1.
Piano
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The piano is an acoustic, stringed musical instrument invented around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, which is a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. The word piano is a form of pianoforte, the Italian term for the early 1700s versions of the instrument. The first fortepianos in the 1700s had a sound and smaller dynamic range. An acoustic piano usually has a wooden case surrounding the soundboard and metal strings. Pressing one or more keys on the keyboard causes a padded hammer to strike the strings. The hammer rebounds from the strings, and the continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air, when the key is released, a damper stops the strings vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs and this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the accidentals, which are needed to play in all twelve keys, more rarely, some pianos have additional keys. Most notes have three strings, except for the bass that graduates from one to two, the strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. There are two types of piano, the grand piano and the upright piano. The grand piano is used for Classical solos, chamber music and art song and it is used in jazz. The upright piano, which is compact, is the most popular type, as they are a better size for use in private homes for domestic music-making. During the nineteenth century, music publishers produced many works in arrangements for piano, so that music lovers could play. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, with technological advances, amplified electric pianos, electronic pianos, and digital pianos have also been developed. The electric piano became an instrument in the 1960s and 1970s genres of jazz fusion, funk music. The piano was founded on earlier technological innovations in keyboard instruments, pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches
Piano
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A grand piano (left) and an upright piano (right)
Piano
Piano
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Grand piano by Louis Bas of
Villeneuve-lès-Avignon, France, 1781. Earliest French grand piano known to survive; includes an inverted wrestplank and action derived from the work of Bartolomeo Cristofori (ca. 1700) with ornately decorated soundboard.
Piano
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Early piano replica by the modern builder Paul McNulty, after Walter & Sohn, 1805
2.
Maurice Ravel
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Joseph Maurice Ravel was a French composer, pianist and conductor. He is often associated with impressionism along with his elder contemporary Claude Debussy, in the 1920s and 1930s Ravel was internationally regarded as Frances greatest living composer. After leaving the conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with form, as in his best-known work, Boléro. He made some arrangements of other composers music, of which his 1922 version of Mussorgskys Pictures at an Exhibition is the best known. As a slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, many of his works exist in two versions, a first, piano score and a later orchestration. Some of his music, such as Gaspard de la nuit, is exceptionally difficult to play. Ravel was among the first composers to recognise the potential of recording to bring their music to a wider public, from the 1920s, despite limited technique as a pianist or conductor, he took part in recordings of several of his works, others were made under his supervision. Ravel was born in the Basque town of Ciboure, France and his father, Pierre-Joseph Ravel, was an educated and successful engineer, inventor and manufacturer, born in Versoix near the Franco-Swiss border. His mother, Marie, née Delouart, was Basque but had grown up in Madrid, in 19th-century terms, Joseph had married beneath his status – Marie was illegitimate and barely literate – but the marriage was a happy one. Both Ravels parents were Roman Catholics, Marie was also something of a free-thinker, a trait inherited by her elder son and he was baptised in the Ciboure parish church six days after he was born. The family moved to Paris three months later, and there a younger son, Édouard, was born and he was close to his father, whom he eventually followed into the engineering profession. Maurice was particularly devoted to their mother, her Basque-Spanish heritage was an influence on his life. Among his earliest memories were folk songs she sang to him, the household was not rich, but the family was comfortable, and the two boys had happy childhoods. Ravel senior delighted in taking his sons to factories to see the latest mechanical devices, in later life, Ravel recalled, Throughout my childhood I was sensitive to music. My father, much better educated in art than most amateurs are, knew how to develop my taste. There is no record that Ravel received any formal schooling in his early years
Maurice Ravel
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Ravel in 1925
Maurice Ravel
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Joseph Ravel (1875), Marie Ravel (1870) and Maurice Ravel aged four (1879)
Maurice Ravel
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Piano class of
Charles de Bériot in 1895, with Ravel on the left
Maurice Ravel
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Gabriel Fauré, Ravel's teacher and supporter
3.
Aloysius Bertrand
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Louis Jacques Napoléon Bertrand, better known by his pen name Aloysius Bertrand, was a French Romantic poet, playwright and journalist. He is famous for having introduced prose poetry in French literature and his masterpiece is the collection of prose poems Gaspard de la Nuit published posthumously in 1842, three of its poems were adapted to a homonymous piano suite by Maurice Ravel in 1908. Born in Ceva on 20 April 1807, Louis Jacques Napoléon Bertrand was the son of Georges and Laure Bertrand, Georges Bertrand was born on 22 July 1768 at Sorcy-Saint-Martin into a family of soldiers. A gendarmerie lieutenant, he married his wife during his stay in the Department of Montenotte, Laure Davico. After the birth of Louis, the eldest, in 1807, on 15 March 1812 Georges was appointed as gendarmerie captain in Spoleto, whose mayor was at the time Pierre-Louis Roederer. There, on 23 December, the poets sister Isabella-Caroline was born, on 3 September 1814 he was assigned to Mont-de-Marsan, where he made the acquaintance of Charles Jean Harel, then-prefect of the Department of Landes. Retiring at the end of August 1815, he left Landes and moved to Dijon, while in Dijon Aloysius developed an interest in the Burgundian capital. His contributions to a local paper led to recognition by Victor Hugo and he lived in Paris for a short time. He returned to Dijon and continued writing for local newspapers, Gaspard was sold in 1836 but not published until 1842 after his death from tuberculosis. The book was rediscovered by Charles Baudelaire and Stéphane Mallarmé and it is now considered a classic of poetic and fantastic literature. He is also considered as a Poète maudit, like Petrus Borel or Alice de Chambrier, Works by Aloysius Bertrand at Project Gutenberg Works by or about Aloysius Bertrand at Internet Archive Works by Aloysius Bertrand at LibriVox
Aloysius Bertrand
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A
herma of Bertrand, exposed at the Jardin de l'Arquebuse, in
Dijon
Aloysius Bertrand
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Frontispiece of the first edition of Bertrand's Gaspard de la nuit
4.
Mily Balakirev
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He began his career as a pivotal figure, extending the fusion of traditional folk music and experimental classical music practices begun by composer Mikhail Glinka. In the process, Balakirev developed musical patterns that could express overt nationalistic feeling, after a nervous breakdown and consequential sabbatical, he returned to classical music but did not wield the same level of influence as before. For several years, Balakirev was the professional musician of the group. He imparted to them his musical beliefs, which continued to underlie their thinking long after he left the group in 1871, while his methods could be dictatorial, the results of his influence were several works which established these composers reputations individually and as a group. He performed a function for Tchaikovsky at two points in the latters career—in 1868–9 with the fantasy-overture Romeo and Juliet and in 1882–5 with the Manfred Symphony. As a composer, Balakirev finished major works many years after he had started them, he began his First Symphony in 1864, the exception to this was his oriental fantasy Islamey for solo piano, which he composed quickly and remains popular among virtuosos. Often, the musical ideas normally associated with Rimsky-Korsakov or Borodin originated in Balakirevs compositions, Balakirev was born at Nizhny Novgorod, into a poor clerks family. He received his first lessons in music from his mother and at the age of four was able to reproduce tunes on the piano and his non-musical education began at the Nizhny Novgorod Gymnasium. When he was ten his mother took him to Moscow during the holidays for a course of ten piano lessons with Alexander Dubuque. After his mothers death, Balakirev was transferred from the Gymnasium to the Alexandrovsky Institute, Balakirevs musical talents did not remain unnoticed, as he soon found a patron in Alexander Ulybyshev. Ulybyshev was considered the musical figure and patron in Nizhny Novgorod. Balakirevs musical education was placed in the hands of the pianist Karl Eisrach, through Eisrach, Balakirev was given opportunities to read, play and listen to music and was exposed to the music of Frédéric Chopin and Mikhail Glinka. Eisrach and Ulybyshev also allowed Balakirev to rehearse the counts private orchestra in rehearsals of orchestral and choral works, eventually, Balakirev, still aged only 14, led a performance of Mozarts Requiem. At 15 he was allowed to lead rehearsals of Ludwig van Beethovens First and his earliest surviving compositions date from the same year—the first movement of a septet for flute, clarinet, piano and strings and a Grande Fantasie on Russian Folksongs for piano and orchestra. Balakirev left the Alexandrovsky Institute in 1853 and entered the University of Kazan as a mathematics student, boborikin, who later became a novelist. He was soon noted in local society as a pianist and was able to supplement his limited finances by taking pupils. His holidays were spent either at Nizhny Novgorod or on the Ulybyshev country estate at Lukino, after Balakirev completed his courses in the late autumn of 1855, Ulybyshev took him to Saint Petersburg, where he met Glinka. While Glinka considered Balakirevs compositional technique defective, he thought highly of his talent, Balakirev made his debut in a university concert in February 1856, playing the completed movement from his First Piano Concerto
Mily Balakirev
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Portrait of Balakirev
Mily Balakirev
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Portrait of (left to right) Balakirev,
Vladimir Odoevsky and
Mikhail Glinka by
Ilya Repin. The painting is somewhat anachronistic – Balakirev is depicted as a man approaching middle age, with a full beard; however, Glinka died in 1857, when Balakirev was only 20 years old.
Mily Balakirev
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Rimsky-Korsakov as a naval cadet, at the time he met Balakirev
Mily Balakirev
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Alexander Dargomyzhsky eventually replaced Balakirev as a mentor to The Five
5.
Islamey
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Islamey, Op.18, is a composition for piano by Russian composer Mily Balakirev, written in September 1869. One of them, called Islamey, a dance-tune, pleased me extraordinarily, the second theme was communicated to me in Moscow by an Armenian actor, who came from the Crimea and is, as he assured me, well known among the Crimean Tatars. The piece was composed in the course of one month, in stark contrast to Balakirevs usual habit of taking years to complete a work. Balakirev revised the work in 1902 and it is divided into three distinct parts, an opening, which introduces the main theme, a middle that introduces an entirely new theme, and a third, which returns to the main theme. The many existing editions have numerous alternative passages – most are easier, Balakirev, considered a virtuoso pianist in his time, once admitted that there were passages in the piece that he couldnt manage. Also, Alexander Scriabin seriously damaged his right hand fanatically practicing the piece along with Liszts Réminiscences de Don Juan, Alexander Borodin included quotations from the piece in his opera Prince Igor, while Nikolai Rimsky-Korsakov did the same in Scheherazade. The piece has been arranged for orchestra, by Alfredo Casella shortly before Balakirevs death. Eugene Ormandy and the Philadelphia Orchestra recorded the version in stereo on February 26,1961. Recent musicological work has shown that the melodies that Balakirev preserved in this work are present in folk music in the former USSR. For instance, the first theme has been found to be a variety of the Lezginka from Kabardino-Balkaria, the second theme has been demonstrated to have the origins as related to Balakirev, namely that of a Tatar love song. Balakirev himself indicated in the score that the coda should be played similarly to the Russian Tropak, notable recordings include, Simon Barere, Vladimir Horowitz, Emil Gilels, Julius Katchen, Georges Cziffra, Boris Berezovsky and Mikhail Pletnev. C. F. Peters Islamey, an Oriental Fantasy, Scores at the International Music Score Library Project
Islamey
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Example of an
ossia
6.
Manuscript
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A manuscript is any document written by hand or typewritten, as opposed to being mechanically printed or reproduced in some automated way. More recently, it is understood to be a written, typed, or word-processed copy of a work. Before the arrival of printing, all documents and books were manuscripts, manuscripts are not defined by their contents, which may combine writing with mathematical calculations, maps, explanatory figures or illustrations. Manuscripts may be in form, scrolls or in codex format. Illuminated manuscripts are enriched with pictures, border decorations, elaborately embossed initial letters or full-page illustrations. The traditional abbreviations are MS for manuscript and MSS for manuscripts, while the forms MS. ms or ms. for singular, and MSS. mss or mss. for plural are also accepted. The second s is not simply the plural, by an old convention, it doubles the last letter of the abbreviation to express the plural, just as pp. means pages. Before the invention of printing in China or by moveable type in a printing press in Europe. Historically, manuscripts were produced in form of scrolls or books, manuscripts were produced on vellum and other parchment, on papyrus, and on paper. In Russia birch bark documents as old as from the 11th century have survived, in India, the palm leaf manuscript, with a distinctive long rectangular shape, was used from ancient times until the 19th century. Paper spread from China via the Islamic world to Europe by the 14th century, when Greek or Latin works were published, numerous professional copies were made simultaneously by scribes in a scriptorium, each making a single copy from an original that was declaimed aloud. Manuscripts in Tocharian languages, written on leaves, survived in desert burials in the Tarim Basin of Central Asia. Volcanic ash preserved some of the Roman library of the Villa of the Papyri in Herculaneum, ironically, the manuscripts that were being most carefully preserved in the libraries of antiquity are virtually all lost. Originally, all books were in manuscript form, in China, and later other parts of East Asia, woodblock printing was used for books from about the 7th century. The earliest dated example is the Diamond Sutra of 868, in the Islamic world and the West, all books were in manuscript until the introduction of movable type printing in about 1450. Manuscript copying of books continued for a least a century, as printing remained expensive, private or government documents remained hand-written until the invention of the typewriter in the late 19th century. In the Philippines, for example, as early as 900AD, specimen documents were not inscribed by stylus and this type of document was rare compared to the usual leaves and bamboo staves that were inscribed. However, neither the leaves nor paper were as durable as the document in the hot
Manuscript
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Christ Pantocrator seated in a capital "U" in an
illuminated manuscript from the Badische Landesbibliothek, Germany.
Manuscript
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10th-century minuscule manuscript of
Thucydides 's
History of the Peloponnesian War
Manuscript
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Armenian Manuscript
Manuscript
7.
Harry Ransom Center
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The Ransom Center houses 36 million literary manuscripts,1 million rare books,5 million photographs, and more than 100,000 works of art. The Center has a room for scholars and galleries which display rotating exhibitions of works. Harry Ransom founded the Humanities Research Center in 1957 with the ambition of expanding the rare books and he acquired the Edward Alexander Parsons Collection, the T. Edward Hanley Collection, and the Norman Bel Geddes Collection. The Center moved into its current building in 1972, after Robertss tenure, John Payne and then Carlton Lake served as interim directors from 1976 to 1980. It was during this time that the Center acquired its complete copy of the Gutenberg Bible, in 1980, the Center hired Decherd Turner as director. Upon Decherd Turners retirement in 1988, Thomas F. Staley became director of the Center, Staley has acquired the Woodward and Bernstein Watergate Papers, a copy of the Plantin Polyglot Bible, and more than 100 literary archives. In September 2013, Stephen Enniss was appointed director of the Ransom Center, Enniss was formerly the Head Librarian of the Folger Shakespeare Library. The two most prominent items in the Ransom Centers collections are a Gutenberg Bible and Nicéphore Niépces View from the Window at Le Gras, both of these objects are on permanent display in the main lobby. Beyond these, the Center houses many important documents and artifacts. Particular strengths include modern literature, performing arts, and photography, the first edition of the book Os Lusíadas, printed in 1572. E. Lawrence, D. H. Lawrence, T. H, boyle, McSweeneys, Gabriel Garcia Marquez and Ian McEwan. S. Eliot, John Osborne, Edward Gordon Craig, J. B, the organizational archives of B. J. Simmons, Theatre Guild, and the College of Fellows of the American Theatre. A historic collection of 19th and 20th century portrait photography of actors and dancers, and production photography holdings including Joseph Abeles and Leo Friedman, Fred Fehl, design archives of Norman Bel Geddes, Gordon Conway, Eldon Elder, and Boris Aronson. David Garricks diary from his 1751 trip to Paris, which belonged to Harry Houdini. John Wilkes Booths personal production promptbook for Richard III, original costumes from the Ballets Russes including pieces from Narcisse and The Rite of Spring. Design holdings include two of Pablo Picassos costume designs and a set design from The Three-Cornered Hat, the original manuscripts for George Aikens 1852 stage adaptation of Uncle Toms Cabin and the archive of its producing company, George C. A1730 manuscript of George Frideric Handels Coronation Anthems made by his principal copyist. The papers of Robert De Niro, David O. Selznick, Nicholas Ray, Edward Carrick, Alfred Junge, Jay Presson Allen, Lewis Allen, Ernest Lehman, King Vidor, Tobe Hooper and Gloria Swanson
Harry Ransom Center
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Contents
8.
University of Texas at Austin
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Founded in 1881 as The University of Texas, its campus is in Austin, Texas—approximately 1 mile from the Texas State Capitol. The institution has the nations seventh-largest single-campus enrollment, with over 50,000 undergraduate and graduate students and over 24,000 faculty, UT Austin was inducted into the American Association of Universities in 1929, becoming only the third university in the American South to be elected. It is a center for academic research, with research expenditures exceeding $550 million for the 2014–2015 school year. J. Pickle Research Campus and the McDonald Observatory, among university faculty are recipients of the Nobel Prize, Pulitzer Prize, the Wolf Prize, the Emmy Award, the Turing Award, and the National Medal of Science, as well as many other awards. UT Austin student athletes compete as the Texas Longhorns and are members of the Big 12 Conference and its Longhorn Network is the only sports network featuring the college sports of a single university. The first mention of a university in Texas can be traced to the 1827 constitution for the Mexican state of Coahuila y Tejas. Although Title 6, Article 217 of the Constitution promised to establish education in the arts and sciences. On April 18,1838, An Act to Establish the University of Texas was referred to a committee of the Texas Congress. On January 26,1839, the Texas Congress agreed to set aside fifty leagues of land towards the establishment of a publicly funded university, in addition,40 acres in the new capital of Austin were reserved and designated College Hill. In 1845, Texas was annexed into the United States, interestingly, the states Constitution of 1845 failed to mention higher education. On February 11,1858, the Seventh Texas Legislature approved O. B,102, an act to establish the University of Texas, which set aside $100,000 in United States bonds toward construction of the states first publicly funded university. The legislature also designated land reserved for the encouragement of railroad construction toward the universitys endowment, Texas secession from the Union and the American Civil War delayed repayment of the borrowed monies. At the end of the Civil War in 1865, The University of Texas endowment was just over $16,000 in warrants, the more valuable lands reverted to the fund to support general education in the state. The legislature additionally appropriated $256,272.57 to repay the funds taken from the university in 1860 to pay for frontier defense, the 1883 grant of land increased the land in the Permanent University Fund to almost 2.2 million acres. Under the Act of 1858, the university was entitled to just over 1,000 acres of land for every mile of railroad built in the state. On March 30,1881, the legislature set forth the structure and organization. By popular election on September 6,1881, Austin was chosen as the site, galveston, having come in second in the election was designated the location of the medical department. On November 17,1882, on the original College Hill, smite the earth, smite the rocks with the rod of knowledge and fountains of unstinted wealth will gush forth
University of Texas at Austin
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The university's Old Main building in 1903
University of Texas at Austin
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The University of Texas at Austin
University of Texas at Austin
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The Tower, completed in 1937, stands 307 ft (94 m) tall and dons
different colors of lighting on special occasions.
University of Texas at Austin
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Lyndon Baines Johnson Library and Museum
9.
Casper (name)
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Casper is a family and personal name derived from Chaldean that means Treasurer. The origins of the name have been traced as far back as the Old Testament, the name is derived from Gaspar which in turn is from an ancient Chaldean word, Gizbar, which according to Strongs Concordance means Treasurer. The word Gizbar appears in the Hebrew version of the Old Testament Book of Ezra, in fact, the modern Hebrew word for Treasurer is still Gizbar. By the 1st century B. C. the Septuagint gave a Greek translation of Gizbar in Ezra 1,8 as Gasbarinou. The transition from Gizbar to Casparand Kaspar can thus be summarized as, there are numerous modern variations such as Gaspar, Gaspare, Gaspard, Kaspar, Kašpar, Casper, Kacper/Kasper, Kasperi, Kasper, Gáspár, Kaspersky and Kasparov and Kaspars. The letter G in the name Gaspar was clearly different from the letter C used elsewhere, suggesting that the name Gaspar preceded the name Caspar, the Western tradition of the name Gaspar also derives from an early 6th Century Greek manuscript, translated into the Latin Excerpta Latina Barbari. A pseudo-Venerable Beda text, called Collectanea et Flores, apparently continues the tradition of the name Caspar and this text is said to be from the 8th or 9th century, of Irish origin. As a surname, Gaspar survives today in Spanish, Portuguese and French and it also survives in the Armenian name, Gasparian. Eventually, there would be dozens of variations due to suffixes and variations of spelling, pronunciation, for example, since s=sh=sch=sz, and since s=sz, it is easy to see how Kaspar could become Kaschpar or Kaszpar. Some of them if written in Russian or Armenian would be totally unrecognizable if seen, but recognizable if heard. In British and American English, the initial a in Gaspar, Kaspar, Caspar, etc. is now pronounced as in the hat, whereas in continental Europe. This, and other changes in English pronunciation, took place between 1200 AD and 1600 AD and are now known as the Great Vowel Shift, there were some exceptions, for example Watt and Watson. S. Secretary of Defense Caspar Weinberger Jr. Taylor, Jr
Casper (name)
–
The Journey of the Magi by
James Tissot. Casper is considered one of the traditional names of the
three wise men
10.
Chaldea
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Chaldea or Chaldaea was a Semitic nation which existed between the late 10th or early 9th and mid-6th centuries BC, after which it and its people were absorbed and assimilated into Babylonia. It was located in the land of the far southeastern corner of Mesopotamia. The earliest waves consisted of Suteans and Arameans, followed a century or so later by the Kaldu and these migrations did not affect the powerful kingdom of Assyria in the northern half of Mesopotamia, which repelled these incursions. The short-lived 11th dynasty of the Kings of Babylon is conventionally known to historians as the Chaldean Dynasty, although the last rulers, Nabonidus and these nomad Chaldeans settled in the far southeastern portion of Babylonia, chiefly on the right bank of the Euphrates. The names Chaldea and Chaldaea are latinizations of the Greek Khaldaía, the name appears in Hebrew in the Bible as Kaśdim and in Aramaic as Kaldo. At some point after the Chaldean tribes settled in the region it became called mat Kaldi land of Chaldeans by the native Mesopotamians. The expression mat Bit Yakin is also used, apparently synonymously, Bit Yakin was likely the chief or capital city of the land. The king of Chaldea was also called the king of Bit Yakin, just as the kings of Babylonia and Assyria were regularly styled simply king of Babylon or Assur, the capital city in each case. In the same way, what is now known as the Persian Gulf was sometimes called the Sea of Bit Yakin, the boundaries of the early lands settled by Chaldeans in the early 800s BC have not been identified with precision by historians. Chaldea generally referred to the low, marshy, alluvial land around the estuaries of the Tigris and Euphrates, the Old Testament book of the prophet Habakkuk describes the Chaldeans as a bitter and swift nation. The ancient Chaldeans seem to have migrated into Mesopotamia sometime between c, 940–860 BC, a century or so after other new Semitic arrivals, the Arameans and the Suteans, appeared in Babylonia, c.1100 BC. They first appear in record in the annals of the Assyrian king Shalmaneser III during the 850s BC. This was a period of weakness in Babylonia, and its ineffectual native kings were unable to prevent new waves of foreign peoples from invading and settling in the land. The Chaldeans were rapidly and completely assimilated into the dominant Assyro-Babylonian culture, as was the case for the earlier Amorites, Kassites, the Chaldeans originally spoke a West Semitic language similar to but distinct from Aramaic. However, they adopted the Akkadian language of the Assyrians and Babylonians. During the Assyrian Empire, the Assyrian king Tiglath-Pileser III introduced an Eastern Aramaic dialect as the lingua franca of his empire in the mid 8th century BC. One form of this once widespread language is used in Daniel and Ezra, but the use of the name Chaldee to describe it, first introduced by Jerome, is linguistically incorrect and a misnomer. In the Hebrew Bible, the prophet Abraham is stated to have come from Ur of the Chaldees
Chaldea
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Geography
Chaldea
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The countries around Chaldea
11.
Dijon
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Dijon is a city in eastern France, capital of the Côte-dOr département and of the Bourgogne-Franche-Comté region. The earliest archaeological finds within the city limits of Dijon date to the Neolithic period, Dijon later became a Roman settlement named Divio, located on the road from Lyon to Paris. Population,151,576 within the city limits,250,516 for the greater Dijon area, the city has retained varied architectural styles from many of the main periods of the past millennium, including Capetian, Gothic and Renaissance. Many still-inhabited town houses in the central district date from the 18th century. Dijon architecture is distinguished by, among other things, toits bourguignons made of tiles glazed in terracotta, green, yellow and black, Dijon holds an International and Gastronomic Fair every year in autumn. With over 500 exhibitors and 200,000 visitors every year, Dijon is also home, every three years, to the international flower show Florissimo. The historical center of the city has been registered since July 4,2015 as a UNESCO World Heritage site, the earliest archaeological finds within the city limits of Dijon date to the Neolithic period. Dijon later became a Roman settlement called Divio, which may mean sacred fountain, saint Benignus, the citys apocryphal patron saint, is said to have introduced Christianity to the area before being martyred. The Duchy of Burgundy was a key in the transformation of medieval times toward early modern Europe, the Palace of the Dukes of Burgundy now houses city hall and a museum of art. In 1513, Swiss and Imperial armies invaded Burgundy and besieged Dijon, the siege was extremely violent, but the town succeeded in resisting the invaders. After long negotiations, Louis II de la Trémoille managed to persuade the Swiss, during the siege, the population called on the Virgin Mary for help and saw the towns successful resistance and the subsequent withdrawal of the invaders as a miracle. For those reasons, in the following the siege the inhabitants of Dijon began to venerate Notre-Dame de Bon-Espoir. Although a few areas of the town were destroyed, there are no signs of the siege of 1513 visible today. However, Dijons museum of arts has a large tapestry depicting this episode in the towns history. Dijon is situated at the heart of a plain drained by two small converging rivers, the Suzon, which crosses it mostly underground from north to south, farther south is the côte, or hillside, of vineyards that gives the department its name. Dijon lies 310 km southeast of Paris,190 km northwest of Geneva, the average low of winter is −1 °C, with an average high of 4.2 °C. The average high of summer is 25.3 °C with a low of 14.7 °C. Average normal temperatures are between 2.3 °C and 5.3 °C from November to March, and 17.2 to 19.7 °C from June to August, the climate is oceanic but with a greater temperature range than closer to the Atlantic coastline
Dijon
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Top: Dijon City Hall, Bottom: Saint Benigne Cathedral, Statue of Jean-Philippe Rameau, Statue of Francois Rude, Saint Michel Church
Dijon
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Porte Guillaume (Guillaume Gate), Place Darcy (Darcy Square), in the center of Dijon.
Dijon
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A jar of Dijon mustard
12.
C-sharp major
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C♯ major is a major scale based on C♯, consisting of the pitches C♯, D♯, E♯, F♯, G♯, A♯, and B♯. Its key signature has seven sharps and its relative minor is A♯ minor and its parallel minor is C♯ minor. The direct enharmonic equivalent of C♯ major is D♭ major, a harp tuned to C-sharp major has all its pedals in the bottom position. Because all the strings are then pinched and shortened, this is the least resonant key for the instrument,3 in both books of the Well-Tempered Clavier. 6, Franz Liszt takes the step of changing key from D-flat major to C-sharp major near the beginning of the piece. Maurice Ravel selected C-sharp major as the key of Ondine from his piano suite Gaspard de la nuit. Erich Wolfgang Korngold composed his Piano Concerto for the Left Hand, Op.17, in a few scores, 7-sharp key signatures in the bass clef are written with the sharp either for the A or for the A and the B on the top line. Louis Vierne used C-sharp major for the Dona Nobis Pacem of the Agnus Dei of his Messe Solennelle in C sharp minor, overview of compositions with 7 accidentals
C-sharp major
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C ♯ major
13.
Oneirology
–
Oneirology is the scientific study of dreams. The study of oneirology can be distinguished from dream interpretation in that the aim is to study the process of dreams instead of analyzing the meaning behind them. In the 19th century two advocates of this discipline were the French sinologists Marquis dHervey de Saint Denys and Alfred Maury, the field gained momentum in 1952, when Nathaniel Kleitman and his student Eugene Aserinsky discovered regular cycles. A further experiment by Kleitman and William C and this kind of sleep became known as rapid eye movement sleep, and Kleitman and Dements experiment found a correlation of.80 between REM sleep and dreaming. Research into dreams includes exploration of the mechanisms of dreaming, the influences on dreaming, though debate continues about the purpose and origins of dreams, there could be great gains from studying dreams as a function of brain activity. For example, the knowledge gained in this area could have implications in the treatment of certain types of mental illnesses and it can help people learn about the meaning of your dreams and explain as to why we have nightmares. Dreaming occurs mainly during REM sleep, and brain scans recording brain activity have witnessed activity in the limbic system. During REM sleep, researchers theorize that the brain goes through a known as synaptic efficacy refreshment. This is observed as brain waves self-firing during sleep, in slow cycles at a rate of around 14 Hz, in this type of brain stimulation, the dreaming that occurs is a by-product of the process. During normal sleep cycles, humans alternate between NREM sleep and REM sleep, in 1952, Eugene Aserinsky discovered REM sleep while working in the surgery of his PhD advisor. Aserinsky noticed that the sleepers eyes fluttered beneath their closed eyelids, in one session, he awakened a subject who was wailing and crying out during REM and confirmed his suspicion that dreaming was occurring. In 1953, Aserinsky and his advisor published the study in Science. Accumulated observation shows that dreams are strongly associated with REM sleep, participant-nonremembered dreams during NREM are normally more mundane in comparison. During a typical lifespan, a human spends a total of six years dreaming. Most dreams last only 5 to 20 minutes and it is unknown where in the brain dreams originate, if there is a single origin for dreams, if multiple portions of the brain are involved, or what the purpose of dreaming is for the body or mind. During REM sleep, the release of certain neurotransmitters is completely suppressed, as a result, motor neurons are not stimulated, a condition known as REM atonia. This prevents dreams from resulting in dangerous movements of the body, animals have complex dreams and are able to retain and recall long sequences of events while they are asleep. Studies show that species of mammals and birds experience REM during sleep
Oneirology
–
EEG showing brainwaves during REM sleep
14.
Nymph
–
A nymph in Greek mythology and in Latin mythology is a minor female nature deity typically associated with a particular location or landform. They are beloved by many and dwell in mountainous regions and forests by lakes, charybdis and Scylla were once nymphs. Other nymphs, always in the shape of young maidens, were part of the retinue of a god, such as Dionysus, Hermes, or Pan, or a goddess, nymphs were the frequent target of satyrs. The Greek word νύμφη has bride and veiled among its meanings, other readers refer the word to a root expressing the idea of swelling. The mythologies of classicizing Roman poets were unlikely to have affected the rites and cult of individual nymphs venerated by people in the springs. Among the Roman literate class, their sphere of influence was restricted, the ancient Greek belief in nymphs survived in many parts of the country into the early years of the twentieth century, when they were usually known as nereids. At that time, John Cuthbert Lawson wrote and they might appear in a whirlwind. Such encounters could be dangerous, bringing dumbness, besotted infatuation, when parents believed their child to be nereid-struck, they would pray to Saint Artemidos. Due to widespread use of the term among lay persons and stereotypes attached, professionals nowadays prefer the term hypersexuality, the word nymphet is used to identify a sexually precocious girl. The term was made famous in the novel Lolita by Vladimir Nabokov, the main character, Humbert Humbert, uses the term many times, usually in reference to the title character. Thus the classes of nymphs tend to overlap, which complicates the task of precise classification, rose mentions dryads and hamadryads as nymphs of trees generally, meliai as nymphs of ash trees, and naiads as nymphs of water, but no others specifically. She is the consort of Acheron, and the mother of Ascalaphus, leuce, lover of Hades Minthe, lover of Hades, rival of Persephone Melinoe Orphic nymph, daughter of Persephone and Zeus disguised as Pluto. Her name is an epithet of Hecate. Nymphs in such groupings could belong to any of the mentioned above. For lists of Naiads, Oceanids, Dryades etc and this motif supposedly came from an Italian report of a Roman sculpture of a nymph at a fountain above the River Danube
Nymph
–
In this 1896 painting by
John William Waterhouse,
Hylas is abducted by the
Naiads, i.e. fresh water nymphs
Nymph
–
Nymph with morning glory flowers
Nymph
–
Nymphe by Gaston Bussière
Nymph
–
Cave of the Storm Nymphs by
Sir Edward John Poynter
15.
Undine
–
Undines /ˈʌnˌdiːn, ˌʌnˈdiːn/ are a category of elemental beings associated with water, first named in the alchemical writings of Paracelsus. Similar creatures are found in literature, particularly Ovids Metamorphoses. Later writers developed the undine into a nymph in its own right. Undines are almost invariably depicted as being female, and are found in forest pools and waterfalls. The group contains many species, including nereides, limnads, naiades, although resembling humans in form they lack a human soul, so to achieve immortality they must acquire one by marrying a human. Such a union is not without risk for the man, because if he is unfaithful he is fated to die, Undine is a term that appears in the alchemical writings of Paracelsus, a Renaissance alchemist and physician. Ondine is a spelling, and has become a female given name. He describes these elementals as the invisible, spiritual counterparts of visible Nature, many resembling human beings in shape, and inhabiting worlds of their own, unknown to man because his undeveloped senses were incapable of functioning beyond the limitations of the grosser elements. Undines are almost invariably depicted as being female, which is consistent with the ancient idea that water is a female element and they are usually found in forest pools and waterfalls, and their beautiful singing voices are sometimes heard over the sound of water. The group contains many species, including oreades, nereides, limnads, naiades, mermaids, what undines lack, compared to humans, is a soul. Marriage with a human shortens their lives on Earth, but earns them a human soul. The offspring of a union between an undine and a man are human with a soul, but also some kind of aquatic characteristic. Moses Binswanger, the protagonist in Hansjörg Schneiders Das Wasserzeichen, has a cleft in his throat, for instance, the ancient Greek philosopher Empedocles was the first to propose that the four classical elements were sufficient to explain everything present in the world. The philosophy of nature spirits was also familiar to the ancient Egyptians and Greeks, celtic languages scholar Henry Jenner has argued that the elementals grew out of the folklore that preceded them, The subdivisions and elaborations. Resembles the theory of these mystics in its outlines, and was probably what suggested it to them. Later writers embellished Paracelsus undine classification by developing it into a nymph in its own right. Ondine was the title of one of the poems in Aloysius Bertrands collection Gaspard de la Nuit of 1842 and this poem inspired the first movement of Maurice Ravels 1908 piano suite Gaspard de la nuit. The myth of the undine was one of the inspirations behind the French play Pelléas et Mélisande written by Maurice Maeterlinck, the composer Claude Debussy was in the audience, and he used the plays text as the libretto for his opera of the same name
Undine
–
Ondine by
John William Waterhouse (1849–1917), exhibited at the
Society of British Artists in 1872.
16.
Claude Debussy
–
Achille-Claude Debussy, known since the 1890s as Claude-Achille Debussy or Claude Debussy, was a French composer. He and Maurice Ravel were the most prominent figures associated with Impressionist music and he was made Chevalier of the Legion of Honour in 1903. He was among the most influential composers of the late 19th and early 20th centuries, Debussys music is noted for its sensory content and frequent usage of nontraditional tonalities. The prominent French literary style of his period was known as Symbolism, Debussy, the oldest of five children, was born Achille-Claude Debussy on 22 August 1862 in Saint-Germain-en-Laye, France. His father, Manuel-Achille Debussy, owned a shop there, his mother. The family moved to Paris in 1867, but in 1870 Debussys pregnant mother fled with Claude to his aunts home in Cannes to escape the Franco-Prussian War. At the age of seven, he began lessons with an Italian violinist in his early 40s named Jean Cerutti. In 1871 he drew the attention of Marie Mauté de Fleurville, Debussy always believed her, although there is no independent evidence to support her claim. His talents soon became evident, and in 1872, at age ten, Debussy entered the Paris Conservatoire and he also became a lifelong friend of fellow student and distinguished pianist Isidor Philipp. After Debussys death, many pianists sought Philipps advice on playing his works, Debussy was experimental from the outset, favouring dissonances and intervals that were not taught at the Academy. Like Georges Bizet, he was a brilliant pianist and a sight reader. However, Debussy never once won a competition, and his personal opinion on competitions are that it is rather. The rules are taught in places called Conservatories, Art Schools, the contests, preceded by strict training, take place once a year and the umpires of the game are members of the institute —Monsieur Croche. The pieces he played in public at this time included sonata movements by Beethoven, Schumann and Weber,2, a movement from the Piano Concerto No. 1, and the Allegro de concert, during the summers of 1880,1881, and 1882, he accompanied Nadezhda von Meck, the wealthy patroness of Pyotr Ilyich Tchaikovsky, as she travelled with her family in Europe. Despite von Mecks closeness to Tchaikovsky, the Russian master appears to have had effect on Debussy. In September 1880 she sent his Danse bohémienne for Tchaikovskys perusal, a month later Tchaikovsky wrote back to her, It is a pretty piece. Not a single idea is expressed fully, the form is terribly shriveled, Debussy did not publish the piece, and the manuscript remained in the von Meck family, it was eventually sold to B
Claude Debussy
–
Claude Debussy in 1908
Claude Debussy
–
Debussy at the
Villa Medici in Rome, 1885, at centre in the white jacket
Claude Debussy
–
Debussy, by
Marcel Baschet, 1884
Claude Debussy
–
Debussy's last home, now 23 Square Avenue Foch, Paris
17.
Bar (music)
–
Dividing music into bars provides regular reference points to pinpoint locations within a piece of music. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of bars of the same length. In simple time, the top figure indicates the number of beats per bar, the word bar is more common in British English, and the word measure is more common in American English, although musicians generally understand both usages. In international usage, it is correct to speak of bar numbers and measure numbers. Along the same lines, it is wise to reserve the abbreviated form ‘bb, 3–4’ etc. for beats only, bars should be referred to by name in full. The first metrically complete measure within a piece of music is called ‘bar 1’ or ‘m. 1’, when the piece begins with an anacrusis, ‘bar 1’ or ‘m. 1’ is the following measure. Originally, the bar came from the vertical lines drawn through the staff to mark off metrical units. In British English, these lines are called bar, too. Note that double bar refers not to a type of bar, another term for the bar line denoting the end of a piece of music is music end. A repeat sign looks like the end, but it has two dots, one above the other, indicating that the section of music that is before is to be repeated. The beginning of the passage can be marked by a begin-repeat sign. This begin-repeat sign, if appearing at the beginning of a staff, does not act as a bar line because no bar is before it, in music with a regular meter, bars function to indicate a periodic accent in the music, regardless of its duration. Igor Stravinsky said of bar lines, The bar line is much, much more than a mere accent, bars and bar lines also indicate grouping, rhythmically of beats within and between bars, within and between phrases, and on higher levels such as meter. The earliest barlines, used in keyboard and vihuela music in the 15th and 16th centuries, didnt reflect a regular meter at all but were only section divisions, or in some cases marked off every beat. Barlines began to be introduced into music in the late 16th century. Not until the mid-17th century were used in the modern style with every measure being the same length. Modern editions of music that was originally notated without barlines sometimes use a mensurstrich as a compromise
Bar (music)
–
Hypermeter: 4 beat measure, 4 measure hypermeasure, and 4 hypermeasure verses. Hyperbeats in red.
18.
E-flat minor
–
E-flat minor is a minor scale consisting of the pitches E♭, F, G♭, A♭, B♭, C♭, and D♭. In the harmonic minor, the D♭ is raised to D♮ and its key signature consists of six flats. Its relative major is G♭ major and its parallel major is E♭ major and its enharmonic equivalent is D♯ minor. Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary and this key is often popular with jazz or blues influenced keyboard players as, using all the black keys along with A natural, it allows for an easily playable blues scale. Despite the key rarely being used in music other than to modulate, it is encountered in a small fraction of keyboard music. In Book 1 of The Well-Tempered Clavier by Johann Sebastian Bach, in Book 2, both movements are in D-sharp minor. Beethoven applied E-flat minor to the introduction in the sixth movement of his Septet Op.20. Schubert ended his Impromptus in E-flat major, D.899 No.2 in E-flat minor, parallel key to E-flat major, one of the few symphonies written in this key is Prokofievs Symphony No. 6, where none of three movements ends in E-flat minor. A few other less well-known composers also wrote symphonies in this key, such as Andrei Eshpai, Jānis Ivanovs, Ovchinnikov, aram Khachaturian wrote his Toccata in E-flat minor while studying under Myaskovsky. It is also the key in which Dmitri Shostakovich composed his final string quartet, alexander Scriabins Prelude No.14 from his 24 Preludes, Op.11, is in E-flat minor, as well as Johannes Brahmss only independent Scherzo, Op.4. Sergei Rachmaninoffs Elegie, Op.3, No,1, is in E-flat minor, as is his Étude-Tableau, Op.39, No.5. These pieces are noted for being dark and mysterious, oskar Böhmes Trumpet Sextet, Op.30 is written in E-flat minor. Alexseevich Shatrovs waltz, On the Hills of Manchuria, about the loss of Russia in the Russo-Japanese war, is written in E-flat minor, as mentioned, E-flat minor is common in Russian pieces. On the Hills of Manchuria is perhaps the most notable example, the extended orchestral introduction to part 2 of Gustav Mahlers Eighth Symphony is in E-flat minor, as is the dark orchestral introduction to Beethovens only oratorio, Christ on the Mount of Olives. Guitarist Yngwie Malmsteen has composed a number of pieces in E-flat minor, including the Concerto Suite for Electric Guitar, jazz compositions Round Midnight and Take Five are also in this key. A. Morris, Symphonies, Numbers And Keys in Bobs Poetry Magazine, media related to E-flat minor at Wikimedia Commons
E-flat minor
–
E ♭ minor
19.
Gibbet
–
See also Halifax gibbet, a kind of guillotine. In earlier times up to the late 18th century, live gibbeting also took place in which the condemned was placed alive in a metal cage, the term gibbet may also be used to refer to the practice of placing a criminal on display within a gibbet. This practice is called hanging in chains. Gibbeting was a common law punishment, which a judge could impose in addition to execution and this practice was regularised in England by the Murder Act 1751, which empowered judges to impose this for murder. It was most often used for traitors, murderers, highwaymen, pirates, the structures were therefore often placed next to public highways and waterways. Exhibiting a body could backfire against a monarch, especially if the monarch was unpopular, the rebels Henry of Montfort and Henry of Wylynton, enemies of Edward II, were drawn and hanged before being exhibited on a gibbet near Bristol. However, the people made relics of these bloody and mutilated remains out of respect, miracles were even reported at the spot where the bodies were hanging. Although the intention was deterrence, the response was complex. Samuel Pepys expressed disgust at the practice, there was Christian objection that prosecution of criminals should end with their death. The sight and smell of decaying corpses was offensive and regarded as pestilential, pirates were sometimes executed by hanging on a gibbet erected close to the low-water mark by the sea or a tidal section of a river. Their bodies would be left dangling until they had been submerged by the three times. There were objections that these displays offended foreign visitors and did not uphold the reputation of the law, in some cases, the bodies would be left until their clothes rotted or even until the bodies were almost completely decomposed, after which the bones would be scattered. In cases of drawing and quartering, the body of the criminal was cut four or five portions. So that the display might be prolonged, bodies were sometimes coated in tar or bound in chains. Sometimes, body-shaped iron cages were used to contain the decomposing corpses, for example, in March 1743 in the town of Rye, East Sussex, Allen Grebell was murdered by John Breads. Breads was imprisoned in the Ypres Tower and then hanged, after which his body was left to rot for more than 20 years in a cage on Gibbet Marsh. The cage and Breads skull are still kept in the town hall, another example of the cage variation is the gibbet iron, on display at the Atwater Kent Museum in Philadelphia, U. S. The cage, created in 1781, was intended to be used to display the body of convicted pirate Thomas Wilkinson, because Wilkinsons planned execution never took place, the gibbet was never used
Gibbet
–
The reconstructed
gallows -style gibbet at
Caxton Gibbet, in
Cambridgeshire,
England
Gibbet
–
Captain Kidd, who was tried and executed for piracy, hanging in chains
Gibbet
–
A gibbet with a
dummy inside
Gibbet
–
Hanging cage at the main gate to
Corciano,
Province of Perugia, Italy
20.
Octave
–
In music, an octave or perfect octave is the interval between one musical pitch and another with half or double its frequency. It is defined by ANSI as the unit of level when the base of the logarithm is two. The octave relationship is a phenomenon that has been referred to as the basic miracle of music. The most important musical scales are written using eight notes. For example, the C major scale is typically written C D E F G A B C, two notes separated by an octave have the same letter name and are of the same pitch class. Three commonly cited examples of melodies featuring the perfect octave as their opening interval are Singin in the Rain, Somewhere Over the Rainbow, the interval between the first and second harmonics of the harmonic series is an octave. The octave has occasionally referred to as a diapason. To emphasize that it is one of the intervals, the octave is designated P8. The octave above or below a note is sometimes abbreviated 8a or 8va, 8va bassa. For example, if one note has a frequency of 440 Hz, the note one octave above is at 880 Hz, the ratio of frequencies of two notes an octave apart is therefore 2,1. Further octaves of a note occur at 2n times the frequency of that note, such as 2,4,8,16, etc. and the reciprocal of that series. For example,55 Hz and 440 Hz are one and two away from 110 Hz because they are 1⁄2 and 4 times the frequency, respectively. After the unison, the octave is the simplest interval in music, the human ear tends to hear both notes as being essentially the same, due to closely related harmonics. Notes separated by a ring together, adding a pleasing sound to music. For this reason, notes an octave apart are given the note name in the Western system of music notation—the name of a note an octave above A is also A. The conceptualization of pitch as having two dimensions, pitch height and pitch class, inherently include octave circularity, thus all C♯s, or all 1s, in any octave are part of the same pitch class. Octave equivalency is a part of most advanced cultures, but is far from universal in primitive. The languages in which the oldest extant written documents on tuning are written, leon Crickmore recently proposed that The octave may not have been thought of as a unit in its own right, but rather by analogy like the first day of a new seven-day week
Octave
21.
Ostinato
–
In music, an ostinato is a motif or phrase that persistently repeats in the same musical voice, usually at the same pitch. The repeating idea may be a pattern, part of a tune. Both ostinatos and ostinati are accepted English plural forms, the reflecting the words Italian etymology. If the cadence may be regarded as the cradle of tonality, within the context of film music, Claudia Gorbman defines an obstinate as a repeated melodic or rhythmic figure that propel scenes that lack dynamic visual action. Ostinato plays an important part in improvised music, in which it is referred to as a riff or a vamp. A favorite technique of contemporary writers, ostinati are often used in modal and Latin jazz. Ostinato are used in 20th-century music to stabilize groups of pitches, as in Stravinskys The Rite of Spring Introduction and Augurs of Spring. A famous type of ostinato, called the Rossini crescendo, owes its name to a crescendo that underlies a persistent musical pattern and this style was emulated by other bel canto composers, especially Vincenzo Bellini, and later by Wagner. Applicable in homophonic and contrapuntal textures they are repetitive rhythmic-harmonic schemes, more familiar as accompanimental melodies, the techniques appeal to composers from Debussy to avant-garde composers until at least the 1970s. Lies in part in the need for unity created by the abandonment of functional chord progressions to shape phrases. Relentless, repetitive character help to establish and confirm the modal center and their popularity may also be justified by their ease as well as range of use, though. Ostinato must be employed judiciously, as its overuse can lead to monotony. Ground bass or basso ostinato is a type of form in which a bass line. Aaron Copland describes basso ostinato as, the easiest to recognize of the variation forms wherein. A long phrase—either an accompanimental figure or an actual melody—is repeated over and over again in the bass part, however, he cautions, it might more properly be termed a musical device than a musical form. Many instruments south of the Sahara Desert play ostinato melodies and these include lamellophones such as the mbira, as well as xylophones like the balafon, the bikutsi, and the gyil. Ostinato figures are also played on string instruments such as the kora, gankoqui bell ensembles, often, African ostinatos contain offbeats or cross-beats, that contradict the metric structure. Other African ostinatos generate complete cross-rhythms by sounding both the main beats and cross-beats, in the following example, a gyil sounds the three-against-two cross-rhythm
Ostinato
–
Ghanaian gyil
Ostinato
–
Dido's Lament ground bass, measures 1–6. Play (
help ·
info)
Ostinato
–
Ghanaian gyil cross-rhythmic ostinato. Play (
help ·
info)
Ostinato
–
Cuban guajeo written in cut-time. Play (
help ·
info)
22.
Dynamics (music)
–
In music, dynamics are instructions in musical notation to the performer about the loudness at which to play a note or phrase. More generally, dynamics may also include aspects of the execution of a given piece. The two basic dynamic indications in music are, p or piano, meaning soft, more subtle degrees of loudness or softness are indicated by, mp, standing for mezzo-piano, meaning half soft. Mf, standing for mezzo-forte, meaning half loud, più p, standing for più piano and meaning softer. Più f, standing for più forte and meaning louder, use of up to three consecutive fs or ps is also common, pp, standing for pianissimo and meaning very soft. Ff, standing for fortissimo and meaning very loud, ppp, standing for pianississimo and meaning very very soft. Fff, standing for fortississimo and meaning very loud. Some pieces contain dynamic designations with more than three consecutive fs or ps, in Holsts The Planets, ffff occurs twice in Mars and once in Uranus often punctuated by organ and fff occurs several times throughout the work. It also appears in Heitor Villa-Lobos Bachianas Brasileiras No,4, and in Liszts Fantasy and Fugue on the chorale Ad nos, ad salutarem undam. Igor Stravinsky used ffff at the end of the finale of the Firebird Suite, ffff is also found in a prelude by Rachmaninoff, op. 3-2. Shostakovich even went as loud as fffff in his fourth symphony, gustav Mahler, in the third movement of his Seventh Symphony, gives the celli and basses a marking of fffff, along with a footnote directing pluck so hard that the strings hit the wood. On another extreme, Carl Nielsen, in the movement of his Symphony No. 5, marked a passage for woodwinds a diminuendo to ppppp, another more extreme dynamic is in György Ligetis Études No. 13, which has at one point a ffffff and progresses to a ffffffff, in the baritone passage Era la notte from his opera Otello, Verdi uses pppp. Steane and others suggest that such markings are in reality a strong reminder to less than subtle singers to at least sing softly rather than an instruction to the singer actually to attempt a pppp, dynamic indications of this kind are relative, not absolute. Mp does not indicate a level of volume, it merely indicates that music in a passage so marked should be a little louder than p. Interpretations of dynamic levels are mostly to the performer, in the Barber Piano Nocturne. Another instance of performers discretion in this piece occurs when the hand is shown to crescendo to a f
Dynamics (music)
–
Note Velocity is a
MIDI measurement of the speed that the key travels from its rest position to completely depressed, with 127, the largest value in a 7-bit number, being instantaneous, and meaning as strong as possible.
23.
Minneapolis
–
Minneapolis is the county seat of Hennepin County, and the larger of the Twin Cities, the 16th-largest metropolitan area in the United States. As of 2015, Minneapolis is the largest city in the state of Minnesota, Minneapolis and Saint Paul anchor the second-largest economic center in the Midwest, after Chicago. Minneapolis lies on both banks of the Mississippi River, just north of the confluence with the Minnesota River, and adjoins Saint Paul. It was once the worlds flour milling capital and a hub for timber, the city and surrounding region is the primary business center between Chicago and Seattle, with Minneapolis proper containing Americas fifth-highest concentration of Fortune 500 companies. As an integral link to the economy, Minneapolis is categorized as a global city. Noted for its music and performing arts scenes, Minneapolis is home to both the award-winning Guthrie Theater and the historic First Avenue nightclub. The name Minneapolis is attributed to Charles Hoag, the citys first schoolteacher, who combined mni, a Dakota Sioux word for water, and polis, Dakota Sioux had long been the regions sole residents when French explorers arrived around 1680. For a time relations were based on fur trading, gradually more European-American settlers arrived, competing for game and other resources with the Dakota. In the early 19th century, the United States acquired this territory from France, fort Snelling was built in 1819 by the United States Army, and it attracted traders, settlers and merchants, spurring growth in the area. The United States government pressed the Mdewakanton band of the Dakota to sell their land, the Minnesota Territorial Legislature authorized present-day Minneapolis as a town in 1856 on the Mississippis west bank. Minneapolis incorporated as a city in 1867, the rail service began between Minneapolis and Chicago. It later joined with the city of St. Anthony in 1872. Minneapolis developed around Saint Anthony Falls, the highest waterfall on the Mississippi River, forests in northern Minnesota were a valuable resource for the lumber industry, which operated seventeen sawmills on power from the waterfall. By 1871, the west river bank had twenty-three businesses, including mills, woolen mills, iron works, a railroad machine shop, and mills for cotton, paper, sashes. Due to the hazards of milling, six local sources of artificial limbs were competing in the prosthetics business by the 1890s. The farmers of the Great Plains grew grain that was shipped by rail to the citys thirty-four flour mills, a father of modern milling in America and founder of what became General Mills, Cadwallader C. Some ideas were developed by William Dixon Gray and some acquired through industrial espionage from the Hungarians by William de la Barre, pillsbury Company across the river were barely a step behind, hiring Washburn employees to immediately use the new methods. The hard red spring wheat that grows in Minnesota became valuable, not until later did consumers discover the value in the bran that Minneapolis
Minneapolis
–
Clockwise from top:
Downtown Minneapolis,
Downtown,
TCF Bank Stadium, the
Guthrie Theater,
Minnehaha Falls, and
First Avenue and 7th St Entry nightclub
Minneapolis
–
Taoyateduta was among the 121
Sioux leaders who from 1837 to 1851 ceded what is now Minneapolis.
Minneapolis
–
Loading
flour,
Pillsbury, 1939
Minneapolis
–
Mississippi riverfront and
Saint Anthony Falls in 1915. At left,
Pillsbury, power plants and the
Stone Arch Bridge. Today the
Minnesota Historical Society 's Mill City Museum is in the
Washburn "A" Mill, across the river just to the left of the falls. At center left are
Northwestern Consolidated mills. The tall building is
Minneapolis City Hall. In the right foreground are
Nicollet Island and the
Hennepin Avenue Bridge.
24.
Minnesota
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Minnesota is a state in the midwestern and northern regions of the United States. Minnesota was admitted as the 32nd U. S. state on May 11,1858, the state has a large number of lakes, and is known by the slogan Land of 10,000 Lakes. Its official motto is LÉtoile du Nord, Minnesota is the 12th largest in area and the 21st most populous of the U. S. Minnesota is known for its progressive political orientation and its high rate of civic participation and voter turnout. Until European settlement, Minnesota was inhabited by the Dakota and Ojibwe/Anishinaabe, in recent decades, immigration from Asia, the Horn of Africa, and Latin America has broadened its historic demographic and cultural composition. Minnesotas standard of living index is among the highest in the United States, Native Americans demonstrated the name to early settlers by dropping milk into water and calling it mnisota. Many places in the state have similar names, such as Minnehaha Falls, Minneiska, Minneota, Minnetonka, Minnetrista, and Minneapolis, a combination of mni and polis, Minnesota is the second northernmost U. S. state. Its isolated Northwest Angle in Lake of the Woods county is the part of the 48 contiguous states lying north of the 49th parallel. The state is part of the U. S. region known as the Upper Midwest and it shares a Lake Superior water border with Michigan and a land and water border with Wisconsin to the east. Iowa is to the south, North Dakota and South Dakota are to the west, with 86,943 square miles, or approximately 2.25 percent of the United States, Minnesota is the 12th-largest state. Minnesota has some of the Earths oldest rocks, gneisses that are about 3.6 billion years old. About 2.7 billion years ago, basaltic lava poured out of cracks in the floor of the primordial ocean, the roots of these volcanic mountains and the action of Precambrian seas formed the Iron Range of northern Minnesota. Following a period of volcanism 1, in more recent times, massive ice sheets at least one kilometer thick ravaged the landscape of the state and sculpted its terrain. The Wisconsin glaciation left 12,000 years ago and these glaciers covered all of Minnesota except the far southeast, an area characterized by steep hills and streams that cut into the bedrock. This area is known as the Driftless Zone for its absence of glacial drift, much of the remainder of the state outside the northeast has 50 feet or more of glacial till left behind as the last glaciers retreated. Gigantic Lake Agassiz formed in the northwest 13,000 years ago and its bed created the fertile Red River valley, and its outflow, glacial River Warren, carved the valley of the Minnesota River and the Upper Mississippi downstream from Fort Snelling. Minnesota is geologically quiet today, it experiences earthquakes infrequently, the states high point is Eagle Mountain at 2,301 feet, which is only 13 miles away from the low of 601 feet at the shore of Lake Superior. Notwithstanding dramatic local differences in elevation, much of the state is a rolling peneplain. Two major drainage divides meet in Minnesotas northeast in rural Hibbing, forming a triple watershed, precipitation can follow the Mississippi River south to the Gulf of Mexico, the Saint Lawrence Seaway east to the Atlantic Ocean, or the Hudson Bay watershed to the Arctic Ocean
Minnesota
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Flag
Minnesota
Minnesota
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Eagle Mountain, the highest natural point in Minnesota at 2,301 feet (701 m) is located in northeastern part of the state.
25.
G-sharp minor
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G-sharp minor is a minor scale based on G♯, consisting of the pitches G♯, A♯, B, C♯, D♯, E, and F♯. For the harmonic minor, the F♯ is raised to F and its key signature has five sharps. Its relative major is B major, A♭ minor, with seven flats, has a similar problem, thus G♯ minor is often used as the parallel minor for A♭ major. The same enharmonic situation occurs with the keys of D♭ major and C♯ minor, with C♯ major having seven sharps and D♭ minor having eight flats, including the B. Despite the key rarely being used in music other than to modulate, it is not entirely uncommon in keyboard music. It can also found in the movement in Shostakovitchs 8th String quartet. If G-sharp minor is used, composers generally write B-flat wind instruments in the enharmonic B-flat minor, in a few scores, the sharp A in the bass clef is written on the top line. Few symphonies are written in G ♯ minor, among them are Nikolai Myaskovskys 17th Symphony, Christopher Schlegels 5th Symphony, johann Sebastian Bachs The Well-Tempered Clavier No. 18, Prelude and Fugue in G-sharp minor, Books 1 and 2, are among the works in this key, chopin composed a Polonaise in G-Sharp Minor, opus posthumous in 1822. His Étude No.6 is in G-sharp minor as well, lizsts La campanella from his Grandes études de Paganini is in G-Sharp minor. Notes Sources A. Morris, Symphonies, Numbers and Keys in Bobs Poetry Magazine, III.3,2006
G-sharp minor
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G ♯ minor
26.
Goblin
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A goblin is a monstrous creature from European folklore, first attested in stories from the Middle Ages. They are ascribed various and conflicting abilities, temperaments and appearances depending on the story and country of origin and they are almost always small and grotesque, mischievous or outright evil, and greedy, especially for gold and jewelry. They often have magical abilities similar to a fairy or demon, similar creatures include brownies, dwarves, gnomes, imps, and kobolds. Alternative spellings include gobblin, gobeline, gobling, goblyn, and it may be related both to German kobold and to Medieval Latin cabalus, or *gobalus, itself from Greek κόβαλος, rogue, knave, imp, goblin. Moreover, these names are not from Normandy, where the word gobelin. German Kobold contains the Germanic root kov- which means originally a hollow in the earth, the word is probably related to Dial. Norman gobe hollow in a cliff, with simple suffix -lin or double suffixation -el-in The Welsh coblyn, a Pukwudgie is a type of Goblin from Wamponoag folklore as well as Cryptozoology A Redcap is a type of Goblin who dyes its hat in Human Blood in Anglo-Scottish border folklore. Kallikantzaros are Goblins from Southeastern European and Anatolian folklore, hobgoblins are Friendly Trickster Goblins from English, Scottish, and Pilgrim folklore and literature. The Benevolent Goblin, from Gesta Romanorum The Erlking is a malevolent goblin from German legend, the Goblin Pony, from The Grey Fairy Book The Goblins at the Bath House, from A Book of Ghosts and Goblins The Goblins Turned to Stone. King Gobb Mill Goblins appear in Norwegian folklore, Goblins are featured in the Hans Christian Andersen Fairy tales, The Elf Mound, The Goblin and the Grocer, and The Goblin and the Woman. Many Asian lagyt creatures have been likened to, or translated as and they are especially important mythical creatures in Korean folklore. They usually appear in childrens books, in Bangladesh, Santal people belief in Gudrobonga which is very similar to goblins. The Gap of Goeblin, a hole and underground tunnel in Mortain, cow is an old Scots word for Goblin, while cad means nasty. Dens and lairs refers to goblin homes, the Goblins, a comedy play by Sir John Suckling The Goblins Who Stole A Sexton is a short story by Charles Dickens where goblins torment a gravedigger for being cruel on Christmas. Goblin Market, a poem by Christina Rossetti The Princess and the Goblin by George MacDonald depicts the Goblins as grotesque humanoids, vulnerable to sunlight, song, and pressure on their feet. Davy and the Goblin by Charles E. Carryl J. R. R. Tolkien generally used the terms goblin and orc synonymously in The Hobbit and these works, featuring goblins of almost-human stature, generally informed the depiction of goblins in later fiction and games. Thompson adds that, in The Lord of the Rings, Tolkien has abandoned all pretence at depicting goblins in a comic light, Goblins are also present as the first tier creature in the Orc faction in Heroes of Might and Magic V, Tribes of the East. Goblins are recurring enemies in the Final Fantasy franchise, where they usually appear near the beginning of each game
Goblin
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The Princess and the Goblin by George MacDonald, illustrated by Jessie Willcox Smith, 1920
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From The Princess and the Goblin by George MacDonald, illustrated by Jessie Willcox Smith, 1920
27.
Major second
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In Western music theory, a major second is a second spanning two semitones. A second is an interval encompassing two adjacent staff positions. For example, the interval from C to D is a major second, diminished, minor and augmented seconds are notated on adjacent staff positions as well, but consist of a different number of semitones. The major second is the interval that occurs between the first and second degrees of a scale, the tonic and the supertonic. On a musical keyboard, a second is the interval between two keys separated by one key, counting white and black keys alike. On a guitar string, it is the interval separated by two frets, in moveable-do solfège, it is the interval between do and re. It is considered a step, as opposed to larger intervals called skips. Intervals composed of two semitones, such as the second and the diminished third, are also called tones, whole tones. One source says step is chiefly US. The preferred usage has been argued since the 19th century, Mr. M. in teaching the Diatonic scale calls a tone a step, and a semitone a half step, now, who ever heard of a step in music, or in sound. The largest ones are called major tones or greater tones, the smallest are called minor tones or lesser tones and their size differs by exactly one syntonic comma. Some equal temperaments, such as 15-ET and 22-ET, also distinguish between a greater and a lesser tone, the major second was historically considered one of the most dissonant intervals of the diatonic scale, although much 20th-century music saw it reimagined as a consonance. It is common in different musical systems, including Arabic music, Turkish music and music of the Balkans. It occurs in both diatonic and pentatonic scales, listen to a major second in equal temperament. Here, middle C is followed by D, which is a tone 200 cents sharper than C, the difference in size between a major tone and a minor tone is equal to one syntonic comma. The major tone is the 9,8 interval play, and it is an approximation thereof in other tuning systems, the major tone may be derived from the harmonic series as the interval between the eighth and ninth harmonics. The minor tone may be derived from the series as the interval between the ninth and tenth harmonics. The 10,9 minor tone arises in the C major scale between D and e and G and A, and is a sharper dissonance than 9,8
Major second
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Diagram showing relations between epogdoon,
diatessaron,
diapente, and
diapason
Major second
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Step: major second (major tone) Play (
help ·
info).
Major second
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Detail of Raphael's
School of Athens showing epogdoon diagram
28.
Charles Rosen
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Charles Welles Rosen was an American pianist and writer on music. He is remembered for his career as a concert pianist, for his recordings and he was born in New York City. His father Irwin Rosen worked as an architect, his mother, née Anita Gerber, was a semiprofessional actress, Rosen began his musical studies at age 4 and at age 6 enrolled in the Juilliard School. At age 11 he left Juilliard to study piano with Moriz Rosenthal. Rosenthal, born in 1862, had been a student of Franz Liszt. Rosenthals memories of the 19th century in classical music were communicated to his pupil, every year from the ages of three to twelve, Rosen heard Josef Hofmann play, and he later suggested that Hofmann had a greater influence on him than Rosenthal. Rosens family background was not wealthy, the Guardian editor Nicholas Wroe interviewed him in old age and reported, His father had lost his job during the depression and things were pretty tough for a while. The family moved from Washington Heights to a ho in the less fashionable Upper West Side. Because money was so short Rosens parents arranged a contract with the Rosenthals not to pay them for Charless tuition, as I didnt make my debut in New York until I was 23, it was not a very satisfactory deal. But when I made my first recording I took some money to Hedwig Rosenthal, at age 17, Rosen enrolled in Princeton University, where he studied French, also taking courses in mathematics and philosophy. When he graduated in 1947, he was offered a fellowship of $2,000 to continue at Princeton in the French graduate program. While in graduate school he roomed with his fellow student Michael Steinberg, Rosen attained his status as a musical scholar with very little classroom training. Although Rosen in the New Grove Dictionary of Music and Musicians is referred as one of the musicologist Oliver Strunks students, Rosens very extensive knowledge of music appears to have arisen partly from a culturally rich family background and partly from reading. Nicholas Wroe reported, Through the Rosenthals, Rosen was connected to the New York musical scene, says that by the time he went to Princeton, he knew all the music department socially. So that made me too proud to take a degree in music, I sound like a snotty bastard, which I might have been, but I really did know more music as an undergraduate than the postgraduate students. Ivan Hewett suggests that a major temptation of Rosens 1947 fellowship offer was that it offered him time to practice and to read extensively in the Princeton library. The year 1951 was a one for Rosen, he completed his French Literature Ph. D. gave his first piano recital. His career as a pianist made progress only slowly at first, in 1953 he moved to the Massachusetts Institute of Technology to teach French. He described this period to Nicholas Wroe, I suppose I could have stayed on as an academic, the only time I taught was when my playing would only support me for half a year, but I could only get a full-time job
Charles Rosen
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Charles Rosen, 1973 on concert tour of Southern Africa. Photo dedicated to organiser
Hans Adler.
29.
The New York Review of Books
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The New York Review of Books is a semi-monthly magazine with articles on literature, culture, economics, science and current affairs. Published in New York City, it is inspired by the idea that the discussion of important books is a literary activity. Esquire called it the premier literary-intellectual magazine in the English language, in 1970 writer Tom Wolfe described it as the chief theoretical organ of Radical Chic. The Review publishes long-form reviews and essays, often by well-known writers, original poetry, in 1979 the magazine founded the London Review of Books, which soon became independent. In 1990 it founded an Italian edition, la Rivista dei Libri, Robert B. Silvers and Barbara Epstein edited the paper together from its founding in 1963, until her death in 2006. From then until his death in 2017, Silvers was the sole editor, the Review has a book publishing division, established in 1999, called New York Review Books, which publishes classics, collections and childrens books. Since 2010, the journal has hosted a blog written by its contributors. The Review celebrated its 50th anniversary in 2013, and a Martin Scorsese film called The 50 Year Argument documents the history, the New York Review was founded by Robert B. Silvers and Barbara Epstein, together with publisher A. Whitney Ellsworth and writer Elizabeth Hardwick. They were backed and encouraged by Epsteins husband, Jason Epstein, a president at Random House and editor of Vintage Books. In 1959 Hardwick had published an essay, The Decline of Book Reviewing, in Harpers, Jason Epstein knew that book publishers would advertise their books in the new publication, since they had no other outlet for promoting new books. The group turned to the Epsteins friend Silvers, who had been an editor at The Paris Review and was still at Harpers, to edit the publication, and Silvers asked Barbara Epstein to co-edit with him. She was known as the editor at Doubleday of Anne Franks Diary of a Young Girl, among other books, Silvers and Epstein sent books to the writers we knew and admired most. We asked for three words in three weeks in order to show what a book review should be, and practically everyone came through. The first issue of the Review was published on February 1,1963 and it prompted nearly 1,000 letters to the editors asking for the Review to continue. The New Yorker called it surely the best first issue of any magazine ever, after the success of the first issue, the editors assembled a second issue to demonstrate that the Review was not a one-shot affair. The founders then collected investments from a circle of friends and acquaintances, the Review began regular biweekly publication in November 1963. Silvers said of the philosophy, that there was no subject we couldnt deal with. And if there was no book, we would deal with it anyway and we tried hard to avoid books that were simply competent rehearsals of familiar subjects, and we hoped to find books that would establish something fresh, something original
The New York Review of Books
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Robert Silvers in 2012
The New York Review of Books
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David Levine 's caricature of
John Updike in the November 24, 1983 issue
The New York Review of Books
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Barbara Epstein in 1993
30.
Siglind Bruhn
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Siglind Bruhn is a German musicologist and concert pianist. Siglind Bruhn was born in Hamburg and her father was the engineer Ernst Bruhn, her mother the interpreter Leonore Bruhn née Kieberger. During the last two years before her school graduation, she was a student in the piano class of Professor Eckart Besch at the Musikhochschule Hamburg. She completed her studies in the class of Vladimir Horbowski at the Musikhochschule Stuttgart,1975 State Examen in piano performance. Concurrently she read Romance studies, Comparative Literature, and Philosophy at Munich University,1976 Magister Artium with a thesis on the drama of Ramón del Valle-Inclán, during this time she met her future husband, the philosopher Gerhold K. Becker. In 1976-78 Siglind Bruhn wrote her first book, which links the pedagogical heritage of her teacher Horbowski with first attempts at her own research. Two years later she followed her husband, who had accepted a position in Hong Kong, J. S. Bachs Well-Tempered Clavier, In-depth analysis and interpretation. Images and Ideas in Modern French Piano Music, The Extra-Musical Subtext in Piano Works by Ravel, Debussy, ISBN 978-0-945193-95-1, paperback edition 2010 ISBN 978-1-57647-197-5 - Google The Temptation of Paul Hindemith, Mathis der Maler as a Spiritual Testimony. ISBN 978-1-57647-013-8 - Musical Ekphrasis, Composers Responding to Poetry and Painting, ISBN 978-1-57647-036-7 Musical Ekphrasis in Rilkes Marienleben, Rodopi,2000. ISBN 978-90-420-0800-7 - Google Saints in the Limelight, Representations of the Religious Quest on the Post-1945 Operatic Stage, ISBN 978-1-57647-096-1 - The Musical Order of the World, Kepler, Hesse, Hindemith, Pendragon,2005. ISBN 978-1-57647-117-3 - Messiaens Contemplations of Covenant and Incarnation, Musical Symbols of Faith in the two great piano cycles of the 1940s, Pendragon,2007. ISBN 978-1-57647-129-6 - Messiaens Explorations of Love and Death, Musical Signification in the Tristan Trilogy and Three related song cycles, ISBN 978-1-57647-136-4 - Messiaens Interpretations of Holiness and Trinity, Echoes of Medieval Theology in the Oratorio, Organ Meditations, and Opera, Pendragon,2008. ISBN 978-1-57647-139-5 - Frank Martins Musical Reflections on Death, Pendragon 2011, the Music of Jörg Widmann, Gorz 2013. J. S. Bachs Well-Tempered Clavier, In-depth analysis and interpretation, arnold Schoenbergs Journey from Tone Poems to Kaleidoscopic Sound Colors. ISBN 978-1-57647-248-4 German-language book publications here Essay collections as contributing author, ISBN 978-0-8153-2747-9 - Google Encrypted Messages in Alban Bergs Music. ISBN 978-0-8153-2480-5 - Google Signs in Musical Hermeneutics,1998, ISSN 0277-7126 Voicing the Ineffable, Musical Representations of Religious Experience. ISBN 978-1-57647-089-3 - Google Sonic Transformations of Literary Texts, From Program Music to Musical Ekphrasis, solo and chamber concerts in almost every major city in the Federal Republic of Germany as well as in 23 other countries and on all five continents. Recordings with most broadcasting companies in Germany and several European and other Western stations, maurice Ravel, Histoires Naturelles, Modest Mussorgsky, Songs and Dances of Death
Siglind Bruhn
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Siglind Bruhn
31.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
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A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
32.
OCLC
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The Online Computer Library Center is a US-based nonprofit cooperative organization dedicated to the public purposes of furthering access to the worlds information and reducing information costs. It was founded in 1967 as the Ohio College Library Center, OCLC and its member libraries cooperatively produce and maintain WorldCat, the largest online public access catalog in the world. OCLC is funded mainly by the fees that libraries have to pay for its services, the group first met on July 5,1967 on the campus of the Ohio State University to sign the articles of incorporation for the nonprofit organization. The group hired Frederick G. Kilgour, a former Yale University medical school librarian, Kilgour wished to merge the latest information storage and retrieval system of the time, the computer, with the oldest, the library. The goal of network and database was to bring libraries together to cooperatively keep track of the worlds information in order to best serve researchers and scholars. The first library to do online cataloging through OCLC was the Alden Library at Ohio University on August 26,1971 and this was the first occurrence of online cataloging by any library worldwide. Membership in OCLC is based on use of services and contribution of data, between 1967 and 1977, OCLC membership was limited to institutions in Ohio, but in 1978, a new governance structure was established that allowed institutions from other states to join. In 2002, the structure was again modified to accommodate participation from outside the United States. As OCLC expanded services in the United States outside of Ohio, it relied on establishing strategic partnerships with networks, organizations that provided training, support, by 2008, there were 15 independent United States regional service providers. OCLC networks played a key role in OCLC governance, with networks electing delegates to serve on OCLC Members Council, in early 2009, OCLC negotiated new contracts with the former networks and opened a centralized support center. OCLC provides bibliographic, abstract and full-text information to anyone, OCLC and its member libraries cooperatively produce and maintain WorldCat—the OCLC Online Union Catalog, the largest online public access catalog in the world. WorldCat has holding records from public and private libraries worldwide. org, in October 2005, the OCLC technical staff began a wiki project, WikiD, allowing readers to add commentary and structured-field information associated with any WorldCat record. The Online Computer Library Center acquired the trademark and copyrights associated with the Dewey Decimal Classification System when it bought Forest Press in 1988, a browser for books with their Dewey Decimal Classifications was available until July 2013, it was replaced by the Classify Service. S. The reference management service QuestionPoint provides libraries with tools to communicate with users and this around-the-clock reference service is provided by a cooperative of participating global libraries. OCLC has produced cards for members since 1971 with its shared online catalog. OCLC commercially sells software, e. g. CONTENTdm for managing digital collections, OCLC has been conducting research for the library community for more than 30 years. In accordance with its mission, OCLC makes its research outcomes known through various publications and these publications, including journal articles, reports, newsletters, and presentations, are available through the organizations website. The most recent publications are displayed first, and all archived resources, membership Reports – A number of significant reports on topics ranging from virtual reference in libraries to perceptions about library funding
OCLC
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Fred Kilgour (1st director of OCLC)
OCLC
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Online Computer Library Center (OCLC)
OCLC
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OCLC headquarters (Ohio)
OCLC
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OCLC offices in Leiden (the Netherlands)
33.
International Music Score Library Project
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Since its launch on February 16,2006, over 370,000 scores and 42,000 recordings for over 110,000 works by over 14,000 composers have been uploaded. The project uses MediaWiki software to provide contributors with a familiar interface, since June 6,2010, IMSLP has also included public domain and licensed recordings in its scope, to allow for study by ear. The site was launched on February 16,2006, the library consists mainly of scans of old musical editions out of copyright. In addition, it admits scores by composers who wish to share their music with the world by releasing it under a Creative Commons license. One of the projects of IMSLP was the sorting and uploading of the complete works of Johann Sebastian Bach in the Bach-Gesellschaft Ausgabe. Besides providing a repository, IMSLP offers possibilities as a musicological encyclopaedia, since multiple. Also, pages on publishers provide valuable information, and the pages themselves often contain a large quantity of information. IMSLP is recommended as a tool by MIT, which also uses it extensively for providing scores for its OpenCourseWare courses. In 2007–2015, IMSLP / Petrucci Music Library used logo based on a score, the score image in the background was taken from the beginning of the very first printed book of music, the Harmonice Musices Odhecaton. It was published in Venice, Italy in 1501 by Ottaviano Petrucci, in 2016, IMSLP changed its logo to a clean wordmark, featuring its two project names – IMSLP and Petrucci Music Library. In 2009, IMSLP won the MERLOT Classics award for Music and it was named one of the Top 100 Web Sites of 2009 by PC Magazine. On October 19,2007, the IMSLP closed following legal demands from Universal Edition of Vienna, at first I thought this letter would be similar in content to the first Cease and Desist letter I received in August. I cannot apologize enough to all IMSLP contributors, who have done so much for IMSLP in the last two years, in response, director Michael S. Hart of Project Gutenberg offered support to keep the project online. This offer was declined by Feldmahler, who voiced concern about having the project hosted in the United States, on November 2,2007, Michael Geist, a prominent Canadian copyright academic, wrote an article for the BBC discussing the specifics and the wider implications of this case. IMSLP went back online on June 30,2008, although the server is located in Canada, files which are not public domain in the US were until July 2010 flagged, for Technical Block or Temporary Block, and could not be viewed. The FAQ posted in their forum stated, Unfortunately, these temporary blocks will be until further notice – possibly all the way until the expiration of term in the USA. After an initial phase, flagged items have disappeared thanks to the introduction of regional servers operated by unaffiliated organizations. On 21 April 2011, the Music Publishers Association issued a DMCA takedown notice against the IMSLP, Go Daddy, the domain name registrar for the IMSLP, removed the domain name imslp. org, leaving it inaccessible
International Music Score Library Project
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IMSLP Petrucci Music Library
34.
Le tombeau de Couperin
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Le tombeau de Couperin is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917, in six movements based on those of a traditional Baroque suite. Each movement is dedicated to the memory of a friend of the composer who had died fighting in World War I, Ravel also produced an orchestral version of the work in 1919, although this omitted two of the original movements. Tombeau in the title is a term popular from the 17th century meaning a piece written as a memorial. The specific Couperin, among a family noted as musicians for about two centuries, that Ravel intended to evoke is thought to be François Couperin the Great. Ravel stated that his intention was to pay homage more generally to the sensibilities of the Baroque French keyboard suite not necessarily to imitate or pay tribute to Couperin himself in particular and this is reflected in the structure which imitates a Baroque dance suite. As a preparatory exercise, Ravel had transcribed a forlane from the suite of Couperins Concerts royaux. The other movements are based on Baroque forms, with the Toccata taking the form of a perpetuum mobile reminiscent of Alessandro Scarlatti. Ravel also revives Baroque practices through his use of ornamentation. Neoclassicism also shines through with Ravels pointedly twentieth-century chromatic melody and piquant harmonies, the first performance of the original piano version was given on 11 April 1919 by Marguerite Long, Joseph de Marliaves widow, in the Salle Gaveau in Paris. The orchestrated version is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, trumpet, harp, and strings. Only a few years after Ravels own orchestration, Lucien Garban produced a version of the piece for orchestra with a piano-conductor, consisting of the Prélude, Menuet. He had previously transcribed the full suite for four hands in 1919. Several other composers have since created orchestrations of those two movements which Ravel omitted, the Fugue and the Toccata, david Diamond has orchestrated the second movement Fugue, while the Hungarian pianist and conductor Zoltán Kocsis has produced his own version of both the Fugue and the Toccata. However, here, the Toccata, scored for a large orchestra, goes far beyond the limits of Ravels own, small orchestra. Another instrumentation of Fugue and Toccata by pianist Michael Round was recorded by Vladimir Ashkenazy, rounds version of the Toccata adds percussion, requiring up to five players. In 2013 the British composer Kenneth Hesketh orchestrated the Fugue and Toccata for the orchestration of the original four-movement orchestral suite. The first performance was given by the Goettingen Symphony Orchestra conducted by Christoph Mathias Mueller, the scores are available from Schott Music, London. Four movements have been arranged for wind quintet by American horn player Mason Jones, danish composer Hans Abrahamsen has also transcribed four movements for wind quintet. and further American composer Gunther Schuller has made a wind-quintet arrangement
Le tombeau de Couperin
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Cover of the first printed edition designed by Ravel himself
Le tombeau de Couperin
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House where Ravel composed Le tombeau de Couperin
35.
Pictures at an Exhibition
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Pictures at an Exhibition is a suite of ten pieces composed for the piano by Russian composer Modest Mussorgsky in 1874. The suite is Mussorgskys most famous composition and has become a showpiece for virtuoso pianists. It has become known through various orchestrations and arrangements produced by other musicians and composers. It was probably in 1868 that Mussorgsky first met artist, architect, both men were devoted to the cause of an intrinsically Russian art and quickly became friends. They likely met in the home of the influential critic Vladimir Stasov, according to Stasovs testimony, in 1868, Hartmann gave Mussorgsky two of the pictures later featured in Pictures at an Exhibition. In 1870, Mussorgsky dedicated the song of the cycle The Nursery to Hartmann. Stasov remarked that Hartmann loved Mussorgskys compositions, and particularly liked the Scene by the Fountain in his opera Boris Godunov. Mussorgsky abandoned the scene in his original 1869 version, but at the requests of Stasov and Hartmann, the years 1873–74 are associated with the staging of Boris Godunov, the zenith of Mussorgskys career as a composer—at least from the standpoint of public acclaim. The composers triumph was overshadowed, however, by the critical drubbing he received in the press, other circumstances conspired to dampen Mussorgskys spirits. Golenishchev-Kutuzov wrote, banner was held by Mussorgsky alone, all the members had left it. Hartmanns sudden death on 4 August 1873 from an aneurysm shook Mussorgsky along with others in Russias art world, the loss of the artist, aged only 39, plunged the composer into deep despair. Stasov helped organize an exhibition of over 400 Hartmann works in the Imperial Academy of Arts in Saint Petersburg in February. Mussorgsky lent to the exhibition the two pictures Hartmann had given him, and viewed the show in person, I am writing the 4th No. —the transitions are good. I want to more quickly and steadily. My physiognomy can be seen in the interludes, so far I think its well turned. The music depicts his tour of the exhibition, with each of the ten numbers of the serving as a musical illustration of an individual work by Hartmann. Five days after finishing the composition, he wrote on the page of the manuscript a tribute to Vladimir Stasov. One month later, he added an indication that he intended to have it published, in music for these illustrations, as Mussorgsky called them, he represented, children, Baba Yaga in her wooden house on chicken legs, catacombs, gates, and even rattling carts
Pictures at an Exhibition
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Mussorgsky in 1874
Pictures at an Exhibition
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Mussorgsky's letter to Stasov, 12 June 1874, written while composing Pictures
Pictures at an Exhibition
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Viktor Hartmann (1834–1873)
Pictures at an Exhibition
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Cover of first edition of Pictures
36.
Rapsodie espagnole
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Rapsodie espagnole is an orchestral rhapsody written by Maurice Ravel. Composed between 1907 and 1908, the Rapsodie is one of Ravels first major works for orchestra and it was first performed in Paris in 1908 and quickly entered the international repertoire. The piece draws on the composers Spanish heritage, and is one of several of his works set in or reflecting Spain, the genesis of the Rapsodie was a Habanera, for two pianos, which Ravel wrote in 1895. It was not published as a piece, and in 1907 he composed three companion pieces. A two-piano version was completed by October of that year, at about this time there was a distinctly Spanish tone to Ravels output, perhaps reflecting his own Spanish ancestry. His opera Lheure espagnole was completed in 1907, as was the song Vocalise-Etude en forme de habanera, to counter any accusations of plagiarism, Ravel made certain that the date 1895 was clearly printed for his Habanera in the published score of the Rapsodie. The première of the Rapsodie was given by the Orchestre des Concerts Colonne, conducted by Édouard Colonne, the critical reception was generally favourable. Dissenting voices were Pierre Lalo, who habitually disliked Ravels music, and Gaston Carraud, otherwise there was much praise for the subtle and fresh orchestration and the picturesqueness of the music. The work was taken up internationally. Henry Wood gave the British premiere in October 1909 to a capacity audience at the Proms, the Rapsodie has four movements, a complete performance typically lasts around 15 minutes. The movement is marked très modéré, the signature is 34. The whole movement is quiet, never rising above mezzo forte, as in the String Quartet of three years earlier Ravel places themes in the opening movement that recur in subsequent sections, most particularly the insistent opening theme, F–E–D–C sharp. This is the shortest of the four movements, and is marked assez vif, malagueña refers to a flamenco dance from the southern Spanish province of Málaga, but Ravels music here has only the 34 metre in common with the authentic dance. The movement is instead what the critic Noël Goodwin calls more an evocation of place. Like the first movement, it is in the key of A, the movement ends quietly with a repeat of the four note phrase that opens the first movement. The movement, in 24 and switching between F sharp major and minor, is marked assez lent et dun rythme las, Goodwin describes it as beguiling and subtle in its expression of a thoroughly Spanish character and spirit. Feria, in 68 and C major, is marked assez animé – fairly lively. It is the longest of the four movements, and is the first point in the score at which Ravel, the boisterous carnival atmosphere has undertones of nostalgia, but exuberance triumphs and the work ends in a joyful burst of orchestral colour
Rapsodie espagnole
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Ravel in 1912
37.
Piano Concerto for the Left Hand (Ravel)
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The Piano Concerto for the Left Hand in D major was composed by Maurice Ravel between 1929 and 1930, concurrently with his Piano Concerto in G. It was commissioned by the Austrian pianist Paul Wittgenstein, who lost his arm during World War I. Wittgenstein gave the premiere with Robert Heger and the Vienna Symphony Orchestra on 5 January 1932, before writing the concerto, Ravel enthusiastically studied the left-hand études of Camille Saint-Saëns. The first French pianist to perform the work was Jacques Février, Ravel is quoted in one source as saying that the piece is in only one movement and in another as saying the piece is divided into two movements linked together. According to Marie-Noëlle Masson, the piece has a structure, Slow-Fast-Slow. Whatever the internal structure may be, the 18-19 minute piece negotiates several sections in various tempi, towards the end of the piece, some of the music of the early slow sections is overlaid with the faster music, so that two tempi occur simultaneously. The concerto begins with the double basses softly arpeggiating an ambiguous harmony being the background to a solo of the contrabassoon. Although these notes are given great structural weight, they are also the four open strings on the double bass. As is traditional in a concerto, the material is presented first in the orchestra. Not so traditional is the dramatic piano cadenza which first introduces the soloist and this material includes both an A and a B theme, though the B theme receives little exposure. An additional theme introduced at the beginning exhibits several similarities to the Dies Irae chant, an excerpt from the faster section, sometimes referenced as the scherzo, is shown in the example. Throughout the piece, Ravel creates ambiguity between triple and duple rhythms and this example highlights one of the more notable instances of this. The piece was commissioned by Paul Wittgenstein, a concert pianist who had lost his arm in the First World War. Although at first Wittgenstein did not take to its jazz-influenced rhythms and harmonies, Ravels other concerto, the Piano Concerto in G, is more widely known and played. In May 1930 Ravel had had a disagreement with Arturo Toscanini over the correct tempo for Boléro. In September, Ravel patched up the relationship and invited Toscanini to conduct the premiere of the Piano Concerto for the Left Hand. Even before the premiere, in 1931 Alfred Cortot made an arrangement for piano two-hands and orchestra, however, Ravel did not approve of it and forbade its publication or performance. Cortot ignored this and played his arrangement, which caused Ravel to write to many conductors imploring them not to engage Cortot to play his concerto, after Ravels death in 1937, Cortot resumed playing his arrangement, and even recorded it with Charles Munch leading the Paris Conservatoire Orchestra
Piano Concerto for the Left Hand (Ravel)
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Maurice Ravel with
Jacques Février playing the Piano Concerto for the Left Hand in Paris in 1937
Piano Concerto for the Left Hand (Ravel)
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Excerpt from Piano Concerto in which two themes are presented simultaneously in different
time signatures.
38.
Introduction and Allegro (Ravel)
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Introduction and Allegro for Harp, Flute, Clarinet and String Quartet was written by Maurice Ravel in 1905. It premiered on 22 February 1907 in Paris, to show off its new chromatic harp, the Pleyel company commissioned Claude Debussy in 1904 to write his Danse sacrée et danse profane for harp and orchestra. The Érard company responded by commissioning Maurice Ravel to write a piece to display the range of its double-action pedal harp. Ravel completed his Introduction and Allegro for a septet of harp, flute, clarinet and string quartet in June 1905, dedicating it to Albert Blondel and he wrote it at breakneck speed, as he had to complete it before embarking on a boating holiday with friends. Ravel omitted the Introduction and Allegro from the catalogue of his works, made no mention of it in his autobiography, and referred to it in only two of his letters. Nevertheless, it was performed at his concerts and it was the very first of the small number of his own works that Ravel recorded In 1906 Ravel wrote a version for two pianos. In a letter to Désiré-Émile Inghelbrecht on 26 February 1911, Ravel sanctioned the work being arranged for larger forces and it is written in the key of G-flat major and it is the first piece to explore and exploit the full resources of the solo instrument. It is sometimes described as a concerto, but it is more usually classified as a genuine chamber music work. The Introduction and the Allegro are played without a break, the Introduction, Très lent, takes only 26 bars. The Allegro in a sonata form begins with the solo harp expanding the material presented before. The woodwinds expose a second theme, accompanied by pizzicato, after a fortississimo climax in the development, a harp cadenza leads to a straightforward recapitulation and a close without extensive fireworks or bombast of any kind. The work takes about 11 minutes to perform and it was premiered in the United States by a group including the harpist Carlos Salzedo. Salzedos then-wife Lucile Lawrence, also a harpist, was instructed by Ravel in the performance of the work. Osian Ellis was the harpist, playing with Richard Adeney, Gervase de Peyer, Emanuel Hurwitz and Ivor McMahon, Cecil Aronowitz, the work was also performed on television, on the 23 December 1963 edition of Leonard Bernsteins Young Peoples Concerts. Introduction et Allegro, Scores at the International Music Score Library Project
Introduction and Allegro (Ravel)
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Maurice Ravel with Lily Laskine
39.
String Quartet (Ravel)
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Maurice Ravel completed his String quartet in F major in early April 1903 at the age of 28. It was premiered in Paris in March the following year, the finale reintroduces themes from the earlier passages and ends the work vigorously. The structure of the quartet is modelled on that of Claude Debussys String Quartet, written in 1893, debussy admired Ravels piece rather more than did its dedicatee, Ravels teacher Gabriel Fauré. By 1904 it was becoming clear to the public that Ravel was the outstanding French composer of his generation. Among his works by that date were the piano pieces Pavane pour une infante défunte and Jeux deau and 1904 saw the premieres of his song cycle Shéhérazade. The quartet has superficial resemblances to Debussys String Quartet, written ten years earlier, debussy approved of his younger colleagues work, and sent him an encouraging letter. The quartet was premiered at a concert of the Société Nationale de Musique on 5 March 1904 and it was dedicated to Fauré, who was not greatly taken with the piece, but was nonetheless present at the performance. The critics were divided on the merits of the work, pierre Lalo, already a staunch opponent of Ravel, dismissed it as derivative but Jean Marnold of the Mercure de France praised the work and described Ravel as one of the masters of tomorrow. The work had its London premiere in 1908 and its German premiere in Berlin in 1910, by 1914 the work was so well established that a London critic was able to compare performances by the Parisian String Quartet with those of British players in consecutive months. The quartet has remained, in Orensteins phrase, a work in the chamber music repertory. The quartet is in four movements, the movement is in traditional sonata form, based on two contrasting themes. The first, rising and falling through an arc, is played by all four players at the opening and taken over by the first violin. The second theme, more reflective in character, is played by first violin, the development section, straightforward and traditional, is predominantly lyrical, gaining intensity before the recapitulation. The pace slows and the movement ends very quietly, as in Debussys quartet the scherzo is the second movement, and opens with a pizzicato passage. Others hear in it echoes of Ravels Spanish descent, the central section of the music is a slow, wistful theme, led by the cello. Ravel uses cross rhythms, with figures in triple time played at the time as figures in double time. The key varies from A minor to E minor and G sharp minor, the movement concludes with a shortened reprise of the opening section. Despite the marking very slow, the movement has numerous changes of tempo
String Quartet (Ravel)
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Motive from Ravel's String Quartet, first movement. Play (
help ·
info)
40.
Close and open harmony
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Close harmony is an arrangement of the notes of chords within a narrow range, usually notes that are no more than an octave apart. It is different from open harmony or voicing in that it uses each part on the closest harmonizing note, close harmony or voicing can refer to both instrumental and vocal arrangements. It can follow the standard voice-leading rules of harmony, as in string quartets or Bachs Chorales. In jazz, this influence is reflected in George Gershwins work, origins of this style of singing are found in harmonies of the 1800s in America. Early radio quartets continued this tradition, female harmonists, like the Boswell Sisters. The Hamilton Sisters and Fordyce, then became Three X Sisters, both performed and recorded this style in the 1920s, and continued this onto commercial radio of the 1930s. Close harmony singing was popular in the 1940s with Pop. The Andrews Sisters capitalized on a similar style too with Swing music, many gospel and soul groups in the 1950s and 60s also used this technique, usually 3- or 4-part SSAA or TTBB harmony with one person doing a call-and-response type lead. Examples of this are The Blind Boys of Alabama, a group that is still recording today, the folk-rock duo Simon & Garfunkel used close harmony, echoing their chosen role-models, The Everly Brothers. The Louvin Brothers were a duo that used close harmony in the genre of country music, barbershop can be sung by males or females. Public domain pieces, such as Sweet Adeline, and newer pieces are abundant, national organizations promote the music with local chapters in many communities. Soul and gospel groups flourished in America in the years after World War II, building on the foundation of blues, 1930s gospel songs and big band music. As noted above, they used the more traditional TTBB or SSAA 4-part structure, but with heavy use of solos and call-and-response. These groups sometimes sang a cappella but also used more instrumental backing, Pop music and doo-wop can be seen as a commercialization of this genre. In music, block harmony is close position harmonization, and contrasted with open harmony
Close and open harmony
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Close harmony on C triad. Play (
help ·
info)
41.
Impressionism in music
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Impressionism is a philosophical and aesthetic term borrowed from late 19th century French painting after Monets Impression, Sunrise. The most prominent in musical impressionism is the use of color, or in term, timbre. Some impressionist composers, Debussy and Ravel in particular, are labeled as symbolist composers. Some of the key forerunners of and influences on the impressionist style include Modest Mussorgsky, Emmanuel Chabrier, Edvard Grieg, Gabriel Fauré, Henri Duparc, elements of impressionism can also be traced back to works by Frédéric Chopin, Franz Liszt, and Richard Wagner. Ernest Fanelli was claimed to have innovated the style in the early 1880s, the performance of his works in that year led to claims that he was the father of musical Impressionism. Ravel wrote, this impressionism is certainly different from that of present-day composers. Mr. Fanellis impressionism derives more directly from Berlioz, the Finnish composer Jean Sibelius is also associated with impressionism, and his The Swan of Tuonela predates Debussys Prélude à laprès-midi dun faune by a year. The American composer Howard Hanson also borrowed from both Sibelius and impressionism generally in such as his Second Symphony. The Enjoyment of Music, seventh edition, New York, W. W. Norton & Company,1995. London, Hutchinson, New York, Charles Scribners Sons,1973, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. New York, Dodd, Mead & company,1937
Impressionism in music
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Originators
42.
List of compositions by Maurice Ravel
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This is a list of compositions by Maurice Ravel. The compositions are arranged by the numbers which were assigned by the musicologist Marcel Marnat according to their dates of composition. 1 Allegro 13, Entre cloches for two pianos 14, Valse in D for piano 15, Chanson de rouet, song with piano after Leconte de Lisle 16, Si morne. Animé68, Le tombeau de Couperin for piano Prélude Fugue Forlane Rigaudon Menuet Toccata 68a, Le tombeau de Couperin,1, in A-Minor Allegro moderato 35, String Quartet in F Allegro moderato
List of compositions by Maurice Ravel
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Maurice Ravel, ca. 1925.
43.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
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Screenshot 2012
44.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
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GND screenshot
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