Guitar
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
Jazz
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
Derek Bailey (guitarist)
Derek Bailey was an English avant-garde guitarist and figure in the free improvisation movement. Bailey abandoned conventional techniques of jazz and music, he emphasized atonality and whatever unusual sounds he could produce with an electric guitar. Much of his work was released by Incus, a record label. Bailey was born in England. A third-generation musician, he began playing guitar at the age of ten, he studied with Sheffield City organist C. H. C. Biltcliffe, an experience he disliked, with his uncle George Wing and John Duarte; as an adult he worked as a guitarist and session musician in clubs and dance hall bands, playing with Morecambe and Wise, Gracie Fields, Bob Monkhouse, Kathy Kirby, on the television program Opportunity Knocks. Bailey's earliest foray into free improvisation was in 1953 with two guitarists in Glasgow, he was part of a trio founded in 1963 with Tony Oxley and Gavin Bryars called Joseph Holbrooke, named after English composer Joseph Holbrooke, although the group never played his work.
The band played conventional jazz at first, but moved in the direction of free jazz. In 1966, Bailey moved to London. At the Little Theatre Club run by drummer John Stevens, he met like-minded musicians such as saxophonist Evan Parker, trumpeter Kenny Wheeler, double bassist Dave Holland, with whom he formed the Spontaneous Music Ensemble. In 1968 they recorded Karyobin for Island Records. Bailey formed the Music Improvisation Company with Parker, percussionist Jamie Muir, Hugh Davies on homemade electronics; the band continued until 1971. He was a member of the Jazz Composer's Orchestra and formed the trio Iskra with double bassist Barry Guy and trombonist Paul Rutherford, named after a newspaper published by Russian revolutionary Vladimir Lenin, he was a member of Oxley's sextet until 1973. In 1970, Bailey founded the record label Incus with Tony Oxley, Evan Parker, Michael Walters, it was the first musician-owned independent label in the UK. Oxley and Walters left early in the label's history.
Bailey continued the label with his partner Karen Brookman until his death in 2005. With other musicians, Bailey was a co-founder in 1975 of Musics magazine, described as "an impromental experivisation arts magazine". In 1976, Bailey started the band Company, which at various times included Han Bennink, Steve Beresford, Anthony Braxton, Eugene Chadbourne, Lol Coxhill, Johnny Dyani, Fred Frith, Tristan Honsinger, Henry Kaiser, Steve Lacy, Keshavan Maslak, Misha Mengelberg, Wadada Leo Smith, John Zorn. Bailey organized the annual music festival Company Week, which lasted until 1994. In 1980, he wrote the book Improvisation: Practice. In 1992, the book was adapted by Channel 4 in the UK into a four-part TV series, On the Edge: Improvisation in Music, narrated by Bailey. Bailey died in London on Christmas Day in 2005, he had been suffering from motor neurone disease. For listeners unfamiliar with experimental music, Bailey's distinctive style can be challenging, its most noticeable feature is its extreme discontinuity from note to note.
There may be enormous intervals between consecutive notes, rather than aspiring to the consistency of timbre typical of most guitar-playing, Bailey interrupts it as much as possible. Four consecutive notes, for instance, may be played on an open string, a fretted string, via harmonics, using a nonstandard technique such as scraping the string with the pick or plucking below the bridge. Playing both acoustic and electric guitars, Bailey extended the possibilities of the instrument in radical ways, obtaining wider array of sounds than are heard, he explored the full vocabulary of the instrument, producing timbres and tones ranging from the most delicate tinklings to fierce noise attacks. He played a conventional instrument, in standard tuning, but his use of amplification was crucial. In the 1970 his standard set-up involved two independently controlled amplifiers to give a stereo effect onstage, he would use the swell pedal to counteract the normal attack and decay of notes, he made original use of feedback, a technique demonstrated on the album String Theory.
Throughout both his commercial and improvising careers his principal guitar was a 1963 Gibson ES 175 model. Although Bailey made use of prepared guitar in the 1970s for Dadaist/theatrical effect, by the end of that decade he had, in his own words, "dumped" such methods. Bailey argued that his approach to music-making was far more orthodox than performers such as Keith Rowe of the improvising collective AMM, who treats the guitar purely as a "sound source" rather than as a musical instrument. Instead, Bailey preferred to "look for whatever'effects' I might need through technique". Eschewing labels such as "jazz" and "free jazz", Bailey described his music as "non-idiomatic". In the second edition of his book Improvisation... Bailey indicated that he felt that free improvisation was no longer "non-idiomatic" in his sense of the word, as it had become a recognizable genre and musical style itself. Bailey sought performance contexts that would provide new stimulations and challenge that would prove musically "interesting", as he put it.
This led to work with collaborators such as Pat Metheny, John Zorn, Lee Konitz, David Sylvian, Cyro Baptista, Cecil Taylor, Keiji Haino, tap da
Chicago
Chicago the City of Chicago, is the most populous city in Illinois, as well as the third most populous city in the United States. With an estimated population of 2,716,450, it is the most populous city in the Midwest. Chicago is the principal city of the Chicago metropolitan area referred to as Chicagoland, the county seat of Cook County, the second most populous county in the United States; the metropolitan area, at nearly 10 million people, is the third-largest in the United States, the fourth largest in North America and the third largest metropolitan area in the world by land area. Located on the shores of freshwater Lake Michigan, Chicago was incorporated as a city in 1837 near a portage between the Great Lakes and the Mississippi River watershed and grew in the mid-nineteenth century. After the Great Chicago Fire of 1871, which destroyed several square miles and left more than 100,000 homeless, the city made a concerted effort to rebuild; the construction boom accelerated population growth throughout the following decades, by 1900 Chicago was the fifth largest city in the world.
Chicago made noted contributions to urban planning and zoning standards, including new construction styles, the development of the City Beautiful Movement, the steel-framed skyscraper. Chicago is an international hub for finance, commerce, technology, telecommunications, transportation, it is the site of the creation of the first standardized futures contracts at the Chicago Board of Trade, which today is the largest and most diverse derivatives market gobally, generating 20% of all volume in commodities and financial futures. O'Hare International Airport is the one of the busiest airports in the world, the region has the largest number of U. S. highways and greatest amount of railroad freight. In 2012, Chicago was listed as an alpha global city by the Globalization and World Cities Research Network, it ranked seventh in the entire world in the 2017 Global Cities Index; the Chicago area has one of the highest gross domestic products in the world, generating $680 billion in 2017. In addition, the city has one of the world's most diversified and balanced economies, not being dependent on any one industry, with no single industry employing more than 14% of the workforce.
Chicago's 58 million domestic and international visitors in 2018, made it the second most visited city in the nation, behind New York City's approximate 65 million visitors. The city ranked first place in the 2018 Time Out City Life Index, a global quality of life survey of 15,000 people in 32 cities. Landmarks in the city include Millennium Park, Navy Pier, the Magnificent Mile, the Art Institute of Chicago, Museum Campus, the Willis Tower, Grant Park, the Museum of Science and Industry, Lincoln Park Zoo. Chicago's culture includes the visual arts, film, comedy and music jazz, soul, hip-hop and electronic dance music including house music. Of the area's many colleges and universities, the University of Chicago, Northwestern University, the University of Illinois at Chicago are classified as "highest research" doctoral universities. Chicago has professional sports teams in each of the major professional leagues, including two Major League Baseball teams; the name "Chicago" is derived from a French rendering of the indigenous Miami-Illinois word shikaakwa for a wild relative of the onion, known to botanists as Allium tricoccum and known more as ramps.
The first known reference to the site of the current city of Chicago as "Checagou" was by Robert de LaSalle around 1679 in a memoir. Henri Joutel, in his journal of 1688, noted that the eponymous wild "garlic" grew abundantly in the area. According to his diary of late September 1687:...when we arrived at the said place called "Chicagou" which, according to what we were able to learn of it, has taken this name because of the quantity of garlic which grows in the forests in this region. The city has had several nicknames throughout its history such as the Windy City, Chi-Town, Second City, the City of the Big Shoulders, which refers to the city's numerous skyscrapers and high-rises. In the mid-18th century, the area was inhabited by a Native American tribe known as the Potawatomi, who had taken the place of the Miami and Sauk and Fox peoples; the first known non-indigenous permanent settler in Chicago was Jean Baptiste Point du Sable. Du Sable arrived in the 1780s, he is known as the "Founder of Chicago".
In 1795, following the Northwest Indian War, an area, to be part of Chicago was turned over to the United States for a military post by native tribes in accordance with the Treaty of Greenville. In 1803, the United States Army built Fort Dearborn, destroyed in 1812 in the Battle of Fort Dearborn and rebuilt; the Ottawa and Potawatomi tribes had ceded additional land to the United States in the 1816 Treaty of St. Louis; the Potawatomi were forcibly removed from their land after the Treaty of Chicago in 1833. On August 12, 1833, the Town of Chicago was organized with a population of about 200. Within seven years it grew to more than 4,000 people. On June 15, 1835, the first public land sales began with Edmund Dick Taylor as U. S. Receiver of Public Monies; the City of Chicago was incorporated on Saturday, March 4, 1837, for several decades was the world's fastest-growing city. As the site of the Chicago Portage, the city became an important transportation hub between the eastern and western United States.
Chicago's first railway and Chicago Union Railroad, the Illi
Superchunk
Superchunk is an American indie rock band from Chapel Hill, North Carolina, United States, consisting of singer-guitarist Mac McCaughan, guitarist Jim Wilbur, bassist Laura Ballance, drummer Jon Wurster. Formed in 1989, they were one of the bands that helped define the Chapel Hill music scene of the 1990s, their energetic, high-velocity style and do-it-yourself ethics were influenced by punk rock. Members McCaughan and Ballance founded the successful independent record label Merge Records in 1989 as a way to release music from Superchunk and music created by friends, which has expanded to include artists from around the world and records reaching the top of the Billboard music charts. Superchunk released a string of full-length compilations throughout the 1990s. After releasing their eighth studio album in 2001, the band went into a period of reduced activity. In 2010, the band released a new studio album, Majesty Shredding, followed it up in 2013 with their tenth studio album, I Hate Music.
Their eleventh studio album, What a Time to Be Alive, was released on February 16, 2018. Superchunk was formed in 1989 in the town of Chapel Hill, North Carolina, by Mac McCaughan, Laura Ballance, Chuck Garrison, Jack McCook; the band went by the name Chunk, they released their first single as Chunk. After adding the "Super" prefix to their name to avoid confusion with a named jazz band from New York, the first official Superchunk single, "Slack Motherfucker", followed in 1989 on Merge Records, founded by McCaughan and Ballance. Both releases were well received, Superchunk released its debut eponymous album in 1990 on Matador Records to more critical acclaim. McCook decided to leave the group after the release of the first album and Connecticut-born James Wilbur was recruited to take over guitar duties. In spite of the ensuing bidding war that emerged between major record labels in the aftermath of the album's release, Superchunk decided to stay independent, sticking with Matador Records for their second, just as critically lauded LP, No Pocky for Kitty, recorded in Chicago by Steve Albini in 1991.
Garrison left the band a few weeks before the record's release, Jon Wurster was brought on board on drums. The band put out one more record for Matador, On the Mouth in 1993. After Matador entered into a distribution agreement with major label Atlantic Records, Superchunk decided to leave the label though the Atlantic logo did not have to be displayed on their releases. Instead, the band opted to release their following records through Merge; the next album, brought further critical acclaim for the band in 1994. A second singles compilation came out in the summer of 1995, it was titled Incidental Music 1991–95 and contained most of their hard-to-find tracks released between 1991 and 1995. Boston was the setting for Superchunk's next album session. 1995's Here's Where the Strings Come In was recorded at the city's Fort Apache Studios and slated for a fall release. The band toured hard for Strings all over the world as well as appearing on the Lollapalooza tour, scoring a minor hit with the "Hyper Enough" single and video.
After a brief hiatus and another Australian tour, the band released a limited-edition EP called The Laughter Guns. They started writing for what would become Indoor Living. Recording started in Bloomington, Indiana's Echo Park Studios with Chapel Hillian John Plymale co-producing with the band. Superchunk stretched out a bit on Indoor Living, expanding their sound by adding some new instruments to the mix: piano, organ and more; the album was at the same time their most accessible to date. Superchunk delivered Come Pick Me Up, their seventh full-length studio release, in 1999, recording in Chicago at Electrical Audio with producer Jim O'Rourke. Superchunk continued the expansion and growth of their sound that started with Foolish, pushing themselves to new heights of creativity. In 2001, the band released Here's to Shutting Up. In 2002, Superchunk began a series of limited-edition live albums known as The Clambakes series. Clambakes Volume 1 is an acoustic live set recorded in various record stores across the US in support of Here's to Shutting Up and Clambakes Volume 2 is a film score Superchunk was commissioned to write.
It was recorded live at the Castro Theater in San Francisco on April 23, 2002, during the San Francisco International Film Festival at a showing of the 1926 Teinosuke Kinugasa film A Page of Madness. Cup of Sand, released in 2003, is the third singles album compiling all singles and rare 1995–2002 tracks. Clambakes Series Volume 3 was released in 2004, documenting the live set Superchunk played at the Cat's Cradle in Carrboro, North Carolina, on July 23, 1999, for the Merge Records tenth anniversary celebration. In 2006, Superchunk headlined a concert held in celebration of the tenth anniversary of The Daily Show, a Comedy Central program, at Irving Plaza in New York; the show featured a performance from Clem Snide as well as short stand-up comedy sets from various Daily Show correspondents. In 2007, Superchunk contributed a hidden track to the Aqua Teen Hunger Force soundtrack, "Misfits and Mistakes", with singing from Aqua Teen Hunger Force character Meatwad. On June 5, 2007, Superchunk released the Misfits and Mistakes 7-inch, which has the Superchunk solo version on the A-side, the Meatwad version on the B-side.
The band played two shows, the Eff Cancer Benefit in Chicago on June 20, 2007, headlined the inaugural free Pool Parties show at McCa
DePaul University
DePaul University is a private, Roman Catholic university in Chicago, Illinois. Founded by the Vincentians in 1898, the university takes its name from the 17th-century French priest Saint Vincent de Paul. In 1998, it became the largest Catholic university by enrollment in the United States. In 2018 it was still considered nation's largest Catholic university. Following in the footsteps of its founders, DePaul places special emphasis on recruiting first-generation students and others from disadvantaged backgrounds. DePaul's two campuses are located in the Loop; the Lincoln Park Campus is home to the Colleges of Liberal Arts and Social Sciences and Health, Education. It houses the School of Music, the Theatre School, the John T. Richardson Library; the Loop campus houses the Colleges of Communication and Digital Media, Law, as well as the School of Public Service and the School for New Learning. It is home to the Kellstadt Graduate School of Business, part of the nationally ranked Driehaus College of Business, the tenth oldest business school in the nation.
The Loop campus houses the Loop Library, the Rinn Law Library, the Barnes and Noble-based Student Center. The university enrolls around 16,000 undergraduate and about 7,600 graduate/law students, making DePaul the 13th largest private university by enrollment in the United States, the largest private university in Illinois. According to the Division of Student Affairs website, about 90% of DePaul's students commute or live off campus; the student body represents a wide array of religious and geographic backgrounds, including over 60 foreign countries. DePaul's intercollegiate athletic teams, known as the DePaul Blue Demons, compete in the Big East Conference. DePaul's men's basketball team has made 18 NCAA tournament appearances and appeared in two Final Fours. Named St. Vincent's College, DePaul University was founded in 1898 by the Congregation of the Mission priests and brothers, known as the Vincentians. Followers of 17th-century French priest Saint Vincent de Paul, they founded the university to serve Roman Catholic children of immigrants.
Student enrollment grew from 70 in 1898 to 200 in 1903 in what is now the Lincoln Park neighborhood of Chicago. In that year, James Quigley, Archbishop of Chicago, announced plans to create a preparatory seminary, now Archbishop Quigley Preparatory Seminary, for the archdiocese and allow the Jesuit Saint Ignatius College, now Loyola University Chicago to move its collegiate programs to the north side, threatening St. Vincent College's survival. In response, the Vincentians re-chartered in 1907 as DePaul University, expressly offering all of its courses of study to men and women of any religious background. DePaul began admitting women in 1911 and awarded degrees to its first female graduates in 1912, it was one of the first Catholic universities to admit female students in a co-educational setting. DePaul established the School of Music and the College of Commerce, the latter becoming one of the oldest business schools in the nation. In 1914, the College began offering courses in Chicago's Loop, the precursor of DePaul's second primary campus.
In 1915, the Illinois College of Law completed its affiliation with the university and became the DePaul University College of Law. Enrollment totaled more than 1,100. Although finances were rocky, the university continued to build in the 1920s. In 1926, the university was first accredited by the North Central Association of Colleges and Universities; when DePaul's first sports teams were formed in the early 1900s, the monogram "D" was selected for the uniforms. From this originated the nickname "D-men" which evolved into "Demons"; the color blue, which signifies loyalty and was chosen in 1901 by a vote of the student body, was added to the name to create the "Blue Demons". By 1930 more than 5,000 students were enrolled in eight schools on two campuses; the Great Depression led to fluctuations in enrollment and tuition as well as cutbacks, including elimination of the football team in 1939. In 1938, the Department of Elementary Education was established the only one in the Midwest and one of six in the United States.
With the entry of the United States into World War I in 1918, DePaul formed a unit of the US Army Reserve Officer Training Corps and converted its College Theatre into Army barracks. DePaul mobilized for World War II, offering its facilities for war training and free courses to train people for industry work; the G. I. Bill, which paid the tuition of veterans enrolled in college, turned the financial tide for DePaul. Enrollment in 1945 skyrocketed to 8,857 students, twice as many as the previous year, totaled more than 11,000 in 1948. Although a consulting firm recommended relocating from its deteriorating Lincoln Park neighborhood to the suburbs, trustees voted to remain and support revitalization of the neighborhood. In 1942, DePaul named Ray Meyer as head basketball coach. Meyer coached for DePaul until he retired in 1984, leading the 1945 team to the championship of the National Invitation Tournament and earning numerous honors, including election to the Naismith Memorial Basketball Hall of Fame in 1979, the fourth active coach to be so honored.
The university would go on to honor Ray Meyer by naming their fitness center after him. In 1954, DePaul adopted its current armorial seal with coat of arms and motto: "Viam sapientiae monstrabo tibi". In 1955, the Frank J. Lewis Foundation donated the 18-story Kimball Building, rechristened the Lewis Center, at 25 East Jackson Boulevard, to the university; the building, still used today, was the hub of the Loop campus until 1993, when the DePaul Center opened at 1 East Jackson Boulevard (at State Str
Record producer
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
