1.
Opera
–
Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
Opera
–
The performers from the Atlanta Opera sing the finale of
Lucia di Lammermoor. The
opera orchestra is visible in the lowered area in front of the stage.
Opera
–
The
Palais Garnier of the
Paris Opéra, one of the world's most famous
opera houses.
Opera
–
Claudio Monteverdi
Opera
–
George Frideric Handel, 1733
2.
Theatre
–
The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence, the specific place of the performance is also named by the word theatre as derived from the Ancient Greek θέατρον, itself from θεάομαι. Modern theatre, broadly defined, includes performances of plays and musical theatre, there are connections between theatre and the art forms of ballet, opera and various other forms. The city-state of Athens is where western theatre originated, participation in the city-states many festivals—and mandatory attendance at the City Dionysia as an audience member in particular—was an important part of citizenship. The Greeks also developed the concepts of dramatic criticism and theatre architecture, Actors were either amateur or at best semi-professional. The theatre of ancient Greece consisted of three types of drama, tragedy, comedy, and the satyr play, the origins of theatre in ancient Greece, according to Aristotle, the first theoretician of theatre, are to be found in the festivals that honoured Dionysus. The performances were given in semi-circular auditoria cut into hillsides, capable of seating 10, the stage consisted of a dancing floor, dressing room and scene-building area. Since the words were the most important part, good acoustics, the actors wore masks appropriate to the characters they represented, and each might play several parts. Athenian tragedy—the oldest surviving form of tragedy—is a type of dance-drama that formed an important part of the culture of the city-state. Having emerged sometime during the 6th century BCE, it flowered during the 5th century BCE, no tragedies from the 6th century BCE and only 32 of the more than a thousand that were performed in during the 5th century BCE have survived. We have complete texts extant by Aeschylus, Sophocles, and Euripides, the origins of tragedy remain obscure, though by the 5th century BCE it was institution alised in competitions held as part of festivities celebrating Dionysus. As contestants in the City Dionysias competition playwrights were required to present a tetralogy of plays, the performance of tragedies at the City Dionysia may have begun as early as 534 BCE, official records begin from 501 BCE, when the satyr play was introduced. More than 130 years later, the philosopher Aristotle analysed 5th-century Athenian tragedy in the oldest surviving work of dramatic theory—his Poetics, Athenian comedy is conventionally divided into three periods, Old Comedy, Middle Comedy, and New Comedy. Old Comedy survives today largely in the form of the surviving plays of Aristophanes. New Comedy is known primarily from the papyrus fragments of Menander. Aristotle defined comedy as a representation of people that involves some kind of blunder or ugliness that does not cause pain or disaster. In addition to the categories of comedy and tragedy at the City Dionysia, finding its origins in rural, agricultural rituals dedicated to Dionysus, the satyr play eventually found its way to Athens in its most well-known form. Satyrs themselves were tied to the god Dionysus as his loyal companions, often engaging in drunken revelry
Theatre
–
Sarah Bernhardt as
Hamlet, in 1899
Theatre
–
A master (right) and his slave (left) in a
Greek phlyax play, circa 350/340 BCE
Theatre
–
Mosaic depicting masked actors in a play: two women consult a "witch"
Theatre
–
Performer playing
Sugriva in the
Koodiyattam form of
Sanskrit theatre.
3.
Film
–
A film, also called a movie, motion picture, theatrical film or photoplay, is a series of still images which, when shown on a screen, creates the illusion of moving images due to the phi phenomenon. This optical illusion causes the audience to perceive continuous motion between separate objects viewed rapidly in succession, the process of filmmaking is both an art and an industry. The word cinema, short for cinematography, is used to refer to the industry of films. Films were originally recorded onto plastic film through a photochemical process, the adoption of CGI-based special effects led to the use of digital intermediates. Most contemporary films are now fully digital through the process of production, distribution. Films recorded in a form traditionally included an analogous optical soundtrack. It runs along a portion of the film exclusively reserved for it and is not projected, Films are cultural artifacts created by specific cultures. They reflect those cultures, and, in turn, affect them, Film is considered to be an important art form, a source of popular entertainment, and a powerful medium for educating—or indoctrinating—citizens. The visual basis of film gives it a power of communication. Some films have become popular worldwide attractions by using dubbing or subtitles to translate the dialog into the language of the viewer, some have criticized the film industrys glorification of violence and its potentially negative treatment of women. The individual images that make up a film are called frames, the perception of motion is due to a psychological effect called phi phenomenon. The name film originates from the fact that film has historically been the medium for recording and displaying motion pictures. Many other terms exist for a motion picture, including picture, picture show, moving picture, photoplay. The most common term in the United States is movie, while in Europe film is preferred. Terms for the field, in general, include the big screen, the screen, the movies, and cinema. In early years, the sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film, scripts, sets, costumes, production, direction, actors, audiences, storyboards, much terminology later used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images, the magic lantern, probably created by Christiaan Huygens in the 1650s, could be used to project animation, which was achieved by various types of mechanical slides
Film
–
A vintage Fox movietone motion picture camera
Film
–
The
Berlin Wintergarten theatre was the site of the first
cinema ever, with a short film presented by the
Skladanowsky brothers on 1 November 1895. The image depicts a July 1940
variety show.
Film
–
A shot from
Georges Méliès Le Voyage dans la Lune (A Trip to the Moon) (1902), an early narrative film.
Film
–
This
16 mm spring-wound
Bolex "H16" Reflex camera is a popular entry level camera used in
film schools.
4.
Popular music
–
Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training and it stands in contrast to both art music and traditional or folk music. Art music was historically disseminated through the performances of music, although since the beginning of the recording industry. Traditional music forms such as blues songs or hymns were passed along orally, or to smaller. The original application of the term is to music of the 1880s Tin Pan Alley period in the United States, although popular music sometimes is known as pop music, the two terms are not interchangeable. Popular music songs and pieces typically have easily singable melodies, in the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have an appeal within the culture of their origin. Through the mixture of genres, new popular music forms are created to reflect the ideals of a global culture. The examples of Africa, Indonesia and the Middle East show how Western pop music styles can blend with local traditions to create new hybrid styles. Sales of recordings or sheet music are one measure, middleton and Manuel note that this definition has problems because multiple listens or plays of the same song or piece are not counted. Manuel states that one criticism of music is that it is produced by large media conglomerates and passively consumed by the public. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, moreover, understandings of popular music have changed with time. A societys popular music reflects the ideals that are prevalent at the time it is performed or published, david Riesman states that the youth audiences of popular music fit into either a majority group or a subculture. The majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values and this allows youth to choose what music they identify with, which gives them power as consumers to control the market of popular music. Form in popular music is most often sectional, the most common sections being verse, chorus or refrain, other common forms include thirty-two-bar form, chorus form *, and twelve-bar blues. Popular music songs are rarely composed using different music for each stanza of the lyrics, the verse and chorus are considered the primary elements. Each verse usually has the melody, but the lyrics change for most verses. The chorus usually has a phrase and a key lyrical line which is repeated
Popular music
–
The 19th century singer
Jenny Lind depicted performing
La sonnambula
5.
Prima donna
–
In opera or commedia dellarte, a prima donna is the leading female singer in the company, the person to whom the prime roles would be given. The prima donna was normally, but not necessarily, a soprano, the corresponding term for the male lead is primo uomo. Prime donne often had grand off-stage personalities and were seen as demanding of their colleagues, in nineteenth-century Italy, the leading woman in an opera or Commedia dellarte company was known as the prima donna, literally the first lady. This woman, usually the principal soprano of the company, would typically perform leading roles, famous opera prime donne have often caused opera enthusiasts to divide into opposing clubs supporting one singer over another. The rivalry between the fans of Maria Callas and Renata Tebaldi, for example, was one of the most famous, the designation prima donna assoluta is occasionally applied to a prima donna of outstanding excellence. It has also used to describe the creators of heroic coloratura roles in the first half of the 19th century. Convenienze Diva Rupert Christiansen, Prima Donna, A History, Viking,1985
Prima donna
–
Prima Donna
clipper ship card
6.
Italian language
–
By most measures, Italian, together with Sardinian, is the closest to Latin of the Romance languages. Italian is a language in Italy, Switzerland, San Marino, Vatican City. Italian is spoken by minorities in places such as France, Montenegro, Bosnia & Herzegovina, Crimea and Tunisia and by large expatriate communities in the Americas. Many speakers are native bilinguals of both standardized Italian and other regional languages, Italian is the fourth most studied language in the world. Italian is a major European language, being one of the languages of the Organisation for Security and Cooperation in Europe. It is the third most widely spoken first language in the European Union with 65 million native speakers, including Italian speakers in non-EU European countries and on other continents, the total number of speakers is around 85 million. Italian is the working language of the Holy See, serving as the lingua franca in the Roman Catholic hierarchy as well as the official language of the Sovereign Military Order of Malta. Italian is known as the language of music because of its use in musical terminology and its influence is also widespread in the arts and in the luxury goods market. Italian has been reported as the fourth or fifth most frequently taught foreign language in the world, Italian was adopted by the state after the Unification of Italy, having previously been a literary language based on Tuscan as spoken mostly by the upper class of Florentine society. Its development was influenced by other Italian languages and to some minor extent. Its vowels are the second-closest to Latin after Sardinian, unlike most other Romance languages, Italian retains Latins contrast between short and long consonants. As in most Romance languages, stress is distinctive, however, Italian as a language used in Italy and some surrounding regions has a longer history. What would come to be thought of as Italian was first formalized in the early 14th century through the works of Tuscan writer Dante Alighieri, written in his native Florentine. Dante is still credited with standardizing the Italian language, and thus the dialect of Florence became the basis for what would become the language of Italy. Italian was also one of the recognised languages in the Austro-Hungarian Empire. Italy has always had a dialect for each city, because the cities. Those dialects now have considerable variety, as Tuscan-derived Italian came to be used throughout Italy, features of local speech were naturally adopted, producing various versions of Regional Italian. Even in the case of Northern Italian languages, however, scholars are not to overstate the effects of outsiders on the natural indigenous developments of the languages
Italian language
–
Dante Alighieri (above) and
Petrarch (below) were influential in establishing their
Tuscan dialect as the most prominent literary language in all of
Italy in the
Late Middle Ages
Italian language
–
The geographic distribution of the Italian language in the world: large Italian-speaking communities are shown in green; light blue indicates areas where the Italian language was used officially during the Italian colonial period.
Italian language
Italian language
–
Pietro Bembo was an influential figure in the development of the Italian language from the Tuscan dialect, as a literary medium, codifying the language for standard modern usage
7.
Noun
–
A noun is a word that functions as the name of some specific thing or set of things, such as living creatures, objects, places, actions, qualities, states of existence, or ideas. Linguistically, a noun is a member of a large, open part of whose members can occur as the main word in the subject of a clause. Lexical categories are defined in terms of the ways in which their members combine with other kinds of expressions, the syntactic rules for nouns differ from language to language. In English, nouns are words which can occur with articles and attributive adjectives. Word classes were described by Sanskrit grammarians from at least the 5th century BC, in Yāskas Nirukta, the noun is one of the four main categories of words defined. The Ancient Greek equivalent was ónoma, referred to by Plato in the Cratylus dialog, the term used in Latin grammar was nōmen. All of these terms for noun were also words meaning name, the English word noun is derived from the Latin term, through the Anglo-Norman noun. The word classes were defined partly by the forms that they take. In Sanskrit, Greek and Latin, for example, nouns are categorized by gender and inflected for case, because adjectives share these three grammatical categories, adjectives are placed in the same class as nouns. Similarly, the Latin nōmen includes both nouns and adjectives, as originally did the English word noun, the two types being distinguished as nouns substantive and nouns adjective, many European languages use a cognate of the word substantive as the basic term for noun. Nouns in the dictionaries of languages are demarked by the abbreviation s. or sb. instead of n. which may be used for proper nouns or neuter nouns instead. In English, some authors use the word substantive to refer to a class that includes both nouns and noun phrases. It can also be used as a counterpart to attributive when distinguishing between a noun being used as the head of a phrase and a noun being used as a noun adjunct. For example, the knee can be said to be used substantively in my knee hurts. Nouns have sometimes been defined in terms of the categories to which they are subject. Such definitions tend to be language-specific, since nouns do not have the categories in all languages. Nouns are frequently defined, particularly in contexts, in terms of their semantic properties. Nouns are described as words that refer to a person, place, thing, event, substance, quality, quantity, however this type of definition has been criticized by contemporary linguists as being uninformative
Noun
–
Adjectives
8.
Goddess
–
A goddess is a female deity in polytheistic religions. Goddesses most often have characteristics that are apotheosize in their pure form. However, in some cases goddesses may embody neutral forms personifying both male and female characteristics, or they may even exhibit traits that are associated with the male gender. In some faiths, a female figure holds a central place in religious prayer. For example, Shaktism, the worship of the force that animates the world, is one of the three major sects of Hinduism. Polytheist religions, including Polytheistic reconstructionists, honour multiple goddesses and gods and these deities may be part of a pantheon, or different regions may have tutelary deities. The reconstructionists, like their ancient forebears, honour the deities particular to their country of origin, the noun goddess is a secondary formation, combining the Germanic god with the Latinate -ess suffix. It first appeared in Middle English, from about 1350, the English word follows the linguistic precedent of a number of languages—including Egyptian, Classical Greek, and several Semitic languages—that add a feminine ending to the languages word for god. Joseph Campbell in The Power of Myth, a 1988 interview with Bill Moyers, links the image of the Earth or Mother Goddess to symbols of fertility and reproduction. For example, Campbell states that, There have been systems of religion where the mother is the prime parent, and in Egypt you have the Mother Heavens, the Goddess Nut, who is represented as the whole heavenly sphere. Joseph Campbell, Well that was associated primarily with agriculture and the agricultural societies and it has to do with the earth. The human woman gives birth just as the earth gives birth to the plants. so woman magic, and the personification of the energy that gives birth to forms and nourishes forms is properly female. It is in the world of ancient Mesopotamia, the Egyptian Nile. Campbell also argues that the image of the Virgin Mary was derived from the image of Isis and her child Horus, other Mesopotamian goddesses include Ninhursag, Ninlil, Antu, Gaga Goddesses of the Canaanite religion, Baalat Gebal, Astarte, Anat. Cybele, Her Hittite name was Kubaba, but her name changed to Cybele in Phrygian and Roman culture and her effect can be also seen on Artemis as the Lady of Ephesus. Hebat, Mother Goddess of the Hittite pantheon and wife of the sky god. She was the origin of the Hurrian cult, arinniti, Hittite Goddess of the sun. She became patron of the Hittite Empire and monarchy, leto, A mother Goddess figure in Lykia
Goddess
–
Aphrodite is the Ancient Greek goddess of beauty and love.
Goddess
–
The head of an
Egyptian goddess. The gender is suggested by the lack of a beard, and the simple hairstyle points to the divine status of the subject.
Goddess
–
A statue of the Egyptian war goddess
Neith wearing the
Deshret crown of northern (lower) Egypt, which bears the
cobra of
Wadjet.
Goddess
–
Statue of
Ceres, the
Roman goddess of
agriculture
9.
Deus
–
Bosteels Brewery is a brewery in Buggenhout, Belgium. The brewery was founded in 1791 and was owned and operated by the family till its seventh generation decided to sell to ABinbev in September 2016. Bosteels brew three beers, Tripel Karmeliet, DeuS, and Pauwel Kwak, DeuS, or Brut des Flandres, is a Bière de Champagne with 11. 5% abv served in 75cl bottles. The process of the fermentation and storage is also referred to as the Méthode Champenoise or Méthode Traditionnelle. Pauwel Kwak is an ale brewed since the 1980s with 8. 4% abv. Supposedly it is named after an 18th-century innkeeper and brewer, Pauwel Kwak, the beer is filtered before packaging in bottles and kegs. As with other Belgian beers, Kwak has a glass with its own distinctive shape. Official website Brewery Bosteels Brewery and beer details from BeerTourism. com
Deus
–
The logo for Tripel Karmeliet
Deus
Deus
–
Kwak beer served in its traditional glass
10.
Enrico Caruso
–
Enrico Caruso was an Italian operatic tenor. He sang to acclaim at the major opera houses of Europe. Caruso also made approximately 260 commercially released recordings from 1902 to 1920, all of these recordings, which span most of his stage career, remain available today on CDs and as downloads and digital streams. Enrico Caruso came from a poor but not destitute background, born in Naples in the Via San Giovannello agli Ottocalli 7 on 25 February 1873, he was baptised the next day in the adjacent Church of San Giovanni e Paolo. His parents originally came from Piedimonte dAlife in the Province of Benevento, in the Province of Caserta in Campania, called Errico in accordance with the Neapolitan language, he would later adopt the formal Italian version of his given name, Enrico. This change came at the suggestion of a singing teacher, Caruso was the third of seven children and one of only three to survive infancy. There is a story of Carusos parents having had 21 children,18 of whom died in infancy. However, on the basis of research, biographers Pierre Key, Francis Robinson. Caruso himself and his brother Giovanni may have been the source of the exaggerated number, Carusos widow Dorothy also included the story in a memoir that she wrote about her husband. She quotes the tenor, speaking of his mother, Anna Caruso, twenty boys and one girl – too many. Carusos father, Marcellino, was a mechanic and foundry worker, initially, Marcellino thought his son should adopt the same trade, and at the age of 11, the boy was apprenticed to a mechanical engineer who constructed public water fountains. Caruso later worked alongside his father at the Meuricoffre factory in Naples, at his mothers insistence, he also attended school for a time, receiving a basic education under the tutelage of a local priest. He learned to write in a script and studied technical draftsmanship. During this period he sang in his church choir, and his voice showed enough promise for him to contemplate a career in music. Caruso was encouraged in his musical ambitions by his mother. To raise cash for his family, he work as a street singer in Naples. Aged 18, he used the fees he had earned by singing at an Italian resort to buy his first pair of new shoes and his progress as a paid entertainer was interrupted, however, by 45 days of compulsory military service. He completed this in 1894, resuming his voice lessons upon discharge from the army
Enrico Caruso
–
The medal that Enrico Caruso gave to
Pasquale Simonelli, his New York City impresario Obverse: Caruso facing left. Lower right: Salanto, medal maker's signature.
Enrico Caruso
–
Enrico Caruso, c. 1907
Enrico Caruso
–
Reverse:
Muse of music with lyre over PER RICORDO (memento). Around the rim:
TIFFANY & Co. 24 CARAT GOLD Y (27 mm).
Enrico Caruso
–
Enrico Caruso, c. 1910
11.
Beniamino Gigli
–
Beniamino Gigli was an Italian opera singer. The most famous tenor of his generation, he was renowned internationally for the beauty of his voice. Music critics sometimes took him to task, however, for what was perceived to be the over-emotionalism of his interpretations, nevertheless, such was Giglis talent, he is considered to be one of the very finest tenors in the recorded history of music. Gigli was born in Recanati, in the Marche, the son of a shoemaker who loved opera and his parents did not, however, view music as a secure career. Beniaminos brother Lorenzo became a famous Italian painter, in 1914, he won first prize in an international singing competition in Parma. His operatic debut came on October 15,1914, when he played Enzo in Amilcare Ponchiellis La Gioconda in Rovigo, Gigli rose to true international prominence after the death of the great Italian tenor Enrico Caruso in 1921. Such was his popularity with audiences he was often called Caruso Secondo, in fact, the comparison was not valid as Caruso had a bigger, darker, more heroic voice than Giglis sizable yet honey-toned lyric instrument. Gigli left the Met in 1932, ostensibly after refusing to take a pay cut, giulio Gatti-Casazza, the Mets then general manager, was furious at his companys most popular male singer, he told the press that Gigli was the only singer not to accept the pay cut. After leaving the Met, Gigli returned again to Italy, and sang in houses there, elsewhere in Europe and he was criticised for being a favourite singer of the Italian dictator Benito Mussolini, having recorded the Fascist anthem Giovinezza in 1937. Toward the end of World War II, he was able to give few performances, however, he immediately returned to the stage when the war ended in 1945, and the audience acclaim was greater and more clamorous than ever. In addition to his performances, Gigli appeared as an actor in over twenty films from 1935 to 1953. In the last few years of his life, Gigli gave concert performances more often than he appeared on stage, before his retirement in 1955, Gigli undertook an exhausting world tour of farewell concerts. This impaired his health in the two years that remained to him, during which time he helped prepare his memoirs, Gigli died in Rome in 1957. Like many artists, Gigli was a man of contradictions, on one hand, he gave more fund-raising concerts and raised more money than any other singer in history, with close to one thousand benefit concerts. He was deeply devoted to Padre Pio, his confessor, to whom he donated an amount of money. Also, Gigli sang an unusual amount of sacred music, atypical of an operatic tenor. Additionally, he was throughout his life devoted to the sacred music of Don Lorenzo Perosi. On the other hand, Giglis relationships with women were often tainted by scandal and he lied in his memoirs, saying that he was married six months earlier than he really was
Beniamino Gigli
–
Beniamino Gigli in an image from 1914
12.
Lyda Borelli
–
Lyda Borelli was an Italian actress of cinema and theatre. She was born in Genoa, and died in Rome and her career in theatre started when she was a child, acting on stage with Paola Pezzaglia in the French drama I due derelitti. Portrait of Lyda Borelli, painting by Cesare Tallone oil on canvas, romolo Manissero Lyda Borelli at the Internet Movie Database Divina Lyda
Lyda Borelli
–
Lyda Borelli in Salomé by
Oscar Wilde.
Lyda Borelli
–
Photograph by Mario Nunes Vais
13.
Camp (style)
–
Camp is an aesthetic style and sensibility that regards something as appealing because of its bad taste and ironic value. Camp can also be a social practice, for many it is considered a style and performance identity for several types of entertainment including film, cabaret and pantomime. Where high art necessarily incorporates beauty and value, camp necessarily needs to be lively, audacious, Camp opposes satisfaction and seeks to challenge. Camp art is related to—and often confused with—kitsch, and things with camp appeal may also be described as cheesy, American writer Susan Sontags essay Notes on Camp emphasized its key elements as, artifice, frivolity, naive middle-class pretentiousness, and shocking excess. Camp as an aesthetic has been popular from the 1960s to the present, Camp aesthetics were popularised by filmmakers George and Mike Kuchar, Jack Smith and his film Flaming Creatures, and later John Waters, including the lasts Pink Flamingos, Hairspray, and Polyester. Celebrities that are associated with camp personas include drag queens and performers such as Dame Edna Everage, Divine, RuPaul, Paul Lynde, and Liberace. Camp was a part of the defense of popular culture in the 1960s and gained popularity in the 1980s with the widespread adoption of postmodern views on art. So as a noun, camp behaviour, mannerisms, et cetera, according to the dictionary, this sense is etymologically obscure. Camp in this sense has been suggested to derive from the French term se camper. Later, it evolved into a description of the aesthetic choices. Finally, it was made mainstream, and adjectivised, by Susan Sontag in a landmark essay, the rise of post-modernism made camp a common perspective on aesthetics, which was not identified with any specific group. The attitude originally was a factor in pre-Stonewall gay male communities. It originated from the acceptance of gayness as effeminacy, two key components of camp were originally feminine performances, swish and drag. It was this version of the concept that was adopted by literary and art critics, moe Meyer still defines camp as queer parody. Television shows such as Are You Being Served, much of the cult following of camp today grew rapidly during the transition from black and white to color television in the early 1960s. Network programming during that time was seeking entertainment content that would display the new medium with the use of bright colors, some of these shows were developed tongue-in-cheek by their producers. TV soap operas, especially those that air in primetime, are often considered camp, even the villains of shows as divergent as Batman and The Mod Squad were costumed as to take advantage of new colors and changing fashion styles, in ways that took advantage of camp. The over-the-top excess of Dynasty and Dallas were popular in the 1980s, mentos television commercials during the 1990s developed a cult following due to their camp Eurotrash humor
Camp (style)
–
Singer, actress and comedian
Bette Midler is known for her camp stage shows and film characters.
Camp (style)
–
Carmen Miranda in the trailer for
The Gang's All Here (1943)
Camp (style)
–
The banner of a diner featuring a 1950s-era camp advertisement.
Camp (style)
–
Pop singer
Mika is known for his camp-styled performances
14.
Annie Lennox
–
Ann Annie Lennox, OBE is a Scottish singer, songwriter, political activist and philanthropist. With a total of eight Brit Awards, including Best British Female Artist six times and she has also been named the Brits Champion of Champions. Lennox embarked on a career in 1992 with her debut album, Diva. To date, she has released six studio albums and a compilation album. Aside from her eight Brit Awards, she has collected four Grammy Awards. In 2002, Lennox received a Billboard Century Award, the highest accolade from Billboard Magazine. In 2004, she won both the Golden Globe and the Academy Award for Best Original Song for Into the West, written for the soundtrack to the feature film The Lord of the Rings, The Return of the King. In addition to her career as a musician, Lennox is also a political and social activist, notable for raising money and awareness for HIV/ AIDS as it affects women and children in Africa. In 2011, Lennox was appointed an Officer of the Order of the British Empire by Queen Elizabeth II for her tireless charity campaigns, on 4 June 2012 she performed at the Queens Diamond Jubilee Concert in front of Buckingham Palace. Lennox performed the song Little Bird during the 2012 Summer Olympics closing ceremony in London on 12 August 2012, Lennox has been named The Greatest White Soul Singer Alive by VH1 and one of The 100 Greatest Singers of All Time by Rolling Stone. In 2012, she was rated No.22 on VH1s 100 Greatest Women in Music and she has earned the distinction of most successful female British artist in UK music history due to her commercial success since the early 1980s. As of June 2008, including her work within Eurythmics, Lennox had sold over 80 million records worldwide, Annie Lennox was born on Christmas Day 1954 in Summerfield Maternity hospital, Aberdeen, the daughter of Dorothy and Thomas Allison Lennox. In the 1970s, Lennox won a place at the Royal Academy of Music in London and she lived on a student grant and worked at part-time jobs for extra money. Lennox was unhappy during her time at the Royal Academy and spent her time wondering what direction she could take. Lennoxs flute teachers final report stated, Ann has not always sure of where to direct her efforts. She is very, very able, however, two years later, Lennox reported to the Academy, I have had to work as a waitress, barmaid, and shop assistant to keep me when not in musical work. She also played and sang with a few bands, such as Windsong, during the period of her course, in 2006, the academy made her an honorary Fellow. Lennox also was made a Fellow of the Royal Scottish Academy of Music, in 1976, Lennox was flautist with a band called Dragons Playground, leaving before they appeared on TVs New Faces
Annie Lennox
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Annie Lennox performing at the Rally for Human Rights during the
International AIDS Conference 2010 in
Vienna as part of her
SING Campaign.
Annie Lennox
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Lennox in the mid-1980s
Annie Lennox
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Lennox (far right) and
David A. Stewart (left) performing as
Eurythmics in 1987.
Annie Lennox
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Annie Lennox on stage in 2004
15.
Eurythmics
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Eurythmics were a British music duo consisting of members Annie Lennox and David A. Stewart. Stewart and Lennox were both previously in the band The Tourists, who split up in 1980, Eurythmics were formed that year in London. The duo released their first album, In the Garden, in 1981 to little fanfare, the title track was a worldwide hit, topping the charts in various countries including the US. The duo went on to release a string of hit singles, by this time Stewart was a sought-after record producer, while Lennox began a solo recording career in 1992 with her debut album Diva. After almost a decade apart, Eurythmics reunited to record their album, Peace. They reunited again in 2005 to release the single Ive Got a Life, as part of a new Eurythmics compilation album, Eurythmics have sold an estimated 75 million records worldwide. Lennox and Stewart met in 1975 in a restaurant in London and they first played together in 1976 in the punk rock band The Catch. After releasing one single as The Catch in 1977, the band evolved into The Tourists, Stewart and Lennox were also romantically involved. The Tourists achieved some success, but the experience was reportedly an unhappy one. Personal and musical tensions existed within the group, whose main songwriter was Peet Coombes and they were interested in creating pop music, but wanted freedom to experiment with electronics and the avant-garde. It was in a hotel in Wagga Wagga, Australia, while playing around with a portable mini-synthesizer that Lennox, the duo signed to RCA Records. At this time, Lennox and Stewart also split as a couple, during the period that Lennox and Stewart were in The Tourists, and later as Eurythmics, they were managed by Kenny Smith and Sandra Turnbull of Hyper Kinetics Ltd. They recorded their first album in Cologne with Conny Plank and this resulted in the album In the Garden, released in October 1981. The album mixed psychedelic, krautrock and electropop influences, and featured contributions from Holger Czukay and Jaki Liebezeit, drummer Clem Burke, Robert Görl, a couple of the songs were co-written by guitarist Roger Pomphrey. The album was not a commercial success, however, the three new singles they released that year all performed badly on initial release in the UK. Lennox apparently suffered at least one nervous breakdown during this period, Eurythmics commercial breakthrough came with their second album, Sweet Dreams, released in January 1983. The successful title track featured a dark and powerful sequenced synth bass line, the song reached no.2 on the UK Singles Chart, becoming one of the years biggest sellers, and later topped the US charts. The bands fortunes changed immensely from this moment on, and Lennox quickly became a pop icon and their previous single, Love Is a Stranger, was also re-released and became another chart success
Eurythmics
–
Eurythmics at
Rock am Ring in Nürburgring, Germany, 1987
Eurythmics
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Annie Lennox performing during Revenge Tour in 1986
Eurythmics
–
Dave Stewart at
Rock am Ring in Germany, 1987.
Eurythmics
–
Stewart and Lennox performing on
The Today show in 2005.
16.
Diva (Annie Lennox album)
–
Diva is the debut solo album by the Scottish singer-songwriter Annie Lennox, released in 1992. The album entered the UK album chart at number 1 and has sold over 1.2 million copies in the UK alone. It was also a success in the US, where it was a top 30 hit and has been certified double platinum, Diva won Album of the Year at the 1993 Brit Awards, and was nominated for Album of the Year at the Grammy Awards the same year. Following the informal dissolution of Eurythmics in 1990, Lennox took some away from the music industry. She commenced working on her first solo album in 1991 with producer Stephen Lipson, upon its release, the album debuted at number one in the UK Album Charts and would eventually yield five hit singles, three of which reached the Top 10. Diva was ultimately certified quadruple platinum in the UK, more than any of Eurythmics studio albums, the song Keep Young and Beautiful was included on the CD release as a bonus track. Another bonus track, Step by Step, appeared on the Mexican, the song was later recorded by Whitney Houston for the 1996 film soundtrack The Preachers Wife and subsequently became a hit single. The headdress worn by Lennox on the cover was obtained from the London-based costume company Angels. It had been used previously in the James Bond film Octopussy, in 1993 the album was included in Q magazines list of the 50 Best Albums of 1992. Rolling Stone magazine described the album as. state-of-the-art soul pop. in their review, Rolling Stone commented, State-of-the-art soul pop, Annie Lennoxs solo debut is sonically gorgeous, it also declares her aesthetic independence. Ace sessionmen polish Divas gloss, and producer Stephen Lipson operates in hyperdrive, three years after her last outing with Dave Stewart, her cohort in Eurythmics, Lennox voids any notion that he was her Svengali and she merely the MTV beauty with stunning pipes. Writing nearly all of Diva, she manages a whirlwind tour of mainstream R&B, all songs by Lennox, except where otherwise noted. Lennox simultaneously released an album for Diva, featuring promotional videos for seven of the albums tracks. The video album was directed by Sophie Muller who had worked with Lennox during her years with Eurythmics. Some months after its first release, the Diva video album was reissued as Totally Diva, the only omissions from the video album were Little Bird, and the album track Stay By Me for which no video has ever been made
Diva (Annie Lennox album)
–
Diva
17.
Funky Divas
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Funky Divas is the second studio album by American recording R&B/pop group En Vogue. Released in 1992, it became their highest selling album to date and one of the top selling albums of the year, the lead single, My Lovin, became an instant hit, peaking at #2 on the Billboard Hot 100 and #4 in the UK Singles Chart. The accompanying video for My Lovin won two MTV Video Music Awards, the song samples the funk guitar line of James Browns 1973 song The Payback from the album of the same name. The second single, Giving Him Something He Can Feel, also became a top ten hit on the US Hot 100, another Franklin song from Sparkle, Hooked on Your Love, is also on the album, as is a rendition of The Beatles hit Yesterday. The third single, the rock-infused Free Your Mind, became top ten hit. In the UK, the made the top 20 and was backed with Giving Him Something He Can Feel. The video for Free Your Mind won three MTV Video Music Awards in 1993, by the time the fourth single, Give It Up, Turn It Loose, was released in late 1992, the Funky Divas album was already certified triple platinum in the US by the RIAA. The single gave the group another UK Top 40 hit, the fifth and final single released from Funky Divas was Love Dont Love You, which was remixed for its release. The video for the single consists of clips from previous En Vogue videos Giving Him Something He Can Feel, Free Your Mind, a second edition of the album containing the later hits Runaway Love and Whatta Man was released in the UK in 1994. This edition of Funky Divas also includes remixed versions of Hip Hop Lover, It Aint Over Till the Fat Lady Sings, as with En Vogues first album, Born to Sing, Funky Divas includes lead vocals by each member of the group on different songs
Funky Divas
–
Funky Divas
18.
VH1
–
VH1 is an American cable television network based in New York City that is owned by the Viacom Global Entertainment Group, a unit of Viacom Media Networks. The channel was first launched on January 1,1985 in the old space of Turner Broadcasting Systems short-lived Cable Music Channel and it was originally created by Warner-Amex Satellite Entertainment, at the time a division of Warner Communications and the original owner of MTV. As of February 2015, approximately 92.6 million US households receive VH1, also frequently featured in the networks early years were videos for Motown and other 60s oldies consisting of newsreel and concert footage. It was introduced on January 1,1985 with the performance of The Star-Spangled Banner by Marvin Gaye. From the start, Video Hits One was branded as a version of its sister/parent channel. It played more jazz and R&B artists than MTV and had a rotation of urban-contemporary performers. Its early on-camera personalities were New York radio veterans Don Imus, Frankie Crocker, Scott Shannon, Jon Bauman, Bobby Rivers, later VJs included Tim Byrd of WPIX-FM, a station whose eclectic ballad-and-R&B oriented format mirrored that of VH-1, and Alison Steele. Rosie ODonnell later joined the outlets veejay lineup, ODonnell would also host a comedy show featuring various comedians each episode. The format left room for occasional ad-libs by the VJ, a godsend for emcees such as Imus, in true Imus style, he used a 1985 segment of his VH-1 show to jokingly call smooth-jazz icon Sade Adu a grape for her oval-shaped head. At first many different musicians guest-hosted the program, but eventually musician/songwriter Ben Sidran became the permanent host, new-Age music videos continued to play on the channel into the 1990s. They would be seen on the Sunday morning 2-hour music video block titled Sunday Brunch, once VH1 established itself a few years later, they catered to Top 40, adult contemporary, classic rock, and 1980s mainstream pop. For a time, even music videos aired in a one-hour block during the afternoons. They started out using MTVs famous Kabel typeface font for their music video credit tags and it was later replaced in 1991 by a larger font, with the year the video was made added to the lower column that identified the label on which the album was released. In 1993, the name of the director was included at the bottom of the credits. Every week, the Top 21 Video Countdown usually had a different guest host, occasionally, they had themed countdowns as well, such as Elvira hosting scary videos for Halloween in 1991. Long blocks of videos by a particular artist or band, theme. One popular weekend program was called Video Rewind, in blocks of 1980s videos from one particular year would play for an hour. There was also a short-lived hour-long program called By Request in which viewers could call a 1–900 hotline number to request their videos, also in 1991, a popular morning program was introduced called Hits News & Weather that ran from 7 AM to 9 AM ET
VH1
19.
VH1 Divas
–
VH1 debuted the first annual VH1 Divas concert in 1998. VH1 Divas Live was created to support the channels Save The Music Foundation, the VH1 Divas concerts aired annually from 1998 to 2004. After a five-year hiatus, the returned in 2009 with a younger-skewed revamp. In 2010 the concert saluted the troops and in 2011 it celebrated soul music, the latest edition, which aired live from the Shrine Auditorium in Los Angeles on December 16,2012, celebrated dance music and paid tribute to Whitney Houston and Donna Summer. The show was revived on December 5,2016, at the Kings Theatre in Brooklyn, New York with a holiday theme, VH1 Divas Live, An Honors Concert For The VH1 Save The Music Foundation aired live on April 14,1998. The very first VH1 Divas show at New Yorks Beacon Theatre offered an unprecedented summit of stars - Celine Dion, Gloria Estefan, Aretha Franklin, Shania Twain and Mariah Carey. The spontaneity continued with the guest appearance of singer-songwriter Carole King, beat/Conga/Rhythm Is Gonna Get You/1-2-3/Get on Your Feet –03,32 Man. Stien, Peter M. Muller - Pedal Steel, Hardy Hempill - Keyboards Aretha Franklins band, VH1 Divas Live/99, An Honors Concert For The VH1 Save The Music Foundation aired live on April 13,1999. It was recorded on April 9,2000 at New Yorks Madison Square Garden, Diana Ross requested the concert be recorded as time constraints for the airing of commercials would not allow enough time for her to change costumes. The well-received show took a mammoth 6 hours to record and this special also marked the introduction of Lynda Laurence and Scherrie Payne as Supremes, who were touring with Diana Ross. Laurence and Payne were Supremes during the 1970s, the concert was never released on CD or DVD. Two of the songs were released as b-sides of singles from Mariah Carey, Diana Ross knows how to feel the love in the room, which may explain why she frequently abandoned the stage to wander among the audience in the midst of her own tribute at Madison Square Garden. Ross still commanded plenty of star wattage, in their own singular ways, Mariah Carey, Donna Summer, Destinys Child, Faith Hill and even RuPaul all hailed the Supremest Supreme. Ross sported an outfit that matched Mariah Careys own during their performance of Baby Love. Donna Summer covered Reflections and Faith Hill bounced through Love Child, Destinys Child took on Upside Down, accompanied by composer Nile Rodgers on guitar. She even joined an ensemble led by Herbie Hancock for a little scat. Marc Anthony and Celia Cruz saluted the First Lady of Soul with salsa, neo-soul up-and-comer Jill Scott made A Natural Woman feel like the real thing, and the New Jersey Mass Choir accompanied Franklins assault on the hymn Precious Memories. Janet Jackson, Sigourney Weaver, Renée Zellweger, Stevie Wonder, the concert was not released on CD or DVD but some of Arethas performances were eventually made available on the iTunes US Store
VH1 Divas
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VH1 Divas Live
VH1 Divas
–
VH1 Divas Las Vegas
20.
Time (magazine)
–
Time is an American weekly news magazine published in New York City. It was founded in 1923 and for decades was dominated by Henry Luce, a European edition is published in London and also covers the Middle East, Africa and, since 2003, Latin America. An Asian edition is based in Hong Kong, the South Pacific edition, which covers Australia, New Zealand and the Pacific Islands, is based in Sydney, Australia. In December 2008, Time discontinued publishing a Canadian advertiser edition, Time has the worlds largest circulation for a weekly news magazine, and has a readership of 26 million,20 million of which are based in the United States. As of 2012, it had a circulation of 3.3 million making it the eleventh most circulated magazine in the United States reception room circuit, as of 2015, its circulation was 3,036,602. Richard Stengel was the editor from May 2006 to October 2013. Nancy Gibbs has been the editor since October 2013. Time magazine was created in 1923 by Briton Hadden and Henry Luce, the two had previously worked together as chairman and managing editor respectively of the Yale Daily News. They first called the proposed magazine Facts and they wanted to emphasize brevity, so that a busy man could read it in an hour. They changed the name to Time and used the slogan Take Time–Its Brief and it set out to tell the news through people, and for many decades the magazines cover depicted a single person. More recently, Time has incorporated People of the Year issues which grew in popularity over the years, notable mentions of them were Barack Obama, Steve Jobs, Matej Turk, etc. The first issue of Time was published on March 3,1923, featuring Joseph G. Cannon, the retired Speaker of the House of Representatives, on its cover, a facsimile reprint of Issue No. 1, including all of the articles and advertisements contained in the original, was included with copies of the February 28,1938 issue as a commemoration of the magazines 15th anniversary. The cover price was 15¢ On Haddens death in 1929, Luce became the dominant man at Time, the Intimate History of a Publishing Enterprise 1923–1941. In 1929, Roy Larsen was also named a Time Inc. director, J. P. Morgan retained a certain control through two directorates and a share of stocks, both over Time and Fortune. Other shareholders were Brown Brothers W. A. Harriman & Co. the Intimate History of a Changing Enterprise 1957–1983. According to the September 10,1979 issue of The New York Times, after Time magazine began publishing its weekly issues in March 1923, Roy Larsen was able to increase its circulation by utilizing U. S. radio and movie theaters around the world. It often promoted both Time magazine and U. S. political and corporate interests, Larsen next arranged for a 30-minute radio program, The March of Time, to be broadcast over CBS, beginning on March 6,1931
Time (magazine)
–
The first issue of Time (March 3, 1923), featuring
Speaker Joseph G. Cannon.
Time (magazine)
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Bibi Aisha on the Cover of Time.
Time (magazine)
–
Time Magazine red X covers: from left to right, Adolf Hitler, Saddam Hussein, Abu Musab al-Zarqawi, and Osama bin Laden.
21.
Soprano
–
A soprano is a type of classical female singing voice and has the highest vocal range of all voice types. The sopranos vocal range is from approximately middle C =261 Hz to high A =880 Hz in choral music, in four-part chorale style harmony, the soprano takes the highest part, which usually encompasses the melody. The soprano voice type is divided into the coloratura, soubrette, lyric, spinto. The lyric soprano is the most common female singing voice, the word soprano comes from the Italian word sopra, as the soprano is the highest pitch human voice, often given to the leading female roles in operas. The term soprano is also based on the Latin word superius which, like soprano, the word superius was especially used in choral and other multi-part vocal music between the 13th and 16th centuries. The soprano has the highest vocal range of all voice types, a soprano and a mezzo-soprano have a similar range, but their tessituras will lie in different parts of that range. The low extreme for sopranos is roughly A3 or B♭3, within opera, the lowest demanded note for sopranos is F3. Often low notes in higher voices will project less, lack timbre, however, rarely is a soprano simply unable to sing a low note in a song within a soprano role. The high extreme, at a minimum, for non-coloratura sopranos is soprano C, a couple of roles have optional E♭6s, as well. In the coloratura repertoire several roles call for E♭6 on up to F6, in rare cases, some coloratura roles go as high as G6 or G♯6, such as Mozarts concert aria Popoli di Tessaglia. Or the title role of Jules Massenets opera Esclarmonde, while not necessarily within the tessitura, a good soprano will be able to sing her top notes full-throated, with timbre and dynamic control. In opera, the tessitura, vocal weight, and timbre of voices, a singers tessitura is where the voice has the best timbre, easy volume, and most comfort. Within the soprano voice type category are five generally recognized subcategories, coloratura soprano, soubrette, lyric soprano, spinto soprano, the coloratura soprano may be a lyric coloratura or a dramatic coloratura. The lyric coloratura soprano is a very agile light voice with a high upper extension capable of fast vocal coloratura, Light coloraturas have a range of approximately middle C to high F with some coloratura sopranos being able to sing somewhat higher or lower. Dramatic coloraturas have a range of approximately low B to high F with some coloratura sopranos being able to sing higher or lower. In classical music and opera, a soubrette soprano refers to both a type and a particular type of opera role. A soubrette voice is light with a bright, sweet timbre, a tessitura in the mid-range, the soubrette voice is not a weak voice, for it must carry over an orchestra without a microphone like all voices in opera. The voice, however, has a lighter weight than other soprano voices with a brighter timbre
Soprano
–
Soprano voice range (C4–C6) indicated in sheet music (left) and on piano keyboard in green with dot marking middle C.
22.
Wayback Machine
–
The Internet Archive launched the Wayback Machine in October 2001. It was set up by Brewster Kahle and Bruce Gilliat, and is maintained with content from Alexa Internet, the service enables users to see archived versions of web pages across time, which the archive calls a three dimensional index. Since 1996, the Wayback Machine has been archiving cached pages of websites onto its large cluster of Linux nodes and it revisits sites every few weeks or months and archives a new version. Sites can also be captured on the fly by visitors who enter the sites URL into a search box, the intent is to capture and archive content that otherwise would be lost whenever a site is changed or closed down. The overall vision of the machines creators is to archive the entire Internet, the name Wayback Machine was chosen as a reference to the WABAC machine, a time-traveling device used by the characters Mr. Peabody and Sherman in The Rocky and Bullwinkle Show, an animated cartoon. These crawlers also respect the robots exclusion standard for websites whose owners opt for them not to appear in search results or be cached, to overcome inconsistencies in partially cached websites, Archive-It. Information had been kept on digital tape for five years, with Kahle occasionally allowing researchers, when the archive reached its fifth anniversary, it was unveiled and opened to the public in a ceremony at the University of California, Berkeley. Snapshots usually become more than six months after they are archived or, in some cases, even later. The frequency of snapshots is variable, so not all tracked website updates are recorded, Sometimes there are intervals of several weeks or years between snapshots. After August 2008 sites had to be listed on the Open Directory in order to be included. As of 2009, the Wayback Machine contained approximately three petabytes of data and was growing at a rate of 100 terabytes each month, the growth rate reported in 2003 was 12 terabytes/month, the data is stored on PetaBox rack systems manufactured by Capricorn Technologies. In 2009, the Internet Archive migrated its customized storage architecture to Sun Open Storage, in 2011 a new, improved version of the Wayback Machine, with an updated interface and fresher index of archived content, was made available for public testing. The index driving the classic Wayback Machine only has a bit of material past 2008. In January 2013, the company announced a ground-breaking milestone of 240 billion URLs, in October 2013, the company announced the Save a Page feature which allows any Internet user to archive the contents of a URL. This became a threat of abuse by the service for hosting malicious binaries, as of December 2014, the Wayback Machine contained almost nine petabytes of data and was growing at a rate of about 20 terabytes each week. Between October 2013 and March 2015 the websites global Alexa rank changed from 162 to 208, in a 2009 case, Netbula, LLC v. Chordiant Software Inc. defendant Chordiant filed a motion to compel Netbula to disable the robots. Netbula objected to the motion on the ground that defendants were asking to alter Netbulas website, in an October 2004 case, Telewizja Polska USA, Inc. v. Echostar Satellite, No.02 C3293,65 Fed. 673, a litigant attempted to use the Wayback Machine archives as a source of admissible evidence, Telewizja Polska is the provider of TVP Polonia and EchoStar operates the Dish Network
Wayback Machine
–
Wayback Machine
23.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
24.
The Guardian
–
The Guardian is a British daily newspaper, known from 1821 until 1959 as the Manchester Guardian. Along with its sister papers The Observer and The Guardian Weekly, The Guardian is part of the Guardian Media Group, the Scott Trust became a limited company in 2008, with a constitution to maintain the same protections for The Guardian. Profits are reinvested in journalism rather than to the benefit of an owner or shareholders, the Guardian is edited by Katharine Viner, who succeeded Alan Rusbridger in 2015. In 2016, The Guardians print edition had a daily circulation of roughly 162,000 copies in the country, behind The Daily Telegraph. The newspaper has an online UK edition as well as two international websites, Guardian Australia and Guardian US, the newspapers online edition was the fifth most widely read in the world in October 2014, with over 42.6 million readers. Its combined print and online editions reach nearly 9 million British readers, notable scoops include the 2011 News International phone hacking scandal, in particular the hacking of murdered English teenager Milly Dowlers phone. The investigation led to the closure of the UKs biggest selling Sunday newspaper, and one of the highest circulation newspapers in the world, in 2016, it led the investigation into the Panama Papers, exposing the then British Prime Minister David Camerons links to offshore bank accounts. The Guardian has been named Newspaper of the Year four times at the annual British Press Awards, the paper is still occasionally referred to by its nickname of The Grauniad, given originally for the purported frequency of its typographical errors. The Manchester Guardian was founded in Manchester in 1821 by cotton merchant John Edward Taylor with backing from the Little Circle and they launched their paper after the police closure of the more radical Manchester Observer, a paper that had championed the cause of the Peterloo Massacre protesters. They do not toil, neither do they spin, but they better than those that do. When the government closed down the Manchester Observer, the champions had the upper hand. The influential journalist Jeremiah Garnett joined Taylor during the establishment of the paper, the prospectus announcing the new publication proclaimed that it would zealously enforce the principles of civil and religious Liberty. Warmly advocate the cause of Reform, endeavour to assist in the diffusion of just principles of Political Economy and. Support, without reference to the party from which they emanate, in 1825 the paper merged with the British Volunteer and was known as The Manchester Guardian and British Volunteer until 1828. The working-class Manchester and Salford Advertiser called the Manchester Guardian the foul prostitute, the Manchester Guardian was generally hostile to labours claims. The Manchester Guardian dismissed strikes as the work of outside agitators –, if an accommodation can be effected, the occupation of the agents of the Union is gone. CP Scott made the newspaper nationally recognised and he was editor for 57 years from 1872, and became its owner when he bought the paper from the estate of Taylors son in 1907. Under Scott, the moderate editorial line became more radical, supporting William Gladstone when the Liberals split in 1886
The Guardian
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The Guardian front page on 6 June 2014
The Guardian
–
The Guardian senior news writer Esther Addley interviewing Ecuadorian Foreign Minister
Ricardo Patiño for this article relating to
Julian Assange (August 2014)
The Guardian
–
The Guardian's HQ in
London
The Guardian
–
The Guardian' s Newsroom visitor centre and archive (No 60), with an old sign with the name The Manchester Guardian
25.
Chest voice
–
Chest voice is a term used within vocal music. The use of this varies widely within vocal pedagogical circles. The term was later redefined during the bel canto period when it was identified as the lowest of three registers, the chest, passaggio and head registers. This approach is still taught by some vocal pedagogists today, however as knowledge of human physiology has increased over the past two hundred years, so has the understanding of the physical process of singing and vocal production. As a result, many vocal pedagogists have redefined or even abandoned the use of the term chest voice, for this reason, many vocal pedagogists argue that it is meaningless to speak of registers being produced in the chest. The vibratory sensations which are felt in these areas are resonance phenomena and should be described in terms related to vocal resonance and these vocal pedagogists prefer the term chest voice over the term chest register. These vocal pedagogists also hold many of the problems which people identify as register problems are really problems of resonance adjustment. This helps to explain the controversy over this terminology, also, the term chest register is not used within speech pathology and is not one of the four main vocal registers identified by speech pathologists. For the purposes of article, the term chest voice is adopted as it is less controversial. The contemporary use of the term chest voice often refers to a kind of vocal coloration or vocal timbre. In classical singing, its use is limited entirely to the part of the modal register or normal voice. Chest timbre can add an array of sounds to a singers vocal interpretive palette. The introduction of chest timbre is common to singers trained in the historic Italian school, such approval or disapproval is largely an aesthetic decision. However, the use of overly strong chest voice in the registers in an attempt to hit higher notes in the chest can lead to forcing. Forcing can lead consequently to vocal deterioration, as the opinions on what exactly chest voice is vary greatly, there is no one consensus on the physiological production of chest voice. This closure cuts off the escaping air, when the air pressure in the trachea rises as a result of this closure, the folds are blown apart, while the vocal processes of the arytenoid cartilages remain in apposition. This creates an oval shaped gap between the folds and some air escapes, lowering the pressure inside the trachea, rhythmic repetition of this movement a certain number of times a second creates a pitched note. This is how the chest voice is created and this view believes that the chest voice is a product not of vocal registration but vocal resonation
Chest voice
–
Vocal fold, scheme
26.
Opera house
–
An opera house is a theatre building used for opera performances that consists of a stage, an orchestra pit, audience seating, and backstage facilities for costumes and set building. While some venues are constructed specifically for operas, other houses are part of larger performing arts centers. In contrast, there was no house in London when Henry Purcell was composing. Early United States opera houses served a variety of functions in towns and cities, hosting community dances, fairs, plays, with the rise of bourgeois and capitalist social forms in the 19th century, European culture moved away from its patronage system to a publicly supported system. In the 2000s, most opera and theatre companies raise funds from a combination of government and institutional grants, ticket sales, the Teatro San Carlo in Naples introduces the plant horseshoe, the oldest in the world, a model for the Italian theater. On this model were built following theaters of Italy and Europe, among others, the theater of the Palace of Caserta. Given the popularity of opera in 18th and 19th century Europe, opera houses are large, with generally more than 1,000 seats. Modern opera houses of the century such as New Yorks Metropolitan Opera. Many operas are better suited to being presented in smaller theatres, in a traditional opera house, the auditorium is U-shaped, with the length of the sides determining the audience capacity. Around this are tiers of balconies, and often, nearer to the stage, are boxes and this is especially true of Wagners Bayreuth Festspielhaus where the pit is almost completely covered. The size of an opera orchestra varies, but for some operas, oratorios and other works, it may be large, for some romantic period works. Similarly, an opera may have a large cast of characters, chorus, dancers, therefore, a major opera house will have extensive dressing room facilities. Opera houses often have on-premises set and costume building shops and facilities for storage of costumes, make-up, masks, and stage properties, major opera houses throughout the world often have highly mechanized stages, with large stage elevators permitting heavy sets to be changed rapidly. At the Metropolitan Opera, for instance, sets are changed during the action, as the audience watches. This occurs in the Mets productions of such as Aida. Much the same happened in the remodeling of Milans La Scala opera house between 2002 and 2004, since the 1990s, however, many opera houses have begun using a subtle form of sound reinforcement called acoustic enhancement. Often, operas are presented in their languages, which may be different from the first language of the audience. For example, a Wagnerian opera presented in London may be in German, therefore, since the 1980s modern opera houses have assisted the audience by providing translated supertitles, projections of the words above or near to the stage
Opera house
–
Teatro di San Carlo in
Naples, the world’s oldest working theatre.
Opera house
–
Opera-Theatre of
Metz, built by
benefactor Duke de Belle-Isle during the 18th century, it is the oldest opera house working in France
Opera house
–
The
Grand Theatre, Warsaw, ca. 1890
Opera house
–
The
Vienna Court Opera, ca. 1898
27.
Claque
–
A claque is an organized body of professional applauders in French theatres and opera houses. Members of a claque are called claqueurs, hiring people to applaud dramatic performances was common in classical times. For example, when the Emperor Nero acted, he had his performance greeted by an encomium chanted by five thousand of his soldiers and this inspired the 16th-century French poet Jean Daurat to develop the modern claque. Buying a number of tickets for a performance of one of his plays, in 1820 claques underwent serious systematization when an agency in Paris opened to manage and supply claqueurs. By 1830 the claque had become an institution, the manager of a theatre or opera house was able to send an order for any number of claqueurs. These were usually under a chef de claque, who judged where the efforts of the claqueurs were needed, there would be commissaires who learned the piece by heart and called the attention of their neighbors to its good points between the acts. Rieurs laughed loudly at the jokes, pleureurs, generally women, feigned tears, by holding their handkerchiefs to their eyes. Chatouilleurs kept the audience in a humor, while bisseurs simply clapped and cried Bis. The practice spread to Italy, Vienna, London and New York, claques were also used as a form of extortion, as singers were commonly contacted by the chef de claque before their debut and forced to pay a fee, in order not to get booed. Later Toscanini and Mahler discouraged claques, as a part of the development of concert etiquette, although the practice mostly died out in Europe during the mid-20th century, it has continued in Russia, most famously with the Bolshoi Ballet, and US presidential speaking engagements
Claque
–
Le claqueur by
Honoré Daumier, 1842.
28.
Melodrama
–
A melodrama is a dramatic or literary work in which the plot, which is typically sensational and designed to appeal strongly to the emotions, takes precedence over detailed characterization. Characters are often drawn, and may appear stereotyped. In scholarly and historical contexts, melodramas are Victorian dramas in which orchestral music or song was used to accompany the action. The term is now applied to stage performances without incidental music, novels, movies. In modern contexts, the melodrama is generally pejorative, as it suggests that the work in question lacks subtlety, character development. By extension, language or behavior which resembles melodrama is often called melodramatic, the term originated from the early 19th-century French word mélodrame. It is derived from Greek melos, music, and French drame and this applies to both Victorian stage melodrama and 20th-century film melodrama. Movie director Sidney Lumet stressed the primacy of plot, saying in 2007 In a well-written drama, the characters in a well-written melodrama come out of the story. The relationship of melodrama to realism is complex, the protagonists of melodramatic works may either be ordinary people who are caught up in extraordinary events, or highly exaggerated and unrealistic characters. According to Singer, late Victorian and Edwardian melodrama combined a focus on realism in stage sets and props with anti-realism in character. Melodrama in this period strove for accuracy in the depiction of incredible. Novelist Wilkie Collins is noted for his attention to accuracy in detail in his works, beginning in the 18th century, melodrama was a technique of combining spoken recitation with short pieces of accompanying music. In such works, music and spoken dialogue typically alternated, although the music was also used to accompany pantomime. The earliest known examples are scenes in J. E. Eberlins Latin school play Sigismundus, the first full melodrama was Jean-Jacques Rousseaus Pygmalion, the text of which was written in 1762 but was first staged in Lyon in 1770. The overture and an Andante were composed by Rousseau, but the bulk of the music was composed by Horace Coignet, a different musical setting of Rousseaus Pygmalion by Anton Schweitzer was performed in Weimar in 1772, and Goethe wrote of it approvingly in Dichtung und Wahrheit. Pygmalion is a monodrama, written for one actor, some 30 other monodramas were produced in Germany in the fourth quarter of the 18th century. When two actors are involved the term duodrama may be used, georg Benda was particularly successful with his duodramas Ariadne auf Naxos and Medea. The sensational success of Bendas melodramas led Mozart to use two long melodramatic monologues in his opera Zaide, other later, and better-known examples of the melodramatic style in operas are the grave-digging scene in Beethovens Fidelio and the incantation scene in Webers Der Freischütz
Melodrama
–
Poster for
The Perils of Pauline (1914) a classic melodramatic film series
29.
Timbre
–
The physical characteristics of sound that determine the perception of timbre include spectrum and envelope. Singers and instrumental musicians can change the timbre of the music they are singing/playing by using different singing or playing techniques, for example, a violinist can use different bowing styles or play on different parts of the string to obtain different timbres. On electric guitar and electric piano, performers can change the timbre using effects units, in simple terms, timbre is what makes a particular musical sound have a different sound from another, even when they have the same pitch and loudness. For instance, it is the difference in sound between a guitar and a playing the same note at the same volume. Experienced musicians are able to distinguish between different instruments of the type based on their varied timbres, even if those instruments are playing notes at the same pitch. Tone quality and tone color are synonyms for timbre, as well as the attributed to a single instrument. However, the texture can also refer to the type of music, such as multiple. The sound of an instrument may be described with words such as bright, dark, warm, harsh. There are also colors of noise, such as pink and white, in visual representations of sound, timbre corresponds to the shape of the image. The Acoustical Society of America Acoustical Terminology definition 12, Timbre has been called. the psychoacousticians multidimensional waste-basket category for everything that cannot be labeled pitch or loudness. Many commentators have attempted to decompose timbre into component attributes, the richness of a sound or note a musical instrument produces is sometimes described in terms of a sum of a number of distinct frequencies. The lowest frequency is called the frequency, and the pitch it produces is used to name the note. The dominant frequency is the frequency that is most heard, for example, the dominant frequency for the transverse flute is double the fundamental frequency. Other significant frequencies are called overtones of the frequency, which may include harmonics. Harmonics are whole number multiples of the frequency, such as ×2, ×3, ×4. There are also sometimes subharmonics at whole number divisions of the fundamental frequency, most instruments produce harmonic sounds, but many instruments produce partials and inharmonic tones, such as cymbals and other indefinite-pitched instruments. When the tuning note in an orchestra or concert band is played, each instrument in the orchestra or concert band produces a different combination of these frequencies, as well as harmonics and overtones. The sound waves of the different frequencies overlap and combine, the timbre of a sound is also greatly affected by the following aspects of its envelope, attack time and characteristics, decay, sustain, release and transients
Timbre
–
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30.
Fach
–
The Chilean Air Force is the air force of Chile, a branch of the Chilean military. Although a school was included, the first officers were sent to France for their training as well, one of them, Captain Manuel Ávalos Prado, took command over the Chilean military aviation school that was officially instated 11 February 1913, and remained in command until 1915. The Escuela de Aviación Militar was named in honor of him in 1944, in those early years many aviation milestones were achieved, conquering the height of the Andes was one of the main targets as well as long distance flights. Typical aircraft of that era were Avro 504, Bleriot XI, Bristol M. 1C, DH.9, in the following decade, the Línea Aeropostal de Chile was created on 5 March 1929 as a branch of the military aviation. This postal airline later developed into the airline Línea Aérea Nacional that is still the leading airline in Chile today and it was initially named Fuerza Aérea Nacional. The international airport of Chile carries the name of Lans founding father and first commander of the air force and its baptism of fire was in the 1931 sailors rebellion in Coquimbo, where Air Force attack aircraft and bombers and 2 transport planes converted into bombers contributed to its failure. Two years later the first Fuerza Aérea flight to Antarctica was performed, the fifties meant entry into the jet age for the FACh, and Grupo 7 was the first unit to receive them in 1954. Chile got its aircraft from both the United States and Europe, during the military coup détat on September 11,1973, the Chilean Air Force bombarded the palace at the request of the Chilean Army. The Chilean air force hosted the joint exercise Salitre with other friendly nations and it also participated in several United Nations peacekeeping missions overseas in 5 occasions. Chile also maintains its own industry, ENAER. The design of the T-35 Pillán trainer, based on the Piper PA-28 Dakota, is the best known example, furthermore, the assembly of the A-36/T-36 Halcón was achieved as well. Performing maintenance on most types in the current inventory, such as modifications on F-5E aircraft for example. ENAER is reported to be in talks with Embraer of Brazil to codesign the first indigenous South American military transport plane, Ranks and insignia, similar to the Royal Air Force but adapted to suit the origins of the Chilean Air Force, are worn on shoulder collars and cuffs. General officers have the Condor eagle in their shoulder collars while officer cadets have a unique symbol, that of the Aviation School Captain Manuel Ávalos Prado, on their shoulder collars. The officer ranking system and insignia are similar to the RAF pattern of ranks, save for the General officer ranks, modified to suit the British style ranks, Chilean Air Force officers wear the following cap badges in their peaked caps. Notes Fuerza Aérea de Chile website Ranks of Fuerza Aérea de Chile website
Fach
–
The Delphos building, designed by the Division of Infrastructure Logistics Command Air Force
Fach
Fach
–
F-16D Block 50M of Chilean Air Force
Fach
–
A Chilean Air Force F-5E in flight
31.
Gesamtkunstwerk
–
A Gesamtkunstwerk is a work of art that makes use of all or many art forms or strives to do so. The term is a German word which has come to be accepted in English as a term in aesthetics, the term was first used by the German writer and philosopher K. F. E. Trahndorff in an essay in 1827. The German opera composer Richard Wagner used the term in two 1849 essays, and the word has become associated with his aesthetic ideals. It is unclear whether Wagner knew of Trahndorffs essay, in the twentieth century, some writers applied the term to some forms of architecture, while others have applied it to film and mass media. Some elements of opera reform, seeking a more classical formula, had begun at the end of the 18th century and this movement, reform opera is primarily associated with Christoph Willibald Gluck and Ranieri de Calzabigi. Others who wrote on syntheses of the arts included Gottfried Lessing, Ludwig Tieck, carl Maria von Webers enthusiastic review of E. T. A. He also used in these essays many similar such as the consummate artwork of the future and the integrated drama. Such a work of art was to be the clearest and most profound expression of folk legend, Wagner felt that the Greek tragedies of Aeschylus had been the finest examples so far of total artistic synthesis, but that this synthesis had subsequently been corrupted by Euripides. Wagner felt that during the rest of history up to the present day the arts had drifted further and further apart. Wagner felt that such works celebrated bravura singing, sensational stage effects, in Art and Revolution Wagner applies the term Gesamtkunstwerk in the context of Greek tragedy. In The Art-Work of the Future he uses it to apply to his own, as yet unrealised, ideal. In his extensive book Opera and Drama he takes these ideas further, describing in detail his idea of the union of opera and drama, in which the individual arts are subordinated to a common purpose. It has been argued by historian Robert L. Delevoy that Art Nouveau represented an essentially decorative trend that thus lent itself to the idea of the architectural Gesamtkunstwerk. But it is possible it was born from social theories that arose out of a fear of the rise of industrialism. However evidence of complete interiors that typify the concept of Gesamtkunstwerk can be some time before the 1890s. There was a trend amongst architects in the 18th and 19th centuries to control every facet of an architectural commission. As well as being responsible for just the structure they tried to extend their role to include designing every aspect of the work as well. This included not only the architectural features but was extended to the design of furniture, carpets, wallpaper, fabrics
Gesamtkunstwerk
–
Frank Lloyd Wright: Interior of the Robie House, Chicago, 1909.
32.
Leitmotif
–
A leitmotif or leitmotiv /ˌlaɪtmoʊˈtiːf/ is a short, constantly recurring musical phrase associated with a particular person, place, or idea. It is closely related to the concepts of idée fixe or motto-theme. The spelling leitmotif is an anglicization of the German Leitmotiv, literally meaning leading motif, or perhaps more accurately, a musical motif has been defined as a short musical idea. It may also be combined with other leitmotifs to suggest a new dramatic condition or development, although usually a short melody, it can also be a chord progression or even a simple rhythm. Leitmotifs can help to bind a work together into a coherent whole, by association, the word has also been used to mean any sort of recurring theme, in literature, or the life of a fictional character or a real person. It is sometimes used in discussion of other musical genres, such as instrumental pieces, cinema. The use of characteristic, short, recurring motives in orchestral music can be traced back to the seventeenth century. In French opera of the eighteenth century, reminiscence motif can be identified. Their use, however, is not extensive or systematic, indeed, the first use of the word leitmotif in print was by the critic Friedrich Wilhelm Jähns in describing Webers work, although this was not until 1871. Motives also figured occasionally in purely instrumental music of the romantic period, the related idea of the musical idée fixe was coined by Hector Berlioz in reference to his Symphonie fantastique. This purely instrumental, programmatic work features a recurring melody representing the object of the artists obsessive affection and depicting her presence in various real, in La forza del destino, the opening theme of the overture recurs whenever Leonora feels guilt or fear. In Il Trovatore, the theme of the first aria by Azucena is repeated whenever she invokes the horror of how her mother was burnt alive, Richard Wagner is the earliest composer most specifically associated with the concept of leitmotif. His cycle of four operas, Der Ring des Nibelungen, uses hundreds of leitmotifs, often related to characters, things. While some of these occur in only one of the operas. Wagner had raised the issue of how music could best unite disparate elements of the plot of a drama in his essay Opera and Drama. Some controversy surrounded the use of the word in Wagners own circle, Wagner never authorised the use of the leitmotiv, using words such as Grundthema. His preferred name for the technique was Hauptmotiv, which he first used in 1877, the word gained currency with the overly literal interpretations of Wagners music by Hans von Wolzogen, who in 1876 published a Leitfaden to the Ring. In it he claimed to have isolated and named all of the motifs in the cycle
Leitmotif
–
Leitmotif associated with Siegfried in
Richard Wagner 's
opera of the same name Play (
help ·
info)
Leitmotif
–
The leitmotif associated with Salome herself in Richard Strauss's opera
Salome. Play (
help ·
info)
33.
Aria
–
An aria in music was originally any expressive melody, usually, but not always, performed by a singer. The term became used almost exclusively to describe a piece for one voice, with or without orchestral accompaniment. The typical context for arias is opera, but vocal arias also feature in oratorios and cantatas, the term, which derives from the Greek and Latin aer first appeared in relation to music in the 14th century when it simply signified a manner or style of singing or playing. By the end of the 16th century, the term refers to an instrumental form. By the early 16th century it was in use as meaning a simple setting of strophic poetry, melodic madrigals. In the context of staged works and concert works, arias evolved from simple melodies into structured forms, the aria evolved typically in one of two forms. Binary form arias were in two sections, arias in ternary form were known as da capo arias, in the da capo aria the B episode would typically be in a different key – the dominant or relative major key. This version of form with ritornelli became a dominant feature of European opera throughout the 18th century. It is thought by some writers to be the origin of the forms of concerto. The ritornelli became essential to the structure of the aria – while the words determine the character of a melody the ritornello instruments often decided in terms it shall be presented. By the early 18th century, composers such as Alessandro Scarlatti had established the aria form and it offered balance and continuity, and yet gave scope for contrast. The very regularity of its conventional features enabled deviations from the normal to be exploited with telling effect. In the early years of the century, arias in the Italian style began to take over in French opera, giving rise eventually to the French genre of ariette, normally in a relatively simple ternary form. Types of operatic aria became known by a variety of terms according to their character – e. g. aria parlante, aria di bravura, aria buffa, and so on. By the end of this first vocal paragraph the music, if it were in a key as it usually was, had modulated to the dominant. The orchestra then played a second ritornello usually shorter than the first, the singer re-entered and sang the same words through a second time. The music of this paragraph was often slightly more elaborate than that of the first. There were more repeats of words and perhaps more florid vocalisations, the key worked its way back to the tonic for the final vocal cadence after which the orchestra rounded the section off with a final ritornello
Aria
–
The farewell aria of Sultan Bazajet in
Handel 's opera
Tamerlano. (Note the
da capo instruction). First edition, London, 1719.
Aria
–
Gluck in a 1775 portrait by
Joseph Duplessis
34.
Cadenza
–
During this time the accompaniment will rest, or sustain a note or chord. Thus an improvised cadenza is indicated in written notation by a fermata in all parts, a cadenza usually will occur over the final or penultimate note in a piece, or over the final or penultimate note in an important subsection of a piece. It can also be found before a coda or ritornello. Sometimes, the cadenza will include parts for other instruments besides the soloist. 3, where a flute, clarinet and horn are used over rippling arpeggios in the piano. The cadenza normally occurs near the end of the first movement, an example is Tchaikovskys First Piano Concerto, where in the first five minutes a cadenza is used. The cadenza is usually the most elaborate and virtuosic part that the instrument plays during the whole piece. At the end of the cadenza, the orchestra re-enters, and generally finishes off the movement on their own, or, less often, the cadenza was originally, and remains, a vocal flourish improvised by a performer to elaborate a cadence in an aria. It was later used in music, and soon became a standard part of the concerto. Originally, it was improvised in this context as well, but during the 19th century, third parties also wrote cadenzas for works in which it was intended by the composer to be improvised, so the soloist could have a well formed solo that they could practice in advance. 20, and Estelle Lieblings edition of cadenzas for operas such as Donizettiss La fille du Régiment and Lucia di Lammermoor. Perhaps the most notable deviations from this tendency towards written cadenzas are to be found in jazz, most often at the end of a ballad, though cadenzas in this genre are usually brief. Saxophonist John Coltrane, however, usually improvised an extended cadenza when performing I Want To Talk About You, in which he showcased his predilections for scalar improvisation and multiphonics. The recorded examples of I Want To Talk About You are approximately 8 minutes in length, with Coltranes unaccompanied cadenza taking up approximately 3 minutes, more sardonically, Jazz critic Martin Williams once described Coltranes improvisations on Africa/Brass as essentially extended cadenzas to pieces that never get played. Equally noteworthy is saxophonist Sonny Rollins shorter improvised cadenza at the close of Three Little Words, Cadenzas are also found in instrumental solos with piano or other accompaniment, where they are placed near the beginning or near the end or sometimes in both places. The end of the first movement of Bachs fifth Brandenburg Concerto features a harpsichord solo, the coloratura arias of bel canto composers Gaetano Donizetti, Vincenzo Bellini, and Giacchino Rossini. Mozart wrote a cadenza into the third and final movement of Piano Sonata in B-flat major, K.333, Beethovens Emperor Concerto contains a notated cadenza. It begins with a cadenza that is accompanied by the orchestra
Cadenza
–
Cadenza indication from Beethoven's
Piano Concerto in C minor: fermata over rest indicates beginning, fermata over shake indicates close. Play (
help ·
info)
35.
Cantabile
–
In music, cantabile, an Italian word, means literally singable or songlike. In instrumental music, it is a style of playing designed to imitate the human voice. For 18th-century composers, cantabile is often synonymous with cantando, and indicates a measured tempo and flexible, for later composers, particularly in piano music, cantabile is the drawing out of one particular musical line against the accompaniment. Felix Mendelssohns six books of Songs Without Words are short lyrical piano pieces with song-like melodies written between 1829 and 1845, a modern example is an instrumental by Harry James & His Orchestra, called Trumpet Blues and Cantabile. A cantabile movement, or simply a cantabile, is the first half of a double aria, the cantabile movement would be slower and more free-form to contrast with the structured and generally faster cabaletta. Kennedy, Michael, The Oxford Dictionary of Music, Oxford University Press,1985, ISBN 0-19-311333-3 Milsom, David, Theory and Practice in Late Nineteenth-century Violin Performance, Ashgate Publishing, Ltd. ISBN 0-7546-0756-9 Warrack, John and West, Ewan, The Oxford Dictionary of Opera, Oxford University Press,1992, p.115
Cantabile
36.
Castrato
–
A castrato is a type of classical male singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice is produced by castration of the singer before puberty, or it occurs in one who, due to an endocrinological condition, castration before puberty prevents a boys larynx from being transformed by the normal physiological events of puberty. As a result, the range of prepubescence is largely retained. Prepubescent castration for this purpose diminished greatly in the late 18th century and was illegal in Italy in 1870. As the castratos body grew, his lack of testosterone meant that his epiphyses did not harden in the normal manner, thus the limbs of the castrati often grew unusually long, as did the bones of their ribs. This, combined with training, gave them unrivalled lung-power. Operating through small, child-sized vocal cords, their voices were also extraordinarily flexible and their vocal range was higher than that of the uncastrated adult male. Listening to the surviving recordings of a castrato, one can hear that the lower part of the voice sounds like a super-high tenor. Eunuch is a general term, since historically many eunuchs were castrated after puberty. Castration as a means of subjugation, enslavement or other punishment has a long history. In a Western context, eunuch singers are known to have existed from the early Byzantine Empire, by the 9th century, eunuch singers were well-known and remained so until the sack of Constantinople by the Western forces of the Fourth Crusade in 1204. Their fate from then until their reappearance in Italy more than three hundred years later is not clear and it seems likely that the Spanish tradition of soprano falsettists may have hidden castrati. Much of Spain was under Muslim rulers during the Middle Ages, stereotypically, eunuchs served as harem guards, but they were also valued as high-level political appointees since they could not start a dynasty which would threaten the ruler. Castrati first appeared in Italy in the century, though at first the terms describing them were not always clear. The phrase soprano maschio, which could also mean falsettist, occurs in the Due Dialoghi della Musica of Luigi Dentice and this is a rare term but probably does equate to castrato. The Cardinals brother, Alfonso II dEste, Duke of Ferrara, was another early enthusiast, enquiring about castrati in 1556. There were certainly castrati in the Sistine Chapel choir in 1558, although not described as such, on 27 April of that year, Hernando Bustamante, by 1574 there were castrati in the Ducal court chapel at Munich, where the Kapellmeister was the famous Orlando di Lasso. In 1589, by the bull Cum pro nostro pastorali munere, Pope Sixtus V re-organised the choir of St Peters, thus the castrati came to supplant both boys and falsettists from the top line in such choirs
Castrato
–
A Byzantine castrato from the 11th century.
Castrato
–
A caricature of Farinelli in a female role, by Pier Leone Ghezzi 1724.
Castrato
–
The castrato
Carlo Scalzi, by Joseph Flipart, c. 1737.
Castrato
–
Alessandro Moreschi, the last of the Sistine castrati
37.
Cavatina
–
Cavatina is a musical term, originally meaning a short song of simple character, without a second strain or any repetition of the air. It is now applied to any simple, melodious air, as distinguished from brilliant arias or recitatives. One famous cavatina is the 5th movement of Beethovens String Quartet in B-flat major, ecco, ridente in cielo from Gioachino Rossinis opera Il Barbiere di Siviglia, Porgi amor and Se vuol ballare from Mozarts The Marriage of Figaro are also well-known cavatinas. Probably the most popular cavatina is a melody for guitar by Stanley Myers that was subsequently used as the theme for The Deer Hunter. It developed in the century, coincident with the decline of the previously favoured da capo aria. Examples occur in the operas of Mozart, Weber, and Rossini, in 19th-century bel canto operas of Bellini, Donizetti, and Verdi the term came to refer to a principal singer’s opening aria, whether in one movement or paired with a contrasting cabaletta
Cavatina
–
v
38.
Coloratura
–
The word Coloratura is originally from Italian, literally meaning coloring, and derives from the Latin word colorare. It is also now used to refer to passages of such music, operatic roles in which such music plays a prominent part. In these early texts the term is dealt with briefly and always with reference to Italian usage, the term coloratura is most commonly applied to the elaborate and florid figuration or ornamentation in classical and romantic vocal music. In the modern musicological sense the term is used to refer to florid music from all periods of music history. Despite its derivation from Latin colorare, the term coloratura does not apply to the practice of coloring the voice, the term is not restricted to describing any one range of voice. All female and male voice types may achieve mastery of coloratura technique, there are coloratura parts for all voice types in different musical genres. Nevertheless, the coloratura, when used without further qualification. A coloratura soprano has the ability to produce notes above high C. Examples of coloratura music for different voice ranges include, Mozarts Allelujah may be arranged for and sung by a properly trained contralto, the piece was written for soprano castrato. The aria Every valley shall be exalted from Handels Messiah is an example of a piece for tenor. Each singer of a role in Rossinis operas must have a secure coloratura technique. Osmin, a character in Mozarts The Abduction from the Seraglio, is a role for a bass. A modern example is I am the wife of Mao Tse-tung, sung by the part of Jiang Qing in the John Adams opera Nixon in China. Glitter And Be Gay from Leonard Bernsteins comic operetta, Candide Agitata da due venti a coloratura mezzo-soprano aria, medieval coloration Apel, Willi, ed. Harvard Dictionary of Music, second edition. Cambridge, Massachusetts, The Belknap Press of Harvard University Press, randel, Don Michael, ed. Apel, Willi, ed. Cambridge, Massachusetts, The Belknap Press of Harvard University Press, the New Grove Dictionary of Opera
Coloratura
–
Farinelli, a soprano
castrato famous for singing
baroque coloratura roles (
Corrado Giaquinto, c. 1755).
Coloratura
–
An example of a coloratura passage from a soprano role. It includes a more difficult variant (top stave) with a leap to a high D (
D6). Final cadenza from the Valse in Ophélie's Mad Scene (Act IV) from the opera
Hamlet (1868) by Ambroise Thomas (piano-vocal score, p. 292).
39.
Falsetto
–
Falsetto is the vocal register occupying the frequency range just above the modal voice register and overlapping with it by approximately one octave. It is produced by the vibration of the edges of the vocal cords. Commonly cited in the context of singing, falsetto, a characteristic of phonation by all genders, is one of four main spoken vocal registers recognized by speech pathology. The term falsetto is most often used in the context of singing to refer to a type of vocal phonation that enables the singer to sing notes beyond the range of the normal or modal voice. The modal voice, or modal register, and falsetto register differ primarily in the action of the vocal cords, production of the normal voice involves vibration of the entire vocal cord, with the glottis opening first at the bottom and then at the top. Production of falsetto, on the hand, vibrates only the ligamentous edges of the vocal folds while leaving each folds body relatively relaxed. Transition from modal voice to falsetto occurs when each vocal cords main body, or vocalis muscle, relaxes, william Vennard describes this process as follows, With the vocalis muscles relaxed it is possible for the cricothyroids to place great longitudinal tension upon the vocal ligaments. The tension can be increased in order to raise the pitch even after the length of the cords has been reached. This makes the vocal folds thin so that there is negligible vertical phase difference, the vocalis muscles fall to the sides of the larynx and the vibration take place almost entirely in the ligaments. In the modal register, the folds are seen to contact with each other completely during each vibration. This closure cuts off the escaping air, when the air pressure in the trachea rises as a result of this closure, the folds are blown apart, while the vocal processes of the arytenoid cartilages remain in apposition. This creates a gap between the folds and some air escapes, lowering the pressure inside the trachea. Rhythmic repetition of this movement creates the note, in skilled countertenors, however, the mucous membrane of the vocal folds contact with each other completely during each vibration cycle. The arytenoid cartilages are held in firm apposition in this register also. The length or size of the oval orifice or separation between the folds can vary, but it is known to get bigger in size as the pressure of air pushed out is increased, the folds are made up of elastic and fatty tissue. The folds are covered on the surface by laryngeal mucous membrane which is supported deeper down underneath by the innermost fibres of the thyroarytenoid muscle. In falsetto the extreme membranous edges, i. e. the edges furthest away from the middle of the gap between the folds, appear to be the only parts vibrating, the mass corresponding to the innermost part of the thyro-arytenoid muscle remains still and motionless. Some singers feel a sense of relief when they change from the modal register to the falsetto register
Falsetto
–
Vocal fold, scheme
40.
Fioritura
–
Fioritura is the florid embellishment of melodic lines, either notated by a composer or improvised during a performance. The alternative term coloratura is less accurate and it is closely related to the sixteenth-century practice of diminution or division. The Oxford Companion to Music, edited by Alison Latham, Oxford and New York, Oxford University Press. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie, the Harvard Dictionary of Music, fourth edition. Harvard University Press Reference Library 16, the New Grove Dictionary of Opera
Fioritura
–
v
41.
Legato
–
In music performance and notation, legato indicates that musical notes are played or sung smoothly and connected. That is, the player makes a transition from note to note with no intervening silence, Legato technique is required for slurred performance, but unlike slurring, legato does not forbid rearticulation. Standard notation indicates legato either with the word legato, or by a slur under notes that form one legato group, Legato, like staccato, is a kind of articulation. There is an intermediate articulation called either mezzo staccato or non-legato, the player achieves this through controlled wrist movements of the bowing hand, often masked or enhanced with vibrato. Such a legato style of playing can also be associated with portamento, the term hammer-ons from nowhere is commonly employed when crossing strings and relying solely on fretting hand strength to produce a note but on a plucked string. Many guitar virtuosos are well-versed in the technique, as it allows for rapid. Multiple hammer-ons and pull-offs together are also referred to colloquially as rolls. A rapid series of hammer-ons and pull-offs between a pair of notes is called a trill. Legato on guitar is associated with playing more notes within a beat than the stated timing. This gives the passage an unusual timing and when played slowly an unusual sound, however, this is less noticeable by ear when played fast, as legato usually is. There is a line between legato and two-hand finger tapping, in some cases making the two techniques harder to distinguish by ear. Generally, legato adds a fluid, smooth sound to a passage. In synthesizers legato is a type of monophonic operation and this causes the initial transient from the attack and decay phases to sound only once for an entire legato sequence of notes. Envelopes reaching the sustain stage remain there until the note is released. In classical singing, legato means a string of sustained vowels with minimal interruption from consonants and it is a key characteristic of the bel canto singing style that prevailed among voice teachers and singers during the 18th century and the first four decades of the 19th century. Usually referred to as the line, a good, smooth legato is still necessary for successful classical singers, in Western Classical vocal music, singers generally use it on any phrase without explicit articulation marks. Usually the most prevalent issue with vocal legato is maintaining the line across registers, frederic Bernard - Composition Lesson I, “How To Legato. ”
Legato
–
Diatonic scale on C, legato. Play (
help ·
info)
42.
Libretto
–
A libretto is the text used in, or intended for, an extended musical work such as an opera, operetta, masque, oratorio, cantata or musical. The term libretto is also used to refer to the text of major liturgical works, such as the Mass, requiem and sacred cantata. Libretto, from Italian, is the diminutive of the word libro, sometimes other language equivalents are used for libretti in that language, livret for French works and Textbuch for German. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot. The relationship of the librettist to the composer in the creation of a work has varied over the centuries, as have the sources. In the context of a modern English language musical theatre piece, Libretti for operas, oratorios and cantatas in the 17th and 18th centuries generally were written by someone other than the composer, often a well-known poet. Metastasio was one of the most highly regarded librettists in Europe and his libretti were set many times by many different composers. Another noted 18th-century librettist was Lorenzo Da Ponte, who wrote the libretti for three of Mozarts greatest operas, as well as for other composers. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer, Auber, Bellini, Donizetti, Rossini and Verdi. The French writers duo Henri Meilhac and Ludovic Halévy wrote a number of opera and operetta libretti for the likes of Jacques Offenbach, Jules Massenet. Arrigo Boito, who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli, the libretto is not always written before the music. Some composers wrote their own libretti, Richard Wagner is perhaps most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas. Hector Berlioz, too, wrote the libretti for two of his works, La Damnation de Faust and Les Troyens. Alban Berg adapted Georg Büchners play Woyzeck for the libretto of Wozzeck, sometimes the libretto is written in close collaboration with the composer, this can involve adaptation, as was the case with Rimsky-Korsakov and his librettist Belsky, or an entirely original work. In the case of musicals, the music, the lyrics, thus, a musical such as Fiddler on the Roof has a composer, a lyricist and the writer of the book. In rare cases, the composer writes everything except the dance arrangements - music, lyrics and libretto, Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen. A famous case of the latter is Wagners 1861 revision of the original 1845 Dresden version of his opera Tannhäuser for Paris, since the late 19th century some opera composers have written music to prose or free verse libretti. The libretto of a musical, on the hand, is almost always written in prose
Libretto
–
Cover of a 1921 libretto for Giordano's
Andrea Chénier
Libretto
–
The composer of
Cavalleria rusticana,
Pietro Mascagni, flanked by his librettists,
Giovanni Targioni-Tozzetti and
Guido Menasci.
Libretto
–
Pages from an 1859 libretto for
Ernani, with the original Italian lyrics, English translation and musical notation for one of the arias.
Libretto
–
Henry Purcell (1659–1695) whose operas were written to English libretti.
43.
Maestro
–
Maestro is an honorific title of respect. The term is most commonly used in the context of Western classical music and opera, the word maestro is most often used in addressing or referring to conductors. Less frequently, one might refer to respected composers, performers, impresarios, in the world of Italian opera, the title is also used to designate a number of positions within the orchestra and company that have specific duties during rehearsal and performance. These include, Maestro sostituto or maestro collaboratore, musicians who act as répétiteurs, Maestro concertatore, the keyboard continuo player, who prepares singers and leads rehearsals. The word is used in fine arts such as painting and sculpture, although master. Maestro is used in the sport of fencing, for a fencing instructor, the Maestro Myth, Great Conductors in Pursuit of Power. Kennedy, Michael, The Oxford Dictionary of Music,985 pages, ISBN 0-19-861459-4 Warrack, John, West, Ewan
Maestro
–
Herbert von Karajan conducting in 1941
44.
Opera seria
–
Opera seria is an Italian musical term which refers to the noble and serious style of Italian opera that predominated in Europe from the 1710s to c. The term itself was used at the time and only attained common usage once opera seria was becoming unfashionable. The popular rival to opera seria was opera buffa, the opera that took its cue from the improvisatory commedia dellarte. Italian opera seria was produced not only in Italy but also in Spain, Habsburg Austria, England, Saxony, German states, Opera seria was less popular in France, where the national genre of French opera was preferred. Opera seria built upon the conventions of the High Baroque era by developing and exploiting the da capo aria, the first section presented a theme, the second a complementary one, and the third a repeat of the first with ornamentation and elaboration of the music by the singer. As the genre developed and arias grew longer, an opera seria would contain not more than thirty musical movements. The recitative was typically secco, that is, accompanied only by continuo, at moments of especially violent passion secco was replaced by stromentato recitative, where the singer was accompanied by the entire body of strings. After an aria was sung, accompanied by strings and oboe and this continued for three acts before concluding with an upbeat chorus, to celebrate the jubilant climax. The leading singers each expected their fair share of arias of varied mood, be they sad, angry, the dramaturgy of opera seria largely developed as a response to French criticism of what were often viewed as impure and corrupting librettos. The spectacle and ballet so common in French opera were banished and they were cast in heroic male roles, alongside another new breed of operatic creature, the prima donna. The rise of star singers with formidable technical skills spurred composers to write increasingly complex vocal music. Of these the most famous is perhaps Farinelli, whose debut in 1722 was guided by Nicola Porpora, though Farinelli did not sing for Handel, his main rival, Senesino, did. Opera seria acquired definitive form early during the 1720s, while Apostolo Zeno and Alessandro Scarlatti had paved the way, the genre only truly came to fruition due to Metastasio and later composers. Metastasios career began with the serenata Gli Orti Esperidi, Nicola Porpora, set the work to music, and the success was so great that the famed Roman prima donna, Marianna Bulgarelli, La Romanina, sought out Metastasio, and took him on as her protégé. On the other hand, Handel, working far outside the genre, set only a few Metastasio libretti for his London audience. At this time the leading Metastasian composers were Hasse, Antonio Caldara, Vinci, Porpora, vincis settings of Didone abbandonata and Artaserse were much praised for their stromento recitative, and he played a crucial part in establishing the new style of melody. Hasse, by contrast, indulged in stronger accompaniment and was regarded at the time as the more adventurous of the two, Pergolesi was noted for his lyricism. The main challenge for all was achieving variety, a break from the pattern of secco recitative, the mutable moods of Metastasios librettos helped, as did innovations made by the composer, such as stromento recitative or cutting a ritornello
Opera seria
–
A caricature of a performance of Handel's
Flavio, featuring three of the best-known opera seria singers of their day:
Senesino on the left, diva
Francesca Cuzzoni in the centre, and art-loving castrato
Gaetano Berenstadt on the right.
Opera seria
–
Anton Raaff, the German tenor who created the title role in Mozart's
Idomeneo. Seen here performing a heroic role.
45.
Portamento
–
In music, portamento is a pitch sliding from one note to another. It is also applied to one type of glissando as well as to the function of synthesizers. In the first example, Rodolfos first aria in La Sonnambula, the second example, Judits first line in Duke Bluebeards Castle, employs an inclining, wavy line between the fourth and fifth notes to indicate a steady rise in pitch. Portamento may, of course, also be used for descending intervals, in the performance of Italian bel canto music, the concept of the musical slur and that of the true portamento have not always been held to mean the same thing. This is explained simply by Nicola Vaccai in his Practical Method of Italian Singing, originally published 1832, whose opinion in the matter holds some authority. In the sense described by Vaccai, the portamento is not a slur but an ornamental accentuation of the legato linking two distinct notes, without any slide or glide through the intervening notes. He adds, In phrases requiring much grace and expression, it produces a good effect. However Manuel García, a pedagogue of immense renown, in his New Compendious Treatise of the Art of Singing, Part 1, Chapter VII, On Vocalization or Agility. Writing of the means by which the voice is conducted from one note to another, to slur is to conduct the voice from one note to another through all the intermediate sounds. This dragging of the notes will assist in equalizing the registers, timbres and he warned that learners should not acquire the bad habit of attacking a note with a slur, a prevailing fault in bad singers. As with the sounds, the air must be subjected to a regular and continuous pressure. It reflected not merely a distinction of terminology but divergent understandings of an aspect of singing technique. This is not valid criticism of a performer when portamento is explicitly specified in the score or is otherwise appropriate, however, when there is no such specification, the singer is expected to be able to move crisply from note to note without any slurring or scooping. Glissando List of ornaments Nonchord tone#Portamento Pitch wheel Portato, also rarely called portamento, the Craft of Modal Counterpoint, A Practical Approach, second edition. Ecole de García, Traité Complet de lArt du Chant par Manuel García fils, mainz and Paris, Schott 1840,1847. Garcías New Treatise on the Art of Singing, a Compendious Method of Instruction, with Examples and Exercises for the Cultivation of the Voice, OCLC224044902 Read at Archive. org Gauldin, Robert. A Practical Approach to Sixteenth-Century Counterpoint, englewood Cliffs, New Jersey, Prentice Hall. OCLC59143146 Harris, Ellen T. Portamento, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell
Portamento
–
This article is about the musical term. For the album, see
Portamento (album).
46.
Stagione
–
Stagione is an organizational system for presenting opera, often used by large houses. Typically each production is cast separately and has a brief but intensive run of performances, by contrast, companies that use a repertory system maintain a permanent company and rotate productions over many months or even years. Historically the stagione system has been preferred in Britain, the United States, the Oxford Dictionary of Opera, by John Warrack and Ewan West,782 pages, ISBN 0-19-869164-5 The New Grove Dictionary of Opera, ed. Stanley Sadie ISBN 0-333-73432-7
Stagione
–
v
47.
Vibrato
–
Vibrato is a musical effect consisting of a regular, pulsating change of pitch. It is used to add expression to vocal and instrumental music, Vibrato is typically characterised in terms of two factors, the amount of pitch variation and the speed with which the pitch is varied. In singing it can occur spontaneously through variations in the larynx, the vibrato of a string instrument and wind instrument is an imitation of that vocal function. In practice, it is difficult for a singer or musical instrument player to achieve a pure vibrato or tremolo, electronic manipulation or generation of signals makes it easier to achieve or demonstrate pure tremolo or vibrato. A Leslie speaker creates vibrato as a byproduct of tremolo production, as a Leslie speaker is moved by the rotating mechanism on which it is mounted, it moves closer to or farther away from any given object not also mounted on the mechanism. e. However, the size of effect is likely to be tiny compared against the tremolo effect since the distance oscillation is very small. The use of vibrato is intended to add warmth to a note and this can add a shimmer to the sound, with a well-made instrument it may also help a solo player to be heard more clearly when playing with a large orchestra. The rate and extent of the variation in pitch during vibrato is controlled by the performer, wind and bowed instruments generally use vibratos with an extent of less than half a semitone either side. Despite his technique, he was unable to play without vibrato, the featured saxophonist in Benny Goodmans Orchestra, George Auld, was brought in to play the part. Many classical musicians, especially singers and string players, have a similar problem, the use of vibrato in classical music is a matter of some dispute. For much of the 20th century it was used almost continuously in the performance of pieces from all eras from the Baroque onwards, especially by singers, a drastic change in approach cannot be understood wholly without regarding the rise of notionally historically informed performance from the 1970s onwards. However, there is no proof that singers performed without vibrato in the baroque era. Vocal music of the renaissance is almost never sung with vibrato as a rule, there are only a few texts from the period on vocal production, but they all condemn excessive use of vibrato. However, it should be understood that vibrato occurs over a range of intensities, slow, fast, wide. Leopold Mozart’s Versuch einer gründlichen Violinschule, for example, provides an indication of the state of vibrato in string playing at the end of the baroque period. This however, does not give anything more than an indication of Mozarts own personal taste, in this respect he resembles his contemporary, Francesco Geminiani, who advocated using vibrato as frequently as possible on short notes for this purpose. Certain types of vibrato, then, were seen as an ornament, in wind playing too, it seems that vibrato in music up to the 20th century was seen as an ornament to be used selectively. Martin Agricola writing in his Musica instrumentalis deudsch writes of vibrato in this way, occasionally, composers up to the baroque period indicated vibrato with a wavy line in the sheet music
Vibrato
–
Spectrogram illustrating the difference between tremolo and vibrato.
