An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
A remix is a piece of media, altered from its original state by adding, and/or changing pieces of the item. A song, piece of artwork, video, or photograph can all be remixes; the only characteristic of a remix is that it appropriates and changes other materials to create something new. Most remixes are a subset of audio mixing in music and song recordings. Songs may be remixed for a variety of reasons: to adapt or revise a song for radio or nightclub play to create a stereo or surround sound version of a song where none was available to improve the fidelity of an older song for which the original master has been lost or degraded to alter a song to suit a specific music genre or radio format to use some of the same materials, allowing the song to reach a different audience to alter a song for artistic purposes. To provide additional versions of a song for use as bonus tracks or for a B-side, for example, in times when a CD single might carry a total of 4 tracks to create a connection between a smaller artist and a more successful one, as was the case with Fatboy Slim's remix of "Brimful of Asha" by Cornershop to improve the first or demo mix of the song to ensure a professional product.
To provide an alternative version of a song to improve a song from its original stateRemixes should not be confused with edits, which involve shortening a final stereo master for marketing or broadcasting purposes. Another distinction should be made between a remix, which recombines audio pieces from a recording to create an altered version of a song, a cover: a re-recording of someone else's song like Mike D's remix of Moby's "Natural Blues". While audio mixing is one of the most popular and recognized forms of remixing, this is not the only media form, remixed in numerous examples. Literature, film and social systems can all be argued as a form of remix Since the beginnings of recorded sound in the late 19th century, technology has enabled people to rearrange the normal listening experience. With the advent of editable magnetic tape in the 1940s and 1950s and the subsequent development of multitrack recording, such alterations became more common. In those decades the experimental genre of musique concrète used tape manipulation to create sound compositions.
Less artistically lofty edits produced medleys or novelty recordings of various types. Modern remixing had its roots in the dance hall culture of late-1960s/early-1970s Jamaica; the fluid evolution of music that encompassed ska, rocksteady and dub was embraced by local music mixers who deconstructed and rebuilt tracks to suit the tastes of their audience. Producers and engineers like Ruddy Redwood, King Tubby and Lee "Scratch" Perry popularized stripped-down instrumental mixes of reggae tunes. At first they dropped the vocal tracks, but soon more sophisticated effects were created, dropping separate instrumental tracks in and out of the mix and repeating hooks, adding various effects like echo and delay; the German krautrock band Neu! used other effects on side two of their album Neu! 2 by manipulating their released single Super/Neuschnee multiple ways, utilizing playback at different turntable speeds or mangling by using of a cassette recorder. From the mid-1970s, DJs in early discothèques were performing similar tricks with disco songs to get dancers on the floor and keep them there.
One noteworthy figure was Tom Moulton. Though not a DJ, Moulton had begun his career by making a homemade mix tape for a Fire Island dance club in the late 1960s, his tapes became popular and he came to the attention of the music industry in New York City. At first Moulton was called upon to improve the aesthetics of dance-oriented recordings before release, he moved from being a "fix it" man on pop records to specializing in remixes for the dance floor. Along the way, he invented the 12-inch single vinyl format. Walter Gibbons provided the dance version of the first commercial 12-inch single. Contrary to popular belief, Gibbons did not mix the record. In fact his version was a re-edit of the original mix. Moulton and their contemporaries at Salsoul Records proved to be the most influential group of remixers for the disco era; the Salsoul catalog is seen as being the "canon" for the disco mixer's art form. Pettibone is among a small number of remixers whose work transitioned from the disco to the House era.
His contemporaries included François Kevorkian. Contemporaneously to disco in the mid-1970s, the dub and disco remix cultures met through Jamaican immigrants to the Bronx, energizing both and helping to create hip-hop music. Key figures included Grandmaster Flash. Cutting and scratching became part of the culture, creating what Slate magazine called "real-time, live-action collage." One of the first mainstream successes of this style of remix was the 1983 track Rockit by Herbie Hancock, as remixed by Grand Mixer D. ST. Malcolm McLaren and the creative team behind ZTT Records would feature the "cut up" style of hip hop on such records as "Duck Rock". Early pop remixes were simple.
Rolf Ellmer known by the names Jam El Mar, Trancy Spacer and Jam, is a classically trained musician and composer and has become one of Germany's most well known Techno and Trance producers. Together with Markus Löffel from the German music scene, he has recorded under several monikers such as Jam & Spoon, Tokyo Ghetto Pussy and Storm, he was a member of the group Dance 2 Trance, along with Dag Lerner, which had success all over the world and he is considered to be one of the pioneers of trance music. A string of hits under Jam & Spoon include "Right in The Night", "Stella", "Kaleidoscope Skies", "How Stella Got Her Groove Back", "Set me Free". Rolf Ellmer has worked as a producer and remixer for other artists such as Deep Forest, Moby, Frankie Goes To Hollywood. Furthermore recognized for being a gifted and successful DJ
Germans are a Germanic ethnic group native to Central Europe, who share a common German ancestry and history. German is the shared mother tongue of a substantial majority of ethnic Germans; the English term Germans has referred to the German-speaking population of the Holy Roman Empire since the Late Middle Ages. Since the outbreak of the Protestant Reformation within the Holy Roman Empire, German society has been characterized by a Catholic-Protestant divide. Of 100 million native speakers of German in the world 80 million consider themselves Germans. There are an additional 80 million people of German ancestry in the United States, Argentina, South Africa, the post-Soviet states, France, each accounting for at least 1 million. Thus, the total number of Germans lies somewhere between 100 and more than 150 million, depending on the criteria applied. Today, people from countries with German-speaking majorities most subscribe to their own national identities and may or may not self-identify as ethnically German.
The German term Deutsche originates from the Old High German word diutisc, referring to the Germanic "language of the people". It is not clear how if at all, the word was used as an ethnonym in Old High German. Used as a noun, ein diutscher in the sense of "a German" emerges in Middle High German, attested from the second half of the 12th century; the Old French term alemans is taken from the name of the Alamanni. It was loaned into Middle English as almains in the early 14th century; the word Dutch is attested in English from the 14th century, denoting continental West Germanic dialects and their speakers. While in most Romance languages the Germans have been named from the Alamanni, the Old Norse and Estonian names for the Germans were taken from that of the Saxons. In Slavic languages, the Germans were given the name of němьci with a meaning "foreigner, one who does not speak "; the English term Germans is only attested from the mid-16th century, based on the classical Latin term Germani used by Julius Caesar and Tacitus.
It replaced Dutch and Almains, the latter becoming obsolete by the early 18th century. The Germans are a Germanic people. Part of the Holy Roman Empire, around 300 independent German states emerged during its decline after the Peace of Westphalia in 1648 ending the Thirty Years War; these states formed into modern Germany in the 19th century. The concept of a German ethnicity is linked to Germanic tribes of antiquity in central Europe; the early Germans originated on the North German Plain as well as southern Scandinavia. By the 2nd century BC, the number of Germans was increasing and they began expanding into eastern Europe and southward into Celtic territory. During antiquity these Germanic tribes remained separate from each other and did not have writing systems at that time. In the European Iron Age the area, now Germany was divided into the La Tène horizon in Southern Germany and the Jastorf culture in Northern Germany. By 55 BC, the Germans had reached the Danube river and had either assimilated or otherwise driven out the Celts who had lived there, had spread west into what is now Belgium and France.
Conflict between the Germanic tribes and the forces of Rome under Julius Caesar forced major Germanic tribes to retreat to the east bank of the Rhine. Roman emperor Augustus in 12 BC ordered the conquest of the Germans, but the catastrophic Roman defeat at the Battle of the Teutoburg Forest resulted in the Roman Empire abandoning its plans to conquer Germania. Germanic peoples in Roman territory were culturally Romanized, although much of Germania remained free of direct Roman rule, Rome influenced the development of German society the adoption of Christianity by the Germans who obtained it from the Romans. In Roman-held territories with Germanic populations, the Germanic and Roman peoples intermarried, Roman and Christian traditions intermingled; the adoption of Christianity would become a major influence in the development of a common German identity. The first major public figure to speak of a German people in general, was the Roman figure Tacitus in his work Germania around 100 AD; however an actual united German identity and ethnicity did not exist and it would take centuries of development of German culture until the concept of a German ethnicity began to become a popular identity.
The Germanic peoples during the Migrations Period came into contact with other peoples. The Limes Germanicus was breached in AD 260. Migrating Germanic tribes commingled with the local Gallo-Roman populations in what is now Swabia and Bavaria; the arrival of the Huns in Europe resulted in Hun conquest of large parts of Eastern Europe, the Huns were allies of the Roman Empire who fought against Germanic tribes, but the Huns cooperated with the Germanic tribe of the Ostrogoths, large numbers of Germans lived within the lands of the Hunnic Empire of
Trance is a genre of electronic music that emerged from the British new-age music scene and the early 1990s German techno and hardcore scenes. At the same time trance music was developing in Europe. Trance music is characterized by a tempo lying between 110–150 bpm, repeating melodic phrases, a musical form that distinctly builds tension and elements throughout a track culminating in 1 to 2 "peaks" or "drops". Although trance is a genre of its own, it liberally incorporates influences from other musical styles such as techno, pop, chill-out, classical music, tech house and film music. A trance is a state of hypnotism and heightened consciousness; this is portrayed in trance music by the mixing of layers with distinctly foreshadowed build-up and release. A common characteristic of trance music is a mid-song climax followed by a soft breakdown disposing of beats and percussion leaving the melody or atmospherics to stand alone for an extended period before building up again. Trance tracks are lengthy to allow for such progression and have sufficiently sparse opening and closing sections to facilitate mixing by DJs.
Trance is instrumental, although vocals can be mixed in: they are performed by mezzo-soprano to soprano female soloists without a traditional verse/chorus structure. Structured vocal form in trance music forms the basis of the vocal trance subgenre, described as "grand and operatic" and "ethereal female leads floating amongst the synths". However, male singers, such as Jonathan Mendelsohn, are featured; the "Trance" name may refer to an induced emotional feeling, euphoria, chills, or uplifting rush that listeners claim to experience, or it may indicate an actual trance-like state the earliest forms of this music attempted to emulate in the 1990s before the genre's focus changed. Another possible antecedent is Yuzo Koshiro and Motohiro Kawashima's electronic soundtracks for the Streets of Rage series of video games from 1991 to 1994, it was promoted by the well-known UK club-night "Megatripolis" whose scene catapulted it to international fame. Examples of early trance releases include but are not limited to KLF's 1988 release'What Time Is Love', German duo Jam & Spoon's 1992 12" Single remix of the 1990 song "The Age Of Love", German duo Dance 2 Trance's 1990 track "We Came in Peace".
The writer Bom Coen traces the roots of trance to Paul van Dyk's 1993 remix of Humate's "Love Stimulation". However, Van Dyk's trance origins can be traced further back to his work with Visions of Shiva, being the first tracks he released In subsequent years, one genre, vocal trance, arose as the combination of progressive elements and pop music, the development of another subgenre, epic trance, finds some of its origins in classical music, with film music being influential. Trance was arguably at its commercial peak in the second part of 1990s and early 2000s. Classic trance employs a 4/4 time signature, a tempo of 125 to 150 BPM, 32 beat phrases and is somewhat faster than house music. A kick drum is placed on every downbeat and a regular open hi-hat is placed on the upbeat or every 1/8th division of the bar. Extra percussive elements are added, major transitions, builds or climaxes are foreshadowed by lengthy "snare rolls"—a quick succession of snare drum hits that build in velocity and volume towards the end of a measure or phrase.
Rapid arpeggios and minor keys are common features of Trance, the latter being universal. Trance tracks use one central "hook", or melody, which runs through the entire song, repeating at intervals anywhere between 2 beats and 32 bars, in addition to harmonies and motifs in different timbres from the central melody. Instruments are removed every 4, 8, 16, or 32 bars. In the section before the breakdown, the lead motif is introduced in a sliced up and simplified form, to give the audience a "taste" of what they will hear after the breakdown; the final climax is "a culmination of the first part of the track mixed with the main melodic reprise". As is the case with many dance music tracks, trance tracks are built with sparser intros and outros in order to enable DJs to blend them together immediately. More recent forms of trance music incorporate other styles and elements of electronic music such as electro and progressive house into its production, it emphasizes harsher basslines and drum beats which decrease the importance of offbeats and focus on a four on the floor stylistic house drum pattern.
The bpm of more recent styles tends to be on par with house music at 120 to 135 beats per minute. However, unlike house music, recent forms of trance stay true to their melodic breakdowns and longer transitions. Trance music is broken into a number of subgenres including acid trance, classic trance, hard trance, progressive trance, uplifting trance. Uplifting trance is known as "anthem trance", "epic trance", "commercial trance", "stadium trance", or "euphoric trance", has been influenced by classical music in the 1990s and 2000s by leading artists such as Ferry Corsten, Armin Van Buuren, Tiësto, Rank 1 and at present with the development of the subgenre "orchestral uplifting trance" or "uplifting trance with symphonic orchestra" by such artists as Andy Blueman, Ciro Visone, Arctic Moon, Sergey Nevone & Simon O'Shine, among others. Related to Uplifting Trance is Euro-trance, which has become a general term for a wide variety of commercialized European dance music. Several subgenres are crossovers with other major genres of electronic music.
For instance, Tech trance is a mixture of trance and tech
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
UK Singles Chart
The UK Singles Chart is compiled by the Official Charts Company, on behalf of the British record industry, listing the top-selling singles in the United Kingdom, based upon physical sales, paid-for downloads and streaming. The Official Chart, broadcast on BBC Radio 1 and MTV, is the UK music industry's recognised official measure of singles and albums popularity because it is the most comprehensive research panel of its kind, today surveying over 15,000 retailers and digital services daily, capturing 99.9% of all singles consumed in Britain across the week, over 98% of albums. To be eligible for the chart, a single is defined by the Official Charts Company as either a'single bundle' having no more than four tracks and not lasting longer than 25 minutes or one digital audio track not longer than 15 minutes with a minimum sale price of 40 pence; the rules have changed many times as technology has developed, the most notable being the inclusion of digital downloads in 2005 and streaming in July 2014.
The OCC website contains the Top 100 chart. Some media outlets only list the Top 75 of this list; the chart week runs from 00:01 Friday to midnight Thursday, with most UK physical and digital singles being released on Fridays. From 3 August 1969 until 5 July 2015, the chart week ran from 00:01 Sunday to midnight Saturday; the Top 40 chart is first issued on Friday afternoons by BBC Radio 1 as The Official Chart from 16:00 to 17:45, before the full Official Singles Chart Top 100 is posted on the Official Charts Company's website. A rival chart show, The Vodafone Big Top 40, is based on iTunes downloads and commercial radio airplay across the Global Radio network only, is broadcast on Sunday afternoons from 16:00 to 19:00 on 145 local commercial radio stations across the United Kingdom; the Big Top 40 is not regarded by the industry or wider media. There is a show called "Official KISS Top 40", counting down 40 most played songs on Kiss FM every Sunday 17:00 to 19:00; the UK Singles Chart began to be compiled in 1952.
According to the Official Charts Company's statistics, as of 1 July 2012, 1,200 singles have topped the UK Singles Chart. The precise number of chart-toppers is debatable due to the profusion of competing charts from the 1950s to the 1980s, but the usual list used is that endorsed by the Guinness Book of British Hit Singles and subsequently adopted by the Official Charts Company; the company regards a selected period of the New Musical Express chart and the Record Retailer chart from 1960 to 1969 as predecessors for the period prior to 11 February 1969, where multiples of competing charts coexisted side by side. For example, the BBC compiled its own chart based on an average of the music papers of the time; the first number one on the UK Singles Chart was "Here in My Heart" by Al Martino for the week ending date 14 November 1952. As of the week ending date 18 April 2019, the UK Singles Chart has had 1352 different number-one hits; the current number-one single is "Someone You Loved" by Lewis Capaldi.
Before the compilation of sales of records, the music market measured a song's popularity by sales of sheet music. The idea of compiling a chart based on sales originated in the United States, where the music-trade paper Billboard compiled the first chart incorporating sales figures on 20 July 1940. Record charts in the UK began in 1952, when Percy Dickins of the New Musical Express gathered a pool of 52 stores willing to report sales figures. For the first British chart Dickins telephoned 20 shops, asking for a list of the 10 best-selling songs; these results were aggregated into a Top 12 chart published in NME on 14 November 1952, with Al Martino's "Here in My Heart" awarded the number-one position. The chart became a successful feature of the periodical. Record Mirror compiled its own Top 10 chart for 22 January 1955; the NME chart was based on a telephone poll. Both charts expanded in size, with Mirror's becoming a Top 20 in October 1955 and NME's becoming a Top 30 in April 1956. Another rival publication, Melody Maker, began compiling its own chart.
It was the first chart to include Northern Ireland in its sample. Record Mirror began running a Top 5 album chart in July 1956. In March 1960, Record Retailer had a Top 50 singles chart. Although NME had the largest circulation of charts in the 1960s and was followed, in March 1962 Record Mirror stopped compiling its own chart and published Record Retailer's instead. Retailer began independent auditing in January 1963, has been used by the UK Singles Chart as the source for number-ones since the week ending 12 March 1960; the choice of Record Retailer as the source has been criticised. With available lists of which record shops were sampled to compile the charts some shops were subjected to "hyping" but, with Record Retailer being less followed than some charts, it was subject to less hyping. Additionally, Retailer was set up by independent record shops and had no funding or affiliation with record companies. However, it had a smaller sample size than some ri