Sir Adrian Cedric Boult, CH was an English conductor. Brought up in a prosperous mercantile family, he followed musical studies in England and at Leipzig, with early conducting work in London for the Royal Opera House and Sergei Diaghilev's ballet company, his first prominent post was conductor of the City of Birmingham Orchestra in 1924. When the British Broadcasting Corporation appointed him director of music in 1930, he established the BBC Symphony Orchestra and became its chief conductor; the orchestra set standards of excellence that were rivalled in Britain only by the London Philharmonic Orchestra, founded two years later. Forced to leave the BBC in 1950 on reaching retirement age, Boult took on the chief conductorship of the LPO; the orchestra had declined from its peak of the 1930s, but under his guidance its fortunes were revived. He retired as its chief conductor in 1957, accepted the post of president. Although in the latter part of his career he worked with other orchestras, including the London Symphony Orchestra, the Philharmonia Orchestra, the Royal Philharmonic Orchestra, his former orchestra, the BBC Symphony, it was the LPO with which he was associated, conducting it in concerts and recordings until 1978, in what was called his "Indian Summer".
Boult was known for his championing of British music. He gave the first performance of his friend Gustav Holst's The Planets, introduced new works by, among others, Bliss, Delius, Tippett, Vaughan Williams and Walton. In his BBC years he introduced works by foreign composers, including Bartók, Stravinsky and Webern. A modest man who disliked the limelight, Boult felt as comfortable in the recording studio as on the concert platform, making recordings throughout his career. From the mid-1960s until his retirement after his last sessions in 1978 he recorded extensively for EMI; as well as a series of recordings that have remained in the catalogue for three or four decades, Boult's legacy includes his influence on prominent conductors of generations, including Colin Davis and Vernon Handley. Boult was born in Chester, Cheshire, in North West England, the second child and only son of Cedric Randal Boult, his wife Katharine Florence née Barman. Cedric Boult was a Justice of the Peace and a successful businessman connected with Liverpool shipping and the oil trade.
When Boult was two years old the family moved to Blundellsands, where he was given a musical upbringing. From an early age he attended concerts in Liverpool, conducted by Hans Richter, he was educated at Westminster School in London, where in his free time he attended concerts conducted by, among others, Sir Henry Wood, Claude Debussy, Arthur Nikisch, Fritz Steinbach, Richard Strauss. His biographer, Michael Kennedy, writes, "Few schoolboys can have attended as many performances by great artists as Boult heard between 1901 and October 1908, when he went up to Christ Church, Oxford." While still a schoolboy, Boult met the composer Edward Elgar through Frank Schuster, a family friend. At Christ Church college at Oxford, where he was an undergraduate from 1908 to 1912, Boult studied history but switched to music, in which his mentor was the musical academic and conductor Hugh Allen. Among the musical friends he made at Oxford was Ralph Vaughan Williams, who became a lifelong friend. In 1909 Boult presented a paper to an Oxford musical group, the Oriana Society, entitled Some Notes on Performance, in which he laid down three precepts for an ideal performance: observance of the composer's wishes, clarity through emphasis on balance and structure, the effect of music made without apparent effort.
These guiding principles lasted throughout his career. He was president of the University Musical Club for the year 1910, but his interests were not wholly confined to music: he was a keen rower, stroking his college boat at Henley, all his life he remained a member of the Leander Club. Boult graduated with a basic "pass" degree, he continued his musical education at the Leipzig Conservatory in 1912–13. The musician Hans Sitt was in charge of the conducting class, but Boult's main influence was Nikisch, he recalled, "I went to all his rehearsals and concerts in the Gewandhaus.... He had an astonishing baton technique and great command of the orchestra: everything was indicated with absolute precision, but there were others who were greater interpreters." Boult admired Nikisch "not so much for his musicianship but his amazing power of saying what he wanted with a bit of wood. He spoke little"; this style was in accord with Boult's opinion that "all conductors should be clad in an invisible Tarnhelm which makes it possible to enjoy the music without seeing any of the antics that go on".
He sang at the Leeds Festival of 1913, where he watched Nikisch conduct. There he made the acquaintance of George Butterworth, other British composers; that year Boult joined the musical staff of the Royal Opera House, Covent Garden, where his most important work was to assist the first British production of Wagner's Parsifal, do "odd jobs with lighting cues" while Nikisch conducted the Ring cycle. Boult made his début as a professional conductor on 27 February 1914 at West Kirby Public Hall, with members of the Liverpool Philharmonic Orchestra, his programme comprised orchestral works by Bach, Mozart, Schumann and Hugo Wolf, interspersed with arias by Mozart and Verdi sung by Agnes Nicholls. Boult was declared medically unfit for active service during the First World War, until 1916 he served as an orderly officer in a
A musician is a person who plays a musical instrument or is musically talented. Anyone who composes, conducts, or performs music is referred to as a musician. A musician who plays a musical instrument is known as an instrumentalist. Musicians can specialize in any musical style, some musicians play in a variety of different styles depending on cultures and background. Examples of a musician's possible skills include performing, singing, producing, composing and the orchestration of music. In the Middle Ages, instrumental musicians performed with soft ensembles inside and loud instruments outdoors. Many European musicians of this time catered to the Roman Catholic Church, they provided arrangements structured around Gregorian chant structure and Masses from church texts. Notable musicians Phillipe de Vitry Guillaume Dufay Guillaume de Machaut Hildegard of Bingen John Jenkins Beatritz de Dia Tyagaraja Purandara Dasa Bhimsen Joshi Bismillah Khan A. R. RAHMAN Renaissance musicians produced music that could be played during masses in churches and important chapels.
Vocal pieces were in Latin—the language of church texts of the time—and were Church-polyphonic or "made up of several simultaneous melodies." By the end of the 16th century, patronage split among many areas: the Catholic Church, Protestant churches, royal courts, wealthy amateurs, music printing—all provided income sources for composers. Notable musicians Giovanni Palestrina Giovanni Gabrieli Thomas Tallis Claudio Monteverdi Leonardo da Vinci The Baroque period introduced heavy use of counterpoint and basso continuo characteristics. Vocal and instrumental "color" became more important compared with the Renaissance style of music, emphasized much of the volume and pace of each piece. Notable musicians George Frideric Handel Johann Sebastian Bach Antonio Vivaldi Classical music was created by musicians who lived during a time of a rising middle class. Many middle-class inhabitants of France at the time lived under long-time absolute monarchies; because of this, much of the music was performed in environments that were more constrained compared with the flourishing times of the Renaissance and Baroque eras.
Notable musicians Wolfgang Amadeus Mozart Joseph Haydn Ludwig Van Beethoven The foundation of Romantic period music coincides with what is called the age of revolutions, an age of upheavals in political, economic and military traditions. This age included the initial transformations of the Industrial Revolution. A revolutionary energy was at the core of Romanticism, which quite consciously set out to transform not only the theory and practice of poetry and art, but the common perception of the world; some major Romantic Period precepts survive, still affect modern culture. Notable musicians Ludwig van Beethoven Frédéric Chopin Franz Schubert Niccolò Paganini Franz Liszt Charles-Valentin Alkan Richard Wagner Pyotr Ilyich Tchaikovsky Johannes Brahms Johann Strauss II The world transitioned from 19th-century Romanticism to 20th century Modernism, bringing major musical changes. In 20th-century music and musicians rejected the emotion-dominated Romantic period, strove to represent the world the way they perceived it.
Musicians wrote to be"... objective. While past eras concentrated on spirituality, this new period placed emphasis on physicality and things that were concrete."The advent of audio recording and mass media in the 20th century caused a boom of all kinds of music—pop, dance, folk and all forms of classical music. Musicians can experience a number of health problems related to the practice and performance of music; these can include tinnitus and noise-induced hearing loss, which occurs and over a long period of time, most musicians do not seek help until they start to experience secondary symptoms such as tinnitus, distortion of sounds and hyperacusis. In addition, musicians are at increased risk for both musculoskeletal and vocal health problems when producing high sound levels on musical instruments. Increased biomechanical demands, whether at the hands, embouchure, or vocal cords, elevates the risks for occupational health problems like tendonitis, carpal tunnel, rupture of facial muscles, vocal cord malfunction.
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Information is the resolution of uncertainty. Information is associated with data and knowledge, as data is meaningful information and represents the values attributed to parameters, knowledge signifies understanding of an abstract or concrete concept; the existence of information can be uncoupled from an observer, which refers to that which accesses information to discern that which it specifies. In the case of knowledge, the information itself requires a cognitive observer to be accessed. In terms of communication, information is expressed either as the content of a message or through direct or indirect observation. That, perceived can be construed as a message in its own right, in that sense, information is always conveyed as the content of a message. Information can be encoded into various forms for interpretation, it can be encrypted for safe storage and communication. Information reduces uncertainty; the uncertainty of an event is measured by its probability of occurrence and is inversely proportional to that.
The more uncertain an event, the more information is required to resolve uncertainty of that event. The bit is a typical unit of information. For example, the information encoded in one "fair" coin flip is log2 = 1 bit, in two fair coin flips is log2 = 2 bits; the concept of information has different meanings in different contexts. Thus the concept becomes related to notions of constraint, control, form, knowledge, understanding, mental stimuli, perception and entropy; the English word derives from the Latin stem of the nominative: this noun derives from the verb informare in the sense of "to give form to the mind", "to discipline", "instruct", "teach". Inform itself comes from the Latin verb informare, which means to form an idea of. Furthermore, Latin itself contained the word informatio meaning concept or idea, but the extent to which this may have influenced the development of the word information in English is not clear; the ancient Greek word for form was μορφή and εἶδος "kind, shape, set", the latter word was famously used in a technical philosophical sense by Plato to denote the ideal identity or essence of something.'Eidos' can be associated with thought, proposition, or concept.
The ancient Greek word for information is πληροφορία, which transliterates from πλήρης "fully" and φέρω frequentative of to carry through. It means "bears fully" or "conveys fully". In modern Greek the word Πληροφορία is still in daily use and has the same meaning as the word information in English. In addition to its primary meaning, the word Πληροφορία as a symbol has deep roots in Aristotle's semiotic triangle. In this regard it can be interpreted to communicate information to the one decoding that specific type of sign; this is something that occurs with the etymology of many words in ancient and modern Greek where there is a strong denotative relationship between the signifier, e.g. the word symbol that conveys a specific encoded interpretation, the signified, e.g. a concept whose meaning the interpreter attempts to decode. In English, “information” is an uncountable mass noun. In information theory, information is taken as an ordered sequence of symbols from an alphabet, say an input alphabet χ, an output alphabet ϒ.
Information processing consists of an input-output function that maps any input sequence from χ into an output sequence from ϒ. The mapping may be deterministic, it may be memoryless. Information can be viewed as a type of input to an organism or system. Inputs are of two kinds. In his book Sensory Ecology Dusenbery called these causal inputs. Other inputs are important only because they are associated with causal inputs and can be used to predict the occurrence of a causal input at a time; some information is important because of association with other information but there must be a connection to a causal input. In practice, information is carried by weak stimuli that must be detected by specialized sensory systems and amplified by energy inputs before they can be functional to the organism or system. For example, light is a causal input to plants but for animals it only provides information; the colored light reflected from a flower is too weak to do much photosynthetic work but the visual system of the bee detects it and the bee's nervous system uses the information to guide the bee to the flower, where the bee finds nectar or pollen, which are causal inputs, serving a nutritional function.
The cognitive scientist and applied mathematician Ronaldo Vigo argues that information is a concept that requires at least two related entities to make quantitative sense. These are, any dimensionally defined category of objects S, any of its subsets R. R, in essence, is a representation of S, or, in other words, conveys representational information about S. Vigo defines the amount of information that R conveys a
Apple Inc. is an American multinational technology company headquartered in Cupertino, that designs and sells consumer electronics, computer software, online services. It is considered one of the Big Four of technology along with Amazon and Facebook; the company's hardware products include the iPhone smartphone, the iPad tablet computer, the Mac personal computer, the iPod portable media player, the Apple Watch smartwatch, the Apple TV digital media player, the HomePod smart speaker. Apple's software includes the macOS and iOS operating systems, the iTunes media player, the Safari web browser, the iLife and iWork creativity and productivity suites, as well as professional applications like Final Cut Pro, Logic Pro, Xcode, its online services include the iTunes Store, the iOS App Store, Mac App Store, Apple Music, Apple TV+, iMessage, iCloud. Other services include Apple Store, Genius Bar, AppleCare, Apple Pay, Apple Pay Cash, Apple Card. Apple was founded by Steve Jobs, Steve Wozniak, Ronald Wayne in April 1976 to develop and sell Wozniak's Apple I personal computer, though Wayne sold his share back within 12 days.
It was incorporated as Apple Computer, Inc. in January 1977, sales of its computers, including the Apple II, grew quickly. Within a few years and Wozniak had hired a staff of computer designers and had a production line. Apple went public in 1980 to instant financial success. Over the next few years, Apple shipped new computers featuring innovative graphical user interfaces, such as the original Macintosh in 1984, Apple's marketing advertisements for its products received widespread critical acclaim. However, the high price of its products and limited application library caused problems, as did power struggles between executives. In 1985, Wozniak departed Apple amicably and remained an honorary employee, while Jobs and others resigned to found NeXT; as the market for personal computers expanded and evolved through the 1990s, Apple lost market share to the lower-priced duopoly of Microsoft Windows on Intel PC clones. The board recruited CEO Gil Amelio to what would be a 500-day charge for him to rehabilitate the financially troubled company—reshaping it with layoffs, executive restructuring, product focus.
In 1997, he led Apple to buy NeXT, solving the failed operating system strategy and bringing Jobs back. Jobs pensively regained leadership status, becoming CEO in 2000. Apple swiftly returned to profitability under the revitalizing Think different campaign, as he rebuilt Apple's status by launching the iMac in 1998, opening the retail chain of Apple Stores in 2001, acquiring numerous companies to broaden the software portfolio. In January 2007, Jobs renamed the company Apple Inc. reflecting its shifted focus toward consumer electronics, launched the iPhone to great critical acclaim and financial success. In August 2011, Jobs resigned as CEO due to health complications, Tim Cook became the new CEO. Two months Jobs died, marking the end of an era for the company. Apple is well known for its size and revenues, its worldwide annual revenue totaled $265 billion for the 2018 fiscal year. Apple is the world's largest information technology company by revenue and the world's third-largest mobile phone manufacturer after Samsung and Huawei.
In August 2018, Apple became the first public U. S. company to be valued at over $1 trillion. The company employs 123,000 full-time employees and maintains 504 retail stores in 24 countries as of 2018, it operates the iTunes Store, the world's largest music retailer. As of January 2018, more than 1.3 billion Apple products are in use worldwide. The company has a high level of brand loyalty and is ranked as the world's most valuable brand. However, Apple receives significant criticism regarding the labor practices of its contractors, its environmental practices and unethical business practices, including anti-competitive behavior, as well as the origins of source materials. Apple Computer Company was founded on April 1, 1976, by Steve Jobs, Steve Wozniak, Ronald Wayne; the company's first product is the Apple I, a computer designed and hand-built by Wozniak, first shown to the public at the Homebrew Computer Club. Apple I was sold as a motherboard —a base kit concept which would now not be marketed as a complete personal computer.
The Apple I went on sale in July 1976 and was market-priced at $666.66. Apple Computer, Inc. was incorporated on January 3, 1977, without Wayne, who had left and sold his share of the company back to Jobs and Wozniak for $800 only twelve days after having co-founded Apple. Multimillionaire Mike Markkula provided essential business expertise and funding of $250,000 during the incorporation of Apple. During the first five years of operations revenues grew exponentially, doubling about every four months. Between September 1977 and September 1980, yearly sales grew from $775,000 to $118 million, an average annual growth rate of 533%; the Apple II invented by Wozniak, was introduced on April 16, 1977, at the first West Coast Computer Faire. It differs from its major rivals, the TRS-80 and Commodore PET, because of its character cell-based color graphics and open architecture. While early Apple II models use ordinary cassette tapes as storage devices, they were superseded by the introduction of a 5 1⁄4-inch floppy disk drive and interface called the Disk II.
The Apple II was chosen to be the desktop platform for the first "killer app" of the business world: VisiCalc, a spreadsheet program. VisiCalc created a business market for the Apple II and gave home users an additional reason to buy an Apple II: compatibility with the office. Before VisiCalc, Apple had been a distant third place c
A phonograph record is an analog sound storage medium in the form of a flat disc with an inscribed, modulated spiral groove. The groove starts near the periphery and ends near the center of the disc. At first, the discs were made from shellac. In recent decades, records have sometimes been called vinyl records, or vinyl; the phonograph disc record was the primary medium used for music reproduction throughout the 20th century. It had co-existed with the phonograph cylinder from the late 1880s and had superseded it by around 1912. Records retained the largest market share when new formats such as the compact cassette were mass-marketed. By the 1980s, digital media, in the form of the compact disc, had gained a larger market share, the vinyl record left the mainstream in 1991. Since the 1990s, records continue to be manufactured and sold on a smaller scale, are used by disc jockeys and released by artists in dance music genres, listened to by a growing niche market of audiophiles; the phonograph record has made a notable niche resurgence in the early 21st century – 9.2 million records were sold in the U.
S. in 2014, a 260% increase since 2009. In the UK sales have increased five-fold from 2009 to 2014; as of 2017, 48 record pressing facilities remain worldwide, 18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new and modern record-pressing machines. Only two producers of lacquers remain: Apollo Masters in California, MDC in Japan. Phonograph records are described by their diameter in inches, the rotational speed in revolutions per minute at which they are played, their time capacity, determined by their diameter and speed. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to high heat, carelessly handled or broken, a vinyl record has the potential to last for centuries; the large cover are valued by collectors and artists for the space given for visual expression when it comes to the long play vinyl LP. The phonautograph, patented by Léon Scott in 1857, used a vibrating diaphragm and stylus to graphically record sound waves as tracings on sheets of paper, purely for visual analysis and without any intent of playing them back.
In the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008. Along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph. Unlike the phonautograph, it could both record and reproduce sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a "telephone repeater" analogous to the telegraph repeater he had been working on. Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he reproduced sound before his first experiment in which he used tinfoil as a recording medium several months later.
The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately; the Scientific American article that introduced the tinfoil phonograph to the public mentioned Marey and Barlow as well as Scott as creators of devices for recording but not reproducing sound. Edison invented variations of the phonograph that used tape and disc formats. Numerous applications for the phonograph were envisioned, but although it enjoyed a brief vogue as a startling novelty at public demonstrations, the tinfoil phonograph proved too crude to be put to any practical use. A decade Edison developed a improved phonograph that used a hollow wax cylinder instead of a foil sheet; this proved to be both a better-sounding and far more useful and durable device. The wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Lateral-cut disc records were developed in the United States by Emile Berliner, who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and American Graphophone's wax cylinder "graphophone".
Berliner's earliest discs, first marketed in 1889, only in Europe, were 12.5 cm in diameter, were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the Berliner Gramophone trademark, Berliner started marketing records of 7 inches diameter with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate Eldridge R. Johnson improved it. Abandoning Berliner's "Gramophone" tradem
The LP is an analog sound storage medium, a vinyl record format characterized by a speed of 33 1⁄3 rpm, a 12- or 10-inch diameter, use of the "microgroove" groove specification. Introduced by Columbia in 1948, it was soon adopted as a new standard by the entire record industry. Apart from a few minor refinements and the important addition of stereophonic sound, it has remained the standard format for vinyl albums. At the time the LP was introduced, nearly all phonograph records for home use were made of an abrasive shellac compound, employed a much larger groove, played at 78 revolutions per minute, limiting the playing time of a 12-inch diameter record to less than five minutes per side; the new product was a 12- or 10-inch fine-grooved disc made of PVC and played with a smaller-tipped "microgroove" stylus at a speed of 33 1⁄3 rpm. Each side of a 12-inch LP could play for about 22 minutes. Only the microgroove standard was new, as both vinyl and the 33 1⁄3 rpm speed had been used for special purposes for many years, as well as in one unsuccessful earlier attempt to introduce a long-playing record for home use by RCA Victor.
Although the LP was suited to classical music because of its extended continuous playing time, it allowed a collection of ten or more pop music recordings to be put on a single disc. Such collections, as well as longer classical music broken up into several parts, had been sold as sets of 78 rpm records in a specially imprinted "record album" consisting of individual record sleeves bound together in book form; the use of the word "album" persisted for the one-disc LP equivalent. The prototype of the LP was the soundtrack disc used by the Vitaphone motion picture sound system, developed by Western Electric and introduced in 1926. For soundtrack purposes, the less than five minutes of playing time of each side of a conventional 12-inch 78 rpm disc was not acceptable; the sound had to play continuously for at least 11 minutes, long enough to accompany a full 1,000-foot reel of 35 mm film projected at 24 frames per second. The disc diameter was increased to 16 inches and the speed was reduced to 33 1⁄3 revolutions per minute.
Unlike their smaller LP descendants, they were made with the same large "standard groove" used by 78s. Unlike conventional records, the groove started at the inside of the recorded area near the label and proceeded outward toward the edge. Like 78s, early soundtrack discs were pressed in an abrasive shellac compound and played with a single-use steel needle held in a massive electromagnetic pickup with a tracking force of five ounces. By mid-1931, all motion picture studios were recording on optical soundtracks, but sets of soundtrack discs, mastered by dubbing from the optical tracks and scaled down to 12 inches to cut costs, were made as late as 1936 for distribution to theaters still equipped with disc-only sound projectors. Syndicated radio programming was distributed on 78 rpm discs beginning in 1928; the desirability of longer continuous playing time soon led to the adoption of the Vitaphone soundtrack disc format. 16-inch 33 1⁄3 rpm discs playing about 15 minutes per side were used for most of these "electrical transcriptions" beginning about 1930.
Transcriptions were variously recorded inside out with an outside start. Longer programs, which required several disc sides, pioneered the system of recording odd-numbered sides inside-out and even-numbered sides outside-in so that the sound quality would match from the end of one side to the start of the next. Although a pair of turntables was used, to avoid any pauses for disc-flipping, the sides had to be pressed in a hybrid of manual and automatic sequencing, arranged in such a manner that no disc being played had to be turned over to play the next side in the sequence. Instead of a three-disc set having the 1–2, 3–4 and 5–6 manual sequence, or the 1–6, 2–5 and 3–4 automatic sequence for use with a drop-type mechanical record changer, broadcast sequence would couple the sides as 1–4, 2–5 and 3–6; some transcriptions were recorded with a vertically modulated "dale" groove. This was found to allow deeper bass and an extension of the high-end frequency response. Neither of these was a great advantage in practice because of the limitations of AM broadcasting.
Today we can enjoy the benefits of those higher-fidelity recordings if the original radio audiences could not. Transcription discs were pressed only in shellac, but by 1932 pressings in RCA Victor's vinyl-based "Victrolac" were appearing. Other plastics were sometimes used. By the late 1930s, vinyl was standard for nearly all kinds of pressed discs except ordinary commercial 78s, which continued to be made of shellac. Beginning in the mid-1930s, one-off 16-inch 33 1⁄3 rpm lacquer discs were used by radio networks to archive recordings of their live broadcasts, by local stations to delay the broadcast of network programming or to prerecord their own productions. In the late 1940s, magnetic tape recorders were adopted by the networks to pre-record shows or repeat them for airing in different time zones, but 16-inch vinyl pressings continued to be used into the early 1960s for non-network distribution of prerecorded programming. Use of the LP's microgroove standard began in the late 1950s, in the 1960s the discs were reduced to 12 inches, becoming physically indistinguishable from ordinary LPs.
Unless the quantity required was small, pressed discs were a more economica
Classical music is art music produced or rooted in the traditions of Western culture, including both liturgical and secular music. While a more precise term is used to refer to the period from 1750 to 1820, this article is about the broad span of time from before the 6th century AD to the present day, which includes the Classical period and various other periods; the central norms of this tradition became codified between 1550 and 1900, known as the common-practice period. The major time divisions of Western art music are as follows: the ancient music period, before 500 AD the early music period, which includes the Medieval including the ars antiqua the ars nova the ars subtilior the Renaissance eras. Baroque the galant music period the common-practice period, which includes Baroque the galant music period Classical Romantic eras the 20th and 21st centuries which includes: the modern that overlaps from the late-19th century, impressionism that overlaps from the late-19th century neoclassicism, predominantly in the inter-war period the high modern the postmodern eras the experimental contemporary European art music is distinguished from many other non-European classical and some popular musical forms by its system of staff notation, in use since about the 11th century.
Catholic monks developed the first forms of modern European musical notation in order to standardize liturgy throughout the worldwide Church. Western staff notation is used by composers to indicate to the performer the pitches, tempo and rhythms for a piece of music; this can leave less room for practices such as improvisation and ad libitum ornamentation, which are heard in non-European art music and in popular-music styles such as jazz and blues. Another difference is that whereas most popular styles adopt the song form or a derivation of this form, classical music has been noted for its development of sophisticated forms of instrumental music such as the symphony, fugue and mixed vocal and instrumental styles such as opera and mass; the term "classical music" did not appear until the early 19th century, in an attempt to distinctly canonize the period from Johann Sebastian Bach to Ludwig van Beethoven as a golden age. The earliest reference to "classical music" recorded by the Oxford English Dictionary is from about 1829.
Given the wide range of styles in European classical music, from Medieval plainchant sung by monks to Classical and Romantic symphonies for orchestra from the 1700s and 1800s to avant-garde atonal compositions for solo piano from the 1900s, it is difficult to list characteristics that can be attributed to all works of that type. However, there are characteristics that classical music contains that few or no other genres of music contain, such as the use of music notation and the performance of complex forms of solo instrumental works. Furthermore, while the symphony did not exist prior to the late 18th century, the symphony ensemble—and the works written for it—have become a defining feature of classical music; the key characteristic of European classical music that distinguishes it from popular music and folk music is that the repertoire tends to be written down in musical notation, creating a musical part or score. This score determines details of rhythm, and, where two or more musicians are involved, how the various parts are coordinated.
The written quality of the music has enabled a high level of complexity within them: fugues, for instance, achieve a remarkable marriage of boldly distinctive melodic lines weaving in counterpoint yet creating a coherent harmonic logic that would be difficult to achieve in the heat of live improvisation. The use of written notation preserves a record of the works and enables Classical musicians to perform music from many centuries ago. Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced; that said, the score does allow the interpreter to make choices on. For example, if the tempo is written with an Italian instruction, it is not known how fast the piece should be played; as well, in the Baroque era, many works that were designed for basso continuo accompaniment do not specify which instruments should play the accompaniment or how the chordal instrument should play the chords, which are not notated in the part.
The performer and the conductor have a range of options for musical expression and interpretation of a scored piece, including the phrasing of melodies, the time taken during fermatas or pauses, the use of effects such as vibrato or glissando. Although Classical music in the 2000s has lost most of its tradition for musical improvisation, from the Baroque era to the Romantic era, there are examples of performers who could improvise in the style of their era. In the Baroque era, organ performers would improvise preludes, keyboard performers playing harpsichord would improvise chords from the figured bass symbols beneath the bass notes of the basso continuo part and b