who married firstly William Lord Bottreux of North Cadbury and she married secondly in 1463 Sir Thomas Borough of Gainsborough, Lincolnshire. In 1464 he changed sides, again, back to the Lancastrians, margarets second husband Sir Thomas Borough was on the victorious Yorkist side at Hexham so possibly witnessed the beheading of his wifes stepbrother. At Denyss death Mary had borne him no children, and Mary went on to marry again and this office made its holder the Kings closest courtier. The duties in the earliest days of this ancient post involved assisting the king in the performance in a manner of his bodily function of excretion. Arrangements would have to be made for the custody of the stool itself, provision of a room for the use thereof, with curtains. Washing equipment would also have required, water, bowls. Whether the function of the office involved intimate bodily cleaning must be questioned, the answer would seem to be affirmative. It is unlikely, as in the imagination, to have been a duty demanded by the king to boost his royal ego. Disposable paper tissue would only make its appearance several centuries later, cloth, clearly the office was one where the king would want to select a person in whose company he felt relaxed and comfortable. From this relationship grew the role of the Groom as an adviser of the king
13.
Scandinavia
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Scandinavia /ˌskændᵻˈneɪviə/ is a historical and cultural region in Northern Europe characterized by a common ethnocultural North Germanic heritage and mutually intelligible North Germanic languages. The term Scandinavia always includes the three kingdoms of Denmark, Norway and Sweden, the remote Norwegian islands of Svalbard and Jan Mayen are usually not seen as a part of Scandinavia, nor is Greenland, an overseas territory of Denmark. This looser definition almost equates to that of the Nordic countries, in Nordic languages, only Denmark, Norway and Sweden are commonly included in the definition of Scandinavia. In English usage, Scandinavia sometimes refers to the geographical area, the name Scandinavia originally referred vaguely to the formerly Danish, now Swedish, region Scania. Icelanders and the Faroese are to a significant extent descended from the Norse, Finland is mainly populated by Finns, with a minority of approximately 5% of Swedish speakers. A small minority of Sami people live in the north of Scandinavia. The Danish, Norwegian and Swedish languages form a continuum and are known as the Scandinavian languages—all of which are considered mutually intelligible with one another. Faroese and Icelandic, sometimes referred to as insular Scandinavian languages, are intelligible in continental Scandinavian languages only to a limited extent, Finnish and Meänkieli are closely related to each other and more distantly to the Sami languages, but are entirely unrelated to the Scandinavian languages. Apart from these, German, Yiddish and Romani are recognized minority languages in Scandinavia, the southern and by far most populous regions of Scandinavia have a temperate climate. Scandinavia extends north of the Arctic Circle, but has mild weather for its latitude due to the Gulf Stream. Much of the Scandinavian mountains have a tundra climate. There are many lakes and moraines, legacies of the last glacial period, Scandinavia usually refers to Denmark, Norway, and Sweden. Some sources argue for the inclusion of the Faroe Islands, Finland and Iceland, though that broader region is known by the countries concerned as Norden. Before this time, the term Scandinavia was familiar mainly to classical scholars through Pliny the Elders writings, and was used vaguely for Scania, as a political term, Scandinavia was first used by students agitating for Pan-Scandinavianism in the 1830s. After a visit to Sweden, Andersen became a supporter of early political Scandinavism, the term is often defined according to the conventions of the cultures that lay claim to the term in their own use. More precisely, and subject to no dispute, is that Finland is included in the broader term Nordic countries, various promotional agencies of the Nordic countries in the United States serve to promote market and tourism interests in the region. The official tourist boards of Scandinavia sometimes cooperate under one umbrella, Norways government entered one year later. All five Nordic governments participate in the joint promotional efforts in the United States through the Scandinavian Tourist Board of North America, Scandinavia can thus be considered a subset of the Nordic countries
14.
Iberian Peninsula
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The Iberian Peninsula /aɪˈbɪəriən pəˈnɪnsjᵿlə/, also known as Iberia /aɪˈbɪəriə/, is located in the southwest corner of Europe. The peninsula is divided between Portugal and Spain, comprising most of their territory. With an area of approximately 582,000 km2, it is the second largest European peninsula, at that time, the name did not describe a single political entity or a distinct population of people. Strabos Iberia was delineated from Keltikē by the Pyrenees and included the land mass southwest of there. The ancient Greeks reached the Iberian Peninsula, of which they had heard from the Phoenicians, hecataeus of Miletus was the first known to use the term Iberia, which he wrote about circa 500 BC. Herodotus of Halicarnassus says of the Phocaeans that it was they who made the Greeks acquainted with. According to Strabo, prior historians used Iberia to mean the country side of the Ἶβηρος as far north as the river Rhône in France. Polybius respects that limit, but identifies Iberia as the Mediterranean side as far south as Gibraltar, elsewhere he says that Saguntum is on the seaward foot of the range of hills connecting Iberia and Celtiberia. Strabo refers to the Carretanians as people of the Iberian stock living in the Pyrenees, according to Charles Ebel, the ancient sources in both Latin and Greek use Hispania and Hiberia as synonyms. The confusion of the words was because of an overlapping in political, the Latin word Hiberia, similar to the Greek Iberia, literally translates to land of the Hiberians. This word was derived from the river Ebro, which the Romans called Hiberus, hiber was thus used as a term for peoples living near the river Ebro. The first mention in Roman literature was by the annalist poet Ennius in 200 BC. Virgil refers to the Ipacatos Hiberos in his Georgics, the Roman geographers and other prose writers from the time of the late Roman Republic called the entire peninsula Hispania. As they became interested in the former Carthaginian territories, the Romans began to use the names Hispania Citerior. At the time Hispania was made up of three Roman provinces, Hispania Baetica, Hispania Tarraconensis, and Lusitania, Strabo says that the Romans use Hispania and Iberia synonymously, distinguishing between the near northern and the far southern provinces. Whatever language may generally have been spoken on the peninsula soon gave way to Latin, except for that of the Vascones, the Iberian Peninsula has always been associated with the Ebro, Ibēros in ancient Greek and Ibērus or Hibērus in Latin. The association was so known it was hardly necessary to state, for example. Pliny goes so far as to assert that the Greeks had called the whole of Spain Hiberia because of the Hiberus River, the river appears in the Ebro Treaty of 226 BC between Rome and Carthage, setting the limit of Carthaginian interest at the Ebro. The fullest description of the treaty, stated in Appian, uses Ibērus, with reference to this border, Polybius states that the native name is Ibēr, apparently the original word, stripped of its Greek or Latin -os or -us termination
15.
Arnold Dolmetsch
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Eugène Arnold Dolmetsch, was a French-born musician and instrument maker who spent much of his working life in England and established an instrument-making workshop in Haslemere, Surrey. He was a figure in the 20th-century revival of interest in early music. It was in the workshops that Dolmetsch acquired the skills of instrument-making that would later be put to use in his early music workshops. He studied music at the Brussels Conservatoire and learnt the violin with Henri Vieuxtemps, in 1883 he travelled to London to attend the Royal College of Music, where he studied under Henry Holmes and Frederick Bridge, being awarded a Bachelor of Music degree in 1889. William Morris encouraged him to build his first harpsichord and he left England to build clavichords and harpsichords for Chickering of Boston, then for Gaveau of Paris. His 1915 book The Interpretation of the Music of the XVIIth and XVIIIth Centuries was a milestone in the development of authentic performances of early music. In 1925 he founded a chamber music festival, the International Dolmetsch Early Music Festival. He was responsible for rediscovering the school of English composers for viol consort and he was also largely responsible for the revival of the recorder, both as a serious concert instrument, and as an instrument which made early music accessible to amateur performers. He went on to promote the recorder as an instrument for teaching music in schools, in 1937 he received a British Civil list pension and in 1938 he was created a chevalier of the Légion dhonneur by the French government. Arnold Dolmetsch was married three times, on 28 May 1878 he married Marie Morel of Namur, Belgium but was divorced in 1898. His second wife, to whom he was married on 11 September 1899, in Zürich, was Elodie Désirée and this marriage ended in divorce in 1903. Thirdly, he was married on 23 September 1903 to Mabel Johnston, following the death of Arnold Dolmetsch at Haslemere in 1940, his family continued to promote the building and playing of early instruments. Mabel Dolmetsch, his wife, was a player of the bass viol. Rudolph Dolmetsch, his son, was a keyboard player. Nathalie Dolmetsch, his daughter, was a player and leading member of the Viola da Gamba Society. Carl Frederick Dolmetsch, his son, was a recorder player. Cecile Dolmetsch, his daughter, was a viol player, H. C. G. Matthews and Brian Harrison, The Oxford Dictionary of National Biography, Oxford University Press,2004. ISBN 0-19-861366-0 Percy Scholes, The Oxford Companion to Music, 10th edition, Oxford University Press,1970 Margaret Campbell, Dolmetsch
16.
Christopher Hogwood
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Christopher Jarvis Haley Hogwood CBE was an English conductor, harpsichordist, writer, and musicologist. Founder of the music ensemble the Academy of Ancient Music, he was an authority on historically informed performance. Born in Nottingham, Hogwood studied music and classical literature at Pembroke College, Cambridge and he went on to study performance and conducting under Raymond Leppard, Mary Potts and Thurston Dart, and later with Rafael Puyana and Gustav Leonhardt. He also studied in Prague with Zuzana Ruzickova for a year, in 1967, Hogwood co-founded the Early Music Consort with David Munrow. In 1973 he founded the Academy of Ancient Music, which specializes in performances of Baroque, the Early Music Consort was disbanded following Munrows death in 1976, but Hogwood continued to perform and record with the Academy of Ancient Music. From 1981, Hogwood conducted regularly in the United States and he was Artistic Director of Bostons Handel and Haydn Society from 1986 to 2001, and for the remainder of his life held the title of Conductor Laureate. From 1983 to 1985 he was director of the Mostly Mozart Festival in the Barbican Centre in London. From 1988 to 1992, he was director of the Saint Paul Chamber Orchestra in Minnesota. In 1994 he conducted the Handel and Haydn Society in a recreation of the concert that premiered Beethovens Sixth and Fifth symphonies for the Historic Keyboard Society of Milwaukee, Hogwood conducted a considerable amount of opera. He made his debut in 1983, conducting Don Giovanni in St. Louis. He worked with Berlin State Opera, La Scala, Milan, Royal Opera Stockholm, with Opera Australia, he performed Idomeneo in 1994 and La Clemenza di Tito in 1997. In 2009, he returned to the Royal Opera House to conduct the Orchestra of the Age of Enlightenment in Purcells Dido and Aeneas,2009 also saw him conducting Stravinskys The Rakes Progress at the Teatro Real in Madrid, in a production directed by Robert Lepage. In late 2010 and early 2011, he conducted a series of performances of Mozarts The Marriage of Figaro at Zurich Opera House, on 1 September 2006, harpsichordist Richard Egarr succeeded Hogwood as Music Director of the Academy of Ancient Music and Hogwood assumed the title of Emeritus Director. Hogwood said he expected to conduct at least one project with the Academy each year. He conducted the Academy in a series of performances of Handel operas which began in 2007 with Amadigi. 2008 saw performances of Flavio, and the series concluded in May 2009, in 2013 he conducted the Academy in Imeneo. He owned a collection of keyboard instruments. In July 2010, he was appointed Professor of Music at Gresham College, London, in this role he delivered four series of free public lectures on Aspects of Authenticity, The Making of a Masterpiece, European Capitals of Music and Music in Context
17.
Clavinet
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The Clavinet is an electrically amplified clavichord that was manufactured by the Hohner company of Trossingen, West Germany from 1964 to the early 1980s. Hohner produced seven models over the years, designated I, II, L, C, D6, E7 and its distinctive bright staccato sound has featured most prominently in funk, jazz-funk, rock, and soul songs. The clavinet is an instrument that requires a keyboard amplifier to produce a usable sound level. Most models have 60 keys and a range of F1 to E6. This five octave span covers the range of an electric guitar, the sound is produced by a harp of 60 tensioned steel strings oriented diagonally below the key surface. Each key of the keyboard action is a single lever element that pivots on a fulcrum point at the rear. A spring returns the key to the rest position, beneath each key, a metal holder grips a small rubber pad. Depressing a key makes the pad perform what is known in guitar technique as a hammer on, an electro-magnetic pickup turns the string vibration into an electric current. The unique playing feel of a comes from this abrupt impact of the pad striking its anvil point against the string. The end of each string farthest from the passes through a weave of yarn. When the key is released, the yarn damps the vibration of the string, each string is tuned by a machine-head positioned along the front of the harp. Most clavinets have two sets of pickups, positioned above and below the strings, the Clavinet has pickup selector switches, and a guitar-level output that connects to an amplifier. Early clavinet models featured single-coil pickups, the D6 introduced a six-core pickup design. Originally, Hohner intended the instrument for use and early European classical. The Clavinet L, introduced in 1968 was a model with a wood-veneered triangular body. It had reverse-colour keys and a glass music stand. The Clavinet Duo model combined a clavinet with the Hohner Pianet T in one compact instrument, after Hohner stopped producing the Clavinet E7 and Clavinet Duo, they used the brand name for electronic and digital keyboards with no electro-mechanical sound production features. In the late 1980s, they applied the Clavinet DP name to a range of Japanese-made digital pianos and these instruments were designed for the home market, and made no attempt to emulate the electro-mechanical Clavinet
18.
Stevie Wonder
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Stevland Hardaway Morris, known by his stage name Stevie Wonder, is an American musician, singer, songwriter, record producer, and multi-instrumentalist. A child prodigy, he is considered to be one of the most critically and commercially successful musical performers of the late 20th century, Wonder signed with Motowns Tamla label at the age of 11, and he continued performing and recording for Motown into the 2010s. He has been blind since shortly after birth, Wonder is also noted for his work as an activist for political causes, including his 1980 campaign to make Martin Luther King Jr. s birthday a holiday in the United States. In 2009, Wonder was named a United Nations Messenger of Peace, in 2013, Billboard magazine released a list of the Billboard Hot 100 All-Time Top Artists to celebrate the US singles charts 55th anniversary, with Wonder at number six. Stevie Wonder was born in Saginaw, Michigan, in 1950, the third of six children of Calvin Judkins and Lula Mae Hardaway, when Wonder was four, his mother left his father and moved to Detroit with her children. She changed her back to Lula Hardaway and later changed her sons surname to Morris. Wonder has retained Morris as his legal surname and he began playing instruments at an early age, including piano, harmonica and drums. He formed a partnership with a friend, calling themselves Stevie and John, they played on street corners. Before signing, producer Clarence Paul gave him the name Little Stevie Wonder, because of Wonders age, the label drew up a rolling five-year contract in which royalties would be held in trust until Wonder was 21. He and his mother would be paid a stipend to cover their expenses, Wonder received $2.50 a week. Wonder was put in the care of producer and songwriter Clarence Paul, tribute to Uncle Ray was recorded first, when Wonder was still 11 years old. Mainly covers of Ray Charless songs, it included a Wonder and Paul composition, the Jazz Soul of Little Stevie was recorded next, an instrumental album consisting mainly of Pauls compositions, two of which, Wondering and Session Number 112, were co-written with Wonder. At the end of 1962, when Wonder was 12 years old, he joined the Motortown Revue, at the Regal Theater, Chicago, his 20-minute performance was recorded and released in May 1963 as the album Recorded Live, The 12 Year Old Genius. A single, Fingertips, from the album was released in May. The song, featuring a confident and enthusiastic Wonder returning for a spontaneous encore that catches out the replacement bass player, was a No.1 hit on the Billboard Hot 100 when Wonder was aged 13, making him the youngest artist ever to top the chart. The single was simultaneously No.1 on the R&B chart and his next few recordings, however, were not successful, his voice was changing as he got older, and some Motown executives were considering cancelling his recording contract. During 1964, Wonder appeared in two films as himself, Muscle Beach Party and Bikini Beach, but these were not successful either, sylvia Moy persuaded label owner Berry Gordy to give Wonder another chance. He also began to work in the Motown songwriting department, composing songs both for himself and his mates, including The Tears of a Clown, a No.1 hit for Smokey Robinson
19.
Superstition (song)
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Superstition is a popular song composed, produced, arranged, and performed by Stevie Wonder for Motown Records in 1972. It was the single for Wonders album Talking Book. It reached number one in the U. S. and number one on the singles chart. The song was Wonders first number-one single since Signed, Sealed, Delivered, Im Yours, overseas, it peaked at number eleven in the UK during February 1973. In November 2004, Rolling Stone magazine ranked the song at No.74 on their list of the 500 Greatest Songs of All Time. The songs lyrics are concerned with superstitions, mentioning several popular superstitious fables throughout the song. Jeff Beck was an admirer of Wonders music, and Wonder was informed of prior to the Talking Book album sessions. An agreement was made for Beck to become involved in the sessions that became the Talking Book album. In between sessions, Beck came up with the drum beat, which eventually led to Wonders creation of Superstition. In addition to the drum beat, Beck, together with Wonder. Originally, the plan was for Beck to release his version of this song first, with his newly formed power trio Beck, on Wonders recording, the songs opening drum beat was performed by Wonder on the kit that Scott Mathews provided at the Record Plant in Hollywood. The funky clavinet riff played on a Hohner Clavinet model C, the song also features trumpet and tenor saxophone, played respectively by Steve Madaio and Trevor Laurence. Wonder performed a version of Superstition on Sesame Street in 1973. This version later appeared on the collection Songs from the Street,35 Years in Music, jeff Beck recorded his own version of the song with the power trio Beck, Bogert & Appice. This was released on their eponymous debut album, Stevie Ray Vaughan recorded a live version in 1986, which was released as a single from his album Live Alive. The accompanying music video features Vaughan and a crew setting up for a concert he planned to do on Friday the 13th. Many superstitious acts are featured, most notably a cat that ultimately gets its revenge on Double Trouble. This version is played on classic rock radio to this day
20.
Higher Ground (Stevie Wonder song)
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Higher Ground is a funk song written by Stevie Wonder which first appeared on his 1973 album Innervisions. The song reached number 4 on the Billboard Hot 100 and number 1 on the US Hot R&B Singles chart, Wonder wrote and recorded the song in a three-hour burst of creativity in May 1973. The album version of the song contains a verse and runs 30 seconds longer than the single version. The unique wah-clavinet sound in the song was achieved with a Mu-Tron III envelope filter pedal, the bass line is provided by a Moog synthesizer and using overdubs, Wonder played all instruments on the track, including drums and percussion. The song was released in the UK but achieved only modest success. The song lyrics address the issue of reincarnation, Wonder commented, when interviewed by The New York Times, I would like to believe in reincarnation. I would like to believe there is another life. I think that sometimes your consciousness can happen on this earth a second time around, for me, I wrote Higher Ground even before the accident. But something must have been telling me something was going to happen to make me aware of a lot of things. This is like my second chance for life, to do something or to do more, early in Wonders recovery, his road manager sang the songs melody into the singers ear, Wonder responded by moving his fingers with the music. The funk rock band Red Hot Chili Peppers released a cover as the first single from their studio album Mothers Milk. A remixed version by the X-Ecutioners was featured in the video game SSX3 while a version appeared in Guitar Hero. FX used the song to promote The Ultimate Fighter, Live, as part of the Year of a Million Dreams Celebration, Space Mountain at Disneyland in Anaheim, California was transformed into Rockin Space Mountain. The song was used as its soundtrack for 16 weeks, from January 3,2007 to April 26,2007, british magazine Total Guitar named it the second greatest cover ever in 2000. Red Hot Chili Peppers performed the song with musicians as part of the all-star jam during the bands induction into the 2012 Rock. US Cassette single Higher Ground Nobody Weird Like Me 7 single Higher Ground Fight Like a Brave UK CD single Higher Ground Higher Ground Millionaires Against Hunger Mommy Wheres Daddy,12 single/Germany CD single Politician Higher Ground Higher Ground Mommy Wheres Daddy. Australian 7 single Higher Ground Punk Rock Classic UK7 single Higher Ground Millionaires Against Hunger U. S. A
21.
Instrument amplifier
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An instrument amplifier is an electronic device which converts the often barely audible or purely electronic signal of a musical instrument into an audible sound. Combination amplifiers include a preamplifier, an amplifier, tone controls, and one or more speakers in a cabinet. Instrument amplifiers are available for specific instruments, including the guitar, electric bass, electric/electronic keyboards. A guitar amplifier is designed to amplify the signal of an electric so that it will produce a sound through a loudspeaker that is loud enough for the performer. Most guitar amplifiers can also modify the tone by emphasizing or de-emphasizing certain frequencies. Vibrations of the strings are picked up by a microphone or pickup. For electric guitars, strings are almost always made of metal, acoustic guitars do not usually have a built-in pickup or microphone, at least with entry-level and beginner instruments. Acoustic guitars may also use a pickup, which converts the vibrations of the instrument into an electronic signal. Standard amplifiers, such as the Fender tweed-style amps and Gibson amps, are used by traditional rock, blues. They are used by guitarists, pedal steel guitar players. Combo amplifiers such as the Fender Super Reverb have powerful, loud tube amplifiers, four 10 speakers, smaller guitar amps are also available, which have fewer speakers and lighter, less powerful amplifier units. Smaller guitar amps are easier to transport to gigs and sound recording sessions, smaller amps are widely used in small venue shows and in recordings, because players can obtain the tone they want without having to have an excessively loud volume. One of the challenge with the large, powerful 4x10 Fender Bassman-type amps is that to get the tone a player wants, she has to turn up the amp to too loud a volume. These amps are designed to produce a variety of sounds ranging from a clean, warm sound to a growling, natural overdrive, when the volume is set near its maximum. These amplifiers usually have a sharp treble roll-off at 5 kHz to reduce the high frequencies. The nickname tweed refers to the lacquered beige-light brown fabric covering used on these amplifiers, the smallest combo amplifiers, which are mainly used for individual practice and warm-up purposes, may have only a single 8 or 10 speaker. Some harmonica players use these small combo amplifiers for concert performances, though, larger combo amplifiers, with one 12 inch speaker or two or four 10 or 12 inch speakers are used for club performances and larger venues. For large concert venues such as stadiums, performers may use an amplifier head with several separate speaker cabinets
22.
Effects unit
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An effects unit or pedal is an electronic or digital device that alters how a musical instrument or other audio source sounds. In the 2010s, most effects use solid state electronics and/or computer chips, some vintage effects units from the 1930s to the 1970s and modern reissues of these effects use mechanical components as well or vacuum tubes. Musicians, audio engineers and record producers use effects units during live performances or in the studio, typically with electric guitar, electronic keyboard, while guitar effects are most frequently used with electric or electronic instruments, effects can also be used with acoustic instruments, drums and vocals. Rackmounted or audio console-integrated reverb effects are used with vocals in live sound and sound recording. Examples of common units include wah-wah pedals, fuzzboxes and reverb units. A stompbox or pedal is a metal or plastic box placed on the floor in front of the musician and connected to the instrument. Pedals are usually the least expensive format, a rackmount device mounts on a standard 19-inch equipment rack and usually contains several types of effects. Rackmount effects typically have buttons and/or knobs on the face of the chassis for controlling the effects, an effects unit is also called an effect box, effects device, effects processor or simply effects. In audio engineer parlance, a signal without effects is dry, the abbreviation F/X or FX is sometimes used. A pedal-style unit may be called a box, stompbox. When a musician has multiple effects in a rack mounted road case, Effects units are available in a variety of formats or form factors. Stompboxes are usually the smallest, least expensive, and most rugged effects units, rackmount devices are generally more expensive and offer a wider range of functions. An effects unit can consist of analog or digital circuitry or a combination of the two, during a live performance, the effect is plugged into the electrical signal path of the instrument. In the studio, the instrument or other sound-sources auxiliary output is patched into the effect, form factors are part of a studio or musicians outboard gear. Stompboxes are small plastic or metal chassis which usually lie on the floor or in a pedalboard to be operated by the users feet, pedals are often rectangle-shaped, but there are a range of other shapes. Typical simple stompboxes have a single footswitch, one to three potentiometers for controlling the effect, and a single LED that indicates if the effect is on, depending on the type of pedal, the potentiometers may control different parameters of the effect. For a chorus effect, for example, the knobs may control the depth, some pedals have two knobs stacked on top of each other, enabling the unit to provide two knobs per single knob space. An effects chain or signal chain is formed by connecting two or more stompboxes, effect chains are typically created between the guitar and the amp or between the preamplifier and the power amp
23.
Funk
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Funk is a music genre that originated in the mid- 1960s when African American musicians created a rhythmic, danceable new form of music through a mixture of soul music, jazz, and rhythm and blues. Like much of African-inspired music, funk typically consists of a groove with rhythm instruments playing interlocking grooves. Funk uses the same richly-colored extended chords found in jazz, such as minor chords with added sevenths and elevenths. Other musical groups, including Sly and the Family Stone and Parliament-Funkadelic, soon began to adopt, Funk samples have been used extensively in genres including hip hop, house music, and drum and bass. It is also the influence of go-go, a subgenre associated with funk. The word funk initially referred to a strong odor and it is originally derived from Latin fumigare via Old French fungiere and, in this sense, it was first documented in English in 1620. In 1784 funky meaning musty was first documented, which, in turn, in early jam sessions, musicians would encourage one another to get down by telling one another, Now, put some stank on it. At least as early as 1907, jazz songs carried titles such as Funky, as late as the 1950s and early 1960s, when funk and funky were used increasingly in the context of jazz music, the terms still were considered indelicate and inappropriate for use in polite company. According to one source, New Orleans-born drummer Earl Palmer was the first to use the word funky to explain to other musicians that their music should be made more syncopated, the style later evolved into a rather hard-driving, insistent rhythm, implying a more carnal quality. This early form of the set the pattern for later musicians. The music was identified as slow, sexy, loose, riff-oriented, a great deal of funk is rhythmically based on a two-celled onbeat/offbeat structure, which originated in sub-Saharan African music traditions. New Orleans appropriated the bifurcated structure from the Afro-Cuban mambo and conga in the late 1940s, New Orleans funk, as it was called, gained international acclaim largely because James Browns rhythm section used it to great effect. Funk creates an intense groove by using strong guitar riffs and bass lines, like Motown recordings, funk songs used bass lines as the centerpiece of songs. Slap basss mixture of thumb-slapped low notes and finger popped high notes allowed the bass to have a rhythmic role. In funk bands, guitarists typically play in a style, often using the wah-wah sound effect. Guitarist Ernie Isley of The Isley Brothers and Eddie Hazel of Funkadelic were notably influenced by Jimi Hendrixs improvised solos, Eddie Hazel, who worked with George Clinton, is one of the most notable guitar soloists in funk. Ernie Isley was tutored at an age by Jimi Hendrix himself. Jimmy Nolen and Phelps Collins are famous funk rhythm guitarists who both worked with James Brown, on Browns Give It Up or Turnit a Loose, Jimmy Nolens guitar part has a bare bones tonal structure
24.
Disco
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Disco is a genre of dance music containing elements of funk, soul, pop, and salsa. It achieved popularity during the mid-1970s to the early 1980s, Disco can be seen as a reaction against both the domination of rock music and the stigmatization of dance music by the counterculture during this period. It was popular with men and women, from many different backgrounds. The disco sound often has several components, a beat, an eighth note or 16th note hi-hat pattern with an open hi-hat on the off-beat. In most disco tracks, string sections, horns, electric piano, Orchestral instruments such as the flute are often used for solo melodies, and lead guitar is less frequently used in disco than in rock. Many disco songs use electronic synthesizers, particularly in the late 1970s, well-known 1970s disco performers included Donna Summer, the Bee Gees, Boney M. KC and the Sunshine Band, The Trammps, Sylvester, Village People, Gloria Gaynor and Chic. While performers and singers garnered much attention, record producers working behind the scenes played an important role in developing the disco sound. Many non-disco artists recorded songs at the height of discos popularity. Disco was the last mass popular movement that was driven by the baby boom generation. Disco was a phenomenon, but its popularity drastically declined in the United States in 1980. Disco Demolition Night, an anti-disco protest held in Chicago on 12 July 1979, is thought of as a factor in discos fast. By the late 1970s most major U. S. cities had thriving disco club scenes, Studio 54, a venue popular amongst celebrities, is a well-known example of a disco club. Popular dances included the Hustle, a suggestive dance. Discotheque-goers often wore expensive, extravagant and sexy fashions, Disco clubs were also associated with promiscuity. Disco was a key influence on the 1980s electronic dance style called house. The term is derived from discothèque, by the early 1940s, the terms disc jockey and DJ were in use to describe radio presenters. During WWII, because of restrictions set in place by the Nazi occupiers, eventually more than one of these jazz venues had the proper name discothèque. By 1959, the term was used in Paris to describe any of these type of nightclubs and that year a young reporter named Klaus Quirini started to select and introduce records at the Scotch-Club in Aachen, West Germany
25.
Guy Sigsworth
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Guy Sigsworth is a British composer, producer and songwriter. He has also collaborated with many celebrated instrumental musicians, including Talvin Singh, Jon Hassell and he was previously a member of the band Frou Frou together with Imogen Heap. Sigsworth grew up in Ilkley, West Yorkshire, where he developed a passion for early music. His earliest musical heroes were the multi-instrumentalist David Munrow and the maverick field-recordist and he was a pupil at Leeds Grammar School in the 1970s, where he and his band performed a memorable version of Red House which ended prematurely after he cut his hand rather badly on a cymbal. He studied the harpsichord, first at summer schools at the Casa de Mateus in Portugal and he toured Europe playing harpsichord for the European Union Baroque Orchestra. Sigsworth has worked with engineers and programmers of distinction. Returning to the UK he moved to London and made a change of direction. He became fascinated with the burgeoning Acid House sound, and immediately bought a Roland sampler and he met Seal, co-writing four songs on Seals debut album, Crazy, The Beginning, Wild and Violet, plus the B-side, Sparkle. The albums producer, Trevor Horn, was the first pop record producer Sigsworth had ever met and he also worked with Simenon on Hector Zazous 1992 album Sahara Blue, performing alongside the celebrated French actor Gérard Depardieu on the track, Ill Strangle You. Sigsworth subsequently contributed to Zazous 1994 album Songs From The Cold Seas accompanying Björk, while working on sessions for Japanese drummer/producer Gota Yashiki, Sigsworth met the virtuoso tabla player Talvin Singh. He subsequently played synthesizer and harpsichord for Singhs live shows, and later played and contributed remixes on Singhs debut album, Guy Sigsworth produced early 1993 the benefit Song „Survival Game for the relief organization Menschen für Menschen in Ethiopia, founded by the actor Karlheinz Böhm. The song was written by Mike Turtle and Dean Frederick, the Single Survival Game was 1995 worldwide released by BMG Ariola / Coconut Records. The remixes made by Paul Dakeyne hit the Charts in South America, the It’s 5 to 12 / Survival Game project was originally initiated by the Swiss Media Manager Ditti Brook. It was through Singh that Sigsworth met Björk, becoming keyboard player, Sigsworth brought his early music sensibility to Björks live performances and recordings, adding harpsichord, clavichord, regal and positive organ accompaniments to her music. Sigsworths harpsichord can be heard on the song Cover Me from Post, clavichord on the song All Is Full of Love, Unravel was Sigsworths first co-written song with Björk. Sigsworth first met Imogen Heap in 1996 after a friend played him a demo of her song Come Here Boy and he immediately fell in love with her distinctive voice. He was also amazed to hear that she shared his love of melodies featuring wide, angular intervals - especially major 7ths. They wrote two songs together, Getting Scared and Airplane, which Sigsworth produced for her debut album, in return, Heap sang backing vocals on Sigsworths band project with Alexander Nilere, Acacia
26.
All Is Full of Love
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All Is Full of Love is a song by Icelandic musician Björk, taken from her third studio album Homogenic. Written by herself, the lyrics are inspired by the presence of love in the advent of spring, the more popular version of the track, the original mix solely produced by Björk, was used in the accompanying music video, but did not appear on the album. The version used for the record is a remix by Howie B and has a minimalist approach, the video version features a combination of electronic beats and string instruments. A remix by the German IDM duo Funkstörung was released as a single in the summer of 1998, All Is Full of Love subsequently received a full single release in 7 June 1999 to coincide with the premiere of its music video. While some music critics declared that the song was one of the highlights on Homogenic, in the United States, it became a dance hit. The song and its video were released two years after the release of the album for artistic merit rather than promotional purposes. All Is Full of Love was included as the track on compilation album Greatest Hits. Some regard All Is Full of Love as the first DVD single release, the songs visual garnered acclaim from critics and is commonly regarded as one of the best music videos of all time and a milestone in computer animation. The subject of analysis and scrutiny, it was on permanent display at the Museum of Modern Art in New York City and has been included in various art exhibitions. Björk has performed All Is Full of Love in five of her tours and it is one of the singers most idiosyncratic songs, and has been covered by various artists. All Is Full of Love, the track of Homogenic, was the albums last song to be written. Produced by Björk, the version of the song was replaced at the last minute by Howie Bs version. It was inspired by the spring while producing the album in Málaga, after living in the mountains among other people for six months, Björk felt lonely, but a morning walk in April inspired her to write the track. She had a winter and then she realized it was spring after she could hear the birds singing. She wrote and recorded the song in half a day, in keeping with Homogenics theme as a tribute to Björks native Iceland, the track was inspired by Icelandic mythology, such as the Ragnarök. The previous track, Pluto, stands for death and destruction, Björk also called it a song about believing in love and expressed that love isnt just about two persons. Even if youre not getting love from Person A, it doesnt mean theres not love there, however, she also described it as taking the piss, considering it the most sugary song ever. As the song opposes the rest of Homogenics macho aesthethic, Björk has said it could have included on Vespertine
27.
Volta (album)
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Volta is the sixth studio album by Icelandic singer Björk, first released on 1 May 2007 by One Little Indian Records. A wide array of artists collaborated with Björk on material for the album, including Mark Bell, Timbaland and Danja. The full album was made available on the UK iTunes Store at midnight on April 23,2007 for a total of six hours. This led to the album being leaked online the following day, the album attracted attention due to the inclusion of three tracks co-produced by R&B record producer Timbaland. The album received positive reviews upon its release, and is Björks first. Volta spent nine weeks at one on the US Top Electronic Albums chart. It has been certified Silver in the United Kingdom, the lead single, Earth Intruders, reached number 67 on the UK Official Download Chart, and number 78 on the main UK Singles Chart, while the remix EP later released charted on its own at number 150. In the United States, the song debuted on the US Billboard Hot 100 at number 84 in the issue dated April 28,2007, Björk went on an 18-month tour in support of the album, which was her first tour in four years. The album was re-released in June 2009 under the name Voltaïc and it refers to five separate releases of related material from Volta. The official worldwide release date of all editions was June 23,2009, the artwork was nominated for an award at the 2010 Brit Insurance Design Awards. Volta was nominated for Best Alternative Music Album at the Grammy Awards, in an interview for daily Internet publication Pitchfork Media, Björk talked for the first time about the theme of the album. In the run-up to the release of the album, many outlets were lauding the album as a return to the supposed pop sound of Björks earlier solo albums Debut. At the time Timbaland had also had recent hits with Justin Timberlake and Nelly Furtado, with him and his protégé Danja being responsible for some of the biggest hits of 2006 and 2007. The online music magazine Pitchfork Media, in their exclusive first interview with Björk for the promotion of Volta, quoted Björk as saying that the new album would be full-bodied and this was taken by fans as further evidence of a more pop album. A week later the head of Björks record company, Derek Birkett, heralded the new album as the most commercial thing shes ever done in Music Week, the trade paper for the UK record industry. Björk has since stated that the album was not hip hop and she said that she did not want to work with Timbaland as a hitmaker, or because of his affiliation to a particular genre, but wanted to work with him solely as a musician in his own right. The result was a sound, because they were both interested in it. She has also said that One Little Indian always feel that ‘my latest release is the most commercial to date’, a wide array of artists collaborated with Björk on material for the album
28.
Tori Amos
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Tori Amos is an American singer-songwriter, pianist and composer. She is a trained musician with a mezzo-soprano vocal range. She was expelled at age eleven for what Rolling Stone described as musical insubordination, Amos was the lead singer of the short-lived 1980s pop group Y Kant Tori Read before achieving her breakthrough as a solo artist in the early 1990s. Her songs focus on a range of topics, including sexuality, feminism, politics. Amos has received five MTV VMA nominations, eight Grammy nominations, Amos is the third child of Mary Ellen and the Rev. Edison McKinley Amos. She was born at the Old Catawba Hospital in Newton, North Carolina during a trip from their Georgetown home in Washington, D. C. When she was two, her moved to Baltimore, Maryland, where her father had transplanted his Methodist ministry from its original base in Washington. Her older brother and sister took piano lessons, but Amos didnt need them. From the time she could reach the piano, she herself to play. She has described seeing music as structures of light since early childhood, as long as Ive been doing this, which is more than thirty-five years, Ive never seen the same light creature in my life. For instance, the sound of the words with the sound of the chord progression combined with the rhythm manifests itself in an expression of the architecture of color-and-light. I started visiting this world when I was three, listening to a piece by Béla Bartók, I visited a configuration that day that wasnt on this earth, at five, she became the youngest student ever admitted to the preparatory division of the Peabody Conservatory of Music. She studied classical piano at Peabody from 1968 to 1974, in 1974, when she was 11, her scholarship was discontinued and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, in 1972, the Amos family moved to Silver Spring, Maryland, where her father became pastor of the Good Shepherd United Methodist church. At 13, Amos began playing at gay bars and piano bars, Amos won a county teen talent contest in 1977, singing a song called More Than Just a Friend. As a senior at Richard Montgomery High School, she co-wrote Baltimore with her brother Mike Amos for a competition involving the Baltimore Orioles. The song won the contest and became her first single, released as a 7 single pressed locally for family and friends during 1980 with another Amos-penned composition as a B-side, Walking With You. Before this, she had performed under her name, Ellen, but permanently adopted Tori after a friends boyfriend told her she looked like a Torrey pine
29.
Boys for Pele
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Boys for Pele is the third studio album by American singer and songwriter Tori Amos. Boys for Pele was recorded in rural Ireland and Louisiana and features 18 songs that incorporate harpsichord, clavichord, harmonium, gospel choirs, brass bands, Amos wrote all of the tracks, and for the first time, she served as sole producer for her own album. For Amos, the album was a step into a different direction, in terms of singing, songwriting, and recording, and is experimental in comparison to her previous work. That loss, combined with a few subsequent encounters with men during the Under the Pink promotional tour, forced Amos to re-evaluate her relationship with men and masculinity. Amos explained, In my relationships with men, I was always enough, but not woman enough, I always met men in my life as a musician. But then it would wear off, all of us want to be adored, even for five minutes a day, and nothing these men gave me was ever enough. Songs began appearing in fragments, often while on stage during the Under the Pink tour, from there, Amos explained, the songs just came. Sometimes the fury of it would make me step back, I began to live these songs as we separated, the vampire in me came out. Youre an emotional vampire, with blood in the corner of your mouth, the album would ultimately consist of 15 full-length songs and four short interludes. The vinyl release is the version of the album in which the interludes are not numbered. Boys for Pele is Amoss first self-produced album, she would continue producing her own albums through Unrepentant Geraldines, of producing the album herself, Amos said, I was at the point I could not answer to anybody. Id been answering my whole life to some patriarchal figure, two underlying currents run through Boys for Pele, exploring the role of women in both patriarchal religion and relationships. Amos had previously written songs in a religious and/or theological context, the feminine part of God has been circumcised out of all religions. God a patriarchal force, a very masculine energy, with the feminine having been subservient, either being the mother, the lover, the virgin, but never the equal, never to have the whole. Muhammad My Friend, the track on the album, best represents this aspect of the albums theme with the line. Amos derived the title from the Hawaiian volcano goddess, Pele. First I wanted to sacrifice all these guys to the goddess and roast them like marshmallows, then I decided they gave me a really wonderful gift. Regarding Caught a Lite Sneeze, Amos says, the current is doing anything so that you dont have to face yourself
30.
American Doll Posse
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American Doll Posse is the ninth studio album by American singer-songwriter Tori Amos, released in 2007 by Epic records. A concept album, American Doll Posse sees Amos assuming the identity of five different female personalities inspired by Greek mythology in order to narrate stories of life in modern America. Themes include opposition to the Iraq war, recording industry misogyny, disillusion, sexuality, personal loss, musically, the album is more rock-oriented than other studio albums by Amos, notably featuring more guitar and drums than previous albums The Beekeeper and Scarlets Walk. The album peaked at no.5 on the Billboard 200, the albums lead single in the US, Big Wheel, was a hit on Triple-A radio. In Europe, Bouncing Off Clouds was released as the lead single, after a month of tracking work, Amos continued editing and recording for the remainder of the year, at the same time working on the promotion for her career-spanning box set A Piano, The Collection. Mixing work was completed by February 2007, and the title was announced through a press release on February 20. Before the albums release, Amos made several comments about bringing a woman out. As with Amoss previous releases under the Epic Records label, American Doll Posse was offered in a deluxe edition as well as the standard edition. The deluxe edition includes two videos, a booklet, and five postcards, one of each doll. In addition, bonus tracks were available on the editions sold by retailers such as iTunes. American Doll Posse serves as Amoss third and final album under her contract with Epic records, the blogs were updated intermittently during the American Doll Posse World Tour through the end of 2007, after which they were discontinued. In concerts during her 2007 world tour, Amos would start the set list performing as one of the characters, the fifth doll is Amos herself, narrating the most personal songs on the album and featuring as the main character in each concert. The American Doll Posse World Tour, with Amos backed by a band as opposed to her previous solo piano tour, commenced on May 28,2007 in Rome. The European leg of the tour ended with a show in Raanana, Israel, the Australian leg of the tour, which commenced on September 10 and lasted the rest of the month, was followed by the North American leg which began October 9. The tour ended on December 16,2007 in Los Angeles, Amos, using a Bosendorfer piano, Yamaha synth, and Hammond organ, was backed by Matt Chamberlain, Jon Evans, and Dan Phelps. Amos brought the Doll Posse concept from the album into the concerts as well, three exceptions were the San Diego and Los Angeles shows, where two dolls opened, and the Anaheim show, where two dolls opened and one of them returned for the encore. Big Wheel was released as the albums first radio single in the United States prior to the albums release, multiple radio stations refused to give the song any air time because the acronym MILF is repeated in the bridge of the song. Despite the acronym, the single was successful on Triple A radio, the record label re-issued the single with the MILF bridge replaced with Amos singing MI-MI
31.
Box set
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A box set or boxed set is a set of items packaged in a box, for sale as a single unit. Artists and bands with a long and successful career often have anthology or essential collections of their boxes of music released as box sets. These often include rare and never-before-released tracks, some box sets collect previously released boxes of singles or albums by a music artist, and often collect the complete discography of an artist such as Pink Floyds Oh, by the Way. Other music box sets focus on a compilation of boxes of different artists from a genre such as Big Band jazz, 1960s rock and roll. They generally feature a collection of various hits from some of the top artists of a particular genre. The scope of such box sets varies widely, with some genre-specific box sets focusing on boxes of a specific style, two of the best known companies for making box sets are Legacy Recordings and Rhino Records, both have won multiple Grammy Awards. Prior to Rhino and Legacy, companies such as Time-Life Records, in rare cases, box sets contain all original material such as In Search of The, a 13-disc set by Buckethead, or Klaus Schulzes Contemporary Works duo. In classical music, box sets contain all works of a certain composer or all works in a certain genre, like symphonies or chamber music, performed by a certain orchestra. Films, television, and other programs on Blu-ray and DVD are sometimes sold as box sets, as were certain titles on the now discontinued VHS. Some box sets contain different versions of one film, as in the case of Blade Runner, for example, one can buy box sets of the plays of Shakespeare, collection of J. R. R. Tolkien novels, or Ansel Adams photographic prints, there are now also digital boxed set collections, such as 21 Shades of Night
32.
A Piano: The Collection
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A Piano, The Collection is a five-disc box set spanning the first 15 years of the solo career of American singer and song-writer Tori Amos. The compilations first disc includes a version of Amoss 1992 debut. Spotlighting music recorded between 1994 and 1996, the disc includes songs from Under the Pink and Boys for Pele. The 18 tracks blend original and remixed versions of albums cuts with the B-side Honey, also included is Take Me With You. The third disc includes songs associated with Boys for Pele plus 1999’s To Venus and Back and Tales of a Librarian. The 15 songs feature original and remixed versions of tracks as well as Hey Jupiter. Also featured is Walk to Dublin, from the Choirgirl Hotel, Scarlets Walk and The Beekeeper are the focus of the fourth disc, which contains 15 songs including original and remixed versions of tracks from the albums. In the A Piano liner notes, Amos writes, The final disc features 22 tracks spotlighting Amoss list of renowned B-sides and includes the digital release Merman from 1999. It also includes popular B-sides such as Cooling, Purple People, Bachelorette, in My Head and the unreleased Peeping Tommi. Amos also invites listeners into her process with a medley of demos for the songs Fire-Eater’s Wife / Beauty Queen, Playboy Mommy. Amos explains in the notes, All tracks written by Amos. All tracks written by Amos, except tracks 15 &21, the track listing incorrectly labels Purple People as being the b-side version from the Spark single, however the version featured here is the live soundcheck version from To Venus and Back. Likewise, the version of Take to the Sky featured here is a different mix from the one released as a b-side on the Winter e. p. The alternate mix on this compilation is different in that it does not have backing vocals on the second chorus or during the songs outro
33.
Oscar Peterson
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Oscar Emmanuel Peterson, CC, CQ, OOnt was a Canadian jazz pianist and composer. He was called the Maharaja of the keyboard by Duke Ellington and he released over 200 recordings, won eight Grammy Awards, and received numerous other awards and honours. He is considered one of the greatest jazz pianists, and played thousands of concerts worldwide in a career lasting more than 60 years, Peterson was born to immigrants from the West Indies, his father worked as a porter for Canadian Pacific Railway. Peterson grew up in the neighbourhood of Little Burgundy in Montreal and it was in this predominantly black neighbourhood that he found himself surrounded by the jazz culture that flourished in the early 20th century. At the age of five, Peterson began honing his skills with the trumpet, however, a bout of tuberculosis when he was seven prevented him from playing the trumpet again, and so he directed all his attention to the piano. His father, Daniel Peterson, a trumpeter and pianist, was one of his first music teachers. Young Oscar was persistent at practicing scales and classical études daily, meanwhile, he was captivated by traditional jazz and learned several ragtime pieces and especially the boogie-woogie. At that time Peterson was called the Brown Bomber of the Boogie-Woogie, at the age of nine Peterson played piano with control that impressed professional musicians. For many years his piano studies included four to six hours of practice daily, only in his later years did he decrease his daily practice to just one or two hours. In 1940, at fourteen years of age, Peterson won the music competition organized by the Canadian Broadcasting Corporation. After that victory, he dropped out of school and became a professional pianist working for a radio show. In his own words, Tatum scared me to death, Tatum was a model for Petersons musicianship during the 1940s and 1950s. Tatum and Peterson eventually became friends, although Peterson was always shy about being compared with Tatum. Peterson also credited his sister—a piano teacher in Montreal who also taught several other Canadian jazz musicians—with being an important teacher, building on Tatums pianism and aesthetics, Peterson also absorbed Tatums musical influences, notably from piano concertos by Sergei Rachmaninoff. An important step in Petersons career was joining impresario Norman Granzs labels, Granz discovered Peterson in a peculiar manner. As the impresario was being taken to Montreal airport by cab, Granz was so smitten by what he heard that he ordered the driver to take him to the club so that he could meet the pianist. In 1949, Granz introduced Peterson at a Carnegie Hall Jazz at the Philharmonic show in New York City, so was born a lasting relationship and Granz remained Petersons manager for most of his career. This was more than a relationship, Peterson praised Granz for standing up for him
34.
Keith Jarrett
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Keith Jarrett is an American jazz and classical music pianist. Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd, since the early 1970s he has enjoyed a great deal of success as a group leader and a solo performer in jazz, jazz fusion, and classical music. His improvisations draw from the traditions of jazz and other genres, especially Western classical music, gospel, blues, and ethnic folk music. In 2003, Jarrett received the Polar Music Prize, the first recipient not to share the prize with a co-recipient, in 2008, he was inducted into the Down Beat Hall of Fame in the magazines 73rd Annual Readers Poll. Keith Jarrett was born on May 8,1945, in Allentown, Pennsylvania, to a mother of Hungarian descent and he grew up in suburban Allentown with significant early exposure to music. Jarrett possesses absolute pitch, and he displayed musical talents as a young child. He began piano lessons just before his birthday, and at age five he appeared on a TV talent program hosted by the swing bandleader Paul Whiteman. Jarrett gave his first formal piano recital at the age of seven, playing works by composers including Mozart, Bach, Beethoven and Saint-Saëns, encouraged especially by his mother, Jarrett took intensive classical piano lessons with a series of teachers, including Eleanor Sokoloff of the Curtis Institute. In his teens, as a student at Emmaus High School in Emmaus, Pennsylvania, Jarrett learned jazz, in his early teens, he developed a strong interest in the contemporary jazz scene, a Dave Brubeck performance was an early inspiration. Following his graduation from Emmaus High School in 1963, Jarrett moved from Allentown to Boston where he attended the Berklee College of Music, after a year he moved to New York City where he played at the Village Vanguard. In New York, Art Blakey hired Jarrett to play with the Jazz Messengers, during a show with that group he was noticed by Jack DeJohnette who immediately recognized the unknown pianists talent and unstoppable flow of ideas. DeJohnette talked to Jarrett and soon recommended him to his own band leader, the Quartets tours across America and Europe, even to Moscow, made Jarrett a widely noticed musician in rock and jazz underground circles. It also laid the foundations of a musical bond with drummer Jack DeJohnette. The two would cooperate in many contexts during their later careers, in those years, Jarrett also began to record his own tracks as a leader of small informal groups, at first in a trio with Charlie Haden and Paul Motian. Not only does Jarrett barely touch the piano, but he plays all the instruments on what is essentially a folk-rock album. Another trio album with Haden and Motian, titled Somewhere Before, followed later in 1968, the Charles Lloyd Quartet with Jarrett, Ron McClure and DeJohnette came to an end in 1968, after the recording of Soundtrack, because of disputes over money as well as artistic differences. Jarrett was asked to join the Miles Davis group after the trumpeter heard him in a New York City club, after Corea left in 1970, Jarrett often played electric piano and organ simultaneously. Despite his growing dislike of amplified music and electric instruments within jazz, Jarrett continued with the out of respect for Davis
35.
The Beatles
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The Beatles were an English rock band, formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, the Beatles built their reputation playing clubs in Liverpool and Hamburg over a three-year period from 1960, with Stuart Sutcliffe initially serving as bass player. The core of Lennon, McCartney and Harrison went through a succession of drummers, including Pete Best, before asking Starr to join them. They acquired the nickname the Fab Four as Beatlemania grew in Britain the next year, from 1965 onwards, the Beatles produced increasingly innovative recordings, including the albums Rubber Soul, Revolver, Sgt. Peppers Lonely Hearts Club Band, The Beatles and Abbey Road, after their break-up in 1970, they each enjoyed successful musical careers of varying lengths. McCartney and Starr, the members, remain musically active. Lennon was shot and killed in December 1980, and Harrison died of cancer in November 2001. The Beatles are the band in history, with estimated sales of over 600 million records worldwide. They have had more number-one albums on the British charts and sold more singles in the UK than any other act, according to the RIAA, the Beatles are also the best-selling music artists in the United States, with 178 million certified units. In 2008, the group topped Billboard magazines list of the all-time most successful Hot 100 artists, as of 2016 and they have received ten Grammy Awards, an Academy Award for Best Original Song Score and fifteen Ivor Novello Awards. The group was inducted into the Rock and Roll Hall of Fame in 1988 and they were also collectively included in Time magazines compilation of the twentieth centurys 100 most influential people. In March 1957, John Lennon, then aged sixteen, formed a group with several friends from Quarry Bank school. They briefly called themselves the Blackjacks, before changing their name to the Quarrymen after discovering that a local group was already using the other name. Fifteen-year-old Paul McCartney joined as a rhythm guitarist shortly after he, in February 1958, McCartney invited his friend George Harrison to watch the band. The fourteen-year-old auditioned for Lennon, impressing him with his playing, after a month of Harrisons persistence, they enlisted him as their lead guitarist. By January 1959, Lennons Quarry Bank friends had left the group, the three guitarists, billing themselves at least three times as Johnny and the Moondogs, were playing rock and roll whenever they could find a drummer. They used the name until May, when they became the Silver Beetles, before undertaking a tour of Scotland as the backing group for pop singer. By early July, they had changed their name to the Silver Beatles, allan Williams, the Beatles unofficial manager, arranged a residency for them in Hamburg, but lacking a full-time drummer they auditioned and hired Pete Best in mid-August 1960
36.
Paul McCartney
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Sir James Paul McCartney, MBE is an English singer-songwriter, multi-instrumentalist, and composer. With John Lennon, George Harrison, and Ringo Starr, he gained fame with the rock band the Beatles, largely considered the most popular. His songwriting partnership with Lennon is the most celebrated of the post-war era, after the bands break-up, he pursued a solo career and formed the band Wings with his first wife, Linda, and Denny Laine. McCartney has been recognised as one of the most successful composers and performers of all time, More than 2,200 artists have covered his Beatles song Yesterday, more than any other copyrighted song in history. Wings 1977 release Mull of Kintyre is one of the all-time best-selling singles in the UK.5 million RIAA-certified units in the United States. McCartney, Lennon, Harrison and Starr all received The Most Excellent Order of the British Empire in 1965, McCartney has released an extensive catalogue of songs as a solo artist and has composed classical and electronic music. He has taken part in projects to promote international charities related to subjects as animal rights, seal hunting, land mines, vegetarianism, poverty. He has married three times and is the father of five children, James Paul McCartney was born on 18 June 1942 in Walton Hospital, Liverpool, England, where his mother, Mary Patricia, had qualified to practise as a nurse. His father, James McCartney, was absent from his sons birth due to his work as a firefighter during World War II. Paul has one brother, Michael. Though the children were baptised in their mothers Catholic faith, their father was a former Protestant turned agnostic, McCartney attended Stockton Wood Road Primary School in Speke from 1947 until 1949, when he transferred to Joseph Williams Junior School in Belle Vale because of overcrowding at Stockton. In 1953, with three others out of ninety examinees, he passed the 11-Plus exam, meaning he could attend the Liverpool Institute. In 1954, he met schoolmate George Harrison on the bus from his home in Speke. The two quickly became friends, McCartney later admitted, I tended to talk down to him because he was a year younger. McCartneys mother Mary was a midwife and the primary wage earner, her earnings enabled them to move into 20 Forthlin Road in Allerton. She rode a bicycle to her patients, McCartney described an early memory of her leaving at about three in the morning streets, on 31 October 1956, when McCartney was fourteen, his mother died of an embolism. McCartneys loss later became a point of connection with John Lennon, whose mother, McCartneys father was a trumpet player and pianist, who had led Jim Macs Jazz Band in the 1920s. He kept a piano in the front room, encouraged his sons to be musical and advised Paul to take piano lessons
37.
Rick Wakeman
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Richard Christopher Rick Wakeman is an English keyboardist, songwriter, television and radio presenter, and author. He is best known for being in the rock band Yes across five tenures between 1971 and 2004 and for his solo albums released in the 1970s. Born and raised in West London, Wakeman intended to be a concert pianist and his early sessions included playing on Space Oddity, among others, for David Bowie and songs by Juniors Eyes, T. Rex, Elton John, and Cat Stevens. He formed his band, The English Rock Ensemble, in 1974. He hosted the television show Gastank, and produced the first of many New-age, in 1988, he co-formed Anderson Bruford Wakeman Howe which led to his third Yes stint until 1992. He returned twice more between 1995 and 2004, during which he completed several solo projects and tours, including venturing into Christian music. Wakeman continues to perform concerts worldwide in various capacities, Wakemans discography includes over 90 solo albums that range from several musical styles. Wakeman has written three books, an autobiography and two memoirs, Wakeman will be inducted into the Rock and Roll Hall of Fame as a member of Yes in 2017. Wakeman was born on 18 May 1949 in the west London suburb of Perivale, the only child of Cyril Frank Wakeman and Mildred Helen Wakeman, the three lived in Wood End Gardens in nearby Northolt. Cyril played the piano in a band while he was in the army and worked at a building suppliers. Mildred worked at a removal firm, in 1954, Wakeman began at Wood End Infants School in Greenford followed by Drayton Manor Park Grammar School in Hanwell, in 1959. The family spent their holidays in Exmouth. When Wakeman turned seven, his father paid for weekly piano lessons with Dorothy Symes which lasted for eleven years, in 1960, Symes entered Wakeman in his first music competition and he went on to win many awards, certificates, and cups in contests held around London. Wakeman then took up the clarinet at age twelve and in his years, attended church and learned the church organ, became a Sunday school teacher. Wakeman described himself at school as a horror, I worked hard in the first year, then eased up. In 1963, at fourteen, Wakeman joined the Atlantic Blues, two years later, Wakeman passed his O Levels in English, maths, art and music, and went on to study music, art, and British constitution at A-level. In 1966, he joined the Concordes, later known as the Concorde Quartet, playing dance and pop songs at events with his cousin Alan on saxophone. Wakeman used the money earned from their gigs to buy a Pianet, the band were unpaid after Wakeman lost control of his car and drove across the headmasters rose garden at the front of the school, thereby forfeiting their performance fee to pay for the damage
38.
Journey to the Centre of the Earth (album)
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Journey to the Centre of the Earth is the second solo album from the English keyboardist Rick Wakeman, released on 3 May 1974 by A&M Records. The album is a recording of his second of two concerts on 18 January 1974 at the Royal Festival Hall in London. Wakeman performs with the London Symphony Orchestra, the English Chamber Choir, and a group of hand-picked musicians for his rock band, actor David Hemmings narrates the story. Journey to the Centre of the Earth was overall well received by music critics and it reached number one on the UK Albums Chart, the first album from A&M to do so, and peaked at number 3 on the Billboard 200 in the United States. It was certified gold by the Recording Industry Association of America in October 1974 for 500,000 copies sold in the United States, the album earned Wakeman a nomination for an Ivor Novello Award and a Grammy Award. In 1999, Wakeman released a sequel, Return to the Centre of the Earth and he re-recorded the album with additional parts previously removed from the original score due to time constraints, in 2012. Keyboardist Rick Wakeman had wanted to make an album that told a story with its music after his father took him to see Peter and the Wolf by Sergei Prokofiev. In November 1971, he started work on a record based on the 1864 science fiction novel Journey to the Centre of the Earth by Jules Verne. He put the project on hold until recording for his debut studio release and he performed at the rock opera concerts of The Whos Tommy that December which featured the London Symphony Orchestra, the English Chamber Choir, conductor David Measham and arranger Will Malone. Producing the shows was Lou Reizner, who learned about Wakemans idea for Journey, after Measham agreed to take part, Wakeman met with his manager Brian Lane to pitch the idea of performing Journey in concert with an orchestra, choir, and a rock band. As the cost of producing the album in a studio was too high, to help finance the project, Wakeman sold a few of his cars and mortgage up to the hilt to help finance the whole thing, which had cost around £40,000. Wakeman received help with the score from Malone and arranger Danny Beckerman, the original version had a running time of 55 minutes but it had to be reduced because of the time constraints of long-playing phonograh records. In selecting the musicians for his band, Wakeman chose people he used to play with at a pub in Buckinghamshire called the Valiant Trooper. Said Wakeman, Id played with them for fun quite a bit on Sunday evenings. I was playing keyboards with the lads when I thought, im sure they could do the concert and do it well. He picked vocalists Ashley Holt and Gary Pickford-Hopkins, drummer Barney James, guitarist Mike Egan, who had played on Six Wives, rounded out the band. A&M Records had wanted Wakeman to pick more well-known musicians, richard Harris was the first choice to narrate the story, but he was unavailable. Actor David Hemmings was then chosen, and agreed to take part, two sold-out concerts were held at 6 and 8 pm on 18 January 1974 at the Royal Festival Hall in London to 3,000 people each. Performing with Wakeman and his band was the London Symphony Orchestra, the music was recorded with Ronnie Lanes Mobile Studio which featured a 16-track studio fitted inside an Airstream trailer
39.
Nut (string instrument)
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A nut, on a stringed musical instrument, is a small piece of hard material that supports the strings at the end closest to the headstock or scroll. The nut marks one end of the length of each open string, sets the spacing of the strings across the neck. Along with the bridge, the nut defines the vibrating lengths of the open strings, the nut may be made of ebony, ivory, cow bone, brass, Corian or plastic, and is usually notched or grooved for the strings. The grooves are designed to lead the string from the fingerboard to the headstock or pegbox in a smooth curve, bowed string instruments in particular benefit from an application of soft pencil graphite in the notches of the nut, to preserve the delicate flat windings of their strings. The word may have come from the German Nut, meaning groove or slot, in French, the nut is known as a fr, sillet, which, like German, can also translate to mean saddle. The Italian term, capo tasto, is the origin of the capo, not all string instruments have nuts as described, The nuts on some instruments are notched deeply enough that they are just string spacers. These instruments use a zero fret—a fret at the beginning of the scale where a normal nut would be that provides the correct string clearance, the zero fret is often found on less expensive instruments, as it is easier to set up an instrument this way. However, a zero fret also makes the sound of the open string similar to fretted notes, a conventional nut can make open strings sound slightly different—and for this reason some high-end instruments use a zero fret. String slots in a nut without a zero fret must be cut to the depth to make string height correct. Strings that are too low at the nut can buzz against the frets, some fretted instruments have a compensated nut. This type of nut provides better intonation across the instrument, the principle, given that strings are different thicknesses and have different tensions, the temperament of each fret is not 100% accurate for an equal temperament instrument. This is especially evident on the first few frets of an electric guitar, many guitar players notice how open position chords never sound in tune with each other. A compensated nut aims to correct this, by staggering the starting position of each string according to thickness, while not a complete solution such as a true temperament fretboard, there is a noticeable difference in tuning within chords. Many guitar companies, such as Music Man, and ESP include compensated nuts as standard on most of their instruments, another type is a locking nut. This nut—usually used in conjunction with a vibrato system such as a Floyd Rose or Kahler—clamps the strings against the nut. This improves tuning stability when using the vibrato bar, a drawback however, is that the locking nut must be loosened using an Allen wrench to tune outside the range of the fine tuners on the bridge. The erhu does not use a hard nut to define the length of the open string, but rather a qiān jin, a loop of string, or, less commonly. Some guitars have a rolling nut, in this design, made popular by the Fender company, the strings sit on roller bearings instead of nut slots
40.
Bebung
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Bebung may also refer to a musical composition by Michael Jarrell. Bebung is a type of vibrato executed on the clavichord, when a clavichord key is pressed, a small metal tangent strikes a string and remains in contact with it for as long as the key is held down. By applying a pressure up and down the key with the finger. While the vibrato on fretless string instruments such as the violin typically oscillates in pitch both above and below the note, clavichord bebung can only produce pitches above the note. Sheet music does not often explicitly indicate Bebung, composers assumed that, like other ornaments, performers would apply bebung at their discretion. Where sheet music does indicate bebung, it appears as a series of dots above or below a note, with the number of dots indicating the number of finger movements
41.
Namur
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Namur is a city and municipality in Wallonia, Belgium. It is both the capital of the province of Namur and of Wallonia, hosting the Walloon Parliament, Namur stands at the confluence of the Sambre and Meuse rivers and straddles three different regions – Hesbaye to the north, Condroz to the south-east, and Entre-Sambre-et-Meuse to the south-west. The city of Charleroi is located to the west, the town began as an important trading settlement in Celtic times, straddling east-west and north-south trade routes across the Ardennes. The Romans established a presence after Julius Caesar defeated the local Aduatuci tribe, Namur came to prominence during the early Middle Ages when the Merovingians built a castle or citadel on the rocky spur overlooking the town at the confluence of the two rivers. In the 10th century, it became a county in its own right, in 1262, Namur fell into the hands of the Count of Flanders, and was purchased by Duke Philip the Good of Burgundy in 1421. After Namur became part of the Spanish Netherlands in the 1640s, louis XIV of France invaded in 1692, capturing the town and annexing it to France. His renowned military engineer Vauban rebuilt the citadel, french control was short-lived, as William III of Orange-Nassau captured Namur only three years later in 1695 during the War of the Grand Alliance. Thus, although the Austrians ruled the town, the citadel was controlled by the Dutch and it was rebuilt again under their tenure. France invaded the region again in 1794, annexing Namur and imposing a repressive regime, after the defeat of Napoleon in 1815, the Congress of Vienna incorporated what is now Belgium into the United Kingdom of the Netherlands. Belgium broke away from the Netherlands in 1830 following the Belgian Revolution, the citadel was rebuilt yet again in 1887. Namur was a target of the German invasion of Belgium in 1914. On August 21,1914, the Germans bombarded the town of Namur without warning, despite being billed as virtually impregnable, the citadel fell after only three days fighting and the town was occupied by the Germans for the rest of the war. Namur fared little better in World War II, it was in the front lines of both the Battle of the Ardennes in 1940 and the Battle of the Bulge in 1944, the town suffered heavy damage in both wars. Namur continued to host the Belgian Armys paratroopers until their departure in 1977, after the creation of the Walloon Region, Namur was chosen as the seat of its executive and parliament. In 1986, Namur was officially declared capital of Wallonia and its position as regional capital was confirmed by the Parliament of Wallonia in 2010. Namur is an important commercial and industrial centre, located on the Walloon industrial backbone and it produces machinery, leather goods, metals and porcelain. Its railway station is also an important junction situated on the line between Brussels and Luxembourg City, and the east-west line between Lille and Liège. River barge traffic passes through the middle of the city along the Meuse, Namur has taken on a new role as the capital of the federal region of Wallonia
42.
Musical tuning
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In music, there are two common meanings for tuning, Tuning practice, the act of tuning an instrument or voice. Tuning systems, the systems of pitches used to tune an instrument. Tuning is the process of adjusting the pitch of one or many tones from musical instruments to establish typical intervals between these tones, Tuning is usually based on a fixed reference, such as A =440 Hz. Out of tune refers to a pitch/tone that is too high or too low in relation to a given reference pitch. While an instrument might be in relative to its own range of notes. Some instruments become out of tune with damage or time and must be readjusted or repaired, different methods of sound production require different methods of adjustment, Tuning to a pitch with ones voice is called matching pitch and is the most basic skill learned in ear training. Turning pegs to increase or decrease the tension on strings so as to control the pitch, instruments such as the harp, piano, and harpsichord require a wrench to turn the tuning pegs, while others such as the violin can be tuned manually. Modifying the length or width of the tube of an instrument, brass instrument, pipe, bell. The sounds of instruments such as cymbals are inharmonic—they have irregular overtones not conforming to the harmonic series. Tuning may be done aurally by sounding two pitches and adjusting one of them to match or relate to the other, a tuning fork or electronic tuning device may be used as a reference pitch, though in ensemble rehearsals often a piano is used. Symphony orchestras and concert bands tend to tune to an A or a B♭, respectively, interference beats are used to objectively measure the accuracy of tuning. As the two approach a harmonic relationship, the frequency of beating decreases. When tuning a unison or octave it is desired to reduce the beating frequency until it cannot be detected, for other intervals, this is dependent on the tuning system being used. Harmonics may be used to facilitate tuning of strings that are not themselves tuned to the unison, for example, lightly touching the highest string of a cello at the middle while bowing produces the same pitch as doing the same a third of the way down its second-highest string. The resulting unison is more easily and quickly judged than the quality of the fifth between the fundamentals of the two strings. In music, the open string refers to the fundamental note of the unstopped. The strings of a guitar are tuned to fourths, as are the strings of the bass guitar. Violin, viola, and cello strings are tuned to fifths, however, non-standard tunings exist to change the sound of the instrument or create other playing options
43.
Chamber music
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Chamber music is a form of classical music that is composed for a small group of instruments—traditionally a group that could fit in a palace chamber or a large room. Most broadly, it includes any art music that is performed by a number of performers. However, by convention, it usually does not include solo instrument performances, because of its intimate nature, chamber music has been described as the music of friends. Playing chamber music requires special skills, both musical and social, that differ from the skills required for playing solo or symphonic works, Johann Wolfgang von Goethe described chamber music as four rational people conversing. The analogy to conversation recurs in descriptions and analyses of chamber music compositions, from its earliest beginnings in the Medieval period to the present, chamber music has been a reflection of the changes in the technology and the society that produced it. During the Middle Ages and the early Renaissance, instruments were used primarily as accompaniment for singers, String players would play along with the melody line sung by the singer. There were also purely instrumental ensembles, often of stringed precursors of the violin family, some analysts consider the origin of classical instrumental ensembles to be the sonata da camera and the sonata da chiesa. These were compositions for one to five or more instruments, the sonata da camera was a suite of slow and fast movements, interspersed with dance tunes, the sonata da chiesa was the same, but the dances were omitted. These forms gradually developed into the trio sonata of the Baroque – two treble instruments and an instrument, often with a keyboard or other chording instrument filling in the harmony. Both the bass instrument and the instrument would play the basso continuo part. During the Baroque period, chamber music as a genre was not clearly defined, often, works could be played on any variety of instruments, in orchestral or chamber ensembles. The Art of Fugue by Johann Sebastian Bach, for example, sometimes composers mixed movements for chamber ensembles with orchestral movements. Telemanns Tafelmusik, for example, has five sets of movements for various combinations of instruments, Baroque chamber music was often contrapuntal, that is, each instrument played the same melodic materials at different times, creating a complex, interwoven fabric of sound. Because each instrument was playing essentially the same melodies, all the instruments were equal, in the trio sonata, there is often no ascendent or solo instrument, but all three instruments share equal importance. In the second half of the 18th century, tastes began to change, many preferred a new, lighter Galant style. And clearly defined melody and bass to the complexities of counterpoint, now a new custom arose that gave birth to a new form of chamber music, the serenade. Patrons invited street musicians to play evening concerts below the balconies of their homes, their friends, patrons and musicians commissioned composers to write suitable suites of dances and tunes, for groups of two to five or six players. These works were called serenades, nocturnes, divertimenti, or cassations, the young Joseph Haydn was commissioned to write several of these
