Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Lyrics are words that make up a song consisting of verses and choruses. The writer of lyrics is a lyricist; the words to an extended musical composition such as an opera are, however known as a "libretto" and their writer, as a "librettist". The meaning of lyrics can either be implicit; some lyrics are abstract unintelligible, and, in such cases, their explication emphasizes form, articulation and symmetry of expression. Rappers can create lyrics that are meant to be spoken rhythmically rather than sung. "Lyric" derives via Latin lyricus from the adjectival form of lyre. It first appeared in English in the mid-16th century in reference, to the Earl of Surrey's translations of Petrarch and to his own sonnets. Greek lyric poetry had been defined by the manner in which it was sung accompanied by the lyre or cithara, as opposed to the chanted formal epics or the more passionate elegies accompanied by the flute; the personal nature of many of the verses of the Nine Lyric Poets led to the present sense of "lyric poetry" but the original Greek sense—words set to music—eventually led to its use as "lyrics", first attested in Stainer and Barrett's 1876 Dictionary of Musical Terms.
Stainer and Barrett used the word as a singular substantive: "Lyric, poetry or blank verse intended to be set to music and sung". By the 1930s, the present use of the plurale tantum "lyrics" had begun; the singular form "lyric" is still used to mean the complete words to a song by authorities such as Alec Wilder, Robert Gottlieb, Stephen Sondheim. However, the singular form is commonly used to refer to a specific line within a song's lyrics; the differences between poem and song may become less meaningful where verse is set to music, to the point that any distinction becomes untenable. This is recognised in the way popular songs have lyrics. However, the verse may pre-date its tune, or the tune may be lost over time but the words survive, matched by a number of different tunes. Possible classifications proliferate. Nursery rhymes may be songs, or doggerel: the term doesn't imply a distinction; the ghazal is a sung form, considered poetic. See rapping, roots of hip hop music. Analogously, verse drama might be judged as poetry, but not consisting of poems.
In Baroque music and their lyrics were prose. Rather than paired lines they consist of rhetorical sentences or paragraphs consisting of an opening gesture, an amplification, a close. For example: When I was a child, I spoke as a child, I understood as a child, I thought as a child. - 1 Corinthians 13:11 In the lyrics of popular music a "shifter" is a word a pronoun, "where reference varies according to, speaking and where", such as "I", "you", "my", "our". For example, the "my" of "My Generation"? See RoyaltiesCurrently, there are many websites featuring song lyrics; this offering, however, is controversial, since some sites include copyrighted lyrics offered without the holder's permission. The U. S. Music Publishers' Association, which represents sheet music companies, launched a legal campaign against such websites in December 2005; the MPA's president, Lauren Keiser, said the free lyrics web sites are "completely illegal" and wanted some website operators jailed. Lyrics licenses could be obtained worldwide through one of the two aggregators: LyricFind and Musixmatch.
The first company to provide licensed lyrics was Yahoo! followed by MetroLyrics and Lyrics.com. More and more lyric websites are beginning to provide licensed lyrics, such as SongMeanings and LyricWiki. Many competing lyrics web sites are still offering unlicensed content, causing challenges around the legality and accuracy of lyrics. In the latest attempt to crack down unlicensed lyrics web sites a federal court has ordered LiveUniverse, a network of websites run by MySpace co-founder Brad Greenspan, to cease operating four sites offering unlicensed song lyrics. Lyrics can be studied from an academic perspective. For example, some lyrics can be considered a form of social commentary. Lyrics contain political and economic themes—as well as aesthetic elements—and so can communicate culturally significant messages; these messages implied through metaphor or symbolism. Lyrics can be analyzed with respect to the sense of unity it has with its supporting music. Analysis based on tonality and contrast are particular examples.
Former Oxford Professor of Poetry Christopher Ricks famously published Dylan's Visions of Sin, an in-depth and characteristically Ricksian analysis of the lyrics of Bob Dylan. A 2009 report published by McAfee found that, in terms of potential exposure to malware, lyrics-related searches and searches containing the word "free" are the most to have risky results from search engines, both in terms of average risk of all results, maximum risk o
A march, as a musical genre, is a piece of music with a strong regular rhythm which in origin was expressly written for marching to and most performed by a military band. In mood, marches range from the moving death march in Wagner's Götterdämmerung to the brisk military marches of John Philip Sousa and the martial hymns of the late 19th century. Examples of the varied use of the march can be found in Beethoven's Eroica Symphony, in the Marches Militaires of Franz Schubert, in the Marche funèbre in Chopin's Sonata in B flat minor, in the Dead March in Handel's Saul. Marches can be written in any time signature, but the most common time signatures are 44, 22, or 68. However, some modern marches are being written in 24 time; the modern march tempo is around 120 beats per minute. Many funeral marches conform to the Roman standard of 60 beats per minute; the tempo matches the pace of soldiers walking in step. Both tempos achieve the standard rate of 120 steps per minute; each section of a march consists of 16 or 32 measures, which may repeat.
Most a march consists of a strong and steady percussive beat reminiscent of military field drums. A military music event where various marching bands and units perform is called tattoo. Marches change keys once, modulating to the subdominant key, returning to the original tonic key. If it begins in a minor key, it modulates to the relative major. Marches have counter-melodies introduced during the repeat of a main melody. Marches have a penultimate dogfight strain in which two groups of instruments alternate in a statement/response format. In most traditional American marches, there are three strains; the third strain is referred to as the "trio". The march tempo of 120 beats or steps per minute was adapted by Napoleon Bonaparte so that his army could move faster. Since he planned to occupy the territory he conquered, instead of his soldiers carrying all of their provisions with them, they would live off the land and march faster; the French march tempo is faster than the traditional tempo of British marches.
Traditional American marches use the quick march tempo. There are two reason for this: First, U. S. military bands adopted the march tempos of France and other continental European nations that aided the U. S. during its early wars with Great Britain. Second, the composer of the greatest American marches, John Philip Sousa, was of Portuguese and German descent. Portugal used the French tempo exclusively—the standard Sousa learned during his musical education. A military band playing or marching at the traditional British march tempo would seem unusually slow in the United States. March music originates from the military, marches are played by a marching band; the most important instruments are various drums, fife or woodwind instruments and brass instruments. Marches and marching bands have today a strong connection to military, both to drill and parades. Marches, which are played at paces with multiples of normal heartbeat, can have a hypnotic effect on the marching soldiers, rendering them into a trance, This effect was known in the 16th century, was employed to lead the soldiers in closed ranks against the enemy fire in the 16th and 17th century wars.
March music is important for ceremonial occasions. Processional or coronation marches, such as the popular coronation march from Le prophète by Giacomo Meyerbeer and the many examples of coronation marches written for British monarchs by English composers, such as Edward Elgar, Edward German, William Walton, are all in traditional British tempos. Marches weren't notated until the late 16th century. With the extensive development of brass instruments in the 19th century, marches became popular and were elaborately orchestrated. Composers such as Wolfgang Amadeus Mozart, Ludwig van Beethoven, Gustav Mahler wrote marches incorporating them into their operas, sonatas, or symphonies; the popularity of John Philip Sousa's band marches was unmatched. The style of the traditional symphony march can be traced back to symphonic pieces from renaissance era, such as pieces written for nobility. Many European countries and cultures developed characteristic styles of marches. British marches move at a more stately pace, have intricate countermelodies, have a wide range of dynamics, use full-value stingers at the ends of phrases.
The final strain of a British march has a broad lyrical quality to it. Archetypical British marches include "The British Grenadiers" and those of Kenneth Alford, such as the well-known "Colonel Bogey March" and "The Great Little Army". Scottish bagpipe music makes extensive use of marches played at a pace of 90 beats per minute. Many popular marches are traditional and of unknown origin. Notable examples include Highland Laddie, Bonnie Dundee and Cock of the North. Retreat marches are set in 3/4 time, such as The Green Hills of Tyrol; the bagpipe make use of slow marches such as the Skye Boat Song and the Cradle Song. These are set in 6/8 time and are played at around 60 beats per minute. German marches move at a strict tempo of 110 beats per minute, have a strong oom-pah polka-like/folk-like quality resulting f
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
German Americans are Americans who have full or partial German ancestry. With an estimated size of 44 million in 2016, German Americans are the largest of the ancestry groups reported by the US Census Bureau in its American Community Survey; the group accounts for about one third of the total ethnic German population in the world. None of the German states had American colonies. In the 1670s, the first significant groups of German immigrants arrived in the British colonies, settling in Pennsylvania, New York, Virginia. Immigration continued in large numbers during the 19th century, with eight million arrivals from Germany. Between 1820 and 1870 over seven and a half million German immigrants came to the United States. By 2010, their population grew to 49.8 million immigrants, reflecting a jump of 6 million people since 2000. There is a "German belt" that extends all the way across the United States, from eastern Pennsylvania to the Oregon coast. Pennsylvania has the largest population of German-Americans in the U.
S. and is home to one of the group's original settlements, founded in 1683 and the birthplace of the American antislavery movement in 1688, as well as the revolutionary Battle of Germantown. The state of Pennsylvania has 3.5 million people of German ancestry. They were pulled by the attractions of land and religious freedom, pushed out of Germany by shortages of land and religious or political oppression. Many arrived seeking religious or political freedom, others for economic opportunities greater than those in Europe, others for the chance to start fresh in the New World; the arrivals before 1850 were farmers who sought out the most productive land, where their intensive farming techniques would pay off. After 1840, many came to cities. German Americans established the first kindergartens in the United States, introduced the Christmas tree tradition, introduced popular foods such as hot dogs and hamburgers to America; the great majority of people with some German ancestry have become Americanized and can hardly be distinguished by the untrained eye.
German-American societies abound, as do celebrations that are held throughout the country to celebrate German heritage of which the German-American Steuben Parade in New York City is one of the most well-known and is held every third Saturday in September. Oktoberfest celebrations and the German-American Day are popular festivities. There are major annual events in cities with German heritage including Chicago, Milwaukee, San Antonio, St. Louis; the Germans included many quite distinct subgroups with differing cultural values. Lutherans and Catholics opposed Yankee moralizing programs such as the prohibition of beer, favored paternalistic families with the husband deciding the family position on public affairs, they opposed women's suffrage but this was used as argument in favor of suffrage when German Americans became pariahs during World War I. On the other hand, there were Protestant groups that emerged from European pietism such as the German Methodist and United Brethren; the first English settlers arrived at Jamestown, Virginia in 1607, were accompanied by the first German American, Dr. Johannes Fleischer.
He was followed in 1608 by three carpenters or house builders. The first permanent German settlement in what became the United States was Germantown, founded near Philadelphia on October 6, 1683. Large numbers of Germans migrated from the 1680s to 1760s, with Pennsylvania the favored destination, they migrated to America for a variety of reasons. Push factors involved worsening opportunities for farm ownership in central Europe, persecution of some religious groups, military conscription. Immigrants paid for their passage by selling their labor for a period of years as indentured servants. Large sections of Pennsylvania, Upstate New York, the Shenandoah Valley of Virginia attracted Germans. Most were German Reformed. German Catholics did not arrive in number until after the War of 1812. In 1709, Protestant Germans from the Pfalz or Palatine region of Germany escaped conditions of poverty, traveling first to Rotterdam and to London. Anne, Queen of Great Britain, helped; the trip was long and difficult to survive because of the poor quality of food and water aboard ships and the infectious disease typhus.
Many immigrants children, died before reaching America in June 1710. The Palatine immigration of about 2100 people who survived was the largest single immigration to America in the colonial period. Most were first settled along the Hudson River in work camps. By 1711, seven villages had been established in New York on the Robert Livingston manor. In 1723 Germans became the first Europeans allowed to buy land in the Mohawk Valley west of Little Falls. One hundred homesteads were allocated in the Burnetsfield Patent. By 1750, the Germans occupied a strip some 12 miles long along both sides of the Mohawk River; the soil was excellent. Herkimer was the best-known of the German settlements in a region long known as the "German Flats", they kept to themselves, married their own, spoke German, attended Lutheran churches, retained their own customs and foods. They emphasized farm owner
The waltz is a ballroom and folk dance in triple time, performed in closed position. There are many references to a sliding or gliding dance that would evolve into the waltz that date from 16th century Europe, including the representations of the printmaker Hans Sebald Beham; the French philosopher Michel de Montaigne wrote of a dance he saw in 1580 in Augsburg, where the dancers held each other so that their faces touched. Kunz Haas wrote, "Now they are dancing the godless Weller or Spinner." "The vigorous peasant dancer, following an instinctive knowledge of the weight of fall, uses his surplus energy to press all his strength into the proper beat of the bar, thus intensifying his personal enjoyment in dancing." The peasants of Bavaria and Styria began dancing a dance called Walzer, a dance for couples, around 1750. The Ländler known as the Schleifer, a country dance in 34 time, was popular in Bohemia and Bavaria, spread from the countryside to the suburbs of the city. While the eighteenth century upper classes continued to dance the minuet, bored noblemen slipped away to the balls of their servants.
In the 1771 German novel Geschichte des Fräuleins von Sternheim by Sophie von La Roche, a high-minded character complains about the newly introduced waltz among aristocrats thus: "But when he put his arm around her, pressed her to his breast, cavorted with her in the shameless, indecent whirling-dance of the Germans and engaged in a familiarity that broke all the bounds of good breeding—then my silent misery turned into burning rage."Describing life in Vienna, Don Curzio wrote, "The people were dancing mad... The ladies of Vienna are celebrated for their grace and movements of waltzing of which they never tire." There is a waltz in the second act finale of the 1786 opera Una Cosa Rara by Martin y Soler. Soler's waltz was marked andante con moto, or "at a walking pace with motion", but the flow of the dance was sped-up in Vienna leading to the Geschwindwalzer, the Galloppwalzer. In the transition from country to town, the hopping of the Ländler, a dance known as Langaus, became a sliding step, gliding rotation replaced stamping rotation.
In the 19th century, the word indicated that the dance was a turning one. The Viennese custom is to anticipate the second beat of each bar, making it sound as if the third is late and creating a certain buoyancy; the younger Strauss would sometimes break up the one-two-three of the melody with a one-two pattern in the accompaniment along with other rhythms, maintaining the 34 time while causing the dancers to dance a two-step waltz. The metronome speed for a full bar varies between 60 and 70, with the waltzes of the first Strauss played faster than those of his sons. Shocking many when it was first introduced, the waltz became fashionable in Vienna around the 1780s, spreading to many other countries in the years to follow. According to contemporary singer Michael Kelly, it reached England in 1791. During the Napoleonic Wars, infantry soldiers of the King's German Legion introduced the dance to the people of Bexhill, Sussex from 1804, it became fashionable in Britain during the Regency period, having been made respectable by the endorsement of Dorothea Lieven, wife of the Russian ambassador.
Diarist Thomas Raikes recounted that "No event produced so great a sensation in English society as the introduction of the waltz in 1813." In the same year, a sardonic tribute to the dance by Lord Byron was anonymously published. Influential dance master and author of instruction manuals, Thomas Wilson published A Description of the Correct Method of Waltzing in 1816. Almack's, the most exclusive club in London, permitted the waltz, though the entry in the Oxford English Dictionary shows that it was considered "riotous and indecent" as late as 1825. In The Tenant of Wildfell Hall, by Anne Brontë, in a scene set in 1827, the local vicar Reverend Milward tolerates quadrilles and country dances but intervenes decisively when a waltz is called for, declaring "No, no, I don't allow that! Come, it's time to be going home."The waltz its closed position, became the example for the creation of many other ballroom dances. Subsequently, new types of waltz have developed, including several ballroom dances.
In the 19th and early 20th century, numerous different waltz forms existed, including versions performed in 34, 38 or 68, 54 time. In the 1910s, a form called the "Hesitation Waltz" was introduced by Irene Castle, it was danced to fast music. A hesitation is a halt on the standing foot during the full waltz bar, with the moving foot suspended in the air or dragged. Similar figures are incorporated in the International Standard Waltz Syllabus; the Country Western Waltz is progressive, moving counter clock wise around the dance floor. Both the posture and frame are relaxed, with posture bordering on a slouch; the exaggerated hand and arm gestures of some ballroom styles are not part of this style. Couples may dance in the promenade position, depending on local preferences. Within Country Western waltz, there is the more modern Pursuit Waltz. At one time it was considered ill treatment for a man to make the woman walk backwards in some locations. In California the waltz was banned by Mission priests until after 1834 because of the "closed" dance position