1.
Orchestra
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The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus. A full-size orchestra may sometimes be called an orchestra or philharmonic orchestra. The actual number of employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played. The term chamber orchestra usually refers to smaller-sized ensembles of about fifty musicians or fewer, the typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras called for in the works of Richard Wagner, and later, Gustav Mahler. Orchestras are usually led by a conductor who directs the performance with movements of the hands and arms, the conductor unifies the orchestra, sets the tempo and shapes the sound of the ensemble. The first violin, commonly called the concertmaster, also plays an important role in leading the musicians, the typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass, percussion, and strings. The orchestra, depending on the size, contains almost all of the instruments in each group. Chamber orchestra usually refers to smaller-sized ensembles, a chamber orchestra might employ as many as fifty musicians. The term concert orchestra may also be used, as in the BBC Concert Orchestra, the so-called standard complement of doubled winds and brass in the orchestra from the first half of the 19th century is generally attributed to the forces called for by Beethoven. The composers instrumentation almost always included paired flutes, oboes, clarinets, bassoons, horns, the exceptions to this are his Symphony No. 4, Violin Concerto, and Piano Concerto No,4, which each specify a single flute. Beethoven carefully calculated the expansion of this particular timbral palette in Symphonies 3,5,6, the third horn in the Eroica Symphony arrives to provide not only some harmonic flexibility, but also the effect of choral brass in the Trio movement. Piccolo, contrabassoon, and trombones add to the finale of his Symphony No.5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth, for several decades after his death, symphonic instrumentation was faithful to Beethovens well-established model, with few exceptions. Apart from the core orchestral complement, various instruments are called for occasionally. These include the guitar, heckelphone, flugelhorn, cornet, harpsichord. Saxophones, for example, appear in some 19th- through 21st-century scores.6 and 9 and William Waltons Belshazzars Feast, and many other works as a member of the orchestral ensemble. The euphonium is featured in a few late Romantic and 20th-century works, usually playing parts marked tenor tuba, including Gustav Holsts The Planets, cornets appear in Pyotr Ilyich Tchaikovskys ballet Swan Lake, Claude Debussys La Mer, and several orchestral works by Hector Berlioz
2.
Concert band
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On rare occasions, additional non traditional instruments may be added to such ensembles such as piano, harp, synthesizer, or electric guitar. A concert bands repertoire includes original compositions, transcriptions/arrangements of orchestral compositions, light music. Though the instrumentation is similar, a band is distinguished from the marching band in that its primary function is as a concert ensemble. The standard repertoire for the band does, however, contain concert marches. One notable and influential original symphonic work for band was Gustav Holsts First Suite in E-Flat, written in 1909, following Holst, a variety of British, American, Canadian and Australian composers wrote for the medium, including Percy Grainger, James Swearingen and Ralph Vaughan Williams. The wind ensemble could be said to be modeled on the section of a Wagner orchestra. While many people consider the ensemble to be one player on a part. Full band pieces usually require doubling or tripling of the clarinet parts, according to Fennell, the wind ensemble was not revolutionary, but developed naturally out of the music that led him to the concept. Professional concert bands not associated with the military are rare, lesbian & Gay Big Apple Corps, New York, New York, conducted by Kelly Watkins Municipal Band of Charlottesville, Inc. Other large competitions include the World Music Competition, held in the Netherlands, instrumentation for the wind band is not standardized, composers will frequently add or omit parts. Instrumentation differs depending on the type of ensemble, middle and high school bands frequently have more limited instrumentation and fewer parts. This is both to limit the difficulty for inexperienced players and because schools frequently do not have access to the common instruments. The standard concert band will have several players on each part, depending on available personnel, a concert band can theoretically have as many as 200 members from a set of only 35 parts. Also, it is common to see two tubas playing the part in a wind ensemble. Complicated percussion parts are common in concert pieces, often requiring many percussionists. Many believe this is a difference between the orchestra—which usually lacks a large battery of percussion—and the concert band. While in older transcriptions and concert works, the timpani were treated as its own section as in the orchestra, today, in bands, consequently, the timpani player often will double on other percussion instruments. Contemporary compositions often call on players to use unusual instruments or effects, for example, several pieces call on the use of a siren while others will ask players to play recorders, a glass harmonica, or to sing
3.
Organist
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An organist is a musician who plays any type of organ. An organist may play solo organ works, play with an ensemble or orchestra, in addition, an organist may accompany congregational hymn-singing and play liturgical music. The majority of organists, amateur and professional, are involved in church music, playing in churches. The pipe organ still plays a part in the leading of traditional western Christian worship, with roles including the accompaniment of hymns, choral anthems. The degree to which the organ is involved depending on the church. It also may depend on the standard of the organist, as most churches can afford to employ only one musician, the organist is usually also responsible for directing and rehearsing the choir. In the twentieth-century, many pipe organs were replaced by electronic and digital organs. Sometimes the organist will be assisted by an organ scholar, the post of organist at most of the great cathedrals includes recital work and choral training. Another function of an organist is often as teacher to future players, few organists hold historically special positions such as Carol Williams who is the Civic Organist of San Diego, the last true Civic Organist position still active in this the USA. Since the strengths and weaknesses of the organ are difficult to understand without a deal of playing experience. Since the majority of pre-twentieth-century organs were installed in churches, classical literature was almost exclusively written for liturgical use. A few carry on the tradition today, there are many organists employed in the production of popular and jazz music. In the United States most of them play the Hammond organ, the Royal College of Organists in the United Kingdom is the oldest institution of organ studies. From that sprang the American Guild of Organists, the Gesellschaft der Orgelfreunde in Germany, all these institutions are oriented toward the organist involved in classical music rather than popular music. There is also the American Theatre Organ Society
4.
Choir
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A choir is a musical ensemble of singers. Choral music, in turn, is the music specifically for such an ensemble to perform. Choirs may perform music from the classical repertoire, which spans from the Medieval era to the present. Most choirs are led by a conductor, who leads the performances with arm, a body of singers who perform together as a group is called a choir or chorus. The former term is often applied to groups affiliated with a church and the second to groups that perform in theatres or concert halls. Choirs may sing without instrumental accompaniment, with the accompaniment of a piano or pipe organ, with a small ensemble, choirs are often led by a conductor or choirmaster. Other than four, the most common number of parts are three, five, six, and eight, choirs can sing with or without instrumental accompaniment. Singing without accompaniment is called a cappella singing, many choirs perform in one or many locations such as a church, opera house, or school hall. In some cases choirs join up to become one mass choir that performs for a special concert, in this case they provide a series of songs or musical works to celebrate and provide entertainment to others. Conducting is the art of directing a musical performance, such as a concert, by way of visible gestures with the hands, arms, face. The primary duties of the conductor or choirmaster are to unify performers, set the tempo, execute clear preparations and beats, and to listen critically and shape the sound of the ensemble. The conductor or choral director typically stands on a raised platform, many choral conductors use their hands to conduct. In the 2010s, most conductors do not play an instrument when conducting, although in earlier periods of music history. In Baroque music from the 1600s to the 1750s, conductors performing in the 2010s may lead an ensemble while playing a harpsichord or the violin, conducting while playing a piano may also be done with musical theatre pit orchestras. Communication is typically non-verbal during a performance, however, in rehearsals, frequent interruptions allow the conductor to give verbal directions as to how the music should be sung. Conductors act as guides to the choirs they conduct and they choose the works to be performed and study their scores, to which they may make certain adjustments, work out their interpretation, and relay their vision to the singers. Choral conductors may also have to conduct instrumental ensembles such as if the choir is singing a piece for choir. They may also attend to matters, such as scheduling rehearsals, planning a concert season, hearing auditions
5.
Conducting
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Conducting is the art of directing a musical performance, such as an orchestral or choral concert. A conductors directions will almost invariably be supplemented or reinforced by verbal instructions or suggestions to their musicians in rehearsal prior to a performance. The conductor typically stands on a podium with a large music stand for the full score. Conducting while playing a piano or synthesizer may also be done with musical theatre pit orchestras, communication is typically non-verbal during a performance. However, in rehearsals, frequent interruptions allow the conductor to give verbal directions as to how the music should be played or sung, Conductors act as guides to the orchestras or choirs they conduct. They choose the works to be performed and study their scores, to which they may make adjustments, work out their interpretation. They may also attend to matters, such as scheduling rehearsals, planning a concert season, hearing auditions and selecting members. Orchestras, choirs, concert bands and other musical ensembles such as big bands are usually led by conductors. The principal conductor of an orchestra or opera company is referred to as a music director or chief conductor, or by the German words Kapellmeister or Dirigent. Conductors of choirs or choruses are sometimes referred to as director, chorus master, or choirmaster. Conductors of concert bands, military bands, marching bands and other bands may hold the title of director, bandmaster. Respected senior conductors are sometimes referred to by the Italian word, an early form of conducting is cheironomy, the use of hand gestures to indicate melodic shape. This has been practiced at least as far back as the Middle Ages, in the 17th century, other devices to indicate the passing of time came into use. Rolled up sheets of paper, smaller sticks and unadorned hands are all shown in pictures from this period, the large staff was responsible for the death of Jean-Baptiste Lully, who injured his foot with one while conducting a Te Deum for the Kings recovery from illness. The wound became gangrenous and Lully refused amputation, whereupon the gangrene spread to his leg, in instrumental music throughout the 18th century, a member of the ensemble usually acted as the conductor. This was sometimes the concertmaster, who could use his bow as a baton and it was common to conduct from the harpsichord in pieces that had a basso continuo part. In opera performances, there were sometimes two conductors – the keyboard player was in charge of the singers, and the principal violinist or leader was in charge of the orchestra. By the early 19th century, it became the norm to have a dedicated conductor, the size of the usual orchestra expanded during this period, and the use of a baton became more common, as it was easier to see than bare hands or rolled-up paper
6.
Musical theatre
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Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting, and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through the words, music, movement, since the early 20th century, musical theatre stage works have generally been called, simply, musicals. These were followed by the numerous Edwardian musical comedies and the theatre works of American creators like George M. Cohan. Musicals are performed around the world and they may be presented in large venues, such as big-budget Broadway or West End productions in New York City or London. Alternatively, musicals may be staged in smaller fringe theatre, Off-Broadway or regional theatre productions, musicals are often presented by amateur and school groups in churches, schools and other performance spaces. In addition to the United States and Britain, there are vibrant musical theatre scenes in continental Europe, Asia, Australasia, Canada, the three main components of a book musical are its music, lyrics and book. The interpretation of a musical is the responsibility of its team, which includes a director. A musicals production is also characterized by technical aspects, such as set design, costumes, stage properties, lighting. The creative team, designs and interpretations generally change from the production to succeeding productions. Some production elements, however, may be retained from the production, for example. There is no fixed length for a musical, while it can range from a short one-act entertainment to several acts and several hours in length, most musicals range from one and a half to three hours. Musicals are usually presented in two acts, with one intermission, and the first act is frequently longer than the second. A book musical is usually built four to six main theme tunes that are reprised later in the show. Several shorter musicals on Broadway and in the West End have been presented in one act in recent decades, moments of greatest dramatic intensity in a book musical are often performed in song. Proverbially, when the emotion becomes too strong for speech, you sing, typically, many fewer words are sung in a five-minute song than are spoken in a five-minute block of dialogue. Therefore, there is time to develop drama in a musical than in a straight play of equivalent length. Within the compressed nature of a musical, the writers must develop the characters, the material presented in a musical may be original, or it may be adapted from novels, plays, classic legends, historical events or films. On the other hand, many musical theatre works have been adapted for musical films, such as West Side Story, My Fair Lady, The Sound of Music, Oliver
7.
Opera
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
8.
George Szell
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George Szell, originally György Széll, György Endre Szél, or Georg Szell, was a Hungarian-born Jewish-American conductor and composer. He is widely considered one of the centurys greatest conductors. Szell came to Cleveland in 1946 to take over a respected if undersized orchestra, by the time of his death he was credited, to quote the critic Donal Henahan, with having built it into what many critics regarded as the worlds keenest symphonic instrument. Through his recordings, Szell has remained a presence in the music world long after his death. While on tour with the Orchestra in the late 1980s, then-Music Director Christoph von Dohnányi remarked, We give a great concert, Szell was born in Budapest but grew up in Vienna. One of Roberts other students was Rudolf Serkin, Szell and Serkin became lifelong friends, in addition to the piano, Szell studied composition with Eusebius Mandyczewski, and with Max Reger for a brief period. Although his work as a composer is unknown today, when he was fourteen Szell signed a ten-year exclusive publishing contract with Universal Edition in Vienna. In addition to writing pieces, he arranged Bedřich Smetanas String Quartet No. 1, From My Life, for orchestra, at the age of eleven, Szell began touring Europe as a pianist and composer, making his London debut at that age. Newspapers declared him the next Mozart, throughout his teenage years he performed with orchestras in this dual role, eventually making appearances as composer, pianist and conductor, as he did with the Berlin Philharmonic at age seventeen. Szell quickly realized that he was never going to make an out of being a composer or pianist. He made an unplanned public conducting debut when he was seventeen, the Vienna Symphonys conductor had injured his arm, and Szell was asked to substitute. Szell quickly turned to conducting full-time, though he abandoned composing, throughout the rest of his life he occasionally played the piano with chamber ensembles and as an accompanist. Despite his rare appearances as a pianist after his teens, he remained in good form, during his Cleveland years he occasionally would demonstrate to guest pianists how he thought they should play a certain passage. In 1915, at the age of 18, Szell won an appointment with Berlins Royal Court Opera, there, he was befriended by its Music Director, Richard Strauss. Strauss instantly recognized Szells talent and was impressed with how well the teenager conducted Strausss music. Strauss once said that he could die a happy man knowing that there was someone who performed his music so perfectly, in fact, Szell ended up conducting part of the world premiere recording of Don Juan for Strauss. The composer had arranged for Szell to rehearse the orchestra for him, since the recording session was already paid for, and only Szell was there, Szell conducted the first half of the recording
9.
Cleveland Orchestra
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The Cleveland Orchestra, based in Cleveland, is one of the five American orchestras informally referred to as the Big Five. Founded in 1918 by the pianist and impresario Adella Prentiss Hughes, as of 2016, the incumbent music director is Franz Welser-Möst. In 2012 Gramophone Magazine ranked the Cleveland Orchestra number 7 on its list of 20 of the worlds greatest orchestras, the orchestra was founded in 1918 by Adella Prentiss Hughes, with Nikolai Sokoloff as its principal conductor. From early in its existence, it toured throughout the eastern United States, made radio broadcasts, subsequent principal conductors, with the title of Music Director, were Artur Rodziński, Erich Leinsdorf, George Szell, Pierre Boulez, Lorin Maazel, and Christoph von Dohnányi. Franz Welser-Möst has been Music Director since 2002 and is contracted to remain through the 2021-2022 season, George Szells long reign as Music Director has been largely credited for the orchestras rise to eminence. He reformed the orchestra in the late-1940s, firing a dozen musicians in the process with a dozen more leaving of their own volition, Szell is also credited with giving the orchestra its distinct, European sound. He pushed an ambitious recording schedule with the orchestra, bringing its music to millions worldwide, Szells influence has continued, even decades after his death. Cleveland is the smallest city amongst the traditional Big Five orchestras, the others are based in Boston, New York, Philadelphia, and Chicago. However, musicians in Cleveland are often treated as local celebrities, clevelanders are proud that their city boasts an orchestra that has several times been touted as Americas finest, and compared favorably to many of the great orchestras in Central Europe. In the 1960s fans were known to have airport rallies when the orchestra comes home from tour chant, past assistant conductors of the Cleveland Orchestra include Matthias Bamert, James Levine, Alan Gilbert, James Judd and Michael Stern. Severance Hall is the Cleveland Orchestras home and it was built for the orchestra in 1931. The orchestra performs the majority of its concerts at Severance and also uses the hall for rehearsals, the concert organ there is by Ernest M. Skinner IV-94. During the summer months, the orchestra presents their annual Blossom Festival at the Blossom Music Center in Cuyahoga Falls, until 2005, the Blossom Festival had its own music director. The last person to serve in that capacity was Jahja Ling, after he stepped down from that position, the orchestra eliminated the post, and now has current music director Franz Welser-Möst in charge of the classical music concerts at the Blossom Festival. The orchestra also has long-term performing relationships in Lucerne, Vienna, New York City, a residency in Miami, the Cleveland Orchestra Official website Cleveland Orchestra history at the Wayback Machine from the Telarc website. Cleveland Orchestra Youth Orchestra Cleveland Orchestra Musicians
10.
Lorin Maazel
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Lorin Varencove Maazel was an American conductor, violinist and composer. S. Maazel was well-regarded in baton technique and possessed a photographic memory for scores, described as mercurial and forbidding in rehearsal, he mellowed in old age. His father, Lincoln Maazel, was a singer, teacher of voice and piano, and an actor and his grandfather Isaac was a violinist in the Metropolitan Opera Orchestra for twenty years. Both Lincoln and Marie gave interviews for the Oral History Collection at the University of Pittsburgh, Lincolns in 1994, Maazel was a child prodigy, taking his first conducting lesson at age seven with Vladimir Bakaleinikov and making his debut at age eight. At the age of eleven, he guest-conducted the NBC Symphony Orchestra on the radio, at twelve he toured the United States of America to conduct major orchestras. He made his debut at the age of fifteen. He attended the Fanny Edel Falk Laboratory School at the University of Pittsburgh as a child, followed by Peabody High School, Maazel studied briefly with Pierre Monteux in 1945. In the early 1950s, Maazel toured as the conductor with the Gershwin Concert Orchestra, the orchestra consisted of 25 members and a noted array of soloists. The orchestra was organized in cooperation with Ira Gershwin, to give the public a comprehensive Gershwin program, the list of soloists included George Gershwins friend, Jesús Maria Sanromá, Carolyn Long and Theodor Uppman. In 1960, Maazel became the first American to conduct at the Bayreuth Festspielhaus and he was chief conductor of the Deutsche Oper Berlin from 1965 to 1971 and the Radio-Symphonie-Orchester Berlin from 1964 to 1975. In 1972, Maazel began his tenure as director at the Cleveland Orchestra. Maazels emotional, rich interpretation of music greatly differed from Szells characteristic crisp, a notable achievement during this time was the first complete recording of George Gershwins Porgy and Bess, using an all-African American cast. Maazel held the post until 1982 and he never returned to the Cleveland Orchestra after his departure, although a scheduled engagement in 2006 did not occur because of illness. In 1977, he became director of the Orchestre National de France in Paris. From 1982 to 1984, Maazel served at the Vienna State Opera as general manager, in 1980, he succeeded Willi Boskovsky as conductor at the Vienna New Years Concert and he led this televised annual event each year, until 1986. He returned to it four times, in 1994,1996,1999 and 2005, from 1984 to 1988, Maazel was the music consultant to the Pittsburgh Symphony Orchestra, and its music director from 1988 to 1996. From 1993 until 2002, he was conductor of the Bavarian Radio Symphony Orchestra in Munich. He claimed that his decision was because he was concerned for the orchestras well-being and this engagement led to his appointment in January 2001 as the orchestras next music director, starting in 2002, succeeding Kurt Masur
11.
Documentary film
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A documentary film is a nonfictional motion picture intended to document some aspect of reality, primarily for the purposes of instruction, education, or maintaining a historical record. Documentary has been described as a practice, a cinematic tradition. Polish writer and filmmaker Bolesław Matuszewski was among those who identified the mode of documentary film and he wrote two of the earliest texts on cinema Une nouvelle source de lhistoire and La photographie animée. Both were published in 1898 in French and among the written works to consider the historical. Matuszewski is also among the first filmmakers to propose the creation of a Film Archive to collect, the American film critic Pare Lorentz defines a documentary film as a factual film which is dramatic. Others further state that a documentary stands out from the types of non-fiction films for providing an opinion. Documentary practice is the process of creating documentary projects. Documentary filmmaking can be used as a form of journalism, advocacy, early film was dominated by the novelty of showing an event. They were single-shot moments captured on film, a train entering a station and these short films were called actuality films, the term documentary was not coined until 1926. Many of the first films, such as made by Auguste and Louis Lumière, were a minute or less in length. Films showing many people were made for commercial reasons, the people being filmed were eager to see, for payment. One notable film clocked in at over an hour and a half, using pioneering film-looping technology, Enoch J. Rector presented the entirety of a famous 1897 prize-fight on cinema screens across the United States, in May 1896, Bolesław Matuszewski recorded on film few surigical operations in Warsaw and Saint Petersburg hospitals. In 1898, French surgeon Eugène-Louis Doyen invited Bolesław Matuszewski and Clément Maurice and they started in Paris a series of surgical films sometime before July 1898. Until 1906, the year of his last film, Doyen recorded more than 60 operations, Doyen said that his first films taught him how to correct professional errors he had been unaware of. These and five other of Doyens films survive, all these short films have been preserved. I must say I forgot those works and I am thankful to you that you reminded them to me, unfortunately, not many scientists have followed your way. Travelogue films were popular in the early part of the 20th century
12.
Musical film
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The musical film is a film genre in which songs sung by the characters are interwoven into the narrative, sometimes accompanied by dancing. The songs usually advance the plot or develop the characters, though in some cases they serve merely as breaks in the storyline. The musical film was a development of the stage musical after the emergence of sound film technology. Typically, the biggest difference between film and stage musicals is the use of background scenery and locations that would be impractical in a theater. Musical films characteristically contain elements reminiscent of theater, performers often treat their song, in a sense, the viewer becomes the diegetic audience, as the performer looks directly into the camera and performs to it. The 1930s through the early 1950s are considered to be the age of the musical film. Musical short films were made by Lee de Forest in 1923–24, beginning in 1926, thousands of Vitaphone shorts were made, many featuring bands, vocalists and dancers. The Jazz Singer, released in 1927 by Warner Brothers, was the first to include a track including non-diegetic music and diegetic music. This feature-length film was also a musical, featuring Al Jolson singing Dirty Hands, Dirty Face, Toot, Toot, Tootsie, Blue Skies and My Mammy. Historian Scott Eyman wrote, As the film ended and applause grew with the houselights and she saw terror in all their faces, she said, as if they knew that the game they had been playing for years was finally over. Still, only isolated sequences featured live sound, most of the film had only a musical score. In 1928, Warner Brothers followed this up with another Jolson part-talkie, The Singing Fool, theaters scrambled to install the new sound equipment and to hire Broadway composers to write musicals for the screen. The first all-talking feature, Lights of New York, included a sequence in a night club. The enthusiasm of audiences was so great that in less than an all the major studios were making sound pictures exclusively. The Broadway Melody had a plot about two sisters competing for a charming song-and-dance man. Advertised by MGM as the first All-Talking, All-Singing, All-Dancing feature film, it was a hit, there was a rush by the studios to hire talent from the stage to star in lavishly filmed versions of Broadway hits. The Love Parade starred Maurice Chevalier and newcomer Jeanette MacDonald, written by Broadway veteran Guy Bolton, Warner Brothers produced the first screen operetta, The Desert Song in 1929. They spared no expense and photographed a large percentage of the film in Technicolor and this was followed by the first all-color, all-talking musical feature which was entitled On with the Show
13.
Music of Bollywood
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Bollywood songs, more formally known as Hindi film songs, or filmi songs are songs featured in Bollywood films. Hindi film songs form a predominant component of Indian pop music, Hindi film songs are now firmly embedded in North Indias popular culture and routinely encountered in North India in marketplaces, shops, during bus and train journeys and numerous other situations. Hindi film songs are present in Hindi cinema right from the first sound film Alam Ara by Ardeshir Irani which featured seven songs, however, the practice subsided and subsequent films usually featured between six and ten songs in each production. Right from the advent of Indian cinema in 1931, musicals with song numbers have been a feature in Indian cinema. In 1934 Hindi film songs began to be recorded on gramophones and later, played on radio channels, the Hindi film song now began to make its presence felt as a predominating characteristic in the culture of the nation and began to assume roles beyond the limited purview of cinema. The spread was galvanised by the advent of plastic tape cassettes which were produced in the millions till the industry crashed in 2000. The language of Hindi songs can be complex, some Hindi songs include Urdu and Persian words and phrases and it is not uncommon to hear use of English words in songs from modern Hindi movies. Several other Indian languages have also used including Braj, Avadhi, Bhojpuri, Punjabi, Bengali. They are then sung by playback singers and lip-synched by the actors. Bollywood cinema is unique in that the majority of songs are seen to be sung by the characters rather than being played in the background. Bollywood film songs have been described as both in instrumentation and style. They often employ foreign instruments and rework existing songs, showing remarkable inventiveness in the reinvention of melodies and instrumental techniques. Indian cinema, with its film music, has not only spread all over Indian society. In Britain, Hindi film songs are heard in restaurants and on radio channels dedicated to Asian music, the British dramatist Sudha Bhuchar converted a Hindi film hit Hum Aapke Hain Koun. into a hit musical Fourteen Songs which was well received by the British audience. In Greece the genre of indoprepi sprang from Hindi film music while in Indonesia dangdut singers like Ellya Khadam, Rhoma Irama, in Nigeria bandiri music—a combination of Sufi lyrics and Bollywood-style music—has become popular among Hausa youth. Hindi film music has also combined with local styles in the Caribbean to form chutney music
14.
Broadway theatre
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Along with Londons West End theatres, Broadway theatres are widely considered to represent the highest level of commercial theatre in the English-speaking world. The Theater District is a popular tourist attraction in New York City, the great majority of Broadway shows are musicals. They presented Shakespeare plays and ballad operas such as The Beggars Opera, in 1752, William Hallam sent a company of twelve actors from Britain to the colonies with his brother Lewis as their manager. They established a theatre in Williamsburg, Virginia and opened with The Merchant of Venice, the company moved to New York in the summer of 1753, performing ballad operas and ballad-farces like Damon and Phillida. The Revolutionary War suspended theatre in New York, but thereafter theatre resumed in 1798, the Bowery Theatre opened in 1826, followed by others. Blackface minstrel shows, a distinctly American form of entertainment, became popular in the 1830s, by the 1840s, P. T. Barnum was operating an entertainment complex in lower Manhattan. In 1829, at Broadway and Prince Street, Niblos Garden opened, the 3, 000-seat theatre presented all sorts of musical and non-musical entertainments. In 1844, Palmos Opera House opened and presented opera for four seasons before bankruptcy led to its rebranding as a venue for plays under the name Burtons Theatre. The Astor Opera House opened in 1847, booth played the role for a famous 100 consecutive performances at the Winter Garden Theatre in 1865, and would later revive the role at his own Booths Theatre. Other renowned Shakespeareans who appeared in New York in this era were Henry Irving, Tommaso Salvini, Fanny Davenport, lydia Thompson came to America in 1868 heading a small theatrical troupe, adapting popular English burlesques for middle-class New York audiences. Thompsons troupe called the British Blondes, was the most popular entertainment in New York during the 1868–1869 theatrical season, the six-month tour ran for almost six extremely profitable years. Theatre in New York moved from downtown gradually to midtown beginning around 1850, in 1870, the heart of Broadway was in Union Square, and by the end of the century, many theatres were near Madison Square. Broadways first long-run musical was a 50-performance hit called The Elves in 1857, New York runs continued to lag far behind those in London, but Laura Keenes musical burletta The Seven Sisters shattered previous New York records with a run of 253 performances. It was at a performance by Keenes troupe of Our American Cousin in Washington, the production was a staggering five-and-a-half hours long, but despite its length, it ran for a record-breaking 474 performances. The same year, The Black Domino/Between You, Me and the Post was the first show to call itself a musical comedy, Tony Pastor opened the first vaudeville theatre one block east of Union Square in 1881, where Lillian Russell performed. Comedians Edward Harrigan and Tony Hart produced and starred in musicals on Broadway between 1878 and 1890, with book and lyrics by Harrigan and music by his father-in-law David Braham. They starred high quality singers, instead of the women of repute who had starred in earlier musical forms. Plays could run longer and still draw in the audiences, leading to better profits, as in England, during the latter half of the century, the theatre began to be cleaned up, with less prostitution hindering the attendance of the theatre by women
15.
West End theatre
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West End theatre is a common term for mainstream professional theatre staged in the large theatres of Theatreland in and near the West End of London. Along with New York Citys Broadway theatre, West End theatre is considered to represent the highest level of commercial theatre in the English-speaking world. Seeing a West End show is a common tourist activity in London, in 2013, ticket sales reached a record 14.4 million, making West End the largest English speaking audience in the world. Famous screen actors frequently appear on the London stage, helen Mirren received an award for her performance as the Queen on the West End stage, and then stated, theatre is such an important part of British history and British culture. Theatre in London flourished after the English Reformation, the first permanent public playhouse, known simply as The Theatre, was constructed in 1576 in Shoreditch by James Burbage. It was soon joined by The Curtain, both are known to have been used by William Shakespeares company. In 1599, the timber from The Theatre was moved to Southwark and these theatres were closed in 1642 due to the Puritans who would later influence the interregnum of 1649. After the Restoration, two companies were licensed to perform, the Dukes Company and the Kings Company, performances were held in converted buildings, such as Lisles Tennis Court. The first West End theatre, known as Theatre Royal in Bridges Street, was designed by Thomas Killigrew and built on the site of the present Theatre Royal and it opened on 7 May 1663 and was destroyed by a fire nine years later. It was replaced by a new designed by Christopher Wren and renamed the Theatre Royal. Outside the West End, Sadlers Wells Theatre opened in Islington on 3 June 1683. Taking its name from founder Richard Sadler and monastic springs that were discovered on the property, it operated as a Musick House, with performances of opera, as it was not licensed for plays. In the West End, the Theatre Royal Haymarket opened on 29 December 1720 on a site north of its current location. The Patent theatre companies retained their duopoly on drama well into the 19th century, by the early 19th century, however, music hall entertainments became popular, and presenters found a loophole in the restrictions on non-patent theatres in the genre of melodrama. Melodrama did not break the Patent Acts, as it was accompanied by music, initially, these entertainments were presented in large halls, attached to public houses, but purpose-built theatres began to appear in the East End at Shoreditch and Whitechapel. The West End theatre district became established with the opening of small theatres and halls. South of the River Thames, the Old Vic, Waterloo Road, the next few decades saw the opening of many new theatres in the West End. It abbreviated its name three years later, the theatre building boom continued until about World War I
16.
Brass band
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A brass band is a musical ensemble generally consisting entirely of brass instruments, most often with a percussion section. Ensembles that include brass and woodwind instruments can in certain traditions also be termed brass bands, balkan-style Brass Bands play a distinctive style of music originating in 19th-century Balkans when Roma trumpeters influenced by Turkish marching bands transposed Folk music into brass. It is popular throughout the Balkans, especially Serbia, Albania, Macedonia, Romania and Bulgaria, the beats are usually fast and accompanied by kolo. The performers each have their instrument of the orchestra and are called trubači, the best known examples of acclaimed music in this style are from Goran Bregović and Boban Marković Orkestar. The Serbian film maker Emir Kusturica has, through his films, all parts apart from the Bass Trombone and percussion are now written in Treble Clef. Note that despite its musical range, the horn in E♭ is traditionally called the tenor horn in British bands. Brass bands have a tradition of competition between bands, often based around local industry and communities. Annual competitions are held in countries to select champion bands at various levels of musical competence. The Salvation Army, part of the Christian church, has deployed brass bands since 1878, the most well-known Salvation Army brass band is The International Staff Band which is based in London. Salvation Army bands vary considerably in size and complement as they are based on the personnel available. The cornet section of a Salvation Army band does not include a Repiano, a Salvation Army band may have 3-6 tenor horns, 2-4 baritones and 2-6 tenor trombones. Salvation Army bands have a tradition of training children in brass playing from an early age. In larger Salvation Army churches there will often be a Junior Band for children as well as a Senior Band for adults, fanfare orchestras are a type of brass band mainly found in Belgium and the Netherlands, while several ensembles exist in Germany, France and Luxembourg. Unlike British bands, they also sport saxophones, there are fanfares affiliated to the military and civil fanfare orchestras which are an important element of cultural tradition in some areas. The tradition of bands in New Orleans, Louisiana dates to the late 19th. Traditionally, New Orleans brass bands could feature various instrumentations, often including trumpets, trombones, clarinets, saxophones, sousaphones and percussion. The Treme Brass Band, while not as old, has members who have been influential throughout New Orleans Brass Band music, a well-known use of these bands is for the New Orleans jazz funeral. Also, a number of groups outside the United States have begun playing this style of music, the style of the music is often characterized by the use of the sousaphone in place of a Double bass to play the bass-line
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Wind band
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On rare occasions, additional non traditional instruments may be added to such ensembles such as piano, harp, synthesizer, or electric guitar. A concert bands repertoire includes original compositions, transcriptions/arrangements of orchestral compositions, light music. Though the instrumentation is similar, a band is distinguished from the marching band in that its primary function is as a concert ensemble. The standard repertoire for the band does, however, contain concert marches. One notable and influential original symphonic work for band was Gustav Holsts First Suite in E-Flat, written in 1909, following Holst, a variety of British, American, Canadian and Australian composers wrote for the medium, including Percy Grainger, James Swearingen and Ralph Vaughan Williams. The wind ensemble could be said to be modeled on the section of a Wagner orchestra. While many people consider the ensemble to be one player on a part. Full band pieces usually require doubling or tripling of the clarinet parts, according to Fennell, the wind ensemble was not revolutionary, but developed naturally out of the music that led him to the concept. Professional concert bands not associated with the military are rare, lesbian & Gay Big Apple Corps, New York, New York, conducted by Kelly Watkins Municipal Band of Charlottesville, Inc. Other large competitions include the World Music Competition, held in the Netherlands, instrumentation for the wind band is not standardized, composers will frequently add or omit parts. Instrumentation differs depending on the type of ensemble, middle and high school bands frequently have more limited instrumentation and fewer parts. This is both to limit the difficulty for inexperienced players and because schools frequently do not have access to the common instruments. The standard concert band will have several players on each part, depending on available personnel, a concert band can theoretically have as many as 200 members from a set of only 35 parts. Also, it is common to see two tubas playing the part in a wind ensemble. Complicated percussion parts are common in concert pieces, often requiring many percussionists. Many believe this is a difference between the orchestra—which usually lacks a large battery of percussion—and the concert band. While in older transcriptions and concert works, the timpani were treated as its own section as in the orchestra, today, in bands, consequently, the timpani player often will double on other percussion instruments. Contemporary compositions often call on players to use unusual instruments or effects, for example, several pieces call on the use of a siren while others will ask players to play recorders, a glass harmonica, or to sing
18.
Radio station
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A radio station is a set of equipment necessary to carry on communication via radio waves. Generally, it is a receiver or transmitter, an antenna, Radio stations play a vital role in communication technology as they are heavily relied on to transfer data and information across the world. More broadly, the definition of a radio station includes the aforementioned equipment, such a station may include several radio stations defined above. This definition of a station is more often referred to as a transmitter site. Each station shall be classified by the service in which it operates permanently or temporarily», transmitter - Takes the electrical output of a microphone and then modulates a higher-frequency carrier signal and transmits it as radio waves. Receiver - The broadcast message is received by the receiver and decodes the radio sine waves, antenna - An antenna is required for transmission, it is also required to receive radio waves. The main use of an antenna is to radio signals. Aerial feeder - system of feeding HF-Energy in the antenna Transmission lines - Transmission lines are used to transfer the radio signals from one location to another. For example, a line was used in Luftwaffe, Germany during WW II to send information from camps back to their base. Connectors Interface panel remote control – This is used to various different types of the equipment used in a radio station. To input broadcast data into a transmitter an interface panel will need to be used, cable – A cable can be used to connect the various devices. Equipment Rack – To hold all equipment in a secure and logical manner, power protection equipment – For holding equipments in a stable, secure and logical manner. UPS – For uninterrupted power supply and these are the most used/important devices and items for most radio stations. A microphone is used to capture the input of sound created by people speaking into the device. The sounds are turned into electrical energy, this energy then flows along a metal antenna. As the electrons in the current move back and forth up the antenna. The waves travel at the speed of light, taking the program with them. A compound of both a transmitter and a receiver is called a transceiver, they are combined and share common circuitry or a single housing, when no circuitry is common between the transmit and receive functions, the device becomes a transmitter-receiver
19.
Student
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A student or pupil is a learner or someone who attends an educational institution. In Britain those attending university are termed students, in the United States, and more recently also in Britain, the term student is applied to both categories. In its widest use, student is used for anyone who is learning, including mid-career adults who are taking vocational education or returning to university. When speaking about learning outside an institution, student is used to refer to someone who is learning a topic or who is a student of a certain topic or person. In Nigeria, education is classified into four system known as 6-3-3-4 system of education and it implies six years in primary school, three years in junior secondary, three years in senior secondary and four years in the university. However, the number of years to be spent in university is determined by the course of study. Some courses have longer study length than others and those in primary school are often referred to as pupils. Those in university as well as those in school are being referred to as students. Six years of school education in Singapore is compulsory. International Schools are subject to overseas curriculums, such as the British, Primary education is compulsory in Bangladesh. Its a near crime to not to children to primary school when they are of age. But it is not a punishable crime, because of the socio-economic state of Bangladesh, child labour is sometimes legal. But the guardian must ensure the primary education, everyone who is learning in any institute or even online may be called student in Bangladesh. Sometimes students taking undergraduate education is called undergraduates and students taking post-graduate education may be called post-graduates, Education System Of Bangladesh, Education is free in Brunei. Darussalam not limited to government educational institutions but also private educational institutions, there are mainly two types of educational institutions, government or public, and private institutions. Several stages have to be undergone by the prospective students leading to higher qualifications, Primary School Secondary School High School Colleges University Level It takes six and five years to complete the primary and secondary levels respectively. Upon completing these two stages, students/pupils have freedom to progress to sixth-form centers, colleges or probably straight to employment. Students are permitted to progress towards university level programs in both government and private university colleges, Education in Cambodia is free for all the students who study in Primary School, Secondary School or High School
20.
British Armed Forces
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They also promote Britains wider interests, support international peacekeeping efforts, and provide humanitarian aid. Repeatedly emerging victorious from conflicts has allowed Britain to establish itself as one of the leading military. The Commander-in-chief of the British Armed Forces is the British monarch, Queen Elizabeth II, the UK Parliament approves the continued existence of the armed forces by passing an Armed Forces Act at least once every five years, as required by the Bill of Rights 1689. The armed forces are managed by the Defence Council of the Ministry of Defence, with the Acts of Union 1707, the armed forces of England and Scotland were merged into the armed forces of the Kingdom of Great Britain. Britain feared that Russian expansionism in the region would eventually threaten the Empire in India and this ultimately led to British involvement in the Crimean War against the Russian Empire. The beginning of the twentieth century served to reduce tensions between Britain and the Russian Empire, partly due to the emergence of a unified German Empire. Allied victory resulted in the defeat of the Central Powers, the end of the German Empire, the Treaty of Versailles, once again tensions accumulated in European relations, and following Germanys invasion of Poland in September 1939, the Second World War began. The conflict was the most widespread in British history, with British Empire and Commonwealth troops fighting in campaigns from Europe and North Africa, to the Middle East, approximately 390,000 British Empire and Commonwealth troops lost their lives. Allied victory resulted in the defeat of the Axis powers and the establishment of the United Nations, reflecting Britains new role in the world and the escalation of the Cold War, the country became a founding member of the NATO military alliance in 1949. By the mid-1970s, the forces had reconfigured to focus on the responsibilities allocated to them by NATO. While NATO obligations took increased prominence, Britain nonetheless found itself engaged in a number of low-intensity conflicts, however the Dhofar Rebellion and The Troubles emerged as the primary operational concerns of the armed forces. Perhaps the most important conflict during the Cold War, at least in the context of British defence policy, was the Falklands War. Since the end of the Cold War, an international role for the armed forces has been pursued, with re-structuring to deliver a greater focus on expeditionary warfare. In addition to the campaign, the British Army has trained and supplied allies on the ground. Figures released by the Ministry of Defence on 31 March 2016 show that 7,185 British Armed Forces personnel have lost their lives in medal earning theatres since the end of the Second World War. As Sovereign and head of state, Queen Elizabeth II is Head of the Armed Forces, the Queen, however, remains the ultimate authority of the military, with officers and personnel swearing allegiance to the monarch. It has been claimed that this includes the power to prevent unconstitutional use of the armed forces, responsibility for the management of the forces is delegated to a number of committees, the Defence Council, Chiefs of Staff Committee, Defence Management Board and three single-service boards. The Defence Council, composed of representatives of the services
21.
Officer (armed forces)
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An officer is a member of an armed force or uniformed service who holds a position of authority. In this sense, officers are not enlisted, but hold appointments from their government that typically remain in force indefinitely unless resigned, the proportion of officers varies greatly. Officers typically make up between an eighth and a fifth of modern armed forces personnel, in 2013, officers were the senior 17% of the British armed forces, and the senior 13. 7% of the French armed forces. In 2012, officers made up about 18% of the German armed forces, historically, however, armed forces have generally had much lower proportions of officers. During the First World War, fewer than 5% of British soldiers were officers, in the early twentieth century, the Spanish army had the highest proportion of officers of any European army, at 12. 5%. Within a nations armed forces, armies tend to have a proportion of officers. For example,13. 9% of British army personnel and 22. 2% of the RAF personnel were officers in 2013, having officers is one requirement for combatant status under the laws of war, though these officers need not have obtained an official commission or warrant. Commissioned officers are typically the only persons, in an armed forces environment, a superior officer is an officer with a higher rank than another officer, who is a subordinate officer relative to the superior. Non-commissioned officers in positions of authority can be said to have control or charge rather than command per se, many advanced militaries require university degrees as a prerequisite for commissioning, even from the enlisted ranks. In the Israel Defense Forces, a university degree is a requirement for an officer to advance to the rank of lieutenant colonel, the IDF often sponsors the studies for its majors, while aircrew and naval officers obtain academic degrees as a part of their training programmes. In the United Kingdom, there are three routes of entry for British Armed Forces officers, the first, and primary route are those who receive their commission directly into the officer grades following completion at their relevant military academy. The third route is similar to the second, in that they convert from an enlisted to a commission, but these are taken from the highest ranks of SNCOs. LE officers, whilst holding the same Queens Commission, generally work in different roles from the DE officers, in the infantry, a number of Warrant Officer Class 1s are commissioned as LE officers. For Royal Navy and Royal Air Force officer candidates, a 30-week period at Britannia Royal Naval College or a 30-week period at RAF College Cranwell, Royal Marines officers receive their training in the Command Wing of the Commando Training Centre Royal Marines during a grueling 15-month course. The courses consist of not only tactical and combat training, but also leadership, management, etiquette, until the Cardwell Reforms of 1871, commissions in the British Army were purchased by officers. The Royal Navy, however, operated on a more meritocratic, or at least socially mobile, AOCS also also included the embedded Aviation Reserve Officer Candidate and Naval Aviation Cadet programs. NAVCADs were personnel who held associates degrees, but lacked bachelors degrees, nAVCADs would complete the entire AOCS program, but would not be commissioned until completion of flight training and receiving their wings. After their initial tour, they would be assigned to a college or university full-time for no more than two years in order to complete their bachelors degree
22.
Non-commissioned officer
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A non-commissioned officer or noncommissioned officer is a military officer who has not earned a commission. Such is also called sub-officer in some countries, Non-commissioned officers, in the English-speaking world, usually obtain their position of authority by promotion through the enlisted ranks. In contrast, commissioned officers hold higher ranks than NCOs, have more legal responsibilities, are paid more, commissioned officers usually earn their commissions without having risen through the enlisted ranks. Mustang is a term in the United States Armed Forces used to refer to a commissioned officer who began his or her career as an enlisted service member. The NCO corps usually includes all grades of corporal and sergeant, in some countries, the naval equivalent includes some or all grades of petty officer, although not all navies class their petty officers as NCOs. There are different classes of non-commissioned officer, including junior non-commissioned officers, the non-commissioned officer corps is often referred to as the backbone of the armed services, as they are the primary and most visible leaders for most military personnel. Additionally, they are the leaders responsible for executing a military organizations mission. NCO training and education typically includes leadership and management as well as service-specific, senior NCOs are considered the primary link between enlisted personnel and the commissioned officers in a military organization. Their advice and guidance is important for junior officers, who begin their careers in a position of authority. In the Australian Army, Lance corporals and corporals are classified as junior NCOs, while sergeants, in the New South Wales Police Force, NCOs perform supervisory and coordination roles. The ranks of probationary constable through to leading senior constable are referred to as constables, all NCOs within the NSW Police are given a warrant of appointment under the Commissioners hand and seal. All officers within the Australian Defence Force Cadets are non-commissioned, ADFC officers are appointed by the Director-General of their respective branch. In the Canadian Forces, the Queens Regulations and Orders formally defined a non-commissioned officer as A Canadian Forces member holding the rank of Sergeant or Corporal. In the 1990s, the term non-commissioned member was introduced to all ranks in the Canadian Forces from recruit to chief warrant officer. In the Royal Canadian Navy, however, the definition of NCO reflects the international use of the term. Junior Non-commissioned officers mess and billet with privates and seamen, their mess is usually referred to as the junior ranks mess, as a group, NCOs rank above privates and below warrant officers. The term non-commissioned members includes these ranks, in the Finnish Defence Force, NCOs includes all ranks from corporal to sergeant major. Ranks of lance corporal and leading seaman are considered not to be NCO ranks and this ruling applies to all branches of service and also to the troops of the Border Guard
23.
Warrant officer (United Kingdom)
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A warrant officer in the British Armed Forces is a member of the highest group of non-commissioned ranks, holding the Queens warrant, which is signed by the Secretary of State for Defence. Warrant officers are not saluted as they do not hold the Queens Commission, commissioned officers may address warrant officers either by their appointment or as Mister, Mrs, or Ms and then their last name, e. g. Mr Smith. Although often referred to along with non-commissioned officers, they are not NCOs, specialists such as a ships carpenter, boatswain and gunner were vital to the safety of all on board, and were accordingly ranked as officers - though by warrant rather than by commission. These and other specialists retained their distinctive rank and status until 1949 and they were ranked as equivalents to warrant officers class I in the British Army and Royal Marines and with warrant officers in the Royal Air Force. The rank was titled as fleet chief petty officer, becoming warrant officer in the 1980s. In April 2004, the Royal Navy created the rate of warrant officer class 2, superior to the CPO, the WO2 replaced the non-substantive appointment of charge chief petty officer in the technical branches. Prior to this change the CCPO was considered as a NATO OR-8, in non-technical branches, there is still no requirement to hold WO2 rank before promotion to WO1. Warrant officers wear the rank insignia as their counterparts in the Royal Marines. In 2005, the Royal Navy introduced the appointment of executive warrant officer in all ships, the EWO is the senior warrant officer within the unit, and a member of the senior command team. The appointment is intended to be filled by an experienced WO1, above these are four command warrant officers, CWO Surface Ships, CWO Submarines, CWO Royal Marines, CWO Fleet Air Arm and CWO Maritime Reserves. The most senior warrant officer is the Warrant Officer of the Naval Service, before 1879, the Royal Marines had no warrant officers, but by the end of 1881, warrant rank was held by sergeant-majors and some other senior NCOs, in a similar fashion to the Army. Warrant officers were given equivalent status to those in the Royal Navy from 1910, shortly after the Army introduced the ranks of warrant officer classes I and II in 1915, the Royal Marines did the same. As in the Royal Navy, by the Second World War there were warrant officers, as officers, they were saluted by junior ranks. These all became branch officer ranks in 1949, and special duties officer ranks in 1956, the insignia are the same, but all Royal Marines WO2s wear the crown-in-wreath variation. As in the Army, many warrant officers have appointments by which they are known, referred to, directly junior to him is the Command Warrant Officer. The rank below WO2 is colour sergeant, the Royal Marines equivalent of staff sergeant, the Royal Marines rank of warrant officer class 2 is unaffected by the 2014 phaseout of the rank in the Royal Navy. In the British Army, there are two warrant ranks, warrant officer class 2 and warrant officer class 1, the latter being the senior of the two and it used to be more common to refer to these ranks as WOII and WOI. Warrant officer 1st class or 2nd class is incorrect, the rank immediately below WO2 is staff sergeant
24.
The New York Times
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The New York Times is an American daily newspaper, founded and continuously published in New York City since September 18,1851, by The New York Times Company. The New York Times has won 119 Pulitzer Prizes, more than any other newspaper, the papers print version in 2013 had the second-largest circulation, behind The Wall Street Journal, and the largest circulation among the metropolitan newspapers in the US. The New York Times is ranked 18th in the world by circulation, following industry trends, its weekday circulation had fallen in 2009 to fewer than one million. Nicknamed The Gray Lady, The New York Times has long been regarded within the industry as a newspaper of record. The New York Times international version, formerly the International Herald Tribune, is now called the New York Times International Edition, the papers motto, All the News Thats Fit to Print, appears in the upper left-hand corner of the front page. On Sunday, The New York Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T, some other early investors of the company were Edwin B. Morgan and Edward B. We do not believe that everything in Society is either right or exactly wrong, —what is good we desire to preserve and improve, —what is evil, to exterminate. In 1852, the started a western division, The Times of California that arrived whenever a mail boat got to California. However, when local California newspapers came into prominence, the effort failed, the newspaper shortened its name to The New-York Times in 1857. It dropped the hyphen in the city name in the 1890s, One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials it published alone. At Newspaper Row, across from City Hall, Henry Raymond, owner and editor of The New York Times, averted the rioters with Gatling guns, in 1869, Raymond died, and George Jones took over as publisher. Tweed offered The New York Times five million dollars to not publish the story, in the 1880s, The New York Times transitioned gradually from editorially supporting Republican Party candidates to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign, while this move cost The New York Times readership among its more progressive and Republican readers, the paper eventually regained most of its lost ground within a few years. However, the newspaper was financially crippled by the Panic of 1893, the paper slowly acquired a reputation for even-handedness and accurate modern reporting, especially by the 1890s under the guidance of Ochs. Under Ochs guidance, continuing and expanding upon the Henry Raymond tradition, The New York Times achieved international scope, circulation, in 1910, the first air delivery of The New York Times to Philadelphia began. The New York Times first trans-Atlantic delivery by air to London occurred in 1919 by dirigible, airplane Edition was sent by plane to Chicago so it could be in the hands of Republican convention delegates by evening. In the 1940s, the extended its breadth and reach. The crossword began appearing regularly in 1942, and the section in 1946
25.
Concertmaster
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The Concertmaster is the second-most significant person in an orchestra, symphonic band or other musical ensemble after the conductor or director. Another common term in the U. S. is First Chair, in the U. K. the term commonly used is leader. In an orchestra, the concertmaster is the leader of the first violin section, there is another violin section, the second violins, led by the principal second violin. Any violin solo in a work is played by the concertmaster. The concertmaster sits to the left, closest to the audience, in what is called the first chair. The concertmaster makes decisions regarding bowing and other details of violin playing for the violins. He or she leads the orchestra in tuning before concerts and rehearsals, leading the orchestral tuning is not just a mere formality, if the concertmaster believes that a section is not adequately tuned, he or she will signal to the oboe player to play another A. Several larger orchestras have one or more assistant concertmasters, who lead the orchestra in the concertmasters absence, the concertmaster, along with the conductor and section principals, will normally participate in the auditions of important musicians in the orchestra. The concertmaster in a concert band is the principal clarinet, oboe, flute or saxophone. The first-chair clarinet concertmaster will, in practice, play all solos for their instrument. Often the lead flautist will receive similar responsibilities to the concertmaster, depending on several factors such as age, skill. The concertmaster will, in orchestral and wind band settings, also coordinate with other principals and section leaders, in most cases being their senior in terms of group pecking order. In brass bands, the role of concertmaster is often filled by the solo cornet or trumpet. The duties and tasks of the concertmaster are myriad, primarily, he or she acts as the conduit between conductor and orchestra and is accountable to both parties. One of the tasks of the concertmaster is to provide bowings for the 1st violins prior to rehearsal. This entails a great knowledge of playing styles in addition to complete idiomatic understanding of the mechanics of string playing. Ensemble cohesion emanates directly from the contact and connection between these vital front desk positions, the concertmaster assumes responsibility for the tone and execution of the entire section of 1st violins, in addition to performing any solo passages that occur in a given piece. Another primary duty of the concertmaster is to translate instructions from the conductor into specific technical language for the strings, full-time professional orchestras work with several conductors through the course of a regular season
26.
Baton (conducting)
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A baton is a stick that is used by conductors primarily to enlarge and enhance the manual and bodily movements associated with directing an ensemble of musicians. Professional conductors often have personal specifications for a baton based on their own physical demands and the nature of the performance, Sir Henry Wood and Herbert von Karajan are some examples. Batons have normally varied in length from about 10 to 24 inches though a range of between 12 and 26 inches is more used, Henry Wood once requested the use of a 24-inch baton. When Gaspare Spontini arrived in Dresden in 1844, Wagner had a made from a thick ebony staff with ivory knobs at either end. Spontini purportedly held the baton in the center with a fist, using it like a marshalls staff— not for beating time, conductors view their gestures as the primary means to communicate musical ideas, whether or not they choose to use batons. The usual way of holding the baton is between the thumb and the first two fingers with the grip in against the palm of the hand, the baton is usually held in the right hand though some left-handed conductors hold it in the left. Young left-handed conductors are, however, sometimes encouraged to learn right-handed conducting, some conductors like Pierre Boulez, Georges Prêtre, Leopold Stokowski and Dimitri Mitropoulos, however, choose not to hold a baton, preferring to conduct only with their hands. This method is common with smaller groups and choral conductors, if the conductor does not use a baton, their hands must do the job with equal clarity, and the gestures must be first and always meaningful in terms of the music. Before the use of the baton, orchestral ensembles were conducted from the harpsichord or the first violin lead, conductors first began to use violin bows or rolled pieces of paper before the modern baton was introduced. On 8 January 1687, Jean-Baptiste Lully was conducting a Te Deum to celebrate Louis XIV of Frances recent recovery from illness, as was the common practice, he was beating time by banging a long staff against the floor when he struck his toe, creating an abscess. The wound turned gangrenous, but Lully refused to have his toe amputated, the baton began to gain in popularity between 1820 and 1840. The first batons were narrow and conical wooden wands that had an engraving of three rings near the bottom indicated the handle. The Hallé Orchestra reported that Daniel Turk used a baton in 1810, with motions so exuberant that he hit the chandelier above his head. Louis Spohr claimed to have introduced the baton to England on 10 April 1820, witnesses noted that the conductor sits there and turns over the leaves of the score but after all, he cannot, without. His baton, lead on his musical army and it is more likely that he used his baton in rehearsal than in concert. It was 1825 when George Smart reported that he beat time in front with a short stick. When Felix Mendelssohn returned to London in 1832, despite objections from violin leaders, despite the initial disagreement, the baton was in regular use at the Philharmonic a year later. In the early 1940s, while big band music was on the rise
27.
Maestro
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Maestro is an honorific title of respect. The term is most commonly used in the context of Western classical music and opera, the word maestro is most often used in addressing or referring to conductors. Less frequently, one might refer to respected composers, performers, impresarios, in the world of Italian opera, the title is also used to designate a number of positions within the orchestra and company that have specific duties during rehearsal and performance. These include, Maestro sostituto or maestro collaboratore, musicians who act as répétiteurs, Maestro concertatore, the keyboard continuo player, who prepares singers and leads rehearsals. The word is used in fine arts such as painting and sculpture, although master. Maestro is used in the sport of fencing, for a fencing instructor, the Maestro Myth, Great Conductors in Pursuit of Power. Kennedy, Michael, The Oxford Dictionary of Music,985 pages, ISBN 0-19-861459-4 Warrack, John, West, Ewan
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Articulation (music)
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In music, articulation refers to the direction or performance technique which affects the transition or continuity on a single note or between multiple notes or sounds. There are many types of articulation, each with a different effect on how the note is played, in music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note, represents each articulation, woodwind and brass instruments generally produce articulations by tonguing, the use of the tongue to break the airflow into the instrument. Certain palate cues can help student musicians master articulations, for example, the syllable dah demonstrates one placement of the tongue to articulate notes. In most cases, using the tip of the tongue, is the best way of articulation. However, different articulation markings require different tongue placement, smooth, connected passages may require an articulation more reminiscent of the syllable la, while heavy, sharp notes may be attacked with an articulation similar to tah. Furthermore, the implementation of double-tonguing may be required when many articulations are required in rapid succession, double-tonguing can be simulated by repeating the syllables dig and guh in rapid succession. Double-tonguing is a primarily used by brass players, however. A third, rare form of articulation for wind players is doodle tonguing, the name of this articulation comes from the sound, doodle, one would make if she were to sound her voice while performing the articulation. Doodle-tonguing is achieved by moving the tip of the tongue up and down quickly to block the air stream momentarily on the way up, bowed stringed instruments use different bowing techniques to achieve different articulations. One of these techniques is pizzicato, occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, tenuto markings under a slur are called hook bows. This name is less commonly applied to staccato or martellato markings. Apagados refers to notes that are played dampened or muted, without sustain, the term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened. The technique is chiefly written for bowed or plucked instruments, modernists refer to the apogado as palm mute. On the guitar, the musician dampens the strings with the palm of the hand, strictly speaking, the term dampened is correct for this effect in music, since to mute means to silence. Illustration of the apagados may be found in the work of composer for Spanish guitar, see, https, //web. archive. org/web/20110714065232/http, //www. mednetconnection. com/18051/18020. html List of musical symbols, Articulation Marks Tonguing Cooper, Helen. Basic Guide to How to Read Music, GNU Lilypond Notation Softwares List of Articulation Symbols
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Beat (music)
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In music and music theory, the beat is the basic unit of time, the pulse, of the mensural level. In popular use, beat can refer to a variety of related concepts including, tempo, meter, specific rhythms, Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats and divided into bars organized by time signature and tempo indications. Metric levels faster than the level are division levels. Beat has always been an important part of music, some music genres such as disco will in general de-emphasize the beat, while other such as funk emphasize the beat to accompany dance. The downbeat is the first beat of the bar, i. e. number 1, the upbeat is the last beat in the previous bar which immediately precedes, and hence anticipates, the downbeat. Both terms correspond to the direction taken by the hand of a conductor, an anticipatory note or succession of notes occurring before the first barline of a piece is sometimes referred to as an upbeat figure, section or phrase. Alternative expressions include pickup and anacrusis, the latter term was borrowed from the field of poetry, in which it refers to one or more unstressed extrametrical syllables at the beginning of a line. In music that progresses regularly in 44 time, counted as 1234,1234. The first beat of the bar is usually the strongest accent in the melody and the likeliest place for a change, the third is the next strongest. The second and fourth are weaker—the off-beats, subdivisions that fall between the pulse beats are even weaker and these, if used frequently in a rhythm, can also make it off-beat. The effect can be simulated by evenly and repeatedly counting to four. This is a technique of African polyrhythm that transferred to popular western music. According to Grove Music, the Offbeat is where the downbeat is replaced by a rest or is tied over from the preceding bar, the downbeat can never be the off-beat because it is the strongest beat in 44 time. Certain genres tend to emphasize the off-beat, where this is a characteristic of rocknroll. A back beat, or backbeat, is a syncopated accentuation on the off beat, in a simple 44 rhythm these are beats 2 and 4. A big part of R&Bs attraction had to do with the stompin backbeats that make it so eminently danceable, an early record with an emphasised back beat throughout was Good Rockin Tonight by Wynonie Harris in 1948. There is a back beat on Roll Em Pete by Pete Johnson and Big Joe Turner. A distinctive back beat can be heard on Back Beat Boogie by Harry James And His Orchestra, outside U. S. popular music, there are early recordings of music with a distinctive backbeat, such as the 1949 recording of Mangaratiba by Luiz Gonzaga in Brazil
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Metre (music)
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The metre of music is its rhythmic structure, the patterns of accents heard in regularly recurring measures of stressed and unstressed beats at the frequency of the musics pulse. A variety of systems exist throughout the world for organising and playing music, such as the Indian system of tala. Later music for such as the pavane and galliard consisted of musical phrases to accompany a fixed sequence of basic steps with a defined tempo. The term is not very precisely defined, macPherson preferred to speak of time and rhythmic shape, Imogen Holst of measured rhythm. This perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a definition of musical metre requires the possibility of identifying a repeating pattern of accented pulses — a pulse-group — which corresponds to the foot in poetry. Frequently a pulse-group can be identified by taking the accented beat as the first pulse in the group, frequently metres can be broken down into a pattern of duples and triples. The level of musical organisation implied by musical metre includes the most elementary levels of musical form, metrical rhythm, measured rhythm, and free rhythm are general classes of rhythm and may be distinguished in all aspects of temporality. Measured rhythm is where each time value is a multiple or fraction of a time unit. Free rhythm is where there is neither, some music, including chant, has freer rhythm, like the rhythm of prose compared to that of verse. Some music, such as some graphically scored works since the 1950s and non-European music such as Honkyoku repertoire for shakuhachi, may be considered ametric. Senza misura is an Italian musical term for without metre, meaning to play without a beat, Metric levels may be distinguished, the beat level is the metric level at which pulses are heard as the basic time unit of the piece. Faster levels are division levels, and slower levels are multiple levels, a rhythmic unit is a durational pattern which occupies a period of time equivalent to a pulse or pulses on an underlying metric level. In duple metre, each measure is divided into two beats, or a multiple thereof, for example, in the time signature 24, each measure contains two quarter-note beats, and with the time signature 68, each measure contains two dotted-quarter-note beats. Corresponding quadruple metres are 44, with 2 ×2 =4 quarter-note beats per measure, triple metre is a metre in which each measure is divided into three beats, or a multiple thereof. For example, in the time signature 34, each contains three quarter-note beats, and with a time signature of 98, each measure contains three dotted-quarter beats. Simple metre and compound metre are distinguished by the way the beats are subdivided, Simple metre or simple time is a metre in which each beat of the measure divides naturally into two equal parts. The top number in the signature will be 2,3,4,5
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Cadence (music)
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In Western musical theory, a cadence is a melodic or harmonic configuration that creates a sense of resolution. A harmonic cadence is a progression of two chords that concludes a phrase, section, or piece of music, a rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence is labeled more or less weak or strong depending on its sense of finality, harmonic rhythm plays an important part in determining where a cadence occurs. Cadences are strong indicators of the tonic or central pitch of a passage or piece, edward Lowinsky proposed that the cadence was the cradle of tonality. In music of the common practice period, cadences are divided into four types according to their progression, authentic, plagal, half. Typically, phrases end on authentic or half cadences, and the terms plagal, each cadence can be described using the Roman numeral system of naming chords, Authentic cadence, V to I. A seventh above the root is added to create V7. The The Harvard Concise Dictionary of Music and Musicians says, This cadence is a microcosm of the tonal system and it is virtually obligatory as the final structural cadence of a tonal work. A perfect cadence is a progression from V to I in major keys and this is generally the strongest type of cadence and often found at structurally defining moments. This strong cadence achieves complete harmonic and melodic closure and it has to be noted that Beethoven in particular gets so much mileage out of this cadence as for it to become one of his most characteristic and recognizable musical thumbprints. The Diabelli Variations and the C major climax of the movement of the Opus 132 String Quartet - even though it is described as being in Lydian mode on F - are two powerful examples. Imperfect authentic cadence, best divided into three categories,1. Root position IAC, similar to a PAC, but the highest voice is not the tonic, inverted IAC, similar to a PAC, but one or both chords is inverted. Leading tone IAC, the V chord is replaced with the viio/subV chord, evaded cadence, V42 to I6. Because the seventh must fall step wise, it forces the cadence to resolve to the less stable first inversion chord, usually to achieve this a root position V changes to a V42 right before resolution, thereby evading the cadence. Half cadence, any cadence ending on V, whether preceded by II, ii, vi, IV, with the addition of motion in the upper part to the sixth degree, it becomes the Landini cadence. Lydian cadence, The Lydian half-cadence is similar to the Phrygian-half, involving iv6-V in the minor, the difference is that in the Lydian-half, the whole iv6 is raised by a half-step. In other words, the Phrygian-half begins with the first chord built on scale degree P4, Burgundian cadences, Became popular in Burgundian music
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Resolution (music)
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Resolution in western tonal music theory is the move of a note or chord from dissonance to a consonance. Dissonance, resolution, and suspense can be used to create musical interest, where a melody or chordal pattern is expected to resolve to a certain note or chord, a different but similarly suitable note can be resolved to instead, creating an interesting and unexpected sound. A dissonance has its resolution when it moves to a consonance, when a resolution is delayed or is accomplished in surprising ways—when the composer play with our sense of expectation—a feeling of drama or suspense is created. Resolution has a basis in tonal music, since atonal music generally contains a more constant level of dissonance. The concept of resolution, and the degree to which resolution is expected, is contextual as to culture and this is an example of a suspended chord. In reference to chords and progressions for example, an ending with the following cadence IV-V. However, if this cadence were changed to V-I, an authentic cadence, circle of fifths Corelli clash Irregular resolution Doubling
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Dynamics (music)
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In music, dynamics are instructions in musical notation to the performer about the loudness at which to play a note or phrase. More generally, dynamics may also include aspects of the execution of a given piece. The two basic dynamic indications in music are, p or piano, meaning soft, more subtle degrees of loudness or softness are indicated by, mp, standing for mezzo-piano, meaning half soft. Mf, standing for mezzo-forte, meaning half loud, più p, standing for più piano and meaning softer. Più f, standing for più forte and meaning louder, use of up to three consecutive fs or ps is also common, pp, standing for pianissimo and meaning very soft. Ff, standing for fortissimo and meaning very loud, ppp, standing for pianississimo and meaning very very soft. Fff, standing for fortississimo and meaning very loud. Some pieces contain dynamic designations with more than three consecutive fs or ps, in Holsts The Planets, ffff occurs twice in Mars and once in Uranus often punctuated by organ and fff occurs several times throughout the work. It also appears in Heitor Villa-Lobos Bachianas Brasileiras No,4, and in Liszts Fantasy and Fugue on the chorale Ad nos, ad salutarem undam. Igor Stravinsky used ffff at the end of the finale of the Firebird Suite, ffff is also found in a prelude by Rachmaninoff, op. 3-2. Shostakovich even went as loud as fffff in his fourth symphony, gustav Mahler, in the third movement of his Seventh Symphony, gives the celli and basses a marking of fffff, along with a footnote directing pluck so hard that the strings hit the wood. On another extreme, Carl Nielsen, in the movement of his Symphony No. 5, marked a passage for woodwinds a diminuendo to ppppp, another more extreme dynamic is in György Ligetis Études No. 13, which has at one point a ffffff and progresses to a ffffffff, in the baritone passage Era la notte from his opera Otello, Verdi uses pppp. Steane and others suggest that such markings are in reality a strong reminder to less than subtle singers to at least sing softly rather than an instruction to the singer actually to attempt a pppp, dynamic indications of this kind are relative, not absolute. Mp does not indicate a level of volume, it merely indicates that music in a passage so marked should be a little louder than p. Interpretations of dynamic levels are mostly to the performer, in the Barber Piano Nocturne. Another instance of performers discretion in this piece occurs when the hand is shown to crescendo to a f
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Musical phrasing
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Phrasing is the manner in which a musician shapes a sequence of notes in a passage of music, in order to express an emotion or impression. A musician accomplishes this by deviating stylistically from the sheet music—altering tone, tempo, dynamics, articulation, inflection, Phrasing can emphasise a concept in the music or a message in the lyrics, or it can digress from the composers intention. For example, accelerating the tempo or prolonging a note may add tension, there are two schools of thought on phrasing, says flautist Nancy Toff, one more intuitive, the other more analytical. The intuitive school uses a model, equating the function of phrasing with that of punctuation in language. Thus, said Chopin to a student, he who phrases incorrectly is like a man who does not understand the language he speaks, structural information gleaned from the score is visually apprehended and as such is predisposed to visualist models of structure. These models are premised on symmetry and balance and on a notion of objective structure. Temporal and aurally-apprehended structures are denied reality because they cannot be said to exist in the way that spatial, Musical investigations exhibit the Western prejudice toward visualism in the dependence on visual symmetry and balance. Information about structure from listening experience is suspect because it is considered subjective and is opposed to information from the score. Musical technique Tempo rubato Quotations related to Musical phrasing at Wikiquote Liebling, Emil, the American History and Encyclopedia of Music. Lessons in Vocal Expression, Course I, Processes of Thinking in the Modulation of Voice
