A musical ensemble known as a music group or musical group, is a group of people who perform instrumental or vocal music, with the ensemble known by a distinct name. Some music ensembles consist of instruments, such as the jazz quartet or the orchestra; some music ensembles consist of singers, such as choirs and doo wop groups. In both popular music and classical music, there are ensembles in which both instrumentalists and singers perform, such as the rock band or the Baroque chamber group for basso continuo and one or more singers. In classical music, trios or quartets either blend the sounds of musical instrument families or group together instruments from the same instrument family, such as string ensembles or wind ensembles; some ensembles blend the sounds of a variety of instrument families, such as the orchestra, which uses a string section, brass instruments and percussion instruments, or the concert band, which uses brass and percussion. In jazz ensembles or combos, the instruments include wind instruments, one or two chordal "comping" instruments, a bass instrument, a drummer or percussionist.
Jazz ensembles may be instrumental, or they may consist of a group of instruments accompanying one or more singers. In rock and pop ensembles called rock bands or pop bands, there are guitars and keyboards, one or more singers, a rhythm section made up of a bass guitar and drum kit. Music ensembles have a leader. In jazz bands and pop groups and similar ensembles, this is the band leader. In classical music, concert bands and choirs are led by a conductor. In orchestra, the concertmaster is the instrumentalist leader of the orchestra. In orchestras, the individual sections have leaders called the "principal" of the section. Conductors are used in jazz big bands and in some large rock or pop ensembles. In Western classical music, smaller ensembles are called chamber music ensembles; the terms duet, quartet, sextet, octet and dectet describe groups of two up to ten musicians, respectively. A group of eleven musicians, such as found in The Carnival of the Animals, is called either a hendectet or an undectet.
A soloist playing unaccompanied is not an ensemble. A string quartet consists of a viola and a cello. There is a vast body of music written for string quartets, as it is seen as an important genre in classical music. A woodwind quartet features a flute, an oboe, a clarinet and a bassoon. A brass quartet features a trombone and a tuba. A saxophone quartet consists of a soprano saxophone, an alto saxophone, a tenor saxophone, a baritone saxophone; the string quintet is a common type of group. It is similar to the string quartet, but with an additional viola, cello, or more the addition of a double bass. Terms such as "piano quintet" or "clarinet quintet" refer to a string quartet plus a fifth instrument. Mozart's Clarinet Quintet is a piece written for an ensemble consisting of two violins, a viola, a cello and a clarinet, the last being the exceptional addition to a "normal" string quartet; some other quintets in classical music are the wind quintet consisting of flute, clarinet and horn. Classical chamber ensembles of six, seven, or eight musicians are common.
In most cases, a larger classical group is referred to as an orchestra of some type or a concert band. A small orchestra with fifteen to thirty members is called a chamber orchestra. A sinfonietta denotes a somewhat smaller orchestra. Larger orchestras are called philharmonic orchestras. A pops orchestra is an orchestra that performs light classical music and orchestral arrangements and medleys of popular jazz, music theater, or pop music songs. A string orchestra has only string instruments, i.e. violins, violas and double basses. A symphony orchestra is an ensemble comprising at least thirty musicians. A symphony orchestra is divided into families of instruments. In the string family, there are sections of violins, violas and basses; the standard woodwind section consists of flutes, soprano clarinets, bassoons. The standard brass section consists of horns, trumpets and tuba; the percussion section includes the timpani, bass drum, snare drum, a
I Believe in Music (song)
"I Believe in Music" is a 1972 song by Gallery and recorded by Mac Davis. It was their second of three singles from their Nice to Be with You album and was the follow-up release to the title track. "I Believe in Music" reached No. 22 on the US Billboard Hot 100 and No. 13 on the US Cash Box Top 100. It reached No. 5 in Canada. Mac Davis's original version had been released as a single a year earlier and made a minor dent in the pop charts, his version reached No. 25 on the Adult Contemporary chart. Mac Davis originalGallery cover "I Believe in Music" has been covered by Helen Reddy, Louis Jordan, Marian Love, Donny Hathaway, B. J. Thomas, Liza Minnelli, Perry Como, Lee Towers, Wayne Newton. Lyrics of this song at MetroLyrics Listen to "I Believe In Music" on YouTube Listen to "I Believe In Music" on YouTube
Sound recording and reproduction
Sound recording and reproduction is an electrical, electronic, or digital inscription and re-creation of sound waves, such as spoken voice, instrumental music, or sound effects. The two main classes of sound recording technology are analog digital recording. Acoustic analog recording is achieved by a microphone diaphragm that senses changes in atmospheric pressure caused by acoustic sound waves and records them as a mechanical representation of the sound waves on a medium such as a phonograph record. In magnetic tape recording, the sound waves vibrate the microphone diaphragm and are converted into a varying electric current, converted to a varying magnetic field by an electromagnet, which makes a representation of the sound as magnetized areas on a plastic tape with a magnetic coating on it. Analog sound reproduction is the reverse process, with a bigger loudspeaker diaphragm causing changes to atmospheric pressure to form acoustic sound waves. Digital recording and reproduction converts the analog sound signal picked up by the microphone to a digital form by the process of sampling.
This lets the audio data be transmitted by a wider variety of media. Digital recording stores audio as a series of binary numbers representing samples of the amplitude of the audio signal at equal time intervals, at a sample rate high enough to convey all sounds capable of being heard. A digital audio signal must be reconverted to analog form during playback before it is amplified and connected to a loudspeaker to produce sound. Prior to the development of sound recording, there were mechanical systems, such as wind-up music boxes and player pianos, for encoding and reproducing instrumental music. Long before sound was first recorded, music was recorded—first by written music notation also by mechanical devices. Automatic music reproduction traces back as far as the 9th century, when the Banū Mūsā brothers invented the earliest known mechanical musical instrument, in this case, a hydropowered organ that played interchangeable cylinders. According to Charles B. Fowler, this "...cylinder with raised pins on the surface remained the basic device to produce and reproduce music mechanically until the second half of the nineteenth century."
The Banū Mūsā brothers invented an automatic flute player, which appears to have been the first programmable machine. Carvings in the Rosslyn Chapel from the 1560s may represent an early attempt to record the Chladni patterns produced by sound in stone representations, although this theory has not been conclusively proved. In the 14th century, a mechanical bell-ringer controlled by a rotating cylinder was introduced in Flanders. Similar designs appeared in barrel organs, musical clocks, barrel pianos, music boxes. A music box is an automatic musical instrument that produces sounds by the use of a set of pins placed on a revolving cylinder or disc so as to pluck the tuned teeth of a steel comb; the fairground organ, developed in 1892, used a system of accordion-folded punched cardboard books. The player piano, first demonstrated in 1876, used a punched paper scroll that could store a long piece of music; the most sophisticated of the piano rolls were hand-played, meaning that the roll represented the actual performance of an individual, not just a transcription of the sheet music.
This technology to record a live performance onto a piano roll was not developed until 1904. Piano rolls were in continuous mass production from 1896 to 2008. A 1908 U. S. Supreme Court copyright case noted that, in 1902 alone, there were between 70,000 and 75,000 player pianos manufactured, between 1,000,000 and 1,500,000 piano rolls produced; the first device that could record actual sounds as they passed through the air was the phonautograph, patented in 1857 by Parisian inventor Édouard-Léon Scott de Martinville. The earliest known recordings of the human voice are phonautograph recordings, called phonautograms, made in 1857, they consist of sheets of paper with sound-wave-modulated white lines created by a vibrating stylus that cut through a coating of soot as the paper was passed under it. An 1860 phonautogram of Au Clair de la Lune, a French folk song, was played back as sound for the first time in 2008 by scanning it and using software to convert the undulating line, which graphically encoded the sound, into a corresponding digital audio file.
On April 30, 1877, French poet, humorous writer and inventor Charles Cros submitted a sealed envelope containing a letter to the Academy of Sciences in Paris explaining his proposed method, called the paleophone. Though no trace of a working paleophone was found, Cros is remembered as the earliest inventor of a sound recording and reproduction machine; the first practical sound recording and reproduction device was the mechanical phonograph cylinder, invented by Thomas Edison in 1877 and patented in 1878. The invention soon spread across the globe and over the next two decades the commercial recording and sale of sound recordings became a growing new international industry, with the most popular titles selling millions of units by the early 1900s; the development of mass-production techniques enabled cylinder recordings to become a major new consumer item in industrial countries and the cylinder was the main consumer format from the late 1880s until around 1910. The next major technical development was the invention of the gramophone record credited to Emile Berliner and patented in 1887, though others had demonstrated simi
Michigan is a state in the Great Lakes and Midwestern regions of the United States. The state's name, originates from the Ojibwe word mishigamaa, meaning "large water" or "large lake". With a population of about 10 million, Michigan is the tenth most populous of the 50 United States, with the 11th most extensive total area, is the largest state by total area east of the Mississippi River, its capital is Lansing, its largest city is Detroit. Metro Detroit is among the nation's largest metropolitan economies. Michigan is the only state to consist of two peninsulas; the Lower Peninsula is noted as shaped like a mitten. The Upper Peninsula is separated from the Lower Peninsula by the Straits of Mackinac, a five-mile channel that joins Lake Huron to Lake Michigan; the Mackinac Bridge connects the peninsulas. The state has the longest freshwater coastline of any political subdivision in the world, being bounded by four of the five Great Lakes, plus Lake Saint Clair; as a result, it is one of the leading U.
S. states for recreational boating. Michigan has 64,980 inland lakes and ponds. A person in the state is never more than six miles from a natural water source or more than 85 miles from a Great Lakes shoreline; the area was first occupied by a succession of Native American tribes over thousands of years. Inhabited by Natives, Métis, French explorers in the 17th century, it was claimed as part of New France colony. After France's defeat in the French and Indian War in 1762, the region came under British rule. Britain ceded this territory to the newly independent United States after Britain's defeat in the American Revolutionary War; the area was part of the larger Northwest Territory until 1800, when western Michigan became part of the Indiana Territory. Michigan Territory was formed in 1805, but some of the northern border with Canada was not agreed upon until after the War of 1812. Michigan was admitted into the Union in 1837 as a free one, it soon became an important center of industry and trade in the Great Lakes region and a popular immigrant destination in the late 19th and early 20th centuries.
Although Michigan developed a diverse economy, it is known as the center of the U. S. automotive industry, which developed as a major economic force in the early 20th century. It is home to the country's three major automobile companies. While sparsely populated, the Upper Peninsula is important for tourism thanks to its abundance of natural resources, while the Lower Peninsula is a center of manufacturing, agriculture and high-tech industry; when the first European explorers arrived, the most populous tribes were Algonquian peoples, which include the Anishinaabe groups of Ojibwe, Odaawaa/Odawa, the Boodewaadamii/Bodéwadmi. The three nations co-existed peacefully as part of a loose confederation called the Council of Three Fires; the Ojibwe, whose numbers are estimated to have been between 25,000 and 35,000, were the largest. The Ojibwe were established in Michigan's Upper Peninsula and northern and central Michigan, inhabited Ontario and southern Manitoba, Canada; the Ottawa lived south of the Straits of Mackinac in northern and southern Michigan, but in southern Ontario, northern Ohio and eastern Wisconsin.
The Potawatomi were in southern and western Michigan, in addition to northern and central Indiana, northern Illinois, southern Wisconsin, southern Ontario. Other Algonquian tribes in Michigan, in the south and east, were the Mascouten, the Menominee, the Miami, the Sac, the Fox; the Wyandot were an Iroquoian-speaking people in this area. French voyageurs and coureurs des bois settled in Michigan in the 17th century; the first Europeans to reach what became Michigan were those of Étienne Brûlé's expedition in 1622. The first permanent European settlement was founded in 1668 on the site where Père Jacques Marquette established Sault Ste. Marie, Michigan as a base for Catholic missions. Missionaries in 1671–75 founded outlying stations at Saint Ignace and Marquette. Jesuit missionaries were well received by the area's Indian populations, with few difficulties or hostilities. In 1679, Robert Cavelier, Sieur de la Salle built Fort Miami at present-day St. Joseph. In 1691, the French established a trading post and Fort St. Joseph along the St. Joseph River at the present-day city of Niles.
In 1701, French explorer and army officer Antoine de la Mothe Cadillac founded Fort Pontchartrain du Détroit or "Fort Pontchartrain on-the-Strait" on the strait, known as the Detroit River, between lakes Saint Clair and Erie. Cadillac had convinced King Louis XIV's chief minister, Louis Phélypeaux, Comte de Pontchartrain, that a permanent community there would strengthen French control over the upper Great Lakes and discourage British aspirations; the hundred soldiers and workers who accompanied Cadillac built a fort enclosing one arpent and named it Fort Pontchartrain. Cadillac's wife, Marie Thérèse Guyon, soon moved to Detroit, becoming one of the first European women to settle in what was considered the wilderness of Michigan; the town became a major fur-trading and shipping post. The Église de Saint-Anne was founded the same year. While the original building does not survive, the congregation remains active. Cadillac departed to serve as the French governor of Louisiana from 1710 to 1716.
French attempts to consol
WCFL was the callsign of a commercial radio station in Chicago, United States. It was owned by the Chicago Federation of Labor, hence its call letters; the station is now known as WMVP. Its transmitter is located in Downers Grove and is still in use by WMVP; the station billed itself as "The Voice of Labor" from its inception until its sale to Mutual in 1978. In 1922, the American Federation of Labor began discussions regarding owning and operating its own radio station. By 1925, the AFL decided not to enter the broadcasting business but to purchase time for organized labor's message on commercially operated radio; the dream stayed alive with the Chicago Federation of Labor, who believed having an owned and operated radio station would be an effective way to spread its message. In 1924, the Federation gave its approval to work toward establishing a radio station; the original plan for WCFL called for it to be a non-commercial station, operating on the support of its listeners. Spearheading the drive to make WCFL a reality was Edward Nockels.
WCFL began on December 4, 1925. Just five days after what could have become an end to the station, the Federation announced it would go ahead with building it anyway; the first WCFL transmitter stood on Chicago's Navy Pier. The Illinois Manufacturers' Association attempted to keep WCFL off the air by protesting the use of public property for the station's transmitter and broadcasting site; the station purchased the land in Downers Grove where the current transmitter operates in 1928 and broke ground there in 1932. The Federation purchased 100 acres of land in the western suburb. Nockels believed having a union-based community spring up around the WCFL transmitter would be beneficial to both those purchasing lots and building homes and to the station itself; the labor union entered the real estate business shortly before the Depression hit. After selling no lots in the early part of the 1930s, the Federation put WCFL Park on hold, reviving it again in 1939 with the building of a model home on one of the lots, all of which would be divested.
AM 1000 began operation as WCFL in test broadcasts on June 19, 1926. It was on the air the next day at 610 KC with 1,000 watts of power, one of the last non-profit radio stations to take to the airwaves; the first broadcast consisted of two hours of music. In November 1926, with an eye toward being self-sustaining, the Federation added a shortwave station to the Navy Pier transmitter site, planning to use WCFL Radio Telegraph to help offset broadcasting costs; the station used studios at Navy Pier, but during the winter of 1926–1927 found that the weather made them inaccessible. By March 1927, WCFL was broadcasting from 623 South Wabash in Chicago producing a quarterly radio magazine, operating on 620 KC—the frequency being shared with the Lane Tech High School radio station. In 1928, WCFL applied to the Federal Radio Commission for an increase in its transmitter power and hours of operation. Several other radio stations were now operating on the 620 KC frequency along with WCFL and the Lane Tech station.
The commission disagreed with the reasoning that such increases were necessary to serve union members. Further, it cut the operating power of WCFL to only 1,500 watts. General Order 40 brought WCFL to the 970 KC frequency, shared with KJR in Seattle, still at 1,500 watts and now allowed to operate in daylight only; the Federal Radio Commission had labeled the station as a "propaganda" type, not worthy of a license. While the original idea of a self-supporting WCFL was based on each Federation member's donation of $1 a year for all station operating expenses, by 1926, 30% of the membership had donated; the donations continued to spiral downward as time passed after 1928, when WCFL's operating power was cut and it was limited to "dawn to dusk" broadcasting—from sunrise to sunset. The dawn-to-dusk operation limitations were lifted in 1929, but there was still no clear channel yet for WCFL. 1929 found the station notifying the Federation that unless members made their dollar donations, WCFL would need to implement some type of commercial broadcasting to stay afloat.
This was the reason why the transmitter land had been purchased in 1928, but no construction was able to be done on the Downers Grove transmitter site until 1932. By 1930, commercials had become a reality on WCFL. By 1945, WCFL had moved to the 1,000 KC position on the dial and was a 50,000-watt clear-channel station. In 1927, WCFL broadcast the Gene Tunney-Jack Dempsey championship boxing match at Soldier Field, challenging the National Broadcasting Company's exclusive claim to the eve
Nice to Be with You
"Nice to Be with You" is a 1972 song by Gallery, written by Jim Gold. It became an international Top 5 hit, reaching #4 on the U. S. Billboard Hot 100 and #1 on the U. S. Cash Box Top 100, it reached #1 in Canada. The song reached # 2 in New Zealand. Lyrics of this song at MetroLyrics Listen to "Nice to Be With You" on YouTube
In music, an arrangement is a musical reconceptualization of a composed work. It may differ from the original work by means of reharmonization, melodic paraphrasing, orchestration, or development of the formal structure. Arranging differs from orchestration in that the latter process is limited to the assignment of notes to instruments for performance by an orchestra, concert band, or other musical ensemble. Arranging "involves adding compositional techniques, such as new thematic material for introductions, transitions, or modulations, endings.... Arranging is the art of giving an existing melody musical variety". Arrangement and transcriptions of classical and serious music go back to the early history of this genre. In particular, music written for the piano has undergone this treatment. Pictures at an Exhibition, a suite of ten piano pieces by Modest Mussorgsky, has been arranged over twenty times, notably by Maurice Ravel. Due to his lack of expertise in orchestration, the American composer George Gershwin had his Rhapsody in Blue orchestrated and arranged by Ferde Grofé.
Popular music recordings include parts for brass and other instruments that were added by arrangers and not composed by the original songwriters. Popular music arrangements may be considered to include new releases of existing songs with a new musical treatment; these changes can include alterations to tempo, key and other musical elements. Well-known examples include Joe Cocker's version of the Beatles' "With a Little Help from My Friends," Cream's "Crossroads", Ike and Tina Turner's version of Creedence Clearwater Revival's "Proud Mary"; the American group Vanilla Fudge and British group Yes based their early careers on radical re-arrangements of contemporary hits. Bonnie Pointer performed disco and Motown-themed versions of "Heaven Must Have Sent You." Remixes, such as in dance music, can be considered arrangements. Though arrangers may contribute to finished musical products, they hold no legal claim to their work for the purpose of copyright and royalty payments. Arrangements for small jazz combos are informal and uncredited.
Larger ensembles have had greater requirements for notated arrangements, though the early Count Basie big band is known for its many head arrangements, so called because they were worked out by the players themselves and never written down. Most arrangements for big bands, were written down and credited to a specific arranger, as with arrangements by Sammy Nestico and Neal Hefti for Count Basie's big bands. Don Redman made innovations in jazz arranging as a part of Fletcher Henderson's orchestra in the 1920s. Redman's arrangements introduced a more intricate melodic presentation and soli performances for various sections of the big band. Benny Carter became Henderson's primary arranger in the early 1930s, becoming known for his arranging abilities in addition to his previous recognition as a performer. Beginning in 1938, Billy Strayhorn became an arranger of great renown for the Duke Ellington orchestra. Jelly Roll Morton is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "pickup bands" to perform his compositions.
Big-band arrangements are informally called charts. In the swing era they were either arrangements of popular songs or they were new compositions. Duke Ellington's and Billy Strayhorn's arrangements for the Duke Ellington big band were new compositions, some of Eddie Sauter's arrangements for the Benny Goodman band and Artie Shaw's arrangements for his own band were new compositions as well, it became more common to arrange sketchy jazz combo compositions for big band after the bop era. After 1950, the big bands declined in number. However, several bands continued and arrangers provided renowned arrangements. Gil Evans wrote a number of large-ensemble arrangements in the late 1950s and early 1960s intended for recording sessions only. Other arrangers of note include Vic Schoen, Pete Rugolo, Oliver Nelson, Johnny Richards, Billy May, Thad Jones, Maria Schneider, Bob Brookmeyer, Lou Marini, Nelson Riddle, Ralph Burns, Billy Byers, Gordon Jenkins, Ray Conniff, Henry Mancini, Ray Reach, Vince Mendoza, Claus Ogerman.
In the 21st century, the big-band arrangement has made a modest comeback. Gordon Goodwin, Roy Hargrove, Christian McBride have all rolled out new big bands with both original compositions and new arrangements of standard tunes; the string section is a body of instruments composed of various stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins, violas and double basses; the string section in a multi-sectioned orchestra is referred sometimes to as the "string choir."The harp is a stringed instrument, but is not a member of nor homogeneous with the violin family and is not considered part of the string choir. Samuel Adler classifies the harp as a plucked string instrument in the same category as the guitar, banjo, or zither. Like the harp these instruments do not belong to the violin family and are not homogeneous with the string choir. In modern arranging these instruments are considered part of the rhythm section.
The electric bass and upright string bass—depending on the circumstance—can be treated by the arranger as either string section or rhythm section instruments. A group of instruments in which each member plays a unique part—rather than playing in u