A libretto is the text used in, or intended for, an extended musical work such as an opera, masque, cantata or musical. The term libretto is sometimes used to refer to the text of major liturgical works, such as the Mass and sacred cantata, or the story line of a ballet. Libretto, from Italian, is the diminutive of the word libro. Sometimes other language equivalents are used for libretti in that language, livret for French works and Textbuch for German. A libretto is distinct from a synopsis or scenario of the plot, in that the libretto contains all the words and stage directions, while a synopsis summarizes the plot; some ballet historians use the word libretto to refer to the 15–40 page books which were on sale to 19th century ballet audiences in Paris and contained a detailed description of the ballet's story, scene by scene. The relationship of the librettist to the composer in the creation of a musical work has varied over the centuries, as have the sources and the writing techniques employed.
In the context of a modern English language musical theatre piece, the libretto is referred to as the book of the work, though this usage excludes sung lyrics. Libretti for operas and cantatas in the 17th and 18th centuries were written by someone other than the composer a well-known poet. Pietro Trapassi, known asMetastasio was one of the most regarded librettists in Europe, his libretti were set many times by many different composers. Another noted, he who wrote the libretti for three of Mozart's greatest operas, for many other composers as well. Eugène Scribe was one of the most prolific librettists of the 19th century, providing the words for works by Meyerbeer, Bellini, Donizetti and Verdi; the French writers' duo Henri Meilhac and Ludovic Halévy wrote a large number of opera and operetta libretti for the likes of Jacques Offenbach, Jules Massenet and Georges Bizet. Arrigo Boito, who wrote libretti for, among others, Giuseppe Verdi and Amilcare Ponchielli composed two operas of his own; the libretto is not always written before the music.
Some composers, such as Mikhail Glinka, Alexander Serov, Rimsky-Korsakov and Mascagni wrote passages of music without text and subsequently had the librettist add words to the vocal melody lines. Some composers wrote their own libretti. Richard Wagner is most famous in this regard, with his transformations of Germanic legends and events into epic subjects for his operas and music dramas. Hector Berlioz, wrote the libretti for two of his best-known works, La Damnation de Faust and Les Troyens. Alban Berg adapted Georg Büchner's play Woyzeck for the libretto of Wozzeck. Sometimes the libretto is written in close collaboration with the composer. In the case of musicals, the music, the lyrics and the "book" may each have their own author. Thus, a musical such as Fiddler on the Roof has a composer, a lyricist and the writer of the "book". In rare cases, the composer writes everything except the dance arrangements – music and libretto, as Lionel Bart did for Oliver!. Other matters in the process of developing a libretto parallel those of spoken dramas for stage or screen.
There are the preliminary steps of selecting or suggesting a subject and developing a sketch of the action in the form of a scenario, as well as revisions that might come about when the work is in production, as with out-of-town tryouts for Broadway musicals, or changes made for a specific local audience. A famous case of the latter is Wagner's 1861 revision of the original 1845 Dresden version of his opera Tannhäuser for Paris; the opera libretto from its inception was written in verse, this continued well into the 19th century, although genres of musical theatre with spoken dialogue have alternated verse in the musical numbers with spoken prose. Since the late 19th century some opera composers have written music to prose or free verse libretti. Much of the recitatives of George Gershwin's opera Porgy and Bess, for instance, are DuBose and Dorothy Heyward's play Porgy set to music as written – in prose – with the lyrics of the arias, duets and choruses written in verse; the libretto of a musical, on the other hand, is always written in prose.
The libretto of a musical, if the musical is adapted from a play, may borrow their source's original dialogue liberally – much as Oklahoma! used dialogue from Lynn Riggs's Green Grow the Lilacs, Carousel used dialogue from Ferenc Molnár's Liliom, My Fair Lady took most of its dialogue word-for-word from George Bernard Shaw's Pygmalion, Man of La Mancha was adapted from the 1959 television play I, Don Quixote, which supplied most of the dialogue, the 1954 musical version of Peter Pan used J. M. Barrie's dialogue; the musical Show Boat, different from the Edna Ferber novel from which it was adapted, uses some of Ferber's original dialogue, notably during the miscegenation scene. And Lionel Bart's Oliver! Uses chunks of dialogue from Charles Dickens's novel Oliver Twist, although it bills itself
"Greensleeves" is a traditional English folk song and tune, over a ground either of the form called a romanesca. The romanesca originated in Spain and is composed of a sequence of four chords with a simple, repeating bass, which provide the groundwork for variations and improvisation. British neurologist Oliver Sacks wrote in Musicophilia that the melody of Greensleeves was found to be one of the most common and problematic earworms. A broadside ballad by this name was registered at the London Stationer's Company in September 1580, by Richard Jones, as "A Newe Northen Dittye of ye Ladye Greene Sleves". Six more ballads followed in less than a year, one on the same day, 3 September 1580 on 15 and 18 September, 14 December, 13 February 1581, August 1581, it appears in the surviving A Handful of Pleasant Delights as A New Courtly Sonnet of the Lady Green Sleeves. To the new tune of Green Sleeves; the tune is found in several late-16th-century and early-17th-century sources, such as Ballet's MS Lute Book and Het Luitboek van Thysius, as well as various manuscripts preserved in the Seeley Historical Library at the University of Cambridge.
There is a persistent belief that Greensleeves was composed by Henry VIII for his lover and future queen consort Anne Boleyn. Boleyn rejected King Henry's attempts to seduce her, this rejection may be referred to in the song when the writer's love "cast me off discourteously". However, the piece is based on an Italian style of composition that did not reach England until after Henry's death, making it more to be Elizabethan in origin. One possible interpretation of the lyrics is that Lady Green Sleeves was a promiscuous young woman and a prostitute. At the time, the word "green" had sexual connotations, most notably in the phrase "a green gown", a reference to the grass stains on a woman's dress from engaging in sexual intercourse outdoors. An alternative explanation is that Lady Green Sleeves was, through her costume, incorrectly assumed to be sexually promiscuous, her "discourteous" rejection of the singer's advances supports the contention. In Nevill Coghill's translation of The Canterbury Tales, he explains that "green was the colour of lightness in love.
This is echoed in'Greensleeves is my delight' and elsewhere." Christmas and New Year texts were associated with the tune from as early as 1686, by the 19th century every printed collection of Christmas carols included some version of words and music together, most of them ending with the refrain "On Christmas Day in the morning". One of the most popular of these is "What Child Is This?", written in 1865 by William Chatterton Dix. In Shakespeare's The Merry Wives of Windsor, the character Mistress Ford refers twice to "the tune of'Greensleeves'", Falstaff exclaims: Let the sky rain potatoes! Let it thunder to the tune of'Greensleeves'! These allusions indicate the song was well known at that time; the tune was the basis for "Home in the Meadow," a recurring song throughout the 1962 epic film How the West Was Won. In some parts of the world, including Australia, Ireland, New Zealand, South Africa, United Kingdom, areas of the United States, the "Greensleeves" tune is popular as a standard chime for ice cream vans.
The tune was used as the slow march of the London Trained Bands in the 17th Centuries. The 7th Battalion London Regiment, which claimed descent from the Yellow Regiment of London Trained Bands, adopted the tune as its quick march during World War I, replacing "Austria", used until then. According to one source, Ralph Vaughan Williams composed a Fantasia on "Greensleeves" based on the "Greensleeves" melody, in 1934. However, according to others, the 1934 Fantasia is an arrangement made by Ralph Greaves from Vaughan Williams' opera Sir John in Love in 1928. There are several other arrangements by various writers, but no version by Vaughan Williams himself. A rendering of the tune, titled the "Lassie Theme" was used extensively in the Lassie television show the ending credits. In Hong Kong Diploma of Secondary Education Examination, Hong Kong Advanced Level Examination and Hong Kong Certificate of Education Examination, This song is used as background music for the candidate to tidy up their answers.
"Greensleeves". Musopen.org. Archived from the original on 13 May 2014. Public domain music recording Free sheet music of Greensleeves from Cantorion.org Transcription of the lyrics from A Handful of Pleasant Delights "Transcription of the sheet music from the version in William Ballet's Lute Book". Archived from the original on 23 February 2012. Retrieved 2010-04-02. Andrew Kuntz, The Fiddler's Companion: see under Greensleeves Greensleeves on TradTune.com
The lyre is a string instrument known for its use in Greek classical antiquity and periods. The lyre is similar in appearance with distinct differences. In organology, lyres are defined as "yoke lutes", being lutes in which the strings are attached to a yoke that lies in the same plane as the sound-table and consists of two arms and a cross-bar. In Ancient Greece, recitations of lyric poetry were accompanied by lyre playing; the earliest picture of a lyre with seven strings appears in the famous sarcophagus of Hagia Triada. The sarcophagus was used during the Mycenaean occupation of Crete; the lyre of classical antiquity was ordinarily played by being strummed with a plectrum, like a guitar or a zither, rather than being plucked with the fingers as with a harp. The fingers of the free hand silenced the unwanted strings in the chord. Instruments called "lyres", were played with a bow in Europe and parts of the Middle East, namely the Byzantine lyra and its descendants; the earliest reference to the word is the Mycenaean Greek ru-ra-ta-e, meaning "lyrists" and written in the Linear B script.
In classical Greek, the word "lyre" could either refer to an amateur instrument, a smaller version of the professional cithara and eastern-Aegean barbiton, or "lyre" can refer to all three instruments as a family. The English word comes via Latin from the Greek; the term is used metaphorically to refer to the work or skill of a poet, as in Shelley's "Make me thy lyre as the forest is" or Byron's "I wish to tune my quivering lyre, / To deeds of fame, notes of fire". A classical lyre has a hollow body or sound-chest, which, in ancient Greek tradition, was made out of turtle shell. Extending from this sound-chest are two raised arms, which are sometimes hollow, are curved both outward and forward, they are connected near the top by a yoke. An additional crossbar, fixed to the sound-chest, makes the bridge, which transmits the vibrations of the strings; the deepest note was that farthest from the player's body. The strings were of gut, they were stretched to a tailpiece below the bridge. There were two ways of tuning: one was to fasten the strings to pegs that might be turned, while the other was to change the placement of the string on the crossbar.
According to ancient Greek mythology, the young god Hermes stole a herd of sacred cows from Apollo. In order not to be followed, he made shoes for the cows. Apollo, following the trails, could not follow. Along the way, Hermes offered all but the entrails to the gods. From the entrails and a tortoise/turtle shell, he created the Lyre. Apollo, figuring out it was Hermes. Apollo was furious. Apollo offered to trade the herd of cattle for the lyre. Hence, the creation of the lyre is attributed to Hermes. Other sources credit it to Apollo himself. Locales in southern Europe, western Asia, or north Africa have been proposed as the historic birthplace of the genus; the instrument is still played in north-eastern parts of Africa. Some of the cultures using and developing the lyre were the Aeolian and Ionian Greek colonies on the coasts of Asia bordering the Lydian empire; some mythic masters like Musaeus, Thamyris were believed to have been born in Thrace, another place of extensive Greek colonization. The name kissar given by the ancient Greeks to Egyptian box instruments reveals the apparent similarities recognized by Greeks themselves.
The cultural peak of ancient Egypt, thus the possible age of the earliest instruments of this type, predates the 5th century classic Greece. This indicates the possibility that the lyre might have existed in one of Greece's neighboring countries, either Thrace, Lydia, or Egypt, was introduced into Greece at pre-classic times; the number of strings on the classical lyre varied at different epochs and in different localities—four and ten having been favorite numbers. They were used without a fingerboard, no Greek description or representation having been met with that can be construed as referring to one. Nor was a bow possible, the flat sound-board being an insuperable impediment; the pick, or plectrum, was in constant use. It was held in the right hand to set the upper strings in vibration; the fingers of the left hand touched the lower strings. There is no evidence as to the stringing of the Greek lyre in the heroic age. Plutarch says that Terpander used but three strings to accompany their recitation.
As the four strings led to seven and eight by doubling the tetrachord, or series of four tones filling in the interval of a perfect fourth, so the trichord is connected with the hexachord or six-stringed lyre depicted on many archaic Greek vases. The accuracy of this representation cannot be insisted upon, the vase painters being little mindful of the complete expression of details, it was their constant practice to represent the strings as being damped by the fingers of the left hand of the player, after having been struck by the
A poet is a person who creates poetry. Poets may be described as such by others. A poet may be a writer of poetry, or may perform their art to an audience; the work of a poet is one of communication, either expressing ideas in a literal sense, such as writing about a specific event or place, or metaphorically. Poets have existed since antiquity, in nearly all languages, have produced works that vary in different cultures and periods. Throughout each civilization and language, poets have used various styles that have changed through the course of literary history, resulting in a history of poets as diverse as the literature they have produced. In Ancient Rome, professional poets were sponsored by patrons, wealthy supporters including nobility and military officials. For instance, Gaius Cilnius Maecenas, friend to Caesar Augustus, was an important patron for the Augustan poets, including both Horace and Virgil. Poets held an important position in pre-Islamic Arabic society with the poet or sha'ir filling the role of historian and propagandist.
Words in praise of the tribe and lampoons denigrating other tribes seem to have been some of the most popular forms of early poetry. The sha'ir represented an individual tribe's prestige and importance in the Arabian peninsula, mock battles in poetry or zajal would stand in lieu of real wars.'Ukaz, a market town not far from Mecca, would play host to a regular poetry festival where the craft of the sha'irs would be exhibited. In the High Middle Ages, troubadors were an important class of poets and came from a variety of backgrounds, they lived and travelled in many different places and were looked upon as actors or musicians as much as poets. They were under patronage, but many travelled extensively; the Renaissance period saw a continuation of patronage of poets by royalty. Many poets, had other sources of income, including Italians like Dante Aligheri, Giovanni Boccaccio and Petrarch's works in a pharmacist's guild and William Shakespeare's work in the theater. In the Romantic period and onwards, many poets were independent writers who made their living through their work supplemented by income from other occupations or from family.
This included poets such as Robert Burns. Poets such as Virgil in the Aeneid and John Milton in Paradise Lost invoked the aid of a Muse. Poets of earlier times were well read and educated people while others were to a large extent self-educated. A few poets such as John Gower and John Milton were able to write poetry in more than one language; some Portuguese poets, as Francisco de Sá de Miranda, wrote not only in Portuguese but in Spanish. Jan Kochanowski wrote in Polish and in Latin, France Prešeren and Karel Hynek Mácha wrote some poems in German, although they were poets of Slovenian and Czech respectively. Adam Mickiewicz, the greatest poet of Polish language, wrote a Latin ode for emperor Napoleon III. Another example is a Polish poet; when he moved to Great Britain, he ceased to write poetry in Polish, but started writing novel in English. He translated poetry from English and into English. Many universities offer degrees in creative writing though these only came into existence in the 20th century.
While these courses are not necessary for a career as a poet, they can be helpful as training, for giving the student several years of time focused on their writing. List of poets Bard Lyricist Reginald Gibbons, The Poet's Work: 29 poets on the origins and practice of their art. University of Chicago Press. ISBN 9780226290546 at Google Books Poets' Graves
Library of Congress
The Library of Congress is the research library that serves the United States Congress and is the de facto national library of the United States. It is the oldest federal cultural institution in the United States; the Library is housed in three buildings on Capitol Hill in Washington, D. C.. The Library's functions are overseen by the Librarian of Congress, its buildings are maintained by the Architect of the Capitol; the Library of Congress has claimed to be the largest library in the world. Its "collections are universal, not limited by subject, format, or national boundary, include research materials from all parts of the world and in more than 450 languages."The Library of Congress moved to Washington in 1800 after sitting for 11 years in the temporary national capitals in New York City and Philadelphia. The small Congressional Library was housed in the United States Capitol for most of the 19th century until the early 1890s. Most of the original collection had been destroyed by the British in 1814 during the War of 1812, the library sought to restore its collection in 1815.
They bought Thomas Jefferson's entire personal collection of 6,487 books. After a period of slow growth, another fire struck the Library in its Capitol chambers in 1851, again destroying a large amount of the collection, including many of Jefferson's books. After the American Civil War, the Library of Congress grew in both size and importance, which sparked a campaign to purchase replacement copies for volumes, burned; the Library received the right of transference of all copyrighted works to deposit two copies of books, maps and diagrams printed in the United States. It began to build its collections, its development culminated between 1888 and 1894 with the construction of a separate, extensive library building across the street from the Capitol; the Library's primary mission is to research inquiries made by members of Congress, carried out through the Congressional Research Service. The Library is open to the public, although only high-ranking government officials and Library employees may check out books and materials.
James Madison is credited with the idea of creating a congressional library, first making such a proposition in 1783. The Library of Congress was subsequently established April 24, 1800 when President John Adams signed an act of Congress providing for the transfer of the seat of government from Philadelphia to the new capital city of Washington. Part of the legislation appropriated $5,000 "for the purchase of such books as may be necessary for the use of Congress... and for fitting up a suitable apartment for containing them." Books were ordered from London, the collection consisted of 740 books and three maps which were housed in the new United States Capitol. President Thomas Jefferson played an important role in establishing the structure of the Library of Congress. On January 26, 1802, he signed a bill that allowed the president to appoint the Librarian of Congress and establishing a Joint Committee on the Library to regulate and oversee it; the new law extended borrowing privileges to the President and Vice President.
The invading British army burned Washington in August 1814 during the War of 1812 and destroyed the Library of Congress and its collection of 3,000 volumes. These volumes had been left in the Senate wing of the Capitol. One of the few congressional volumes to survive was a government account book of receipts and expenditures for 1810, it was taken as a souvenir by British Admiral George Cockburn, whose family returned it to the United States government in 1940. Within a month, Thomas Jefferson offered to sell his personal library as a replacement. Congress accepted his offer in January 1815; some members of the House of Representatives opposed the outright purchase, including New Hampshire Representative Daniel Webster who wanted to return "all books of an atheistical and immoral tendency." Jefferson had spent 50 years accumulating a wide variety of books in several languages and on subjects such as philosophy, law, architecture, natural sciences, studies of classical Greece and Rome, modern inventions, hot air balloons, submarines, fossils and meteorology.
He had collected books on topics not viewed as part of a legislative library, such as cookbooks. However, he believed, he remarked: I do not know that it contains any branch of science which Congress would wish to exclude from their collection. Jefferson's collection was unique in that it was the working collection of a scholar, not a gentleman's collection for display. With the addition of his collection, the Library of Congress was transformed from a specialist's library to a more general one, his original collection was organized into a scheme based on Francis Bacon's organization of knowledge. He grouped his books into Memory and Imagination, which broke down into 44 more subdivisions; the Library followed Jefferson's organization scheme until the late 19th century, when librarian Herbert Putnam began work on a more flexible Library of Congress Classification structure that now applies to more than 138 million items. In 1851, a fire destroyed two thirds of the Jefferson collection, with only 2,000 books remaining.
By 2008, the Librarians of Congress had found replacements for all but 300 of the works that were in Jefferson's original collection. On December 22, 1851 the largest fire in the Library's history destroyed 35,000 books, about two–thi
Copyright is a legal right, existing in many countries, that grants the creator of an original work exclusive rights to determine whether, under what conditions, this original work may be used by others. This is only for a limited time. Copyright is one of two types of intellectual property rights, the other is industrial property rights; the exclusive rights are not absolute but limited by limitations and exceptions to copyright law, including fair use. A major limitation on copyright on ideas is that copyright protects only the original expression of ideas, not the underlying ideas themselves. Copyright is applicable to certain forms of creative work. Some, but not all jurisdictions require "fixing" copyrighted works in a tangible form, it is shared among multiple authors, each of whom holds a set of rights to use or license the work, who are referred to as rights holders. These rights include reproduction, control over derivative works, public performance, moral rights such as attribution. Copyrights can be granted by public law and are in that case considered "territorial rights".
This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities to establishing copyright, others recognize copyright in any completed work, without formal registration. Copyright is enforced as a civil matter, though some jurisdictions do apply criminal sanctions. Most jurisdictions recognize copyright limitations, allowing "fair" exceptions to the creator's exclusivity of copyright and giving users certain rights; the development of digital media and computer network technologies have prompted reinterpretation of these exceptions, introduced new difficulties in enforcing copyright, inspired additional challenges to the philosophical basis of copyright law. Businesses with great economic dependence upon copyright, such as those in the music business, have advocated the extension and expansion of copyright and sought additional legal and technological enforcement.
Copyright licenses can be granted by those deputized by the original claimant, private companies may request this as a condition of doing business with them. Services of internet platform providers like YouTube, GitHub, DropBox, WhatsApp or Twitter only can be used when users grant the platform provider beforehand the right to co-use all uploaded content, including all material exchanged per email, chat or cloud-storage; these copyrights only apply for the firm that operates such a platform, no matter in what jurisdiction the platform-services are being offered. Private companies in general do not recognize exceptions or give users more rights than the right to use the platform according certain rules. Copyright came about with wider literacy; as a legal concept, its origins in Britain were from a reaction to printers' monopolies at the beginning of the 18th century. The English Parliament was concerned about the unregulated copying of books and passed the Licensing of the Press Act 1662, which established a register of licensed books and required a copy to be deposited with the Stationers' Company continuing the licensing of material that had long been in effect.
Copyright laws allow products of creative human activities, such as literary and artistic production, to be preferentially exploited and thus incentivized. Different cultural attitudes, social organizations, economic models and legal frameworks are seen to account for why copyright emerged in Europe and not, for example, in Asia. In the Middle Ages in Europe, there was a lack of any concept of literary property due to the general relations of production, the specific organization of literary production and the role of culture in society; the latter refers to the tendency of oral societies, such as that of Europe in the medieval period, to view knowledge as the product and expression of the collective, rather than to see it as individual property. However, with copyright laws, intellectual production comes to be seen as a product of an individual, with attendant rights; the most significant point is that patent and copyright laws support the expansion of the range of creative human activities that can be commodified.
This parallels the ways in which capitalism led to the commodification of many aspects of social life that earlier had no monetary or economic value per se. Copyright has grown from a legal concept regulating copying rights in the publishing of books and maps to one with a significant effect on nearly every modern industry, covering such items as sound recordings, photographs and architectural works. Seen as the first real copyright law, the 1709 British Statute of Anne gave the publishers rights for a fixed period, after which the copyright expired; the act alluded to individual rights of the artist. It began, "Whereas Printers and other Persons, have of late taken the Liberty of Printing... Books, other Writings, without the Consent of the Authors... to their great Detriment, too to the Ruin of them and their Families:". A right to benefit financially from the work is articulated, court rulings and legislation have recognized a right to control the work, such as ensuring that the integrity of it is preserved.
A national anthem is a patriotic musical composition that evokes and eulogizes the history and struggles of its people, recognized either by a nation's government as the official national song, or by convention through use by the people. The majority of national anthems are hymns in style; the countries of Latin America, Central Asia, Europe tend towards more ornate and operatic pieces, while those in the Middle East, Oceania and the Caribbean use a more simplistic fanfare. Some countries that are devolved into multiple constituent states have their own official musical compositions for them. A national anthem is most in the national or most common language of the country, whether de facto or official, there are notable exceptions. Most states with more than one national language may offer several versions of their anthem, for instance: The "Swiss Psalm", the national anthem of Switzerland, has different lyrics for each of the country's four official languages; the national anthem of Canada, "O Canada", has official lyrics in both English and French which are not translations of each other, is sung with a mixture of stanzas, representing the country's bilingual nature.
The song itself was written in French. "The Soldier's Song", the national anthem of Ireland, was written and adopted in English, but an Irish translation, although never formally adopted, is nowadays always sung instead. The current South African national anthem is unique in that five of the country's eleven official languages are used in the same anthem, it was created by combining two different songs together and modifying the lyrics and adding new ones. One of the two official national anthems of New Zealand, "God Defend New Zealand", is now sung with the first verse in Māori and the second in English; the tune is the same but the words are not a direct translation of each other. "God Bless Fiji" has lyrics in Fijian which are not translations of each other. Although official, the Fijian version is sung, it is the English version, performed at international sporting events. Although Singapore has four official languages, with English being the current lingua franca, the national anthem, "Majulah Singapura" is in Malay and by law can only be sung with its original Malay lyrics, despite the fact that Malay is a minority language in Singapore.
This is because Part XIII of the Constitution of the Republic of Singapore declares, “the national language shall be the Malay language and shall be in the Roman script ” There are several countries that do not have official lyrics to their national anthems. One of these is the national anthem of Spain. Although it had lyrics those lyrics were discontinued after governmental changes in the early 1980s after Francisco Franco's dictactorship. In 2007 a national competition to write words was held. Other national anthems with no words include "Inno Nazionale della Repubblica", the national anthem of San Marino, that of Bosnia and Herzegovina and that of Kosovo, entitled "Europe"; the national anthem of India, "Jana Gana Mana", the official lyrics are in the Devnagari. The lyrics were adopted from a Bengali poem written by Rabindranath Tagore. Despite the most common language in Wales being English, the Welsh regional anthem "Hen Wlad Fy Nhadau" is sung in the Welsh language; the national anthem of Finland, was first written in Swedish and only translated to Finnish.
It is nowadays sung in both languages as there is a Swedish speaking minority of about 6% in the country. National anthems rose to prominence in Europe during the 19th century, but some originated much earlier; the presumed oldest national anthem belongs to the Netherlands and is called the "Wilhelmus". It was written between 1568 and 1572 during the Dutch Revolt and its current melody variant was composed shortly before 1626, it was a popular orangist march during the 17th century but it did not become the official Dutch national anthem until 1932. The Japanese national anthem, "Kimigayo", has the oldest lyrics, which were taken from a Heian period poem, yet it was not set to music until 1880; the Philippine national anthem "Lupang Hinirang" was composed in 1898 as wordless incidental music for the ceremony declaring independence from the Spanish Empire. The Spanish poem "Filipinas" was written the following year to serve as the anthem's lyrics. "God Save the Queen", the national anthem of the United Kingdom and the royal anthem reserved for use in the presence of the Monarch in some Commonwealth realms, was first performed in 1619 under the title "God Save the King".
It is not the national anthem of the UK, though it became such through custom and usage. Spain's national anthem, the "Marcha Real", written in 1761, was among the first to be adopted as such, in 1770. Denmark adopted the older of its two national anthems, "Kong Christian stod ved højen mast", in 1780. Serbia became the first Eastern European nation to have a national anthem – "Rise up, Serbia!" – in 1804."Ee Mungu Nguvu Yetu", the national anthem of Kenya, is one of the first national anthems to be specifical