Solmization is a system of attributing a distinct syllable to each note in a musical scale. Various forms of solmization are in use and have been used throughout the world, but solfège is the most common convention in Europe and The Americas; the seven syllables used for this practice in English-speaking countries are: do, re, mi, fa, sol, la, ti. Guido of Arezzo is considered to be the origin of the European tradition of solmization. In Guido's Micrologus, the ut–re–mi–fa–so–la syllables are derived from the initial syllables of each of the first six half-lines of the first stanza of the hymn Ut queant laxis, whose text is attributed to the Italian monk and scholar Paulus Diaconus. Giovanni Battista Doni is known for having changed the name of note "Ut", renaming it "Do". An alternative explanation, first proposed by Franciszek Meninski in Thesaurus Linguarum Orientalum and by J.-B. Laborde in Essai sur la Musique Ancienne et Moderne, is that the syllables were derived from the Arabic solmization system درر مفصّلات Durar Mufaṣṣalāt during the Middle Ages, but there is no documentary evidence for it.
In India, the origin of solmization was to be found in Vedic texts like the Upanishads, which discuss a musical system of seven notes, realized in what is known as sargam. In Indian classical music, the notes in order are: sa, re, ga, ma, pa, ni, which correspond to the Western solfege system. Byzantine music uses syllables derived from the Greek alphabet to name notes: starting with C, the notes are ni, pa, vu, ga, di, ke, zo. In Han people's music in China, the words used to name notes are: 上, 尺, 工, 凡, 六, 五, 乙; the system is used for teaching sight-singing. In Japanese music, the first line of Iroha, an ancient poem used as an "ABC" of traditional kana, is used for solmization; the syllables representing the notes A, B, C, D, E, F, G are he, to respectively. Shakuhachi musical notation uses another solmization system beginning "Fu Ho U". In Indonesia, Javanese musicians derive syllables from numbers. In Scotland, Canntaireachd was used as a means of communicating bagpipe music verbally. Other systems invented for teaching sight-singing are: Tonic sol-fa Kodály method with Curwen hand signs Shape noteSee Do Re Mi for songs named after those solmization syllables
Encyclopædia Britannica, Eleventh Edition
The Encyclopædia Britannica, Eleventh Edition is a 29-volume reference work, an edition of the Encyclopædia Britannica. It was developed during the encyclopaedia's transition from a British to an American publication; some of its articles were written by the best-known scholars of the time. This edition of the encyclopedia, containing 40,000 entries, is now in the public domain, many of its articles have been used as a basis for articles in Wikipedia. However, the outdated nature of some of its content makes its use as a source for modern scholarship problematic; some articles have special value and interest to modern scholars as cultural artifacts of the 19th and early 20th centuries. The 1911 eleventh edition was assembled with the management of American publisher Horace Everett Hooper. Hugh Chisholm, who had edited the previous edition, was appointed editor in chief, with Walter Alison Phillips as his principal assistant editor. Hooper bought the rights to the 25-volume 9th edition and persuaded the British newspaper The Times to issue its reprint, with eleven additional volumes as the tenth edition, published in 1902.
Hooper's association with The Times ceased in 1909, he negotiated with the Cambridge University Press to publish the 29-volume eleventh edition. Though it is perceived as a quintessentially British work, the eleventh edition had substantial American influences, not only in the increased amount of American and Canadian content, but in the efforts made to make it more popular. American marketing methods assisted sales; some 14% of the contributors were from North America, a New York office was established to coordinate their work. The initials of the encyclopedia's contributors appear at the end of selected articles or at the end of a section in the case of longer articles, such as that on China, a key is given in each volume to these initials; some articles were written by the best-known scholars of the time, such as Edmund Gosse, J. B. Bury, Algernon Charles Swinburne, John Muir, Peter Kropotkin, T. H. Huxley, James Hopwood Jeans and William Michael Rossetti. Among the lesser-known contributors were some who would become distinguished, such as Ernest Rutherford and Bertrand Russell.
Many articles were carried over from some with minimal updating. Some of the book-length articles were divided into smaller parts for easier reference, yet others much abridged; the best-known authors contributed only a single article or part of an article. Most of the work was done by British Museum scholars and other scholars; the 1911 edition was the first edition of the encyclopædia to include more than just a handful of female contributors, with 34 women contributing articles to the edition. The eleventh edition introduced a number of changes of the format of the Britannica, it was the first to be published complete, instead of the previous method of volumes being released as they were ready. The print type was subject to continual updating until publication, it was the first edition of Britannica to be issued with a comprehensive index volume in, added a categorical index, where like topics were listed. It was the first not to include long treatise-length articles. Though the overall length of the work was about the same as that of its predecessor, the number of articles had increased from 17,000 to 40,000.
It was the first edition of Britannica to include biographies of living people. Sixteen maps of the famous 9th edition of Stielers Handatlas were translated to English, converted to Imperial units, printed in Gotha, Germany by Justus Perthes and became part this edition. Editions only included Perthes' great maps as low quality reproductions. According to Coleman and Simmons, the content of the encyclopedia was distributed as follows: Hooper sold the rights to Sears Roebuck of Chicago in 1920, completing the Britannica's transition to becoming a American publication. In 1922, an additional three volumes, were published, covering the events of the intervening years, including World War I. These, together with a reprint of the eleventh edition, formed the twelfth edition of the work. A similar thirteenth edition, consisting of three volumes plus a reprint of the twelfth edition, was published in 1926, so the twelfth and thirteenth editions were related to the eleventh edition and shared much of the same content.
However, it became apparent that a more thorough update of the work was required. The fourteenth edition, published in 1929, was revised, with much text eliminated or abridged to make room for new topics; the eleventh edition was the basis of every version of the Encyclopædia Britannica until the new fifteenth edition was published in 1974, using modern information presentation. The eleventh edition's articles are still of value and interest to modern readers and scholars as a cultural artifact: the British Empire was at its maximum, imperialism was unchallenged, much of the world was still ruled by monarchs, the tragedy of the modern world wars was still in the future, they are an invaluable resource for topics omitted from modern encyclopedias for biography and the history of science and technology. As a literary text, the encyclopedia has value as an example of early 20th-century prose. For example, it employs literary devices, such as pathetic fallacy, which are not as common in modern reference texts.
In 1917, using the pseudonym of S. S. Van Dine, the US art critic and author Willard Huntington Wright published Misinforming a Nation, a 200+
W. W. Norton & Company
W. W. Norton & Company is an American publishing company based in New York City, it has been owned wholly by its employees since the early 1960s. The company is known for its Norton Anthologies and its texts in the Norton Critical Editions series, both of which are assigned in university literature courses; the roots of the company date back to 1923, when William Warder Norton founded the firm with his wife Mary Norton, became its first president. In the 1960s, Mary Norton offered most of her stock to its leading managers. Storer D. Lunt took over in 1945 after Norton's death, was succeeded by George Brockway, Donald S. Lamm, W. Drake McFeely, Julia A. Reidhead. Reidhead was vice president and publishing director of Norton's College division and a former editor of the Norton Anthologies. W. W. Norton & Company is an employee-owned publisher in the United States, which publishes fiction, poetry, college textbooks, art books, professional books. Norton Anthologies collect canonical works from various literatures.
Norton Anthologies offer general headnotes on each author, a general introduction to each period of literature, annotations for every anthologized text. Like Penguin Classics, Norton Critical Editions provide reprints of classic literature. However, unlike most critical editions, all Norton Critical Editions provide a selection of contextual documents, critical essays along with an edited text. Annotations to the text are provided as footnotes, rather than endnotes as well. Oxford World's Classics Verso Book's Radical Thinkers Albatross Publishing House Boni & Liveright Official website Making the Cut - Chronicle of Higher Education
International Standard Serial Number
An International Standard Serial Number is an eight-digit serial number used to uniquely identify a serial publication, such as a magazine. The ISSN is helpful in distinguishing between serials with the same title. ISSN are used in ordering, interlibrary loans, other practices in connection with serial literature; the ISSN system was first drafted as an International Organization for Standardization international standard in 1971 and published as ISO 3297 in 1975. ISO subcommittee TC 46/SC 9 is responsible for maintaining the standard; when a serial with the same content is published in more than one media type, a different ISSN is assigned to each media type. For example, many serials are published both in electronic media; the ISSN system refers to these types as electronic ISSN, respectively. Conversely, as defined in ISO 3297:2007, every serial in the ISSN system is assigned a linking ISSN the same as the ISSN assigned to the serial in its first published medium, which links together all ISSNs assigned to the serial in every medium.
The format of the ISSN is an eight digit code, divided by a hyphen into two four-digit numbers. As an integer number, it can be represented by the first seven digits; the last code digit, which may be 0-9 or an X, is a check digit. Formally, the general form of the ISSN code can be expressed as follows: NNNN-NNNC where N is in the set, a digit character, C is in; the ISSN of the journal Hearing Research, for example, is 0378-5955, where the final 5 is the check digit, C=5. To calculate the check digit, the following algorithm may be used: Calculate the sum of the first seven digits of the ISSN multiplied by its position in the number, counting from the right—that is, 8, 7, 6, 5, 4, 3, 2, respectively: 0 ⋅ 8 + 3 ⋅ 7 + 7 ⋅ 6 + 8 ⋅ 5 + 5 ⋅ 4 + 9 ⋅ 3 + 5 ⋅ 2 = 0 + 21 + 42 + 40 + 20 + 27 + 10 = 160 The modulus 11 of this sum is calculated. For calculations, an upper case X in the check digit position indicates a check digit of 10. To confirm the check digit, calculate the sum of all eight digits of the ISSN multiplied by its position in the number, counting from the right.
The modulus 11 of the sum must be 0. There is an online ISSN checker. ISSN codes are assigned by a network of ISSN National Centres located at national libraries and coordinated by the ISSN International Centre based in Paris; the International Centre is an intergovernmental organization created in 1974 through an agreement between UNESCO and the French government. The International Centre maintains a database of all ISSNs assigned worldwide, the ISDS Register otherwise known as the ISSN Register. At the end of 2016, the ISSN Register contained records for 1,943,572 items. ISSN and ISBN codes are similar in concept. An ISBN might be assigned for particular issues of a serial, in addition to the ISSN code for the serial as a whole. An ISSN, unlike the ISBN code, is an anonymous identifier associated with a serial title, containing no information as to the publisher or its location. For this reason a new ISSN is assigned to a serial each time it undergoes a major title change. Since the ISSN applies to an entire serial a new identifier, the Serial Item and Contribution Identifier, was built on top of it to allow references to specific volumes, articles, or other identifiable components.
Separate ISSNs are needed for serials in different media. Thus, the print and electronic media versions of a serial need separate ISSNs. A CD-ROM version and a web version of a serial require different ISSNs since two different media are involved. However, the same ISSN can be used for different file formats of the same online serial; this "media-oriented identification" of serials made sense in the 1970s. In the 1990s and onward, with personal computers, better screens, the Web, it makes sense to consider only content, independent of media; this "content-oriented identification" of serials was a repressed demand during a decade, but no ISSN update or initiative occurred. A natural extension for ISSN, the unique-identification of the articles in the serials, was the main demand application. An alternative serials' contents model arrived with the indecs Content Model and its application, the digital object identifier, as ISSN-independent initiative, consolidated in the 2000s. Only in 2007, ISSN-L was defined in the
Ferrara is a city and comune in Emilia-Romagna, northern Italy, capital of the Province of Ferrara. As of 2016 it had 132,009 inhabitants, it is situated 44 kilometres northeast of Bologna, on the Po di Volano, a branch channel of the main stream of the Po River, located 5 km north. The town has broad streets and numerous palaces dating from the Renaissance, when it hosted the court of the House of Este. For its beauty and cultural importance, it has been designated by UNESCO as a World Heritage Site; the first documented settlements in the area of the present-day Province of Ferrara date from the 6th century BC. The ruins of the Etruscan town of Spina, established along the lagoons at the ancient mouth of Po river, were lost until modern times, when drainage schemes in the Valli di Comacchio marshes in 1922 first revealed a necropolis with over 4,000 tombs, evidence of a population centre that in Antiquity must have played a major role. There is uncertainty among scholars about the proposed Roman origin of the settlement in its current location, for little is known of this period, but some archeologic evidence points to the hypothesis that Ferrara could have been originated from two small Byzantine settlements: a cluster of facilities around the Cathedral of St. George, on the right bank of the main branch of the Po, which ran much closer to the city than today, a castrum, a fortified complex built on the left bank of the river to defend against the Lombards.
Ferrara appears first in a document of the Lombard king Desiderius of 753 AD, when he captured the town from the Exarchate of Ravenna. The Franks, after routing the Lombards, presented Ferrara to the Papacy in 754 or 756. In 988 Ferrara was ceded by the Church to the House of Canossa, but at the death of Matilda of Tuscany in 1115 it became a free commune. During the 12th century the history of the town was marked by the wrestling for power between two preeminent families, the Guelph Adelardi and the Ghibelline Salinguerra. In 1264 Obizzo II of Este was thus proclaimed lifelong ruler of Ferrara, Lord of Modena in 1288 and of Reggio in 1289, his rule marked the end of the communal period in Ferrara and the beginning of the Este rule, which lasted until 1598. In 1452 Borso of Este was created duke of Modena and Reggio by Emperor Frederick III and in 1471 duke of Ferrara by Pope Paul II. Lionello and Ercole I were among the most important patrons of the arts in late 15th- and early 16th-century Italy.
During this time, Ferrara grew into an international cultural centre, renowned for its architecture, music and visual arts. The architecture of Ferrara benefited from the genius of Biagio Rossetti, requested in 1484 by Ercole I to draft a masterplan for the expansion of the town; the resulting "Erculean Addition" is considered one of the most important examples of Renaissance urban planning and contributed to the selection of Ferrara as a UNESCO World Heritage Site. In spite of having entered its golden age, Ferrara was hit by a war against Venice fought and lost in 1482–84. Alfonso I married the notorious Lucrezia Borgia, he again fought Venice in the Italian Wars after joining the League of Cambrai. In 1509 he was excommunicated by Pope Julius II, but was able to overcome the Papal and Spanish armies in 1512 at the Battle of Ravenna; these successes were based on Ferrara's artillery, produced in his own foundry, the best of its time. At his death in 1534, Alfonso I was succeeded by his son Ercole II that in 1528 married Renée of France, the second daughter of Louis XII, thus bringing great prestige to the court of Ferrara.
Under his reign, the Duchy remained a cultural powerhouse. However, an earthquake struck the town in 1570, causing the economy to collapse, when Ercole II's son Alfonso II died without heirs, the House of Este lost Ferrara to the Papal States. Ferrara, a university city second only to Bologna, remained a part of the Papal States for 300 years, an era marked by a steady decline. In 1805–1814 it became part of the Napoleonic Kingdom of Italy, a client-state of the French Empire. After the 1815 Congress of Vienna, Ferrara was given back to the Pope, now guaranteed by the Empire of Austria. A bastion fort erected in the 1600s by Pope Paul V on the site of and old castle called "Castel Tedaldo", at the south-west angle of the town, was thus occupied by an Austrian garrison from 1832 until 1859. All of the fortress was dismantled following the birth of the Kingdom of Italy and the bricks used for new constructions all over the town. During the last decades of the 1800s and the early 1900s, Ferrara remained a modest trade centre for its large rural hinterland that relied on commercial crops such as sugar beet and industrial hemp.
Large land reclamation works were carried out for decades with the aim to expand the available arable land and eradicate malaria from the wetlands along the Po delta. Mass industrialisation came to Ferrara only at the end of the 1930s with the set-up of a chemical plant by the Fascist regime that should have supplied the regime with synthetic rubber. During the Second World War Ferrara was bombed by Allied warplanes that targeted and destroyed railway links and industrial facilities. After the war, the industrial area in Pontelagoscuro was expanded to become a giant petrochemical compound operated by Montecatini and other companies, tha
In music, solfège or solfeggio called sol-fa, solfeo, among many names, is a music education method used to teach aural skills and sight-reading of Western music. Solfège is a form of solmization, though the two terms are sometimes used interchangeably, the systems used in other music cultures such as swara, durar mufaṣṣalāt and Jianpu are discussed in their respective articles. Syllables are assigned to the notes of the scale and enable the musician to audiate, or mentally hear, the pitches of a piece of music which he or she is seeing for the first time and to sing them aloud. Through the Renaissance various interlocking 4, 5 and 6-note systems were employed to cover the octave; the tonic sol-fa method popularized the seven syllables used in English-speaking countries: do, re, mi, fa, so, la, si, see below). There are two current ways of applying solfège: 1) fixed do, where the syllables are always tied to specific pitches and 2) movable do, where the syllables are assigned to scale degrees.
Italian "solfeggio" and English/French "solfège" derive from the names of two of the syllables used: sol and fa. The generic term "solmization", referring to any system of denoting pitches of a musical scale by syllables, including those used in India and Japan as well as solfège, comes from French solmisatio, from the Latin solfège syllables sol and mi; the verb "to sol-fa" means to sing a passage in solfège. In eleventh-century Italy, the music theorist Guido of Arezzo invented a notational system that named the six pitches of the hexachord after the first syllable of each line of the Latin hymn Ut queant laxis, the "Hymn to St. John the Baptist", yielding ut, re, mi, fa, sol, la; each successive line of this hymn begins on the next scale degree, so each pitch's name was the syllable sung at that pitch in this hymn. The words were written by Paulus Diaconus in the 8th century, they translate as: "Ut" was changed in the 1600s in Italy to the open syllable Do, at the suggestion of the musicologue Giovanni Battista Doni, Si was added to complete the diatonic scale.
In Anglophone countries, "si" was changed to "ti" by Sarah Glover in the nineteenth century so that every syllable might begin with a different letter. "Ti" is used in tonic sol-fa. An alternative theory argues that the solfège syllables derive from the syllables of an Arabic solmization system درر مفصّلات Durar Mufaṣṣalāt, mentioned in the works of Francisci a Mesgnien Meninski in 1680 and discussed by Jean-Benjamin de La Borde in 1780. However, there is no documentary evidence for this theory. In the Elizabethan era and its related territories used only four of the syllables: mi, fa, la. "Mi" stood for modern si, "fa" for modern do or ut, "sol" for modern re, "la" for modern mi. Fa, sol and la would be repeated to stand for their modern counterparts, resulting in the scale being "fa, sol, la, fa, sol, la, mi, fa"; the use of "fa", "sol" and "la" for two positions in the scale is a leftover from the Guidonian system of so-called "mutations". This system was eliminated by the 19th century, but is still used in some shape note systems, which give each of the four syllables "fa", "sol", "la", "mi" a different shape.
An example of this type of solmization occurs in Shakespeare's King Lear, I, 2. There are two main types of solfège: Movable do and Fixed do. In Movable do, or tonic sol-fa, each syllable corresponds to a scale degree; this is analogous to the Guidonian practice of giving each degree of the hexachord a solfège name, is used in Germanic countries, Commonwealth Countries, the United States. One important variant of movable do, but differing in some respects from the system described below, was invented in the nineteenth century by Sarah Ann Glover, is known as tonic sol-fa. In Italy, in 1972, Roberto Goitre wrote the famous method "Cantar leggendo", which has come to be used for choruses and for music for young children; the pedagogical advantage of the movable-Do system is its ability to assist in the theoretical understanding of music. Thus, while fixed-do is more applicable to instrumentalists, movable-do is more applicable to theorists and, composers. Movable do is employed in Australia, Japan, the United Kingdom, the United States, Hong Kong, English-speaking Canada.
The movable do system is a fundamental element of the Kodály method used in Hungary, but with a dedicated following worldwide. In the movable do system, each solfège syllable corresponds not to a pitch, but to a scale degree: The first degree of a major scale is always sung as "do", the second as "re", etc. In movable do, a given tune is therefore always sol-faed on the same syllables, no matter what key it is in; the solfège syllables used for movable do differ from those used for fixed do, because the English variant of the basic syllables is used, chromatically altered syllables are included as well. If, at a certain point, the key of a piece modulates it is necessary to change the solfège syllabl