1.
Reno, Nevada
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Reno is a city in the U. S. state of Nevada. It is in Northern Nevada, approximately 22 miles from Lake Tahoe, known as The Biggest Little City in the World, Reno is famous for its casinos and as the birthplace of Caesars Entertainment Corporation. It is the county seat of Washoe County, in the part of the state. The city sits in a desert at the foot of the Sierra Nevada. Archaeological finds place the border for the prehistoric Martis people in the Reno area. As early as the mid 1850s a few settled in the Truckee Meadows. Gold was discovered in the vicinity of Virginia City in 1850, and a modest mining community developed, to provide the necessary connection between Virginia City and the California Trail, Charles W. Fuller built a log toll bridge across the Truckee River in 1859. A small community that would service travelers soon grew up near the bridge, after two years, Fuller sold the bridge to Myron C. Lake, who continued to develop the community with the addition of a grist mill, kiln, in 1864, Washoe County was consolidated with Roop County, and Lakes Crossing became the largest town in the county. Lake had earned himself the founder of Reno. Lake deeded land to the CPRR in exchange for its promise to build a depot at Lakes Crossing, once the railroad station was established, the town of Reno officially came into being on May 9,1868. CPRR construction superintendent Charles Crocker named the community after Major General Jesse Lee Reno, in 1871, Reno became the county seat of the newly expanded Washoe County, replacing the previous county seat, located in Washoe City. However, political power in Nevada remained with the communities, first Virginia City and later Tonopah. The extension of the Virginia and Truckee Railroad to Reno in 1872 provided a boost to the new citys economy. Despite this, Nevada is still the third-largest gold producer in the world, after South Africa and Australia, the Reno Arch was erected on Virginia Street in 1926 to promote the upcoming Transcontinental Highways Exposition of 1927. The arch included the words Nevadas Transcontinental Highways Exposition and the dates of the exposition. After the exposition, the Reno City Council decided to keep the arch as a permanent downtown gateway, no acceptable slogan was received until a $100 prize was offered, and G. A. Burns of Sacramento was declared the winner on March 14,1929, with Reno, The Biggest Little City in the World
2.
University of Nevada, Las Vegas
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The University of Nevada, Las Vegas is an American public research university located in the Las Vegas suburb of Paradise, Nevada. The 332-acre campus is located approximately 1. 6-mile east of the Las Vegas Strip, in addition, UNLVs law school, the William S. Boyd School of Law, is also the only law school in the state. The university is classified a research-intensive university by the Carnegie Foundation for the Advancement of Teaching, the William F. Harrah College of Hotel Administration is annually ranked among the top hospitality programs in the United States due to the universitys proximity to the Las Vegas Strip. Its Thomas & Mack Center hosted the 2007 NBA All-Star Game, concerts, as well as lectures by Bill Clinton, in 1955, State Senator Mahlon Brown sponsored the legislation to provide $200,000 to construct the campuss first building - Frazier Hall. Groundbreaking on the original 60-acre site was in April 1956, UNLV was officially founded by the Nevada Board of Regents as the Southern Division of the University of Nevada on September 10,1957. The first classes were held on the current campus in the post and beam Mid Century Modern Maude Frazier Hall designed by the architectural firm. Twenty-nine students graduated in the first commencement ceremonies in 1964, in 1965, the Nevada Legislature named the school Nevada Southern University, and the Board of Regents hired the campuss first president, Donald C. Moyer. who died in 2008 at the age of 88, during this time Nevada Southern University also adopted the southern Rebel athletics moniker and a mascot dressed in a southern Confederate uniform named Beauregard. The popular reasoning behind such a controversial moniker and mascot is that they did it to oppose the northern Union traditions and symbols of their northern rival, the University of Nevada. It was not long, however, before protests from NSU/UNLV students forced a change to their Confederate mascot. Since its founding, the university has grown rapidly, expanding both its academic programs and campus facilities, in 1969, the Board of Regents approved the new name of University of Nevada at Las Vegas and the abbreviation UNLV. In 1973 Jerry Tarkanian was hired as the basketball coach by UNLVs second president. In 1981 Claes Oldenburgs Flashlight sculpture was installed on the plaza between Artemus Ham Hall and Judy Bayley Theatre, the Lied Institute for Real Estate Studies was established in 1989 to foster excellence in real estate education and research. In 2001, The School of Dental Medicine opened to train students, also, the Lied Library on campus opened. In 2003, the Institute for Security Studies was established to address Homeland Security concerns, the Lynn Bennett Childhood Development Center opened. In 2004, UNLV opened its first regional campus on Shadow Lane, the School of Dental Medicine is located on the Shadow Lane Campus. Also, The School of Public Health was established in the Division of Health Sciences to address new, in 2005, construction began on the $113 million science and engineering building, which has 200,000 square feet of teaching space, laboratories, and high-tech conference rooms. The building, was completed in 2008, UNLV launched its first comprehensive campaign, Invent the Future, with the goal of raising $500 million by December 2008
3.
Juilliard School
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The Juilliard School located in the Lincoln Center for the Performing Arts on the Upper West Side of Manhattan, New York City, is a performing arts conservatory established in 1905. It is informally referred to as Juilliard, the school trains about 850 undergraduate and graduate students in dance, drama, and music. It is widely regarded as one of the leading music schools. In 2016, QS Quacquarelli Symonds ranked it as the worlds best institution for Performing Arts in their global ranking of the discipline. The Institute opened in the former Lenox Mansion, Fifth Avenue and 12th Street and it moved in 1910 to 120 Claremont Avenue in the Morningside Heights neighborhood of Manhattan, onto a property purchased from Bloomingdale Insane Asylum. In 1920, the Juilliard Foundation was created, named after textile merchant Augustus D. Juilliard, in 1924, the foundation purchased the Vanderbilt family guesthouse at 49 E. 52nd Street and established the Juilliard Graduate School. In 1926, the Juilliard School of Music was created through a merger of the Institute of Musical Art, the two schools shared a common Board of Directors and President but retained their distinct identities. The conductor and music-educator Frank Damrosch continued as the Institutes dean, in 1937, Hutcheson succeeded Erskine as president of the two institutions, a job he held until 1945. In 1946, the Institute of Musical Art and the Juilliard Graduate School completely merged to form a single institution, the president of the school at that time was William Schuman, the first winner of the Pulitzer Prize for Music. Schuman established the Juilliard String Quartet in 1946 and the Dance Division in 1951, William Schuman graduated from Columbias Teachers College and attended the Juilliard Summer School in 1932,1933 and 1936. While attending Juilliard Summer School, he developed a dislike for traditional music theory and ear training curricula, finding little value in counterpoint. L&M was Schumans reaction against more formal theory and ear training, the general mandate was to give the student an awareness of the dynamic nature of the materials of music. The quality and degree of each students education in harmony, music history or ear training was dependent on how each composer-teacher decided to interpret this mandate, William Schuman resigned as president of Juilliard after being elected president of Lincoln Center in 1962. Peter Mennin, another composer with experience at the Peabody Conservatory, was elected as his successor. Mennin made significant changes to the L&M program—ending ear training and music history, in 1968, Mennin hired John Houseman to manage a new Drama Division, and in 1969 oversaw Juilliards relocation from Claremont Avenue to Lincoln Center. Polisis many accomplishments include philanthropic successes, broadening of the curriculum, in 2001, the school established a jazz performance training program. In 1999, the Juilliard School was awarded the National Medal of Arts, in 2006, Juilliard received a trove of precious music manuscripts from board chair and philanthropist Bruce Kovner. Many of the manuscripts had been unavailable for generations,2, and manuscripts of Brahmss Symphony No.2 and Piano Concerto No.2
4.
Grammy Award
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A Grammy Award, or Grammy, is an honor awarded by The Recording Academy to recognize outstanding achievement in the mainly English-language music industry. The annual presentation ceremony features performances by prominent artists, and the presentation of awards that have a more popular interest. It shares recognition of the industry as that of the other performance awards such as the Emmy Awards, the Tony Awards. The first Grammy Awards ceremony was held on May 4,1959, to honor, following the 2011 ceremony, The Academy overhauled many Grammy Award categories for 2012. The 59th Grammy Awards, honoring the best achievements from October 2015 to September 2016, was held on February 12,2017, the Grammys had their origin in the Hollywood Walk of Fame project in the 1950s. The music executives decided to rectify this by creating a given by their industry similar to the Oscars. This was the beginning of the National Academy of Recording Arts, after it was decided to create such an award, there was still a question of what to call it, one working title was the Eddie, to honor the inventor of the phonograph, Thomas Edison. They finally settled on using the name of the invention of Emile Berliner, the gramophone, for the awards, the number of awards given grew and fluctuated over the years with categories added and removed, at one time reaching over 100. The second Grammy Awards, also held in 1959, was the first ceremony to be televised, the gold-plated trophies, each depicting a gilded gramophone, are made and assembled by hand by Billings Artworks in Ridgway, Colorado. In 1990 the original Grammy design was revamped, changing the traditional soft lead for a stronger alloy less prone to damage, Billings developed a zinc alloy named grammium, which is trademarked. The trophies with the name engraved on them are not available until after the award announcements. By February 2009,7,578 Grammy trophies had been awarded, the General Field are four awards which are not restricted by genre. Album of the Year is awarded to the performer and the team of a full album if other than the performer. Record of the Year is awarded to the performer and the team of a single song if other than the performer. Song of the Year is awarded to the writer/composer of a single song, Best New Artist is awarded to a promising breakthrough performer who releases, during the Eligibility Year, the first recording that establishes the public identity of that artist. The only two artists to win all four of these awards are Christopher Cross, who won all four in 1980, and Adele, who won the Best New Artist award in 2009 and the other three in 2012 and 2017. Other awards are given for performance and production in specific genres, as well as for other such as artwork. Special awards are given for longer-lasting contributions to the music industry, the many other Grammy trophies are presented in a pre-telecast Premiere Ceremony earlier in the afternoon before the Grammy Awards telecast
5.
Requiem (Mozart)
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The Requiem Mass in D minor by Wolfgang Amadeus Mozart was composed in Vienna in 1791 and left unfinished at the composers death on December 5 the same year. It cannot be shown to what extent Süssmayr may have depended on now lost scraps of paper for the remainder, Walsegg probably intended to pass the Requiem off as his own composition, as he is known to have done with other works. This plan was frustrated by a benefit performance for Mozarts widow Constanze. The Requiem is scored for 2 basset horns in F,2 bassoons,2 trumpets in D,3 trombones, timpani, violins, viola, the vocal forces include soprano, contralto, tenor, and bass soloists and an SATB mixed choir. Süssmayr’s completion divides the Requiem into fourteen movements, I, Sequentia Dies irae Tuba mirum Rex tremendae Recordare Confutatis Lacrymosa IV. Offertorium Domine Jesu Hostias V. Sanctus VI, communio Lux aeterna All sections from the Sanctus onwards are not present in Mozarts manuscript fragment. Mozart may have intended to include the Amen fugue at the end of the Sequentia, the Introitus is in D minor and finishes on a half-cadence that transitions directly into Kyrie. The Kyrie is a fugue, with one subject setting the words Kyrie eleison. The movement Tuba mirum opens with a trombone solo accompanying the bass, at the time of Mozarts death on 5 December 1791, only the first two movements Requiem aeternam and Kyrie were completed in all of the orchestral and vocal parts. The Sequence and the Offertorium were completed in skeleton, with the exception of the Lacrymosa, the vocal parts and the continuo were fully notated. What remained to be completed for these sections were mostly accompanimental figures, inner harmonies, the eccentric count Franz von Walsegg commissioned the Requiem from Mozart anonymously through intermediaries. Joseph von Eybler was one of the first composers to be asked to complete the score, in addition, a striking similarity between the openings of the Domine Jesu Christe movements in the requiems of the two composers suggests that Eybler at least looked at later sections. After this work, he felt unable to complete the remainder, the task was then given to another composer, Franz Xaver Süssmayr. Some people consider it unlikely, however, that Mozart would have repeated the two sections if he had survived to finish the work. Other composers may have helped Süssmayr, others have pointed out that in the beginning of the Agnus Dei the choral bass quotes the main theme from the Introitus. Another controversy is the suggestion that Mozart left explicit instructions for the completion of the Requiem on little scraps of paper, the extent to which Süssmayrs work may have been influenced by these scraps if they existed at all remains a subject of speculation amongst musicologists to this day. The completed score, initially by Mozart but largely finished by Süssmayr, was dispatched to Count Walsegg complete with a counterfeited signature of Mozart. Despite the controversy over how much of the music is actually Mozarts and this acceptance is quite strong, even when alternative completions provide logical and compelling solutions for the work
6.
David Diamond (composer)
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David Leo Diamond was an American composer of classical music. He won a number of awards including three Guggenheim Fellowships, and is considered one of the preeminent American composers of his generation, many of his works are tonal or modestly modal. His early compositions are typically triadic, often widely spaced harmonies, giving them a distinctly American tone. His later style became more chromatic, Diamonds most popular piece is Rounds for string orchestra. Among his other works are eleven symphonies, concertos including three for violin, eleven string quartets, music for ensemble, other chamber music, piano pieces. He composed the theme heard on the CBS Radio Network broadcast Hear It Now and its TV successor. Diamond was named honorary composer-in-residence of the Seattle Symphony, Diamond is also credited with advising Glenn Gould on his mid-career work, most notably his String Quartet, Op.1. In 1995, he was awarded the National Medal of Arts, Diamond was openly gay long before it was socially acceptable, and believed his career was slowed by homophobia and antisemitism. The New York Times similarly referred to Diamond as a major American composer whose early brilliance in the 1940s was eclipsed by the dominance of atonal music. He was part of what some considered a forgotten generation of great American symphonists, including Howard Hanson, Roy Harris, William Schuman, Walter Piston, the New York Times also suggested that Diamonds career troubles may have also been caused by his difficult personality. He said in the 1990 interview, I was an emotional young man, very honest in my behavior. In 2005, Diamond died at his home in Brighton, Monroe County, New York, Diamond Interview with David Diamond by Bruce Duffie, October 18,1990
7.
London Symphony Orchestra
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The London Symphony Orchestra, founded in 1904, is the oldest of Londons symphony orchestras. It was set up by a group of players who left Henry Woods Queens Hall Orchestra because of a new rule requiring players to give the orchestra their exclusive services, the LSO itself later introduced a similar rule for its members. From the outset, the LSO was organised on co-operative lines and this practice continued for the orchestras first four decades. The profit-sharing principle was abandoned in the era as a condition of receiving public subsidy for the first time. In the 1950s the orchestra debated whether to concentrate on work at the expense of symphony concerts. By the 1960s the LSO had recovered its position, which it has retained subsequently. In 1966, to perform alongside it in works, the orchestra established the LSO Chorus, originally a mix of professional and amateur singers. As a self-governing body, the orchestra selects the conductors with whom it works, at some stages in its history, it has dispensed with a principal conductor and worked only with guests. Since 1982, the LSO has been based in the Barbican Centre in the City of London, among its programmes there have been large-scale festivals celebrating composers as diverse as Berlioz, Mahler and Bernstein. At the turn of the century there were no permanent salaried orchestras in London. The main orchestras were those of Covent Garden, the Philharmonic Society and he would then engage another player to deputise at him for the original concert and the rehearsals for it. The treasurer of the Philharmonic Society described the system thus, A and he sends B to the first rehearsal. B, without knowledge or consent, sends C to the second rehearsal. Not being able to play at the concert, C sends D, in 1904, the manager of the Queens Hall, Robert Newman and the conductor of his promenade concerts, Henry Wood, agreed that they could no longer tolerate the deputy system. After a rehearsal in which Wood was faced with dozens of unfamiliar faces in his own orchestra, Newman came to the platform and announced, Gentlemen, in future there will be no deputies. Orchestral musicians were not highly paid, and removing their chances of better-paid engagements permitted by the deputy system was a financial blow to many of them. The principal movers were three players and a trumpeter, John Solomon. Busby organised a meeting at St. Andrews Hall, not far from the Queens Hall, invitations were sent to present and former members of the Queens Hall Orchestra
8.
Julian Lloyd Webber
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Julian Lloyd Webber is a British cellist, conductor and the principal of the Birmingham Conservatoire. Julian Lloyd Webber is the son of the composer William Lloyd Webber. He is the brother of the composer Andrew Lloyd Webber. The composer Herbert Howells was his godfather, Lloyd Webber was educated at three schools in London, at Wetherby School, a pre-prep school in South Kensington, followed by Westminster Under School and University College School. He then won a scholarship to the Royal College of Music, Lloyd Webber made his professional debut at the Queen Elizabeth Hall, London, in September 1972 when he gave the first London performance of the cello concerto by Sir Arthur Bliss. He was described in The Strad as the doyen of British cellists, several CDs are of short pieces for Universal Classics including Made in England, Cello Moods, Cradle Song and English Idyll. Lloyd Webber premiered the recordings of more than 50 works, inspiring new compositions for cello from composers as diverse as Malcolm Arnold, Joaquín Rodrigo James MacMillan, and Philip Glass. His recording of the Glass concerto with the Royal Liverpool Philharmonic conducted by Gerard Schwarz was released on the Orange Mountain label in September 2005, in May 2001, he was granted the first buskers licence on the London Underground. Demonstrating his involvement in education, he formed the Music Education Consortium with James Galway. As a result of lobbying by the Consortium, on 21 November 2007. In 2008, the British Government invited Lloyd Webber to be Chairman of its In Harmony programme which is based on the Venezuelan social programme El Sistema, the government- commissioned Henley Review of Music Education reported, There is no doubt that they have delivered life-changing experiences. In July 2011 the founder of El Sistema in Venezuela, José Antonio Abreu, Lloyd Webber now chairs the charity Sistema England. In October 2012 he led the Incorporated Society of Musicians campaign against the implementation of the EBacc which proposed to remove Arts subjects from the core curriculum, in February 2013 the Government withdrew its plans. In May 2009, Lloyd Webber was elected President of the Elgar Society in succession to Sir Adrian Boult, Lord Menuhin, in April 2014, Lloyd Webber was awarded the Incorporated Society of Musicians Distinguished Musician Award at their annual conference. In September 2014, the charity Live Music Now announced Lloyd Webber as its public spokesman. On 28 April 2014, he announced his retirement from public performance as a cellist because of a disc in his neck. In March 2015, he was announced as principal of the Birmingham Conservatoire, Lloyd Webber received the Crystal Award at the World Economic Forum in 1998 and a Classic FM Red Award for outstanding services to music in 2005. He won the Best British Classical Recording in 1986 at the Brit Awards for his recording of Cello Concerto with Sir Yehudi Menuhin and the Royal Philharmonic Orchestra
9.
London Symphony Chorus
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The London Symphony Chorus is a large symphonic concert choir based in London, UK, consisting of over 150 amateur singers, and is one of the major symphony choruses of the United Kingdom. It was formed in 1966 as the LSO Chorus to complement the work of the London Symphony Orchestra, the LSC is today an independent self-run organisation governed by a council of nine elected representatives. It continues to maintain an association with the LSO but also takes part in projects with other orchestras. The LSC performs mainly with the LSO at the Barbican Centre in London as well as appearing at other venues around the UK and Europe and regularly at the Avery Fisher Hall. The Choruss core repertoire consists of the nineteenth and twentieth century orchestral choral works. The London Symphony Choruss discography consists of over 140 recordings, since 2000 the LSC has taken part in productions for the orchestras new CD label, LSO Live which launched in 2000 and specialises in recordings of live performances in front of audiences. Among works recorded by the choir are Brahmss German Requiem, Mahlers Symphony No,8, Mozarts Requiem, Britten, War Requiem, Berliozs Grande Messe des Morts, and Webers Der Freischütz. Notable solo artists who have featured on LSC releases include Ian Bostridge, Simon Keenleyside, Felicity Palmer, the current Chorus Director is Simon Halsey. Diana, Princess of Wales Simon Russell Beale London Symphony Chorus website
10.
Philharmonia Orchestra
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The Philharmonia Orchestra is a British orchestra based in London. It was founded in 1945 by Walter Legge, a music record producer for EMI. Since 1995, the orchestra has been based in the Royal Festival Hall, the Philharmonia also has residencies at De Montfort Hall, Leicester, the Corn Exchange, Bedford, and The Anvil, Basingstoke. Esa-Pekka Salonen has been the principal conductor and artistic advisor since 2008. Helen Sprott is the current managing director, The Philharmonia Orchestra performs more than 160 concerts a year and tours widely. The orchestra was founded in 1945 by Walter Legge, as Legge was a recording producer for EMI, it was believed that the orchestra was primarily formed for recording purposes, but that was not Legges intention. After the war, opera resumed at Covent Garden under a different management and his contacts in the musical world during the war enabled him to secure the services of a large number of talented young musicians still serving in the armed forces in 1945. At the Philharmonias first concert on 25 October 1945, more than sixty per cent of the players were officially in the services. Beecham conducted the concert, but as he refused to be Legges employee and Legge refused to control of the orchestra. Herbert von Karajan was closely associated with the Philharmonia in its early years, at first, Legge was against appointing an official principal conductor, feeling that no one conductor should have more importance to the orchestra than Legge himself. But Karajan was principal conductor in all but name and he built the orchestra into one of the finest in the world and made numerous recordings, including all the Beethoven symphonies. In 1954, Karajan was elected director of the Berlin Philharmonic Orchestra. Needing to find a new conductor for the orchestra, Legge turned to Otto Klemperer, klemperers name became closely linked with the orchestra during an Indian summer of celebrated recordings. In 1959, Klemperer was named director for life. On 10 March 1964, Legge announced that he was going to disband the Philharmonia Orchestra, at a recording session with Klemperer, a meeting was convened where those present unanimously agreed that they would not allow the orchestra to be disbanded. On 17 March 1964, the members of the orchestra elected their own governing body, the inaugural concert of the New Philharmonia under its own auspices took place on 27 October 1964. It was a performance of Beethovens Symphony No,9, conducted by Klemperer, who was now honorary president of the orchestra. From 1966 until 1972, the chairman of the orchestra was the principal flautist, the orchestra gave many more live performances after it became self-governing than it had under Legges management
11.
The Tallis Scholars
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The Tallis Scholars is a British professional early music vocal ensemble normally consisting of two singers per part, with a core group of ten singers. They specialise in performing a cappella sacred vocal music, the group was formed in 1973 by Peter Phillips, who in 1972-1975 was an organ scholar at St Johns College, Oxford and studied music with David Wulstan and Denis Arnold. Philips invited the members of chapel choirs from Oxford and Cambridge to form an amateur Renaissance vocal music ensemble, since winning a Gramophone Award in 1987, the Tallis Scholars have been recognised as one of the worlds leading ensembles in Renaissance polyphony. The Tallis Scholars singers tour widely, performing some 70 concerts a year, in Europe, North America, in 1999, they toured China, giving two concerts in Beijing. In 1998, the Tallis Scholars marked the ensembles 25th anniversary with a performance in Londons National Gallery, at the millennium, they performed in New York City with Paul McCartney. During the 2013-2014 40th-anniversary concert series, the group announced a tour including the United States, Europe, Australia. The Tallis Scholars started the tour with a concert in St Pauls Cathedral in London for 2000 people, since March 1980, the Tallis Scholars have recorded on their own label, Gimell Records, established by Peter Phillips and Steve Smith. The label was named after the compositional technique gymel, in accordance with Philips, The word Gimell comes from the Latin word ‘gimellus’, meaning ‘a twin’, and it’s a technical term. It’s a corrupt form of the word gimellus that you find in manuscripts of the Tudor school where the part is twinned and you have to understand that in those days the music wasn’t written in score, it was written in parts so you’d only see your part. Soon, there was a consensus that, the Tallis Scholars recordings are of reliably high quality. Between 1981 and 2006, the group recorded 40 critically acclaimed discs, the recordings covered a repertoire from over 150 years of music history, with some excursions into later repertoire. In 2010, Gimmel released its 50th recording, Victorias Lamentations of Jeremiah, other notable releases included Gramophone magazines Record of the Year Award winning disc of Josquins Missa Pange lingua and Missa La sol fa re mi. In 2011, the recording of Allegris Miserere mei, Deus in Merton College. In 2013, the recording of John Taverners Missa Gloria tibi Trinitas became the one in the UK Specialist Classical Chart. According to Philips, during the 1982-1983 concert season, the group formed its core that was more or less consistent for the next 25 years. The singers have paved the way for younger groups such as The Sixteen, The Clerks, The Cardinalls Musick, The Binchois Consort, Trinity Baroque, the Gabrieli Consort. Founded in 1999, the Boston-based early-music a cappella ensemble Blue Heron is viewed by critics as a direct influence of the Tallis Scholars on the American early-music scene. The program now includes three courses which take place in Oakham in the United Kingdom, Seattle in the United States, various members of the group have scholarly interests in addition to their activities as professional musicians
12.
Minnesota Orchestra
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The Minnesota Orchestra is a Grammy Award-winning American orchestra based in Minneapolis, Minnesota. Founded in 1903, the Minnesota Orchestra plays most of its concerts at Minneapoliss Orchestra Hall, Osmo Vänskä is the music director. Emil Oberhoffer founded the orchestra as the Minneapolis Symphony Orchestra in 1903, in 1968, the orchestra changed its name to the Minnesota Orchestra. It makes its home in downtown Minneapolis at Orchestra Hall, which was built for the ensemble in 1974, the orchestras previous hall, starting in 1929, was Northrop Memorial Auditorium on the University of Minnesotas Minneapolis campus. The first players strike occurred in 1979, in 2007 the Minnesota Orchestras assets began declining, a trend exacerbated by the financial crisis of 2007–2008. In August 2008, the Minnesota Orchestra Associations invested assets totaled $168.5 million, in fiscal year 2009, the Minnesota Orchestras board sold $28.7 million in securities at a nearly $14 million loss. During 2009 and 2010, the board reported a balanced budget. At the time, it was trying to secure $16 million in state bonding for renovations of Orchestra Hall, the orchestra posted operational deficits of $2.9 million in 2011 and $6 million in 2012. On October 1,2012, the Minnesota Orchestral Association locked out the orchestras musicians, the MOA stated that spending on musician salaries and benefits was depleting the organizations endowment, and that labor costs needed to be reduced by $5 million per year. The musicians and their union took the position that the cuts were so deep. The entire 2012–13 concert season was canceled and he acted on this threat on October 1,2013, by resigning with immediate effect. As an encore, Vänskä conducted Sibeliuss Valse Triste, which he described as a dance of death, at his request, the audience withheld applause afterward, many reportedly left in tears. Concerts resumed at Orchestra Hall in February, on April 24,2014, it was announced that Osmo Vänskä would return to his post as musical director for the 2014-15 and 2015-16 seasons. In May 2015 the Minnesota Orchestra performed in Havana, Cuba, as a result of the Cuban Thaw, becoming the first professional U. S. orchestra to play in Cuba since 1999. The orchestra has garnered significant critical praise, including a 2010 description from The New Yorkers Alex Ross as sounding, on one particular evening, like the greatest orchestra in the world. Among these was the first electrical recording of Mahlers Resurrection Symphony with Eugene Ormandy, in the 1940s, the Minneapolis Symphony was contracted to Columbia Records and made a series of records with Ormandys successor, Dimitri Mitropoulos. These included the recording of Mahlers First Symphony. In 1954, they made the first recording of Tchaikovskys 1812 Overture to include actual cannon fire
13.
TED (conference)
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TED is a media organization which posts talks online for free distribution, under the slogan ideas worth spreading. TED was founded in February 1984 as a conference, which has been held annually since 1990. TEDs early emphasis was technology and design, consistent with its Silicon Valley origins, but it has broadened its focus to include talks on many scientific, cultural. The main TED conference is held annually in Vancouver, British Columbia, prior to 2014, the conference was held in Long Beach. TED events are held throughout North America and in Europe and Asia. They address a range of topics within the research and practice of science and culture. The speakers are given a maximum of 18 minutes to present their ideas in the most innovative, TEDs current curator is the British former computer journalist and magazine publisher Chris Anderson. Since June 2006, TED Talks have been offered for free viewing online, under an Attribution-NonCommercial-NoDerivatives Creative Commons license, as of March 2016, over 2,400 TED Talks are freely available on the website. In June 2011, TED Talks combined viewing figure stood at more than 500 million, not all TED Talks are equally popular, however. Those given by academics tend to be watched more online while art, TED was conceived in 1984 by architect and graphic designer Richard Saul Wurman, who observed a convergence of the fields of technology, entertainment, and design. Presentations were given by famous mathematician Benoit Mandelbrot and influential members of the community, like Nicholas Negroponte. The event was unsuccessful, it took six years before the second conference was organized. In 2000, Wurman, looking for a successor at age 65, met with new-media entrepreneur, Andersons UK media company Future bought TED. And in November 2001, Andersons non-profit The Sapling Foundation acquired TED from Future for £6m, in February 2002, Anderson gave a TED Talk in which he explained his vision of the conference and his future role of curator. Wurman left after the 2002 conference, in 2006, attendance cost was $4,400 per person and was by invitation only. The membership model was shifted in January 2007 to a membership fee of $6,000, which includes attendance of the conference, club mailings, networking tools. The 2017 conference will be $8,500 per attendee, in 2014, the conference was relocated to Vancouver. TED is currently funded by a combination of revenue streams, including conference attendance fees, corporate sponsorships, foundation support, licensing fees
14.
University of Oxford
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The University of Oxford is a collegiate research university located in Oxford, England. It grew rapidly from 1167 when Henry II banned English students from attending the University of Paris, after disputes between students and Oxford townsfolk in 1209, some academics fled north-east to Cambridge where they established what became the University of Cambridge. The two ancient universities are frequently referred to as Oxbridge. The university is made up of a variety of institutions, including 38 constituent colleges, All the colleges are self-governing institutions within the university, each controlling its own membership and with its own internal structure and activities. Being a city university, it not have a main campus, instead, its buildings. Oxford is the home of the Rhodes Scholarship, one of the worlds oldest and most prestigious scholarships, the university operates the worlds oldest university museum, as well as the largest university press in the world and the largest academic library system in Britain. Oxford has educated many notable alumni, including 28 Nobel laureates,27 Prime Ministers of the United Kingdom, the University of Oxford has no known foundation date. Teaching at Oxford existed in form as early as 1096. It grew quickly in 1167 when English students returned from the University of Paris, the historian Gerald of Wales lectured to such scholars in 1188 and the first known foreign scholar, Emo of Friesland, arrived in 1190. The head of the university had the title of chancellor from at least 1201, the university was granted a royal charter in 1248 during the reign of King Henry III. After disputes between students and Oxford townsfolk in 1209, some academics fled from the violence to Cambridge, the students associated together on the basis of geographical origins, into two nations, representing the North and the South. In later centuries, geographical origins continued to many students affiliations when membership of a college or hall became customary in Oxford. At about the time, private benefactors established colleges as self-contained scholarly communities. Among the earliest such founders were William of Durham, who in 1249 endowed University College, thereafter, an increasing number of students lived in colleges rather than in halls and religious houses. In 1333–34, an attempt by some dissatisfied Oxford scholars to found a new university at Stamford, Lincolnshire was blocked by the universities of Oxford and Cambridge petitioning King Edward III. Thereafter, until the 1820s, no new universities were allowed to be founded in England, even in London, thus, Oxford and Cambridge had a duopoly, the new learning of the Renaissance greatly influenced Oxford from the late 15th century onwards. Among university scholars of the period were William Grocyn, who contributed to the revival of Greek language studies, and John Colet, the noted biblical scholar. With the English Reformation and the breaking of communion with the Roman Catholic Church, recusant scholars from Oxford fled to continental Europe, as a centre of learning and scholarship, Oxfords reputation declined in the Age of Enlightenment, enrolments fell and teaching was neglected
15.
Harvard University
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Although never formally affiliated with any denomination, the early College primarily trained Congregationalist and Unitarian clergy. Its curriculum and student body were gradually secularized during the 18th century, james Bryant Conant led the university through the Great Depression and World War II and began to reform the curriculum and liberalize admissions after the war. The undergraduate college became coeducational after its 1977 merger with Radcliffe College, Harvards $34.5 billion financial endowment is the largest of any academic institution. Harvard is a large, highly residential research university, the nominal cost of attendance is high, but the Universitys large endowment allows it to offer generous financial aid packages. Harvards alumni include eight U. S. presidents, several heads of state,62 living billionaires,359 Rhodes Scholars. To date, some 130 Nobel laureates,18 Fields Medalists, Harvard was formed in 1636 by vote of the Great and General Court of the Massachusetts Bay Colony. In 1638, it obtained British North Americas first known printing press, in 1639 it was named Harvard College after deceased clergyman John Harvard an alumnus of the University of Cambridge who had left the school £779 and his scholars library of some 400 volumes. The charter creating the Harvard Corporation was granted in 1650 and it offered a classic curriculum on the English university model—many leaders in the colony had attended the University of Cambridge—but conformed to the tenets of Puritanism. It was never affiliated with any denomination, but many of its earliest graduates went on to become clergymen in Congregational. The leading Boston divine Increase Mather served as president from 1685 to 1701, in 1708, John Leverett became the first president who was not also a clergyman, which marked a turning of the college toward intellectual independence from Puritanism. When the Hollis Professor of Divinity David Tappan died in 1803 and the president of Harvard Joseph Willard died a year later, in 1804, in 1846, the natural history lectures of Louis Agassiz were acclaimed both in New York and on the campus at Harvard College. Agassizs approach was distinctly idealist and posited Americans participation in the Divine Nature, agassizs perspective on science combined observation with intuition and the assumption that a person can grasp the divine plan in all phenomena. When it came to explaining life-forms, Agassiz resorted to matters of shape based on an archetype for his evidence. Charles W. Eliot, president 1869–1909, eliminated the position of Christianity from the curriculum while opening it to student self-direction. While Eliot was the most crucial figure in the secularization of American higher education, he was motivated not by a desire to secularize education, during the 20th century, Harvards international reputation grew as a burgeoning endowment and prominent professors expanded the universitys scope. Rapid enrollment growth continued as new schools were begun and the undergraduate College expanded. Radcliffe College, established in 1879 as sister school of Harvard College, Harvard became a founding member of the Association of American Universities in 1900. In the early 20th century, the student body was predominately old-stock, high-status Protestants, especially Episcopalians, Congregationalists, by the 1970s it was much more diversified
16.
The Economist
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The Economist is an English-language weekly magazine-format newspaper owned by the Economist Group and edited at offices in London. Continuous publication began under its founder, James Wilson, in September 1843, in 2015 its average weekly circulation was a little over 1.5 million, about half of which were sold in the United States. The publication belongs to the Economist Group and it is 50% owned by the English branch of the Rothschild family and by the Agnelli family through its holding company Exor. The remaining 50% is held by investors including the editors. The Rothschilds and the Agnellis are represented on the board of directors, a board of trustees formally appoints the editor, who cannot be removed without its permission. Although The Economist has an emphasis and scope, about two-thirds of the 75 staff journalists are based in the London borough of Westminster. For the year to March 2016 the Economist Group declared operating profit of £61m, previous major shareholders include Pearson PLC. The Economist takes a stance of classical and economic liberalism which is supportive of free trade, globalisation, free immigration. The publication has described itself as a product of the Caledonian liberalism of Adam Smith and it targets highly educated readers and claims an audience containing many influential executives and policy-makers. The publications CEO described this recent global change, which was first noticed in the 1990s and accelerated in the beginning of the 21st century, on the contents page of each issue, The Economists mission statement is written in italics. The Economist was founded by the British businessman and banker James Wilson in 1843, to advance the repeal of the Corn Laws, articles relating to some practical, commercial, agricultural, or foreign topic of passing interest, such as foreign treaties. An article on the principles of political economy, applied to practical experience, covering the laws related to prices, wages, rent, exchange, revenue. Parliamentary reports, with focus on commerce, agriculture and free trade. Reports and accounts of popular movements advocating free trade, general news from the Court of St. Jamess, the Metropolis, the Provinces, Scotland, and Ireland. Law reports, confined chiefly to areas important to commerce, manufacturing, books, confined chiefly, but not so exclusively, to commerce, manufacturing, and agriculture, and including all treatises on political economy, finance, or taxation. A commercial gazette, with prices and statistics of the week, correspondence and inquiries from the news magazines readers. It has long respected as one of the most competent. Its logo was designed in 1959 by Reynolds Stone, in January 2012 The Economist launched a new weekly section devoted exclusively to China, the first new country section since the introduction of a section about the United States in 1942
17.
Sidney Sussex College, Cambridge
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Sidney Sussex College is a constituent college of the University of Cambridge in England. The college was founded in 1596 under the terms of the will of Frances Sidney, Countess of Sussex and it was from its inception an avowedly Protestant foundation, some good and godlie moniment for the mainteynance of good learninge. In her will, Lady Sussex left the sum of £5,000 together with some plate to found a new college at Cambridge University to be called the Lady Frances Sidney Sussex College. Her executors Sir John Harington and Henry Grey, 6th Earl of Kent, supervised by Archbishop John Whitgift, as of 2014, the college had an endowment of £36. m. and total capital and reserves of £108. m. By the early 19th century, the original red brick was unfashionable. H. Lyon, and somewhat at odds with the colleges original Puritan ethos, at the beginning of the twentieth century, E. H. Griffiths wrote a ten verse song dedicated to Sidney Sussex, each verse systematically identifies, then dismisses other Cambridge colleges for their faults, before settling on Sidney as the best college of all. Sidney Sussex is recognised as one of the smaller, more classical Cambridge colleges and its current student body consists of roughly 350 undergraduate students and 190 graduates. Academically, Sidney Sussex has tended towards a position in the unofficial Tompkins Table. However, the college has traditionally excelled in subjects, notably Mathematics, History, Engineering. It is also known for the standard of pastoral support from the Tutorial team. The college ranks fourth highest amongst Cambridge colleges in Nobel Prizes won by alumni, the Choir of Sidney Sussex College, Cambridge was nominated for a 2013 Gramophone Award in recognition of their disc of the music of Thomas Weelkes. The choir also tours regularly, most recently to Germany, in December 2016, in the television show University Challenge, Sidney Sussex had a winning team in both 1971 and 1978–79. The 1978 team, comprising John Gilmore, John Adams, David Lidington, the college last appeared on the television show in 2015. It is known for producing a well-regarded May Ball for a smaller college, notably, students created an artificial lake and canal in 2010, when the ball had a Venetian theme, to enable punting at the landlocked college. Recent themes have included Light, and Beyond, as with many of the smaller colleges, Sidney Sussex does not run a May Ball every year, instead running a biennial May Ball, on even numbered years. On odd numbered years, the college hosted an Arts Festival. Notable guest speakers at the Sidney Arts Festival include Stephen Fry, however, for 2017 it was decided instead to hold a June Event
18.
Annie Lennox
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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
19.
Laura Mvula
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Laura Mvula is a British soul singer-songwriter from Birmingham. Her debut album, Sing to the Moon, was released on 4 March 2013 with an orchestral re-recording released on 11 August 2014, Mvula grew up in the Birmingham suburbs of Selly Park and Kings Heath with two younger siblings and was influenced by the girl band Eternal. In her teen years she attended Swanshurst School for girls and her mother is from Saint Kitts and her father is from Jamaica. In 2005, Mvula sang with Black Voices, an a cappella group set up by her aunt, in 2008, she formed a jazz/neo-soul group called Judyshouse, singing lead vocals and writing material for the band. Mvula was Director of the Lichfield Community Gospel Choir, founded by Black Voices and she has also previously directed the Alvechurch Community Choir. Mvula graduated from the Birmingham Conservatoire at the Birmingham City University with a degree in composition, while she was working as a supply teacher in a Birmingham secondary school, she started writing songs on her laptop. She was working as a receptionist when she sent out two demos to several people in the music industry, One of them, Steve Brown, heard the songs and sent them to his manager, Kwame Kwaten, who would become Mvulas manager. In a 2013 podcast for The Daily Telegraph, Mvula admitted to suffering from crippling stage fright, after several showcases, Mvula was signed by Colin Barlow to Sony subsidiary RCA. She released her extended play, She, on 16 November 2012. The title track is the first song Mvula ever wrote and her debut studio album, Sing to the Moon, was released on 4 March 2013. She worked on the album with producer Steve Brown and mix engineer Tom Elmhirst, paul Lester from The Guardian described her music as gospeldelia, calling it a new musical genre. The album was preceded by the single Green Garden, an elegy to her home in Kings Heath, on 6 December 2012, Mvula was shortlisted for the Critics Choice award at the 2013 BRIT Awards. On 9 December, she was nominated for the BBCs Sound of 2013 poll, on 1 February 2013, she gave her first live TV performance on The Graham Norton Show on BBC One, singing Green Garden. Mvula stated her influences include Nina Simone, Jill Scott, Erykah Badu, Sing to the Moon reached number 9 on the UK Albums Chart and within the top 100 in seven other countries and has so far reached 173 in the US Billboard 200. In October 2013, Mvula won awards for best female act, in March 2014, Mvula re-recorded an orchestral version of her debut album Sing to the Moon in collaboration with the Metropole Orkest and conducted by Jules Buckley. This was released on 23 June 2014 as a high quality download via Bowers & Wilkins Society of Sound, on 19 August 2014, Mvula performed with the Metropole Orkest at the Albert Hall as part of the 2014 BBC Proms Season, supported by Esperanza Spalding and ElectricVocals. In January 2016, Mvula released Overcome, a collaboration with Nile Rodgers, Mvula recorded Sing to the Moon with Snarky Puppy for the album Family Dinner - Volume 2, which was released on 12 February 2016. She began promotion for The Dreaming Room by performing Overcome on The Graham Norton Show on 29 January 2016, on 19 March 2016, Mvula played the first live show of the album at the Jazz Maastricht Festival
20.
Imogen Heap
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Imogen Jennifer Heap is an English singer-songwriter and composer. She is known for her work as part of the musical duo Frou Frou and her albums, which she writes, produces. She has produced four solo albums, in 2010 she received the British Academys Ivor Novello Award for International Achievement. Publishing administrator Downtown Music Publishing represents the works of Imogen Heap, Imogen Jennifer Heap was born in the London Borough of Havering. She played music from an age, becoming classically trained in several instruments including piano, cello. She attended Friends School, a private, Quaker-run boarding school in Saffron Walden, Heaps mother and her father separated when she was twelve. By the age of thirteen, she had writing songs. Heap did not get well with the music teacher at her boarding school, so she principally taught herself sequencing, music engineering, sampling. She also taught herself to play the guitar and drums, after school, she went on to study at the BRIT School for Performing Arts & Technology in Croydon, South London. After being introduced to Nik Kershaw by his manager Mickey Modern, Heap, consequently, a few months later she signed her first record contract at eighteen to independent record label Almo Sounds. Modern and Mark Wood formed Modernwood Management, and managed Heap until 2006, Wood continues to manage the artist via his new company, Radius Music. During 1996, Heap began working with a pop band called Acacia. While never a member of the band, Heap was a guest vocalist and contributed to various Acacia single. One Acacia song, Maddening Shroud, would later be covered by Frou Frou, Modern asked Dennis Arnold to place Heap in the line up in the 1996 Princes Trust Concert in Hyde Park, London organized by Harvey Goldsmith. Heap performed four songs between sets by The Who and Eric Clapton, promotion for the record included a tour of America and performances around Europe. Three singles were released in the UK, Getting Scared, Shine. Oh Me, Oh My was sent to US radio stations in place of Shine, Heaps early success was soon replaced by problems. Almo Sounds cut funding for UK promotion and gave Heap a deadline to deliver songs for her second album, upon delivery of the songs, she was told that they lacked hit potential
21.
Pandiatonicism
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Pandiatonicism is a musical technique of using the diatonic scale without the limitations of functional tonality. Music using this technique is pandiatonic, triads with added notes such as the sixth, seventh, or second are the most common, while the, most elementary form, is a nonharmonic bass. According to Slonimskys definition, Pan-diatonicism sanctions the use of any or all seven tones of the diatonic scale. The chord-building remains tertian, with the seventh, ninth, or thirteenth chords being treated as consonances functionally equivalent to the fundamental triad, Pan-diatonicism, as consolidation of tonality, is the favorite technique of NEO-CLASSICISM. Pandiatonicism possesses both tonal and modal aspects, with a preference for major keys. Characteristic examples include the opening of Sergei Prokofievs Piano Concerto No,3, Alfredo Casellas Valse diatonique, and Igor Stravinskys Pulcinella. The functional importance of the primary triads. remains undiminished in pandiatonic harmony, an opposed point of view holds that pandiatonicism does not project a clear and stable tonic. Pandiatonicism is also referred to as music, though in fact occasional accidentals may be present. Other composers who employed the technique are Maurice Ravel, Paul Hindemith, Darius Milhaud, Aaron Copland, pandiatonicism is also employed in jazz and in Henry Cowells tone clusters. According to this system, strict pandiatonic counterpoint may use progressions of seven different notes in each voice, with no vertical duplication. Pandiatonic music is defined by what it is not, by the absence of traditional elements, chromatic, atonal, twelve-tone, functional, clear tonic. It has been applied. to diatonic music lacking harmonic consistency. centricity, Slonimsky himself, while making fun of the definition, quotes a professor saying pandiatonicism is, C-major that sounds like hell. Examples of pandiatonicism include the harmonies Aaron Copland used in his populist work, Appalachian Spring, and the minimalist music by Steve Reich, Philip Glass, and the later works of John Adams. William Mann describes The Beatles This Boy as, harmonically. one of their most intriguing, the following musical works include pandiatonicism. 2 Déodat de Séverac Temps de neige Igor Stravinsky Concerto for Piano and Wind Instruments Heitor Villa-Lobos String Quartet No.10 Nonchord tone Andriessen, Louis, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. Dahlhaus, Carl, Julian Anderson, Charles Wilson, Richard Cohn, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. Heitor Villa-Lobos, String Quartet No.10, the Beatles as Musicians, Revolver Through the Anthology. The Beatles as Musicians, The Quarry Men Through Rubber Soul, Oxford and Bew York, Oxford University Press
22.
Chord (music)
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A chord, in music, is any harmonic set of pitches consisting of two or more notes that are heard as if sounding simultaneously. In everyday use by musical ensembles such as bands and orchestras, however, the notes of a chord do not have to be played together at the same time, arpeggios and broken chords may, for many practical and theoretical purposes, also constitute chords. Other chords with more than three notes include added tone chords, extended chords and tone clusters, which are used in classical music, jazz. Triads commonly found in the Western classical tradition are major and minor chords, the descriptions major, minor, augmented, and diminished are referred to collectively as chordal quality. Chords are also classified by their root note—for instance, a C major triad consists of the pitch classes C, E. While most chords have at least three notes, power chords, which are used in rock music, particularly in hard rock. An ordered series of chords is called a chord progression, one example of a widely used chord progression in Western traditional music and blues is the 12 bar blues progression, the simplest versions of which include tonic, subdominant and dominant chords. To describe this, Western music theory has developed the practice of numbering chords using Roman numerals which represent the number of steps up from the tonic note of the scale. Common ways of notating or representing chords in Western music include Roman numerals, figured bass, macro symbols, the chords in a song or piece are also given names which refer to their function. The chord built on the first note of a scale is called the tonic chord. The chord built on the note of a major scale is called the subdominant chord. The chord built on the degree of the major scale is called the dominant chord. There are names for the built on every note of the major scale. Chords can be played on instruments, including piano, pipe organ, guitar. Chords can also be performed when multiple musicians play together in an ensemble or when multiple singers sing in a choir. The English word chord derives from Middle English cord, a shortening of accord in the sense of agreement and later. A sequence of chords is known as a progression or harmonic progression. These are frequently used in Western music, a chord progression aims for a definite goal of establishing a tonality founded on a key, root or tonic chord
23.
Seventh chord
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A seventh chord is a chord consisting of a triad plus a note forming an interval of a seventh above the chords root. When not otherwise specified, a seventh chord usually means a dominant seventh chord, However, a variety of sevenths may be added to a variety of triads, resulting in many different types of seventh chords. In its earliest usage, the seventh was introduced solely as an embellishing or nonchord tone, the seventh destabilized the triad, and allowed the composer to emphasize movement in a given direction. Additionally, the acceptance of equal temperament during the 19th century reduced the dissonance of some earlier forms of sevenths. When the triad type and seventh type are identical, the name is shortened, for instance, a major/major seventh is generally referred to as a major seventh. This rule is not valid for augmented chords, since the chord is not commonly used. Additionally, half-diminished stands for diminished/minor, and dominant stands for major/minor, when the type is not specified at all, the triad is assumed to be major, and the seventh is understood as a minor seventh. For symbols used for seventh chords, see also Popular music symbols#Seventh chords, the most common chords are tertian, constructed using a sequence of major thirds and/or minor thirds. Since there are 3 third intervals in a chord and each can be major or minor, there are 8 possible combinations, however. The augmented augmented seventh chord, defined by a root, a third, an augmented fifth. The reason is that the seventh interval is enharmonically equivalent to one entire octave and is hence perfectly consonant with the chord root. The seven commonly used chords are, Seventh chords can also be constructed using augmented or diminished thirds and these chords are not tertian and can be used in non-tertian harmony. In just intonation, for example, there is the harmonic seventh, a dominant seventh chord, or major-minor seventh chord is a chord composed of a root, major third, perfect fifth, and minor seventh. It can be viewed as a major triad with an additional minor seventh. It is denoted using popular music symbols by adding a superscript 7 after the letter designating the chord root, the dominant seventh is found almost as often as the dominant triad. The chord can be represented by the integer notation, of all the seventh chords, perhaps the most important is the dominant seventh. It was the first seventh chord to appear regularly in classical music, the name comes from the fact that the flat seventh occurs naturally in the chord built upon the dominant of a given major diatonic scale. Take for example the C major scale, The note G is the dominant degree of C major—its fifth note
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Ninth chord
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In music theory, a ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass. There is a difference between a ninth chord and a dominant ninth chord. A dominant ninth is a dominant chord with a ninth, a major ninth chord, as an extended chord, adds the major seventh along with the ninth to the major triad. Thus, a Cmaj9 consists of C E G B and D play, when the symbol 9 is not preceded by the word major or maj, the chord is a dominant ninth. That is, the seventh chord is a dominant seventh, i. e. a major triad plus the minor seventh, to which the ninth is added, e. g. a C9 consists of C, E, G, B♭. C dominant ninth would usually be expected to resolve to an F major chord, the ninth is commonly chromatically altered by half-step either up or down to create more tension and dissonance. In the common practice period, the root, 3rd, 7th, the ninth and seventh usually resolve downward to the fifth and third of I. Example of tonic dominant ninth chords include Bobby Gentrys Ode to Billie Joe, james Browns I Got You features a striking dominant 9th arpeggio played staccato at the end of the opening 12-bar sequence. The opening phrase of Chopin’s well-known Minute Waltz climaxes on a dominant 9th chord, when the violin enters in the fifth bar, its melody articulates an arpeggio of this chord. According to Cook, Stimmung could, in terms of tonal harmony. In C, C E G B♭ D♭. Fétis tuned the chord 8,10,12,14,17, in notation for jazz and popular music, this chord is often denoted, e. g. C7♭9. In Franz Schubert’s Song Der Erlkönig, a child calls out to his father when he sees an apparition of the sinister Erl King. The dissonant voicing of the dominant minor ninth chord used here is particularly effective in heightening the drama and sense of threat. Writing about this passage, Taruskin remarks on the level of dissonance at the boy’s outcries…The voice has the ninth, pitched above. The result is a virtual ‘tone cluster’…the harmonic logic of these progressions, within the rules of composition Schubert was taught, can certainly be demonstrated. That logic, however, is not what appeals so strongly to the imagination, rather it is the calculated impression of wild abandon. ”The minor ninth chord is played with the third. The formula is 1, ♭3,5, ♭7,9 and this chord is written as Cm9. This chord has a bluesy sound and fits very well with the dominant ninth
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Interval (music)
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In music theory, an interval is the difference between two pitches. In Western music, intervals are most commonly differences between notes of a diatonic scale, the smallest of these intervals is a semitone. Intervals smaller than a semitone are called microtones and they can be formed using the notes of various kinds of non-diatonic scales. Some of the very smallest ones are called commas, and describe small discrepancies, observed in some tuning systems, Intervals can be arbitrarily small, and even imperceptible to the human ear. In physical terms, an interval is the ratio between two sonic frequencies, for example, any two notes an octave apart have a frequency ratio of 2,1. This means that successive increments of pitch by the same result in an exponential increase of frequency. For this reason, intervals are often measured in cents, a derived from the logarithm of the frequency ratio. In Western music theory, the most common naming scheme for intervals describes two properties of the interval, the quality and number, examples include the minor third or perfect fifth. These names describe not only the difference in semitones between the upper and lower notes, but also how the interval is spelled, the importance of spelling stems from the historical practice of differentiating the frequency ratios of enharmonic intervals such as G–G♯ and G–A♭. The size of an interval can be represented using two alternative and equivalently valid methods, each appropriate to a different context, frequency ratios or cents, the size of an interval between two notes may be measured by the ratio of their frequencies. When a musical instrument is tuned using a just intonation tuning system, Intervals with small-integer ratios are often called just intervals, or pure intervals. Most commonly, however, musical instruments are tuned using a different tuning system. As a consequence, the size of most equal-tempered intervals cannot be expressed by small-integer ratios, for instance, an equal-tempered fifth has a frequency ratio of 2 7⁄12,1, approximately equal to 1.498,1, or 2.997,2. For a comparison between the size of intervals in different tuning systems, see section Size in different tuning systems, the standard system for comparing interval sizes is with cents. The cent is a unit of measurement. If frequency is expressed in a scale, and along that scale the distance between a given frequency and its double is divided into 1200 equal parts, each of these parts is one cent. In twelve-tone equal temperament, a system in which all semitones have the same size. Hence, in 12-TET the cent can be defined as one hundredth of a semitone
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Quartal and quintal harmony
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In music, quartal harmony is the building of harmonic structures with a distinct preference for the intervals of the perfect fourth, the augmented fourth and the diminished fourth. Quintal harmony is harmonic structure preferring the perfect fifth, the augmented fifth, use of the terms quartal and quintal arises from a contrast, compositional or perceptual, with traditional tertian harmonic constructions. Quintal harmony is a term, and since the fifth is the inversion or complement of the fourth. Indeed, a circle of fifths can be arranged in fourths, in the Middle Ages, simultaneous notes a fourth apart were heard as a consonance. During the common practice period, this came to be heard either as a dissonance or as a consonance. In the later 19th century, during the breakdown of tonality in classical music, Quartal harmony was developed in the early 20th century as a result of this breakdown and reevaluation of tonality. The Tristan chord is made up of the notes F♮, B♮, D♯, the bottom two notes make up an augmented fourth, the upper two make up a perfect fourth. This layering of fourths in this context has been seen as highly significant, beethovens use of the chord is of short duration and it resolves in the accepted manner, whereas Wagners use lasts much longer and resolves in a highly unorthodox manner for the time. Wagners unusual chord is really a device to draw the listener into the argument which the composer is presenting to us. However, fourths become important later in the opera, especially in the melodic development, at the beginning of the 20th century, fourth-based chords finally became an important element of harmony. Scriabin used a system of transposition using fourth-chords, like his Mystic chord in his Piano Sonata No.6. Scriabins sketches for his unfinished work Mysterium show that he intended to develop the Mystic chord into a huge chord incorporating all twelve notes of the chromatic scale, in France, Erik Satie experimented with planing in the stacked fourths of his 1891 score for Le Fils des étoiles. Quartal harmony in Ravels Sonatine and Ma mère loye would follow a few years later, composers who use the techniques of quartal harmony include Claude Debussy, Francis Poulenc, Alexander Scriabin, Alban Berg, Leonard Bernstein, Arnold Schoenberg, Igor Stravinsky, and Anton Webern. Arnold Schoenbergs Chamber Symphony Op.9 displays quartal harmony, the first measures construct a five-part fourth chord with the notes C – F – B♭ – E♭ – A♭ distributed over several instruments. The composer then picks out this vertical quartal harmony in a sequence of fourths from the horns. Schoenberg was also one of the first to write on the consequences of this harmonic innovation. But the quartal construction makes possible, as I said, accommodation of all phenomena of harmony, for Anton Webern, the importance of quartal harmony lay in the possibility of building new sounds. After hearing Schoenbergs Chamber Symphony, Webern wrote You must write something like that, hindemith constructed large parts of his symphonic work Symphony, Mathis der Maler by means of fourth and fifth intervals
27.
Secundal
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In music or music theory, secundal is the quality of a chord made from seconds, and anything related to things constructed from seconds such as counterpoint. Secundal chords are called tone clusters more generally, especially when non-diatonic. Three or more pitches in secundal relationship may correctly be referred to as a tone cluster, chords which may be considered as built from sevenths, because of musical inversion, are secundal. The secundal harmony in Ross Lee Finneys Playing Tag provides accentuation and forward motion, as well as the basis for the fragmentary melody, Tertian Quartal Polychord
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Harmony
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In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords, the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the aspect of music, as distinguished from melodic line. In popular and jazz harmony, chords are named by their root plus various terms, in many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with tensions. A tension is an additional member that creates a relatively dissonant interval in relation to the bass. Typically, in the common practice period a dissonant chord resolves to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds, in simple words, that occurs when there is a balance between tense and relaxed moments. The term harmony derives from the Greek ἁρμονία, meaning joint, agreement, concord, from the verb ἁρμόζω, to fit together, the term was often used for the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements, in the Middle Ages the term was used to describe two pitches sounding in combination, and in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, which is thought the first work in European history written on the subject of harmony, the underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use, ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and contrapuntal. The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory and this is usually accounted for by the replacement of horizontal writing, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation, as Carl Dahlhaus puts it, It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the structure of chords but also their movement, like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions, pitch simultaneity in particular is rarely a major consideration. Nevertheless, emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias, the conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation. Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, some traditions of Western music performance, composition, and theory have specific rules of harmony. This model provides that the seventh and ninth are not dissonant
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Chord progression
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A chord progression or harmonic progression is a succession of musical chords. Chord progressions are the foundation of harmony in Western musical tradition, in tonal music, chord progressions have the function of establishing or contradicting a tonality. Chord progressions are usually expressed by Roman numerals, a chord may be built upon any note of a musical scale, therefore a seven-note scale allows seven basic chords, each degree of the scale becoming the root of its own chord. A chord built upon the note A is an A chord of some type The harmonic function of any particular chord depends on the context of the chord progression in which it is found. The diatonic harmonization of any major results in three major triads. They are based on the first, fourth, and fifth scale degrees and these three triads include, and therefore can harmonize, every note of that scale. The same scale also provides three relative minor chords, one related to each of the three major chords, separate from these six common chords there is one degree of the scale, the seventh, that results in a diminished chord. In addition, extra notes may be added to any chord, if these notes are also selected from the original scale the harmony remains diatonic. If new chromatic intervals are introduced then a change of scale or modulation occurs and this in turn may lead to a resolution back to the original key, so that the entire sequence of chords helps create an extended musical form. In western classical notation, chords built on the scale are numbered with Roman numerals, other forms of chord notation have been devised, from figured bass to the chord chart. These usually allow or even require an amount of improvisation. Diatonic scales such as the major and minor scales lend themselves well to the construction of common chords because they contain a large number of perfect fifths. Such scales predominate in those regions where harmony is an part of music, as, for example. Alternation between two chords may be thought of as the most basic chord progression, many well-known pieces are built harmonically upon the mere repetition of two chords of the same scale. The Isley Brothers Shout uses I - vi throughout, three-chord tunes, though, are more common, since a melody may then dwell on any note of the scale. They are often presented as successions of four chords, in order to produce a binary harmonic rhythm, often the chords may be selected to fit a pre-conceived melody, but just as often it is the progression itself that gives rise to the melody. (Common in Elizabethan music, this also underpins the American college song Goodnight Ladies, is the exclusive progression used in Kwela, similar progressions abound in African popular music. They may be varied by the addition of sevenths to any chord or by substitution of the minor of the IV chord to give, for example
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Rhythm
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Rhythm generally means a movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions. In the performance arts, rhythm is the timing of events on a scale, of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language. In some performing arts, such as hip hop music, the delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as timed movement through space, in recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, Godfried Toussaint, William Rothstein, and Joel Lester. In Thinking and Destiny, Harold W. Percival defined rhythm as the character and meaning of thought expressed through the measure or movement in sound or form, or by written signs or words. In his television series How Music Works, Howard Goodall presents theories that human rhythm recalls the regularity with which we walk, other research suggests that it does not relate to the heartbeat directly, but rather the speed of emotional affect, which also influences heartbeat. Yet other researchers suggest that certain features of human music are widespread. The perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, Joseph Jordania recently suggested that the sense of rhythm was developed in the early stages of hominid evolution by the forces of natural selection. Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, some types of parrots can know rhythm. There is not a report of an animal being trained to tap, peck. For this reason, the fast-transient sounds of percussion instruments lend themselves to the definition of rhythm, Musical cultures that rely upon such instruments may develop multi-layered polyrhythm and simultaneous rhythms in more than one time signature, called polymeter. Such are the cross-rhythms of Sub-Saharan Africa and the interlocking kotekan rhythms of the gamelan, for information on rhythm in Indian music see Tala. For other Asian approaches to rhythm see Rhythm in Persian music, Rhythm in Arabian music and Usul—Rhythm in Turkish music and this consists of a series of identical yet distinct periodic short-duration stimuli perceived as points in time. It is currently most often designated as a crotchet or quarter note in western notation, faster levels are division levels, and slower levels are multiple levels. Rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit. A rhythmic gesture is any pattern that, in contrast to the rhythmic unit
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Metre (music)
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The metre of music is its rhythmic structure, the patterns of accents heard in regularly recurring measures of stressed and unstressed beats at the frequency of the musics pulse. A variety of systems exist throughout the world for organising and playing music, such as the Indian system of tala. Later music for such as the pavane and galliard consisted of musical phrases to accompany a fixed sequence of basic steps with a defined tempo. The term is not very precisely defined, macPherson preferred to speak of time and rhythmic shape, Imogen Holst of measured rhythm. This perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a definition of musical metre requires the possibility of identifying a repeating pattern of accented pulses — a pulse-group — which corresponds to the foot in poetry. Frequently a pulse-group can be identified by taking the accented beat as the first pulse in the group, frequently metres can be broken down into a pattern of duples and triples. The level of musical organisation implied by musical metre includes the most elementary levels of musical form, metrical rhythm, measured rhythm, and free rhythm are general classes of rhythm and may be distinguished in all aspects of temporality. Measured rhythm is where each time value is a multiple or fraction of a time unit. Free rhythm is where there is neither, some music, including chant, has freer rhythm, like the rhythm of prose compared to that of verse. Some music, such as some graphically scored works since the 1950s and non-European music such as Honkyoku repertoire for shakuhachi, may be considered ametric. Senza misura is an Italian musical term for without metre, meaning to play without a beat, Metric levels may be distinguished, the beat level is the metric level at which pulses are heard as the basic time unit of the piece. Faster levels are division levels, and slower levels are multiple levels, a rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level. In duple metre, each measure is divided into two beats, or a multiple thereof, for example, in the time signature 24, each measure contains two quarter-note beats, and with the time signature 68, each measure contains two dotted-quarter-note beats. Corresponding quadruple metres are 44, with 2 ×2 =4 quarter-note beats per measure, triple metre is a metre in which each measure is divided into three beats, or a multiple thereof. For example, in the time signature 34, each contains three quarter-note beats, and with a time signature of 98, each measure contains three dotted-quarter beats. Simple metre and compound metre are distinguished by the way the beats are subdivided, Simple metre or simple time is a metre in which each beat of the measure divides naturally into two equal parts. The top number in the signature will be 2,3,4,5
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Morten Lauridsen
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Morten Johannes Lauridsen is an American composer. He began teaching at USC in 1967 and has been on their faculty ever since, in 2006, Lauridsen was named an American Choral Master by the National Endowment for the Arts. His principal publishers are Peermusic and Faber Music, in 2014 he was invited to be Honorary Artistic President of Interkultur/World Choir Games. In 2016 he was awarded the ASCAP Foundation Life in Music Award, Lauridsen now divides his time between Los Angeles and his home in the San Juan Archipelago off the northern coast of Washington State. The 2012 documentary film Shining Night, A Portrait of Composer Morten Lauridsen portrays the composer at his Waldron Island retreat and in rehearsals in California, the NYC premiere, hosted by Distinguished Concerts International New York, opened a Lauridsen-tribute weekend at Lincoln Center and Carnegie Hall. The first public television broadcast was in May,2013, on KCET Southern California, a companion book, Morten Lauridsens Waldron Island Reflections was published by GIA Publications, Chicago. A Hanssler Classic DVD edition was produced in 2014 for international distribution by Naxos Music, O Magnum Mysterium, Dirait-on, O Nata Lux and Sure On This Shining Night have become the all-time best-selling choral octavos distributed by Theodore Presser, in business since 1783. His musical approaches are very diverse, ranging from direct to abstract in response to various characteristics of the texts he sets and his music has an overall lyricism and is tightly constructed around melodic and harmonic motives. From 1993 Lauridsens music rapidly increased in popularity, and by centurys end he had eclipsed Randall Thompson as the most frequently performed American choral composer. Over 200 recordings of works by Morten Lauridsen have been released and his principal publishers are Peermusic and Peers affiliate, Faber Music. In offering residencies for choral singers and composition students, Lauridsen has travelled extensively throughout America, also visits to the UK. These residencies have included the schools and choral organizations
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Impressionism
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Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
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Octavio Paz
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Octavio Paz Lozano was a Mexican poet and diplomat. For his body of work, he was awarded the 1981 Miguel de Cervantes Prize, the 1982 Neustadt International Prize for Literature, Octavio Paz was introduced to literature early in his life through the influence of his grandfathers library, filled with classic Mexican and European literature. During the 1920s, he discovered Gerardo Diego, Juan Ramón Jiménez, as a teenager in 1931, Paz published his first poems, including Cabellera. Two years later, at the age of 19, he published Luna Silvestre, in 1932, with some friends, he founded his first literary review, Barandal. In 1937 at the age of 23, Paz abandoned his law studies and left Mexico City for Yucatán to work at a school in Mérida, set up for the sons of peasants and workers. There, he working on the first of his long, ambitious poems. Influenced by the work of T. S. Eliot, it explores the situation of the Mexican peasant under the landlords of the day. Upon his return to Mexico, Paz co-founded a literary journal, Taller in 1938, in 1937 he married Elena Garro, who is considered one of Mexicos finest writers. They had one daughter, Helena, and were divorced in 1959, in 1943, Paz received a Guggenheim fellowship and used it to study at the University of California at Berkeley in the United States. Two years later he entered the Mexican diplomatic service, and was assigned for a time to New York City, in 1945, he was sent to Paris, where he wrote El Laberinto de la Soledad. In 1952, he travelled to India for the first time and that same year, he went to Tokyo, as chargé daffaires. He next was assigned to Geneva, Switzerland and he returned to Mexico City in 1954, where he wrote his great poem Piedra de sol in 1957, and published Libertad bajo palabra, a compilation of his poetry up to that time. He was sent again to Paris in 1959, in 1962 he was named Mexicos ambassador to India. In India, Paz completed several works, including El mono gramático, while in India, he met numerous writers of a group known as the Hungry Generation and had a profound influence on them. He met his first wife Elena Garro a writer in Mexico City and was married to her in 1937 and they had a daughter Helena Laura Paz Garro. In 1965, he married Marie-José Tramini, a French woman who would be his wife for the rest of his life. In October 1968, he resigned from the service in protest of the Mexican governments massacre of student demonstrators in the Plaza de las Tres Culturas in Tlatelolco. After staying in Paris for refuge, he returned to Mexico in 1969 and he founded his magazine Plural with a group of liberal Mexican and Latin American writers
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Emily Dickinson
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Emily Elizabeth Dickinson was an American poet. Dickinson was born in Amherst, Massachusetts, although part of a prominent family with strong ties to its community, Dickinson lived much of her life in reclusive isolation. After studying at the Amherst Academy for seven years in her youth, considered an eccentric by locals, she developed a noted penchant for white clothing and became known for her reluctance to greet guests or, later in life, to even leave her bedroom. Dickinson never married, and most friendships between her and others depended entirely upon correspondence, Dickinson was a recluse for the later years of her life. While Dickinson was a private poet, fewer than a dozen of her nearly 1,800 poems were published during her lifetime. The work that was published during her lifetime was usually altered significantly by the publishers to fit the conventional rules of the time. Dickinsons poems are unique for the era in which she wrote, they contain short lines, typically lack titles, many of her poems deal with themes of death and immortality, two recurring topics in letters to her friends. Her first collection of poetry was published in 1890 by personal acquaintances Thomas Wentworth Higginson and Mabel Loomis Todd, a complete, and mostly unaltered, collection of her poetry became available for the first time when scholar Thomas H. Johnson published The Poems of Emily Dickinson in 1955. Emily Elizabeth Dickinson was born at the homestead in Amherst, Massachusetts, on December 10,1830, into a prominent. Her father, Edward Dickinson was a prominent lawyer in Amherst, two hundred years earlier, her patrilineal ancestors had arrived in the New World—in the Puritan Great Migration—where they prospered. Emily Dickinsons paternal grandfather, Samuel Dickinson, had almost single-handedly founded Amherst College, in 1813, he built the homestead, a large mansion on the towns Main Street, that became the focus of Dickinson family life for the better part of a century. On May 6,1828, he married Emily Norcross from Monson and they had three children, William Austin, known as Austin, Aust or Awe Emily Elizabeth Lavinia Norcross, known as Lavinia or Vinnie By all accounts, young Emily was a well-behaved girl. On an extended visit to Monson when she was two, Emilys Aunt Lavinia described Emily as perfectly well & contented—She is a good child &. Emilys aunt also noted the affinity for music and her particular talent for the piano. Dickinson attended primary school in a building on Pleasant Street. Her education was ambitiously classical for a Victorian girl and her father wanted his children well-educated and he followed their progress even while away on business. When Emily was seven, he wrote home, reminding his children to school, and learn, so as to tell me. While Emily consistently described her father in a manner, her correspondence suggests that her mother was regularly cold
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E. E. Cummings
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Edward Estlin E. E. Cummings, often styled as e e cummings, was an American poet, painter, essayist, author, and playwright. He wrote approximately 2,900 poems, two novels, four plays and several essays. He is remembered as an eminent voice of 20th-Century English literature, Edward Estlin Cummings was born on October 14,1894, to Edward Cummings and Rebecca Haswell Clarke who were Unitarian. They were a family in Cambridge, Massachusetts. His father was a professor at Harvard University and later the nationally known minister of Old South Church in Boston and his mother, who loved to spend time with her children, played games with Cummings and his sister, Elizabeth. From an early age, Cummingss parents supported his creative gifts, Cummings wrote poems and also drew as a child, and he often played outdoors with the many other children who lived in his neighborhood. He also grew up in the company of family friends as the philosophers William James. He graduated from Harvard University in 1915 and then received a degree from Harvard in 1916. Many of Cummings summers were spent on Silver Lake in Madison, the family ultimately purchased the nearby Joy Farm where Cummings had his primary summer residence. He exhibited transcendental leanings his entire life, as he matured, Cummings moved to an I, Thou relationship with God. His journals are replete with references to le bon Dieu, as well as prayers for inspiration in his poetry, Cummings also prayed for strength to be his essential self, and for relief of spirit in times of depression. Cummings wanted to be a poet from childhood and wrote poetry daily aged 8 to 22 and he went to Harvard and developed an interest in modern poetry which ignored conventional grammar and syntax, aiming for a dynamic use of language. Upon graduating, he worked for a book dealer, in 1917, with the First World War ongoing in Europe, Cummings enlisted in the Norton-Harjes Ambulance Corps, along with his college friend John Dos Passos. Due to an administrative mix-up, Cummings was not assigned to a unit for five weeks. He fell in love with the city, to which he would throughout his life. The two openly expressed anti-war views, Cummings spoke of his lack of hatred for the Germans. On September 21,1917, just five months after his assignment, he. They were held for 3½ months in a detention camp at the Dépôt de Triage, in La Ferté-Macé, Orne
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Robert Frost
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Robert Lee Frost was an American poet. His work was published in England before it was published in America. He is highly regarded for his depictions of rural life. His work frequently employed settings from rural life in New England in the twentieth century. One of the most popular and critically respected American poets of the century, Frost was honored frequently during his lifetime. He became one of Americas rare public literary figures, almost an artistic institution and he was awarded the Congressional Gold Medal in 1960 for his poetic works. On July 22,1961, Frost was named laureate of Vermont. Robert Frost was born in San Francisco, California, to journalist William Prescott Frost, Jr. and his mother was a Scottish immigrant, and his father descended from Nicholas Frost of Tiverton, Devon, England, who had sailed to New Hampshire in 1634 on the Wolfrana. Frosts father was a teacher and later an editor of the San Francisco Evening Bulletin, and an unsuccessful candidate for city tax collector. After his death on May 5,1885, the family moved across the country to Lawrence, Massachusetts, under the patronage of William Frost, Frost graduated from Lawrence High School in 1892. Frosts mother joined the Swedenborgian church and had him baptized in it, although known for his later association with rural life, Frost grew up in the city, and he published his first poem in his high schools magazine. He attended Dartmouth College for two months, long enough to be accepted into the Theta Delta Chi fraternity. Frost returned home to teach and to work at various jobs, including helping his mother teach her class of boys, delivering newspapers. He did not enjoy these jobs, feeling his true calling was poetry, in 1894, he sold his first poem, My Butterfly. Proud of his accomplishment, he proposed marriage to Elinor Miriam White, Frost then went on an excursion to the Great Dismal Swamp in Virginia and asked Elinor again upon his return. Having graduated, she agreed, and they were married at Lawrence, Frost attended Harvard University from 1897 to 1899, but he left voluntarily due to illness. In 1912, Frost sailed with his family to Great Britain, settling first in Beaconsfield and his first book of poetry, A Boys Will, was published the next year. In England he made important acquaintances, including Edward Thomas, T. E. Hulme
