1.
Dance
–
Dance is a performance art form consisting of purposefully selected sequences of human movement. This movement has aesthetic and symbolic value, and is acknowledged as dance by performers and observers within a particular culture, Dance can be categorized and described by its choreography, by its repertoire of movements, or by its historical period or place of origin. Other forms of movement are sometimes said to have a dance-like quality, including martial arts, gymnastics, figure skating, synchronized swimming. Theatrical dance, also called performance or concert dance, is intended primarily as a spectacle and it often tells a story, perhaps using mime, costume and scenery, or else it may simply interpret the musical accompaniment, which is often specially composed. Examples are western ballet and modern dance, Classical Indian dance and Chinese and Japanese song, most classical forms are centred upon dance alone, but performance dance may also appear in opera and other forms of musical theatre. Such dance seldom has any narrative, a group dance and a corps de ballet, a social partner dance and a pas de deux, differ profoundly. Even a solo dance may be solely for the satisfaction of the dancer. On the other hand, some cultures lay down strict rules as to the dances in which, for example. Archeological evidence for early dance includes 9, 000-year-old paintings in India at the Rock Shelters of Bhimbetka and it has been proposed that before the invention of written languages, dance was an important part of the oral and performance methods of passing stories down from generation to generation. The use of dance in trance states and healing rituals is thought to have been another early factor in the social development of dance. References to dance can be found in very early recorded history, Greek dance is referred to by Plato, Aristotle, Plutarch, the Bible and Talmud refer to many events related to dance, and contain over 30 different dance terms. In Chinese pottery as early as the Neolithic period, groups of people are depicted dancing in a line holding hands, Dance is further described in the Lüshi Chunqiu. Primitive dance in ancient China was associated with sorcery and shamanic rituals, during the first millennium BCE in India, many texts were composed which attempted to codify aspects of daily life. Bharata Munis Natyashastra is one of the earlier texts and it mainly deals with drama, in which dance plays an important part in Indian culture. It categorizes dance into four types - secular, ritual, abstract, the text elaborates various hand-gestures and classifies movements of the various limbs, steps and so on. A strong continuous tradition of dance has since continued in India, through to modern times, where it continues to play a role in culture, ritual, and, notably, the Bollywood entertainment industry. Many other contemporary dance forms can likewise be traced back to historical, traditional, ceremonial, Dance is generally, though not exclusively, performed with the accompaniment of music and may or may not be performed in time to such music. Some dance may provide its own audible accompaniment in place of music, many early forms of music and dance were created for each other and are frequently performed together
Dance
–
Modern dance
Dance
–
Members of American jazz dance company
Giordano Dance Chicago perform a formal group routine in a concert dance setting
Dance
–
Greek bronze statuette of a veiled and masked dancer, 3rd-2nd century BC, Alexandria, Egypt.
Dance
–
Ugandan youth dance at a cultural celebration of peace
2.
Renaissance
–
The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
Renaissance
–
David, by
Michelangelo (
Accademia di Belle Arti,
Florence) is a masterpiece of Renaissance and world art.
Renaissance
–
Renaissance
Renaissance
–
Leonardo da Vinci 's
Vitruvian Man (c. 1490) shows clearly the effect writers of Antiquity had on Renaissance thinkers. Based on the specifications in
Vitruvius '
De architectura (1st century BC), Leonardo tried to draw the perfectly proportioned man.
Renaissance
–
Portrait of a young woman (c. 1480-85) (
Simonetta Vespucci) by
Sandro Botticelli
3.
Partner dance
–
In 1023, the German poet Ruodlieb referred to a couple dance with a basic motif of a boy wooing a girl, and the girl repulsing his advances. Men and women dancing as couples, both holding one hand of their partner, and embracing each other, can be seen in illustrations from 15th-century Germany. At the end of the 13th century and during the 14th century, nobles, farmers and lower classes of society danced turning in a lively, springing fashion. The relatively new burgher middle class combined the dances with the processional as a dance. Danse de Paysans by Théodore de Bry shows a couple with a man lifting his partner off the ground, and his Danse de Seigneurs et Dames features one Lord with his arms around the waist of his Lady. Syncopated and dotted rhythms gained widespread popularity for dancing in the last two centuries, although usually less complex and more regular than previous music, an old couple dance which can be found all over Northern Europe is known as Manchester or Lott is Dead. Dance partners stay together for the duration of the dance and, most often, dance independently of other couples dancing at the same time, if any. Although this kind of dancing can be seen, for instance, in ballet, this term is applied to various forms of social dance, ballroom dance, folk dance. Partner dance may be a basis of a dance, a round dance. In square dance one will often change partners during the course of a dance, in most partner dances, one, typically a man, is the leader, the other, typically a woman, is the follower. As a rule, they maintain connection with each other, in some dances the connection is loose and called dance handhold. In other dances the connection involves body contact, in the latter case the connection imposes significant restrictions on relative body positions during the dance and hence it is often called dance frame. It is also said that each partner has his own dance frame, in promenade-style partner dancing there is no leader or follower, and the couple dance side-by-side maintaining a connection with each other through a promenade handhold. The man dances traditionally to the left of the woman, some peoples have folk partner dances, where partners do not have any body contact at all, but there is still a kind of call-response interaction. A popular form of dancing is slow dance. Generally, partner dance has taken place between a man and a woman, from the 1800s-1950s, however, if there was not a sufficient number partners of the opposite sex available, couples formed into pairs of the same-sex. At the time, same-sex partnering had nothing to do with sexual orientation and it was acceptable ballroom etiquette for a woman to dance with her sisters and/or friends if there were no available men. Sometimes this is also done as part of a dance tradition, partnerships of the same-sex may not necessarily describe sexual orientation as many straight individuals still partner up with members of the same-sex
Partner dance
–
Partner dance
Partner dance
–
Gaskell Ball
4.
Basse danse
–
The basse danse, or low dance, was a popular court dance in the 15th and early 16th centuries, especially at the Burgundian court. The basse danse was a precursor of the pavane as a processional dance. The term may apply to the dance or the music alone, the earliest record of a basse danse is found in an Occitan poem of the 1320s by Raimon de Cornet, who notes that the joglars performed them. In Germany it became the Hofdantz, thoinot Arbeau used the basse danse to explain his method of dance notation in his Orchésographie. The basic measure is counted in sixes but, like the later courante, often combines 64 and 32 time and this rhythm matches the basic steps of the dance. Most basse danse music is in form with each section repeated. The basse danse was often followed by a tourdion, due to their contrasting tempi, and these were danced and composed in pairs en suite like the pavane and galliard and the allemande and courante. Early music consisted of songs based on a cantus firmus. In performance 3 or 4 instrumentalists would improvise the polyphony based on this tenor, in others multiple parts were written, though choice of instrumentation was left to the performers. A treatise in the Royal Library of Belgium in Brussels gives us information about the elements of basse danse, the basse danse is based upon four steps, pas simple, pas double, démarche and branle. Pas simples are done in pairs, dancers take two steps in one measure counting 2–2–2, in pas double, dancers take instead three steps, counting 3-3. These steps take advantage of the feel of the basse danse. In the démarche, dancers take a backwards and shift their weight forward. In the branle, dancers step to the left, shifting their weight left, the révérence, occurring typically before or after the choreography, is a bow or curtsey that takes place over the course of one measure. Western Music – Britannica Online Encyclopedia, a Dictionary of Music and Musicians. W. W. Norton and Company Incorporated, Dance – A Short History of Classical Theatrical Dancing. Archived from the original on 13 April 2007, the Derivation of Some Fifteenth-Century Basse-Danse Tunes. Materials for the Study of the Fifteenth Century Basse Danse, in Compositione di Meser Vincenzo Capirola, Lute-Book, edited by Otto Gombosi, xxxvi–lxiii
Basse danse
–
A courtly basse dance
Basse danse
–
A 16th-century basse danse
5.
France
–
France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks
France
–
One of the
Lascaux paintings: a horse –
Dordogne, approximately 18,000 BC
France
–
Flag
France
–
The
Maison Carrée was a temple of the
Gallo-Roman city of Nemausus (present-day
Nîmes) and is one of the best preserved vestiges of the
Roman Empire.
France
–
With
Clovis ' conversion to Catholicism in 498, the
Frankish monarchy,
elective and
secular until then, became
hereditary and of
divine right.
6.
Italy
–
Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
Italy
–
The
Colosseum in Rome, built c. 70 – 80 AD, is considered one of the greatest works of
architecture and
engineering of ancient history.
Italy
–
Flag
Italy
–
The
Iron Crown of Lombardy, for centuries symbol of the
Kings of Italy.
Italy
–
Castel del Monte, built by German Emperor
Frederick II,
UNESCO World Heritage site
7.
Baroque
–
The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
Baroque
–
The Triumph of the Immaculate by
Paolo de Matteis
Baroque
–
The Church of
Sant'Andrea al Quirinale, designed by
Gian Lorenzo Bernini
Baroque
–
Brooch of an African,
Walters Art Museum
Baroque
–
Aeneas Flees Burning Troy,
Federico Barocci, 1598
8.
Allemande
–
An allemande is a renaissance and baroque dance, and one of the most popular instrumental dance styles in baroque music, with notable examples by Couperin, Purcell, Bach and Handel. It is often the first movement of a suite of dances, paired with a subsequent courante. It appears to have derived from a German dance but no identifiable dance, a livelier version, the allemande courante, used three springing steps and a hop. Elizabethan British composers wrote many Almans as separate pieces, French composers of the 17th century experimented with the allemande, shifting to quadruple meter and ranging more widely in tempo. This slower allemande, like the pavane, was adapted to the tombeau or memorial composition, the German composers Froberger and Bach followed suit in their allemandes for keyboard instruments, although ensemble allemandes kept a more traditional style. Italian and English composers were more free with the allemande, writing in counterpoint, in his Musikalisches Lexicon, Johann Gottfried Walther wrote that the allemande must be composed and likewise danced in a grave and ceremonious manner. Its music is characterised by absence of syncopation, combination of short motifs into larger units and contrasts of tone and motif. Late in the 18th century, allemande came to be used for type of dance in triple meter. Mozart and Beethoven both produced sets of German Dances in this style, some of the close embraces and turns of the allemande were carried over to squaredance and contra dance. In an allemande, couples hold one forearm and turn each other to the left or right. Oxford and New York, Oxford University Press, Video - Renaissance allemande danced in costume Video - Baroque allemande, one pair Video - Allemand - The Elegance of Baroque Social Dance Music Video - J. S. Bach - Allemande from the fourth French Suite
Allemande
–
Allemande.
9.
Courante
–
The courante, corrente, coranto and corant are some of the names given to a family of triple metre dances from the late Renaissance and the Baroque era. In a Baroque dance suite an Italian or French courante is typically paired with a preceding allemande, courante literally means running, and in the later Renaissance the courante was danced with fast running and jumping steps, as described by Thoinot Arbeau. But the courante commonly used in the period was described by Johann Mattheson in Der vollkommene Capellmeister as chiefly characterized by the passion or mood of sweet expectation. For there is something heartfelt, something longing and also gratifying, in this melody, Johann Gottfried Walther in the Musicalisches Lexicon, wrote that the rhythm of the courante is absolutely the most serious one can find. During the baroque era there were two types of courante, the French and the Italian, sometimes French and Italian spellings are used to distinguish types of courante, but original spellings were inconsistent. In Bachs unaccompanied Partita for Violin No.2 the first movement begins as if in 34 time in a one might initially perform. The second movement is titled corrente and is rather lively, an indication of faster tempo that appears to exist in Baroque composer Georg Muffats instructions on Lullian bowing is a confusion in translation. Renaissance dance Baroque dance Lenneberg, Hans, Johann Mattheson on Affect and Rhetoric in Music, A Translation of Selected Portions of Der vollkommene Capellmeister. Journal of Music Theory 2, no.1 and no, Der vollkommene Capellmeister, Das ist, Gründliche Anzeige aller derjenigen Sachen, die einer wissen, können, und vollkommen inne haben muß, der einer Capelle mit Ehren und Nutzen vorstehen will. Facsimile reprint, fifth edition, edited by Margarete Reimann, Johann Matthesons Der vollkommene Capellmeister, a revised translation with critical commentary by Ernest Charles Harriss. Facsimile reprint, edited by Richard Schaal, modern edition of the text and musical illustrations, edited by Friederike Ramm. Kassel, Bärenreiter-Verlag & Karl Vötterle GmbH & Co
Courante
–
Beauchamp-Feuillet notation: the steps of a courante
10.
Counterpoint
–
In music, counterpoint is the relationship between voices that are harmonically interdependent yet independent in rhythm and contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, the term originates from the Latin punctus contra punctum meaning point against point. Counterpoint generally involves musical lines with strongly independent identities, Counterpoint has been used to designate a voice or even an entire composition. In each era, contrapuntally organized music writing has been subject to rules—sometimes strict ones, chords are the simultaneous soundings of notes, whereas harmonic, vertical features are considered secondary and almost incidental when counterpoint is the predominant textural element. Counterpoint focuses on melodic interaction—only secondarily on the produced by that interaction. In the words of John Rahn, It is hard to write a beautiful song and it is harder to write several individually beautiful songs that, when sung simultaneously, sound as a more beautiful polyphonic whole. The way that is accomplished in detail is, some examples of related compositional techniques include, the round, the canon, and perhaps the most complex contrapuntal convention, the fugue. All of these are examples of imitative counterpoint, Species counterpoint generally offers less freedom to the composer than other types of counterpoint and therefore is called a strict counterpoint. The student gradually attains the ability to free counterpoint according to the given rules at the time. The idea is at least as old as 1532, when Giovanni Maria Lanfranco described a concept in his Scintille di musica. Zacconi, unlike later theorists, included a few extra contrapuntal techniques, a succession of later theorists quite closely imitated Fuxs seminal work, often with some small and idiosyncratic modifications in the rules. The following rules apply to melodic writing in each species, for each part, if the final is approached from below, then the leading tone must be raised in a minor key, but not in Phrygian or Hypophrygian mode. Thus, in the Dorian mode on D, a C♯ is necessary at the cadence, permitted melodic intervals are the perfect fourth, fifth, and octave, as well as the major and minor second, major and minor third, and ascending minor sixth. The ascending minor sixth must be followed by motion downwards. The three notes should be from the triad, if this is impossible, they should not outline more than one octave. In general, do not write more than two skips in the same direction, if writing a skip in one direction, it is best to proceed after the skip with motion in the other direction. The interval of a tritone in three notes should be avoided as is the interval of a seventh in three notes, there must be a climax or high point in the line countering the cantus firmus. This usually occurs somewhere in the middle of exercise and must occur on a strong beat, an outlining of a seventh is avoided within a single line moving in the same direction
Counterpoint
–
This is an example of a double passing tone in which the two middle notes are a dissonant interval from the cantus firmus. A fourth and a diminished fifth.
Counterpoint
–
Extract from
Fugue no. 17 in A-flat major,
BWV 862, from book 1 of
The Well-Tempered Clavier by
Bach Play (
help ·
info)
Counterpoint
–
This is an example of a descending double neighbor figure against a cantus firmus.
Counterpoint
–
This is an example of an ascending double neighbor figure against a cantus firmus.
11.
Homophonic
–
In music, homophony is a texture in which a primary part is supported by one or more additional strands that flesh out the harmony and often provide rhythmic contrast. This differentiation of roles contrasts with equal-voice polyphony and monophony, historically, homophony and its differentiated roles for parts emerged in tandem with tonality, which gave distinct harmonic functions to the soprano, bass and inner voices. A homophonic texture may be homorhythmic, which means all parts have the same rhythm. Chorale texture is another variant of homophony, initially, in Ancient Greece, homophony indicated music in which a single melody is performed by two or more voices in unison or octaves, i. e. monophony with multiple voices. Homophony as a term first appeared in English with Charles Burney in 1776, the choral arrangement of four voices has since become common in Western music. Homophony began by appearing in sacred music, replacing polyphony and monophony as the dominant form, however, some traditional devices, such as repeated chords, are still used. Jazz and other forms of popular music generally feature homophonic influences. Homophony has appeared in several cultures, perhaps particularly in regions where communal vocal music has been cultivated. When explorer Vasco da Gama landed in West Africa in 1497, singers normally harmonize voices in homophonic parallelism moving in parallel thirds or fourths. This type of model is also, implemented in instrumental music where voices are stacked in thirds or fourths. Homophonic Parallelism is not restricted to thirds and fourths, however all harmonic material adheres to the system the particular tune or song is based on. The use of harmony in sixths is common in areas where a scale system is used. For instance, the Fang people of Gabon use homophony in their music, in eastern Indonesia, two-part harmonies are common, usually in intervals of thirds, fourths or fifths. In melody-dominated homophony, accompanying voices provide chordal support for the lead voice, some popular music today might be considered melody-dominated homophony, voice typically taking on the lead role, while instruments like piano, guitar and bass guitar normally accompany the voice. Monody is similar to melody-dominated homophony in that one becomes the melody
Homophonic
–
Melody dominated homophony in
Chopin's Nocturne in E Op. 62 No. 2. The left hand (bass
clef) provides chordal support for the melody played by the right hand (treble clef).
Homophonic
–
Homophony in
Tallis' "If ye love me," composed in 1549. The voices move together using the same rhythm, and the relationship between them creates chords: the excerpt begins and ends with an F
major triad. This example can be heard in the listening sample below.
12.
Tabor (instrument)
–
Tabor or tabret refers to a portable snare drum played with one hand. The word tabor is simply an English variant of a Latin-derived word meaning drum—cf, french, tambour, Italian, tamburo It has been used in the military as a marching instrument, and has been used as accompaniment in parades and processions. A tabor has a cylindrical shell, two skin heads tightened by rope tension, a leather strap, and an adjustable gut snare. Each tabor has a range of about an octave, the larger the tabor. It is played by just one stick, which strikes the snare head. The tabor is suspended by a strap from the forearm, somewhere between the elbow and wrist, when played, the shell is virtually parallel with the ground. The tabor is most widely known as accompaniment for the pipe and other small flutes, the tabor is beaten on the snare side. Georges Bizet scored for the drum in his LArlesienne Suite No. 2, and Aaron Copland calls for it in his Appalachian Spring and El Salón México
Tabor (instrument)
–
Tabor
13.
Half note
–
In music, a half note or minim is a note played for half the duration of a whole note and twice the duration of a quarter note. It was given its Latin name because it was the shortest of the five note values used in medieval music notation. In time signatures with 4 as the number, such as 44 or 34 time. However, when 2 is the number, the half note is one beat long. Half notes are notated with a hollow oval note head and a note stem with no flags. The half rest denotes a silence for the same duration, half rests are drawn as filled-in rectangles sitting on top of the middle line of the musical staff. As with all notes with stems, half notes are drawn with stems to the right of the head, facing up. When they are on or above the line, they are drawn with stems on the left of the note head. The American term half note is a 19th-century loan translation of German halbe Note, the form in the earlier black notation resembles the modern quarter note. The Greek, Chinese, Japanese and Korean names mean half and in Greek, musical notation Morehen, John, and Richard Rastall. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell
Half note
14.
Quarter note
–
A quarter note or crotchet is a note played for one quarter of the duration of a whole note. Often, musicians say that a crotchet is one beat, but this is not always correct, as the beat is indicated by the time signature of the music. Quarter notes are notated with a filled-in oval note head and a straight, the stem usually points upwards if it is below the middle line of the stave or downwards if it is on or above the middle line. However, the direction may differentiate more than one part. The head of the note also reverses its orientation in relation to the stem, in Unicode, the symbol is U+2669. A related value is the quarter rest and it denotes a silence of the same duration as a quarter note. It typically appears as the symbol, or occasionally, as the older symbol, the note derives from the semiminima of mensural notation. The word crotchet comes from Old French crochet, meaning hook, diminutive of croc, hook. However, because the hook appeared on the note in the later white notation. The quarter note is played for half the length of a half note and it is one beat in a bar of 44. The term quarter note is a calque of the German term Viertelnote, the Bulgarian, Chinese, Croatian, Czech, Japanese, Korean, Polish, Russian, Serbian and Slovak names mean quarter and quarters pause
Quarter note
15.
Galliard
–
The galliard was a form of Renaissance dance and music popular all over Europe in the 16th century. It is mentioned in dance manuals from England, France, Spain, Germany, as a dance, the galliard was definitely not one to be improvised. It had dancers combining patterns of steps which occupy one or more measures of music, in one measure, a galliard typically has five steps, in French such a basic step is called a cinq pas and in Italy, cinque passi. This is sometimes written in English sources as sinkapace and these steps are, right, left, right, left, cadence. The galliard is a dance, characterised by leaps, jumps, hops. The main feature that defines a galliard step is the last two beats consist of a jump, landing with one leg ahead of the other. This jump is called a cadence, and the landing is called the posture. The sources generally describe movement patterns starting on the left foot, a galliard pattern may also last twice as long, or more, which would involve 11 steps, or 17 steps. While most commonly being a dance, the galliards steps are used within many other forms of dance. For example, 16th-century Italian dances in Fabritio Carosos and Cesare Negris dance manuals often have a galliard section, lavolta was considered by some dancing masters as an inappropriate dance. Another special step used during a galliard is the tassel kick and these steps are found in Negris manual and involve a galliard step usually ending with a spin. The easier steps involve single spins of 180 or 360 degrees, later, during the spin, the dancer kicks out to touch a tassel suspended between knee and waist height. Musical compositions in the form appear to have been written. In musical compositions, the galliard often filled the role of an after dance written in 6, the distinctive 6 beats to the phrase can still be heard today in songs such as God Save the Queen. Facsimile reprint in one volume, Monuments of Music and Music Literature in Facsimile, second series, Music Literature,46, New York, Broude Brothers,1967. Facsimile reprints, Bibliotheca musica Bononiensis, Sez,104, Bologna, Forni Editore,1969, Monuments of Music and Music Literature in Facsimile. 141, New York, Broude Bros.1969, Renaissance Dance article and video clips Reconstruction of Tassel Kicks
Galliard
–
Galliard in
Siena, Italy, 15th century
16.
Oboe
–
Oboes /ˈoʊboʊ/ OH-boh are a family of double reed woodwind musical instruments. The most common oboe plays in the treble or soprano range, oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with keys, a conical bore. Sound is produced by blowing into the reed and vibrating a column of air, the distinctive oboe tone is versatile, and has been described as bright. When the term oboe is used alone, it is taken to mean the standard treble instrument rather than other instruments of the family. In English, prior to 1770, the instrument was called a hautbois, hoboy. The spelling of oboe was adopted into English c.1770 from the Italian oboè, a musician who plays the oboe is called an oboist or simply an oboe player. In comparison to other woodwind instruments, the treble oboe is sometimes referred to as having a clear. The Sprightly Companion, a book published by Henry Playford in 1695, describes the oboe as Majestical and Stately. Humorously, the sound of the oboe is described in the play Angels in America as like that of a if the duck were a songbird. The rich timbre of the oboe is derived from its conical bore, as a result, oboes are readily audible over other instruments in large ensembles. The highest note of the oboe is a lower than the nominally highest note of the B♭ clarinet. Since the clarinet has a range of notes, the lowest note of the B♭ clarinet is significantly deeper than the lowest note of the oboe. Music for the oboe is written in concert pitch. Orchestras normally tune to a concert A played by the oboe, according to the League of American Orchestras, this is done because the pitch of the oboe is secure and its penetrating sound makes it ideal for tuning purposes. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound of the instrument, Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch of the instrument. German and French reeds, for instance, differ in many ways, weather conditions such as temperature and humidity also affect the pitch
Oboe
–
A modern oboe with a reed
Oboe
–
Classical oboe, copy by Sand Dalton of an original by Johann Friedrich Floth, c. 1805
Oboe
–
The members of the oboe family from top:
heckelphone,
bass oboe,
cor anglais,
oboe d'amore, regular oboe, and
piccolo oboe
Oboe
–
Oboist
Albrecht Mayer preparing reeds for use. Most oboists scrape their own reeds to achieve the desired tone and response
17.
European classical music
–
Classical music is art music produced or rooted in the traditions of Western music, including both liturgical and secular music. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period, Western staff notation is used by composers to indicate to the performer the pitches, tempo, meter and rhythms for a piece of music. This can leave less room for such as improvisation and ad libitum ornamentation. The term classical music did not appear until the early 19th century, the earliest reference to classical music recorded by the Oxford English Dictionary is from about 1836. This score typically determines details of rhythm, pitch, and, the written quality of the music has enabled a high level of complexity within them, J. S. The use of written notation also preserves a record of the works, Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced. That said, the score does not provide complete and exact instructions on how to perform a historical work, even if the tempo is written with an Italian instruction, we do not know exactly how fast the piece should be played. Bach was particularly noted for his complex improvisations, during the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto, during the Romantic era, Beethoven would improvise at the piano. The instruments currently used in most classical music were largely invented before the mid-19th century and they consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments. The symphony orchestra is the most widely known medium for music and includes members of the string, woodwind, brass. The concert band consists of members of the woodwind, brass and it generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many bands use a double bass. Many of the used to perform medieval music still exist. Medieval instruments included the flute, the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle, Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut, during the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the medieval era, becoming prevalent by the later 13th
European classical music
European classical music
–
Nineteenth-century composer and pianist
Clara Schumann is one of only a few female composers mentioned in the Concise Oxford History of Music.
European classical music
–
The Dublin Philharmonic Orchestra performs
Tchaikovsky 's
Fourth Symphony.
European classical music
–
A youth
concert band in performance.
18.
Maurice Ravel
–
Joseph Maurice Ravel was a French composer, pianist and conductor. He is often associated with impressionism along with his elder contemporary Claude Debussy, in the 1920s and 1930s Ravel was internationally regarded as Frances greatest living composer. After leaving the conservatoire Ravel found his own way as a composer, developing a style of great clarity, incorporating elements of baroque, neoclassicism and, in his later works, jazz. He liked to experiment with form, as in his best-known work, Boléro. He made some arrangements of other composers music, of which his 1922 version of Mussorgskys Pictures at an Exhibition is the best known. As a slow and painstaking worker, Ravel composed fewer pieces than many of his contemporaries. Among his works to enter the repertoire are pieces for piano, chamber music, many of his works exist in two versions, a first, piano score and a later orchestration. Some of his music, such as Gaspard de la nuit, is exceptionally difficult to play. Ravel was among the first composers to recognise the potential of recording to bring their music to a wider public, from the 1920s, despite limited technique as a pianist or conductor, he took part in recordings of several of his works, others were made under his supervision. Ravel was born in the Basque town of Ciboure, France and his father, Pierre-Joseph Ravel, was an educated and successful engineer, inventor and manufacturer, born in Versoix near the Franco-Swiss border. His mother, Marie, née Delouart, was Basque but had grown up in Madrid, in 19th-century terms, Joseph had married beneath his status – Marie was illegitimate and barely literate – but the marriage was a happy one. Both Ravels parents were Roman Catholics, Marie was also something of a free-thinker, a trait inherited by her elder son and he was baptised in the Ciboure parish church six days after he was born. The family moved to Paris three months later, and there a younger son, Édouard, was born and he was close to his father, whom he eventually followed into the engineering profession. Maurice was particularly devoted to their mother, her Basque-Spanish heritage was an influence on his life. Among his earliest memories were folk songs she sang to him, the household was not rich, but the family was comfortable, and the two boys had happy childhoods. Ravel senior delighted in taking his sons to factories to see the latest mechanical devices, in later life, Ravel recalled, Throughout my childhood I was sensitive to music. My father, much better educated in art than most amateurs are, knew how to develop my taste. There is no record that Ravel received any formal schooling in his early years
Maurice Ravel
–
Ravel in 1925
Maurice Ravel
–
Joseph Ravel (1875), Marie Ravel (1870) and Maurice Ravel aged four (1879)
Maurice Ravel
–
Piano class of
Charles de Bériot in 1895, with Ravel on the left
Maurice Ravel
–
Gabriel Fauré, Ravel's teacher and supporter
19.
George Enescu
–
George Enescu, known in France as Georges Enesco, was a Romanian composer, violinist, pianist, conductor, and teacher. He is regarded by many as Romanias most important musician, Enescu was born in Romania, in the village of Liveni, in Dorohoi County at the time, today Botoşani County. He showed musical talent from early in his childhood, a child prodigy, Enescu began experimenting with composing at an early age. Several, mostly very short pieces survive, all of them for violin, the earliest work of significant length bears the title Pămînt românesc, and is inscribed opus for piano and violin by George Enescu, Romanian composer, aged five years and a quarter. Shortly thereafter, his father presented him to the professor and composer Eduard Caudella. On 5 October 1888, at the age of seven, he became the youngest student ever admitted to the Vienna Conservatory, where he studied with Joseph Hellmesberger, Jr. Robert Fuchs, and Sigismund Bachrich. He was the person ever admitted to this university by a dispensation of age, after only Fritz Kreisler. In 1891, the ten-year-old Enescu gave a concert at the Court of Vienna. Joseph Hellmesberger, Sr. one of his teachers and the director of the Vienna Conservatory, hosted Enescu at his home and he graduated before his 13th birthday, earning the silver medal. In his Viennese concerts young Enescu played works by Brahms, Sarasate, in 1895 he went to Paris to continue his studies. He studied violin with Martin Pierre Marsick, harmony with André Gedalge, Enescu then studied from 1895 to 1899 at the Conservatoire de Paris. André Gedalge said that he was the one who truly had ideas. On 6 February 1898, at the age of only 16, George Enescu presented in Paris his first mature work, Poema Română, played by the Colonne Orchestra and conducted by Édouard Colonne. Many of Enescus works were influenced by Romanian folk music, his most popular compositions being the two Romanian Rhapsodies, the opera Œdipe, and the suites for orchestra and he also wrote five symphonies, a symphonic poem Vox maris, and much chamber music. A young Ravi Shankar recalled in the 1960s how Enescu, who had developed a deep interest in Oriental music, rehearsed with Shankars brother Uday Shankar and his musicians. Around the same time, Enescu took the young Yehudi Menuhin to the Colonial Exhibition in Paris and it was in America, in the 1920s, that Enescu was first persuaded to make recordings as a violinist. He also appeared as a conductor with many American orchestras, in 1932, Enescu was elected a titular member of the Romanian Academy. In 1935, he conducted the Orchestre Symphonique de Paris and Yehudi Menuhin in Mozarts Violin Concerto No.3 in G major and he also conducted the New York Philharmonic between 1937 and 1938
George Enescu
–
George Enescu in 1930
George Enescu
–
Young George Enescu
George Enescu
–
George Enescu Museum (
Cantacuzino Palace),
Bucharest
George Enescu
–
Grave of George Enescu -Père Lachaise Cemetery
20.
Joe Walsh
–
Joseph Fidler Joe Walsh is an American singer-songwriter, composer, multi-instrumentalist and record producer. In a career spanning more than 40 years, Walsh has been a member of five rock bands, James Gang, Barnstorm, the Eagles, The Party Boys. In the 1990s, he was also a member of the short-lived supergroup The Best and he has also experienced success both as a solo artist and prolific session musician, being featured on a wide array of other artists recordings. In 2011, Rolling Stone placed Walsh at the number 54 spot on its list of 100 Greatest Guitarists of All Time, while the band would stay together for three albums over three years, their works were marketed as Walsh solo projects. The last Barnstorm album, 1974s So What contained significant guest contributions from members of the Eagles. In 1998 a readers poll conducted by Guitarist magazine selected the guitar solos on the track Hotel California by Walsh, Guitar World magazine listed it at eighth of the Top 100 Guitar Solos. Besides his work with his bands, he has released twelve solo studio albums, six compilation albums. His solo hits include Rocky Mountain Way, Lifes Been Good, All Night Long, A Life of Illusion and Ordinary Average Guy. As a member of the Eagles, Walsh was inducted into the Rock and Roll Hall of Fame in 1998, the Eagles are considered to be one of the most influential bands of the 1970s, and they remain the best-selling American band in the history of popular music. Ive loved his style since the early James Gang, Eric Clapton said that Hes one of the best guitarists to surface in some time. I dont listen to records, but I listen to his. The Whos guitarist Pete Townshend, a friend of Walshs, commented that Joe Walsh is a fluid, therere not many like that around. Joseph Fidler Walsh was born on November 20,1947, in Wichita, Kansas, Walshs mother was a classically trained pianist of Scottish and German ancestry, and Walsh was adopted by his stepfather at the age of five after his biological father was killed in a plane crash. Walsh and his family lived in Columbus, Ohio, for a number of years during his youth, when Walsh was twelve years old, his family moved to New York City. Later, Walsh moved to Montclair, New Jersey, and he attended Montclair High School, inspired by the success of the Beatles, he replaced Bruce Hoffman as the bass player in the locally popular group the Nomads in Montclair, beginning his career as a rock musician. After high school, Walsh attended Kent State University, where he spent time in bands playing around the Cleveland area. The Measles recorded for Super K Productions Ohio Express, I Find I Think of You, And Its True, after one term, he dropped out of university to pursue his musical career. The Measles, an Ohio garage bar band, were formed in 1965 by four Kent State University students, one of whom was Joe Walsh
Joe Walsh
–
Walsh performing live at
The Troubadour, West Hollywood in Los Angeles,
CA, in 2012
Joe Walsh
–
Walsh performing live at Gulfstream Park in Hallandale, Florida, in 2006
Joe Walsh
–
Walsh performing live with the Eagles in December 2008
Joe Walsh
–
Walsh performing live with a slide guitar, in 1975
21.
So What (Joe Walsh album)
–
So What is the third solo studio album by the American singer-songwriter and multi-instrumentalist Joe Walsh. It was released in late 1974 on ABC-Dunhill Records and it contains hard rock songs such as Welcome To The Club and a remake of the Barnstorm track, Turn To Stone. It also contains more introspective material such as Help Me Through the Night and Song For Emma, on a few tracks, Don Henley, Glenn Frey, and Randy Meisner of the Eagles contributed backing vocals. Over a year and a later, Walsh would be drafted into the Eagles to replace founding member Bernie Leadon. The album was re-issued five years later by MCA Records in 1979, I dont want the next album to sound like a bunch of outtakes from Smoker. I want it to be the difference between Revolver and Sgt, ive held back until that development was there, even though the record companys been screaming for it. I want it to be a big, big step… in thoughts, vocals, playing, most of the nine tracks feature solos of unquestionable quality in his usual rock style. The classic rock genre that the man so well defined with his albums is present here throughout. On 29 December 2011 the original mix of the album was reissued in Japan in a replica of the original album artwork. The album was remastered using Direct Stream Digital to transfer the digital files, the release was a limited edition in the SHM-CD format. The reissue included a picture of the vinyl label. Audio Fidelity remastered the album too All songs written and composed by Joe Walsh, except where noted. D
So What (Joe Walsh album)
–
So What
22.
Ballet
–
Ballet /ˈbæleɪ/ is a type of performance dance that originated in the Italian Renaissance courts of the 15th century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own based on French terminology. It has been influential and has defined the foundational techniques used in many other dance genres. Becoming a ballet dancer requires years of training, Ballet has been taught in various schools around the world, which have historically incorporated their own cultures to evolve the art. Ballet may also refer to a dance work, which consists of the choreography. A well-known example of this is The Nutcracker, a ballet that was originally choreographed by Marius Petipa. Ballets are choreographed and performed by trained artists, the word came into English usage from the French around 1630. Ballet originated in the Italian Renaissance courts of the 15th and 16th centuries before being spread from Italy to France by an Italian aristocrat, Catherine de Medici, in France, ballet developed even further under her aristocratic influence. The dancers in these early court ballets were mostly noble amateurs, Ballets in this period were lengthy and elaborate and often served a political purpose. Ornamented costumes were meant to impress viewers and restricted freedom of movement. The ballets were performed in large chambers with viewers on three sides, French court ballet reached its height under the reign of King Louis XIV. Known as the Sun King, Louis symbolized the brilliance of France, in 1661 Louis founded the Académie Royale de Danse to establish standards and certify dance instructors. In 1672, Louis XIV made Jean-Baptiste Lully the director of the Académie Royale de Musique from which the first professional ballet company, Lully is considered the most important composer of music for ballets de cour and instrumental to the development of the form. Ballet went into decline in France after 1830, though it continued to develop in Denmark, Italy, the arrival in Europe on the eve of First World War of the Ballets Russes of Sergei Diaghilev, revived interest in the ballet and started the modern era. The Russian choreographer Michel Fokine challenged tradition and called for reforms that reinvigorated ballet as an art form, in the 20th century, ballet had a wide influence on other dance genres, and subgenres of ballet have also evolved. In the United States, choreographer George Balanchine developed what is now known as neoclassical ballet, other developments include contemporary ballet and post-structural ballet. Also in the century, ballet took a turn dividing it from classical ballet to the introduction of modern dance. Stylistic variations have emerged and evolved since the Italian Renaissance, early, classical variations are primarily associated with geographic origin
Ballet
–
Classical bell tutus in The Dance Class by
Degas, 1874
Ballet
–
Anna Pavlova in
Giselle, wearing a romantic tutu
Ballet
–
Scene from act 4 of
Swan Lake,
Vienna State Opera, 2004
Ballet
–
Harlequin and
Columbina from the mime theater at
Tivoli Gardens, Copenhagen, Denmark
23.
Ralph Vaughan Williams
–
Ralph Vaughan Williams OM was an English composer. His works include operas, ballets, chamber music, secular and religious pieces and orchestral compositions including nine symphonies. Strongly influenced by Tudor music and English folk-song, his output marked a break in British music from its German-dominated style of the 19th century. Vaughan Williams was born to a family with strong moral views. Throughout his life he sought to be of service to his fellow citizens and he wrote many works for amateur and student performance. He was musically a late developer, not finding his voice until his late thirties. Vaughan Williams is among the best-known British symphonists, noted for his wide range of moods, from stormy and impassioned to tranquil. Among the most familiar of his concert works are Fantasia on a Theme by Thomas Tallis. His vocal works include hymns, folk-song arrangements and large-scale choral pieces and he wrote eight works for stage performance between 1919 and 1951. Although none of his operas became popular repertoire pieces, his ballet Job, Two episodes made notably deep impressions in Vaughan Williamss personal life. The First World War, in which he served in the army, had an emotional effect. Twenty years later, though in his sixties and devotedly married, he was reinvigorated by an affair with a much younger woman. He went on composing through his seventies and eighties, producing his last symphony months before his death at the age of eighty-five. His works have continued to be a staple of the British concert repertoire, Vaughan Williams was born at Down Ampney, Gloucestershire, the third child and younger son of the vicar, the Reverend Arthur Vaughan Williams and his wife, Margaret, née Wedgwood. His paternal forebears were of mixed English and Welsh descent, many of them went into the law or the Church, the judges Sir Edward and Sir Roland Vaughan Williams were respectively Arthurs father and brother. Margaret Vaughan Williams was a great-granddaughter of Josiah Wedgwood and niece of Charles Darwin, Arthur Vaughan Williams died suddenly in February 1875, and his widow took the children to live in her family home, Leith Hill Place, Wotton, Surrey. The children were under the care of a nurse, Sara Wager, such views were consistent with the progressive-minded tradition of both sides of the family. When the young Vaughan Williams asked his mother about Darwins controversial book On the Origin of Species, she answered, great Uncle Charles thinks it took longer, but we need not worry about it, for it is equally wonderful either way
Ralph Vaughan Williams
–
Vaughan Williams c. 1920
Ralph Vaughan Williams
Ralph Vaughan Williams
–
Leith Hill Place, Surrey, Vaughan Williams's childhood home
Ralph Vaughan Williams
–
Hubert Parry, Vaughan Williams's first composition teacher at the
Royal College of Music
24.
Wyllis Cooper
–
Wyllis Oswald Cooper was an American writer and producer. He soon joined the U. S. Cavalry where, achieving the rank of Sergeant, in 1917, he became a part of the Signal Corps and was sent to France during World War I. While in France he was gassed at the Meuse-Argonne Offensive and he remained on active duty until 1919 when he left to become an advertising writer, though he maintained his reserve status. By the late 1920s he was writing advertising copy in Chicago and entered radio and he later worked as continuity editor of CBS Chicago and, in 1933, left to take the same position at NBC Chicago. In 1934 he created his best known series, a late night horror radio program called Lights Out. Airing at midnight, the program earned a reputation for its gory deaths. He wrote the screenplay for the 1939 film Son of Frankenstein, at the same time, he continued to provide radio scripts for various series including Hollywood Hotel. The pappy was a writer by the name of Willys Cooper. By 1940, Cooper moved to New York City where he changed his name from “Willis” to “Wyllis” in order to please his wifes numerological inclinations. He continued to make his living writing radio scripts for various programs including The Campbell Playhouse. During World War II, he was made a consultant to the Secretary of War and produced, directed and wrote The Army Hour, in 1944, Cooper joined the radio department of New Yorks Compton Advertising, Inc. In 1947, he created what was arguably his finest radio effort, Quiet, Please and he also wrote and directed a crime anthology for NBC called Whitehall 1212 that debuted on November 18,1951. Coopers show competed with a program, which ran on Mutual in 1952. As television became the dominant entertainment medium, Cooper experimented with various programs including a series he wrote, Cooper resided in Glen Gardner, New Jersey, and died in High Bridge, New Jersey on June 22,1955. Quiet Please site with discussion forum and MP3 downloads Discusses Welles and Coopers similar productions inspired by the Black Museum Wyllis Coopers Quiet, at the Wayback Machine, by Harriet Cannon (from Writers Digest, May 1949
Wyllis Cooper
–
Wyllis Cooper
25.
Quiet Please
–
Quiet, Please. was a radio fantasy and horror program created by Wyllis Cooper, also known for creating Lights Out. Ernest Chappell was the announcer and lead actor. Quiet, Please debuted June 8,1947 on the Mutual Broadcasting System, a total of 106 shows were broadcast, with only a very few of them repeats. Earning relatively little notice during its run, Quiet, Please has since been praised as one of the finest efforts of the golden age of American radio drama. Cooper was a writer for the Campbell Playhouse, and Chappell was the announcer and they became friends, though Chappell had little acting experience, Cooper imagined him as the star of a new radio program. Chappell had ample experience in radio, but mostly as an announcer, as Hand writes, With Quiet, Please, Cooper gave Ernest Chappell the chance to act, and the result was a revelation. Chappell proved himself to be versatile in accent and delivery, the differences could be broad or subtle, but in nearly every episode, Chappell created a distinctive character, rarely using the same traits in multiple episodes. Writer Harlan Ellison, a longtime Quiet, Please fan, writes that the programs were backed by sound effects and music…but it was essentially Chappell, Ellison also describes Chappell as having one of the great radio voices. A sound that combined urbanity with storytelling wisdom, Quiet, Please was produced at WOR in New York City, and began on the Mutual Network on June 8,1947. Each episode began with Chappell intoning the shows title, followed by a long pause, then, the shows theme music was played, a dirgey, funereal organ and piano version of a portion of the second movement of César Francks 1899 Symphony in D Minor. The introduction established the sparse, understated tone of the show, Hand also suggests that any attempt to categorize the series feels like diminishing its scope of achievement. Hand writes that Cooper was a master of the opening line, almost every episode of Quiet, Please begins with a sentence or two that hooks the listener, commanding their attention and their curiosity. Most episodes featured no more two or three actors, with Chappell taking the first person voice in all but a handful of episodes. Dunning writes that Coopers pet hate was of acting and he wanted related with a sense of heres how it happened. Most notably, radio star Claudia Morgan was a female lead, usually in tragic romances. In one lost show, Three Sides to a Story, Morgans father Ralph Morgan was also a guest. J. Pat OMalley, later a familiar TV character actor, was another frequent voice, heard in more than a dozen shows throughout the run and he played foreman Ted in The Thing on the Fourbleboard and was often used in parts requiring Irish or Scottish accents. Radio commentator and disc jockey Jack Lescoulie guest starred in the radio-themed Twelve to Five, at the end of each program, Cooper offered a teaser for the next show
Quiet Please
–
Tom Kiesche (left) and Michael Lanahan in Corey Klemow's 2004 Quiet, Please! stage production at Hollywood's Sacred Fools Theater Company.
Quiet Please
–
Wyllis Cooper
26.
Pavane (novel)
–
Pavane is an alternative history science fiction fix-up novel by British writer Keith Roberts, first published by Rupert Hart-Davis Ltd in 1968. Most of the stories were published in Science Fantasy. An additional story, The White Boat, was added in later editions, without Protestant England, Spain prevented the Protestant Netherlands from attaining independence, while the German mercantile city states that financed the Reformation were also suppressed. As a consequence, while Spanish power eventually wanes, the Roman Catholic Church has no rivals and the Pope becomes the effective secular, as well as spiritual, ruler over Europe. The Church thus also controls the restive New World, as well as Australasia, outlying areas are dangerous, with wild animals and occasional manifestations of the Old Ones or People of the Hills who leave crab-symbol graffiti. The stories take place at a period when the possibility of revolution is rumoured, the location and flavour, nostalgic yet tragic in outlook, resemble a science-fictional equivalent of the fictionalized Wessex of Thomas Hardy. Real geographical locations play a role, Golden Cap is the site of a semaphore station. Over all, the arm of the Popes reached out to punish and reward. But by the middle of the twentieth century widespread mutterings were making themselves heard, rebellion was once more in the air. The title alludes to the stately and melancholy dance, the pavane, the book being divided thematically into measures, the Coda is set some years after the events of the final stories, and centres on the son of the seneschal to the female aristocrat from Corfe Gate. Algis Budrys found the novel to be a tapestry of a book, a marvel of storytelling, times Without Number Ruled Britannia Pavane Del Rey Online excerpt, Prologue and part of The Lady Margaret. Pavane Uchronia, The Alternate History List detailed summary and international bibliography, Pavane title listing at the Internet Speculative Fiction Database
Pavane (novel)
–
First edition
Pavane (novel)
–
Ruins of Corfe Castle, "
slighted " as in the story
Pavane (novel)
–
Traction engines feature importantly in the novel. A real one is shown here at the
Great Dorset Steam Fair.
27.
The Alan Parsons Project
–
Behind the revolving line-up and the regular sidemen, the true core of the Project was the duo of Parsons and Woolfson. Parsons was an engineer by profession, but also a musician. A songwriter by profession, Woolfson was also a composer, a pianist, almost all songs on the bands albums are credited to Parsons/Woolfson. Alan Parsons met Eric Woolfson in the canteen of Abbey Road Studios in the summer of 1974, Woolfson, a songwriter and composer, was working as a session pianist, he had also composed material for a concept album idea based on the work of Edgar Allan Poe. Parsons commented at the time that he felt frustrated in having to accommodate the views of some of the musicians, If the film industry was becoming a directors medium, Woolfson felt the music business might well become a producers medium. Recalling his earlier Edgar Allan Poe material, Woolfson saw a way to combine his, Parsons would produce and engineer songs written by the two, and the Alan Parsons Project was born. It is a translation of the book, from the same author, Arista Records then signed the Alan Parsons Project for further albums. Through the late 1970s and early 1980s, the popularity continued to grow. The singles I Wouldnt Want to Be Like You, Games People Play, Damned If I Do, Time, dont Answer Me became their last successful single in the United States, it reached the top 15 on the American charts in 1984. After those successes, however, the group began to fade from view, there were fewer hit singles, and declining album sales. 1987s Gaudi would be the Projects final release, though planned to record an album called Freudiana next. Although the studio version of Freudiana was produced by Parsons, it was primarily Woolfsons idea to turn it into a musical and this eventually led to a rift between the two artists. Freudiana, Gaudi and Gambler were three musicals that included some Project songs like Eye in the Sky, Time, Inside Looking Out, the live music from Gambler was only distributed at the performance site in Mönchengladbach, Germany. Aristas refusal to release the album had two effects, the negotiations led to a renewed contract, and the album was not released at that time. The Sicilian Defence was our attempt at quickly fulfilling our contractual obligation after I Robot, Pyramid, the album was rejected by Arista, not surprisingly, and we then renegotiated our deal for the future and the next album, The Turn of a Friendly Card. The Sicilian Defence album was never released and never will be, I have not heard it since it was finished. I hope the tapes no longer exist, in interviews made before his 2009 death, Woolfson said he planned to release one track from the Sicilian album, which in 2008 appeared as a bonus track on a CD re-issue of the Eve album. Parsons released titles under his name, while Woolfson made concept albums named Freudiana and Poe, More Tales of Mystery, most of the Projects titles, especially the early work, share common traits
The Alan Parsons Project
–
Left to right:
Eric Woolfson,
Alan Parsons; the nucleus of the "Project"
The Alan Parsons Project
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Alan Parsons Live Project, June 1998 (distinct from The Alan Parsons Project live)
28.
John Adams (composer)
–
John Coolidge Adams is an American composer of classical music and opera, with strong roots in minimalism. The opera has drawn controversy, including allegations by some that the opera is antisemitic, the works creators and others have disputed these criticisms. John Coolidge Adams was born in Worcester, Massachusetts, in 1947 and he was raised in various New England states, where he was greatly influenced by New Englands musical culture. He graduated from Concord High School in Concord, New Hampshire, Adams began composing at the age of ten and first heard his music performed around the age of 13 or 14. After he matriculated at Harvard University in 1965 he studied composition under Leon Kirchner, Roger Sessions, Earl Kim and his piece American Standard was recorded and released on Obscure Records in 1975. He taught at the San Francisco Conservatory of Music from 1972 until 1984 and he served as musical producer for a number of series for the Public Broadcasting System including the award-winning series, The Adams Chronicles in 1976 and 1977. Shaker Loops, A modular composition for three violins, one viola, two cellos, and one bass, with a conductor and it is divided into four movements. Harmonium for large orchestra and chorus, The piece starts with quietly insistent repetitions of one note – D –, Harmonielehre, Inspired by a dream of an oil tanker taking flight out of San Francisco Bay and also by Arnold Schoenbergs book, Harmonielehre. This piece is also about harmony of the mind, the Chairman Dances, This is a by-product of Nixon in China, set in the three days of President Nixons visit to Beijing in February 1972. Short Ride in a Fast Machine, This piece is joyfully exuberant and it begins with a marking of half-notes and eighths, the woodblock is fortissimo and the other instruments play forte. Nixon in China, The opera, in three acts, is based on Richard Nixons visit to China on February 21–25,1972, main characters in the opera are, the Nixons, Mao Tse-tung, Chou En-lai, Chiang Ching and Henry Kissinger. It was directed by Peter Sellars and this piece is John Adamss second major composition on a text, after Harmonium for chorus and orchestra. In October 2008, Adams told BBC Radio 3 that he had been blacklisted by the U. S, homeland Security department and immigration services. The Wound-Dresser, John Adamss setting of Walt Whitmans 1865 poem of the same title, the piece is scored for baritone voice, two flutes, two oboes, clarinet, bass clarinet, two bassoons, two horns, trumpet, timpani, synthesizer, and strings. Chamber Symphony, This piece was commissioned by the Gerbode Foundation of San Francisco for the San Francisco Contemporary Chamber Players, I Was Looking at the Ceiling and Then I Saw the Sky, A stage piece with libretto by June Jordan and staging by Peter Sellars. The main characters are seven young Americans from different social and ethnic backgrounds, the story takes place in the aftermath of the earthquake in Los Angeles in 1994. Hallelujah Junction, This piece for two pianos employs variations of a two note rhythm. The intervals between the notes remain the same through much of the piece, on the Transmigration of Souls, This piece commemorates those who lost their lives in the September 11,2001 attacks on the World Trade Center in New York
John Adams (composer)
–
John Adams
John Adams (composer)
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John Adams, Phrygian Gates, mm 21–40 (1977)
John Adams (composer)
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John Adams, Fearful Symmetries, mm 197–202 (1988)
John Adams (composer)
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John Adams, Violin Concerto, III "Toccare" (1993)
29.
In Extremo
–
In Extremo is a German medieval metal band originating from Berlin. The bands musical style combines metal with traditional songs, blending the sound of the standard rock/metal instruments with historical instruments. Versions of well-known traditional/medieval ballads make up the part of their repertoire. In Extremo began as two projects, a nameless, purely medieval band, and a rock band and they became known at that time through frequent appearances at medieval market meetings, at which they performed their acoustic pieces and sold CDs of their renditions of traditional songs. During the recording for the 1995 season, Michael Rhein found the project name In Extremo, most of the band members perform under stage names. The initial members of the band were Das letzte Einhorn, Flex der Biegsame, Dr. Pymonte, Conny Fuchs. The rock band originally consisted of Thomas der Münzer, Der Morgenstern, Der Münzer subsequently left the band and, as of 2007, the bands guitarist is Van Lange. As noted below, almost all of the members play multiple instruments. In August 1996, they work on the first In Extremo album. Because the album had no name, it became known as In Extremo Gold because of the golden covers. In February 1997, like the single Der Galgen, it sold out in Medieval markets. In Extremo played separately as a medieval and a band, until on March 29,1997. Since that time, they have given this date as their date of establishment, the two projects were officially merged on January 11,1998. April 1998 saw the first high occupancy In Extremo concert in the Rabenstein castle in Brandenburg, over the years, their music became more heavy metal based, while at the same time becoming increasingly commercially successful. The classical instruments, however – bagpipes, shawms, and lutes – still play a large role, the band is likewise noted for their conspicuous stage costumes and known for using pyrotechnics in their concerts, including Der Morgenstern playing cymbals which have been set on fire. On 26 February 2010 In Extremo announced that Der Morgenstern left the band because of musical differences via their homepage, on June 11, Florian Specki T. D. Speckardt was announced as his replacement on drums. Besides the electric guitar, bass, and drum set, In Extremo defines itself by unconventional instruments mainly of medieval origin. They include hurdy-gurdy, bagpipes, Uilleann Pipes, shawm, nyckelharpa, harp, cittern, tromba marina, hammered dulcimer, Klangbaum, and various types of drums and percussion
In Extremo
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In Extremo on the stage
In Extremo
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Das letzte Einhorn (singer)
30.
Evensong (album)
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Evensong was the second album released by the band Amazing Blondel. It featured the style of music which they described as pseudo-Elizabethan/Classical acoustic music sung with British accents, all songs credited to Gladwin except where specified
Evensong (album)
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Evensong
31.
Thomas Tomkins
–
Thomas Tomkins was a Welsh-born composer of the late Tudor and early Stuart period. In addition to being one of the prominent members of the English Madrigal School, he was a composer of keyboard and consort music. Tomkins was born in St Davids in Pembrokeshire in 1572 and his father, also Thomas, who had moved there in 1565 from the family home of Lostwithiel in Cornwall, was a vicar choral of St Davids Cathedral and organist there. Three of Thomas juniors half-brothers, John, Giles and Robert, also became eminent musicians, by 1594, but possibly as early as 1586, Thomas and his family had moved to Gloucester, where his father was employed as a minor canon at the cathedral. Although documentary proof is lacking, it is possible that Byrd was instrumental in finding young Thomas a place as chorister in the Chapel Royal. In any case, all former Chapel Royal choristers were required to be found a place at university, but already in 1596 he had been appointed Organist at Worcester Cathedral. The next year he married Alice Patrick, a nine years his senior, whose husband Nathaniel. Thomass only son, Nathaniel, was born in Worcester in 1599, in 1612 Tomkins oversaw the construction in Worcester cathedral of a magnificent new organ by Thomas Dallam, the foremost organ-builder of the day. Probably by about 1603 Thomas was appointed a Gentleman Extraordinary of the Chapel Royal and this was an honorary post, but in 1621 he became a Gentleman Ordinary and organist under his friend and senior organist, Orlando Gibbons. The duties connected with this post included regular journeys between Worcester and London, which Tomkins performed until about 1639. On James Is death in March 1625 Tomkins, with other Gentlemen of the Chapel Royal, was required to attend to both the music for Jamess funeral and that for the coronation of Charles I. Because of plague, the coronation was postponed until February 1626. In 1628 Tomkins was named Composer of Music in ordinary at a salary of £40. But this prestigious post, the highest honour available to an English musician, was revoked on the grounds that it had been promised to Ferraboscos son. This shabby treatment was to be only the first of a series of adversities that overtook the composer for the last fourteen years of his life and he continued, however, to perform his dual duties at Worcester and London until 1639. Tomkins devoted wife Alice died in 1642, the civil war broke out. Worcester was one of the first casualties, the cathedral was desecrated, about this time Tomkins married his second wife Martha Browne, widow of a Worcester Cathedral lay clerk. Further conflict and a siege in 1646 caused untold damage to the city, Charles I was executed in 1649, and a few days later Tomkins, always a royalist, composed his superb Sad Pavan, for these distracted times
Thomas Tomkins
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Worcester Cathedral
32.
Peter Maxwell Davies
–
Sir Peter Maxwell Davies CH CBE was an English composer and conductor. In 2004 he was made Master of the Queens Music and his compositions include eight works for the stage, from the monodrama Eight Songs for a Mad King, which shocked the audience in 1969, to Kommilitonen. He wrote ten symphonies, the first from 1973–76, the tenth in 2013, as a conductor, he was Artistic Director of the Dartington International Summer School from 1979 to 1984. From 1992 to 2002 he was associate conductor/composer with the Royal Philharmonic Orchestra, Davies was born in Salford, Lancashire, the son of Thomas and Hilda Davies. At age four, after being taken to a performance of Gilbert and Sullivans The Gondoliers and he took piano lessons and composed from an early age. As a 14-year-old, he submitted a composition called Blue Ice to the radio programme Childrens Hour in Manchester, BBC producer Trevor Hill showed it to resident singer and entertainer Violet Carson, who said, Hes either quite brilliant or mad. Conductor Charles Groves nodded his approval and said, Id get him in, Daviess rise to fame began under the careful mentorship of Hill, who made him the programmes resident composer and introduced him to various professional musicians both in the UK and Germany. Together they formed New Music Manchester, a committed to contemporary music. After graduating in 1956, he studied on an Italian government scholarship for a year with Goffredo Petrassi in Rome, in 1959, Davies became Director of Music at Cirencester Grammar School. He left in 1962 after securing a Harkness Fellowship at Princeton University, there he studied with Roger Sessions, Milton Babbitt and he then moved to Australia, where he was Composer in Residence at the Elder Conservatorium of Music, University of Adelaide, 1965–66. In 1966 Davies returned to the United Kingdom and moved to the Orkney Islands, initially to Hoy in 1971, Orkney hosts the St Magnus Festival, an arts festival founded by Davies in 1977. He frequently used the festival to new works. Davies was Artistic Director of the Dartington International Summer School from 1979 to 1984, in 2000 Davies was Artist in Residence at the Barossa Music Festival when he presented some of his music theatre works and worked with students from the Barossa Spring Academy. Davies is also Composer Laureate of the Scottish Chamber Orchestra, for whom he wrote a series of ten Strathclyde Concertos and he was awarded a number of honorary doctorates, including Honorary Doctor of Music from Oxford University in July 2005. He had been President of Making Music since 1989, Davies was made a CBE in 1981 and knighted in 1987. He was appointed Master of the Queens Music in March 2004 but, in a break from the tradition of lifetime tenure and he was made a Freeman of the City of Salford August 2004. On 25 November 2006, he was appointed an Honorary Fellow of Canterbury Christ Church University at a service in Canterbury Cathedral and he was Visiting Professor of Composition at the Royal Academy of Music, and in 2009 became an Honorary Fellow of Homerton College, Cambridge. Davies also received an Honorary Doctorate from Heriot-Watt University in 2002 Davies was one of the first classical composers to open a music download website, the site became temporarily unavailable after the arrest in June 2007 of Michael Arnold on fraud charges arising from money missing from Daviess business accounts
Peter Maxwell Davies
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Sir Peter Maxwell Davies
Peter Maxwell Davies
–
Insignia of C.H.
33.
Jon Lord
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In 1968, Lord co-founded Deep Purple, a hard rock band of which he was regarded as the leader until 1970. Together with the members, he collaborated on most of his bands most popular songs. On 11 November 2010, he was inducted as an Honorary Fellow of Stevenson College in Edinburgh, on 15 July 2011, he was awarded an honorary Doctor of Music degree at De Montfort Hall by the University of Leicester. Lord was posthumously inducted into the Rock and Roll Hall of Fame on 8 April 2016 as a member of Deep Purple. Lord was born in Leicester on 9 June 1941 to Miriam and Reginald Lord, growing up at 120 Averill Road and his father was an amateur saxophonist and encouraged Lord from an early age. In particular his influences ranged from J. S. Bach to Medieval popular music, Lord moved to London in 1959–60, intent on an acting career and enrolling at the Central School of Speech and Drama, in Londons Swiss Cottage. Following a celebrated student rebellion he became a founder of Drama Centre London, small acting parts followed, and Lord continued playing the piano and the organ in nightclubs and as a session musician to earn a living. He started his career in London in 1960 with the jazz ensemble The Bill Ashton Combo. Ashton became a key figure in education in Britain, creating what later became the National Youth Jazz Orchestra. Between 1960 and 1963, Lord and Ashton both moved on to Red Bludds Bluesicians, the latter of which featured the singer Arthur Art Wood, Wood had previously sung with Alexis Korners Blues Incorporated and was a junior figure in the British blues movement. Following the break-up of Redd Bludds Bluesicians in late 1963, Wood, Lord, and this also included Derek Griffiths and Malcolm Pool. Dunnage left in December 1964 to be replaced by Keef Hartley, who had previously replaced Ringo Starr in Rory Storm and the Hurricanes. This band, later known as The Artwoods, focused on the organ as the bluesy, rhythmic core of their sound, in common with the contemporary bands The Spencer Davis Group and The Animals. They made appearances on the BBCs Saturday Club radio show and on such TV programs as Ready Steady Go. It also performed abroad, and it appeared on the first Ready Steady Goes Live, promoting its first single the Lead Belly song Sweet Mary — and its only charting single was I Take What I Want, which reached number 28 on 8 May 1966. This band regrouped in 1967 as the St. Valentines Day Massacre and this was an attempt to cash in on the 1930s gangster craze set off by the American film Bonnie and Clyde. Hartley left the band in 1967 to join John Mayalls Bluesbreakers, soon thereafter, Lord went on to cover for the keyboard player Billy Day in The Flower Pot Men, where he met the bass guitarist Nick Simper along with drummer Carlo Little and guitarist Ged Peck. Lord and Simper then toured with band in 1967 to promote its hit single Lets Go To San Francisco
Jon Lord
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Lord, on stage for
The Sunflower Jam, in 2007
Jon Lord
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Lord with
Deep Purple on tour at the Niedersachsenhalle,
Hanover, Germany, 1970
Jon Lord
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Tony Ashton (right) with Lord at a
gig at the Hotel Post, March 1990
34.
Deep Purple
–
Deep Purple are an English rock band formed in Hertford in 1968. The band is considered to be among the pioneers of metal and modern hard rock. Originally formed as a rock band, the band shifted to a heavier sound in 1970. Deep Purple, together with Led Zeppelin and Black Sabbath, have referred to as the unholy trinity of British hard rock. They were listed in the 1975 Guinness Book of World Records as the globes loudest band for a 1972 concert at Londons Rainbow Theatre, Deep Purple have had several line-up changes and an eight-year hiatus. The 1968–1976 line-ups are commonly labelled Mark I, II, III and their second and most commercially successful line-up featured Ian Gillan, Jon Lord, Roger Glover, Ian Paice, and Ritchie Blackmore. This line-up was active from 1969 to 1973, and was revived from 1984 to 1989, and again from 1992 to 1993. The bands line-up has been more stable in recent years. Deep Purple were ranked number 22 on VH1s Greatest Artists of Hard Rock programme, the band received the Legend Award at the 2008 World Music Awards. Deep Purple were inducted into the Rock and Roll Hall of Fame in 2016, in 1967, former Searchers drummer Chris Curtis contacted London businessman Tony Edwards, in the hope that he would manage a new group he was putting together, to be called Roundabout. Curtis vision was a supergroup where the members would get on and off. Impressed with the plan, Edwards agreed to finance the venture with two partners, John Coletta and Ron Hire, all of Hire-Edwards-Coletta Enterprises. The first recruit to the band was the classically trained Hammond organ player Jon Lord, Lord was currently performing in a backing band for the vocal group The Flower Pot Men, along with bassist Nick Simper and drummer Carlo Little. Simper had previously been in Johnny Kidd and the Pirates and survived the 1966 car crash that killed Kidd, Lord put the two on alert that hed been recruited for the Roundabout project, after which Simper and Little suggested guitarist Ritchie Blackmore, whom Lord had never met. Simper had known Blackmore since the early 1960s when his first band, the Renegades, debuted around the time as one of Blackmores early bands. HEC persuaded Blackmore to return from Hamburg to audition for the new group, Blackmore was making a name for himself as a studio session guitarist, and had also been a member of the Outlaws, Screaming Lord Sutch, and Neil Christian. Curtis erratic behaviour and lifestyle, fueled by LSD use, caused a sudden disinterest in the project he had started, but HEC was now intrigued with the possibilities Lord and Blackmore brought, while Lord and Blackmore were also keen to continue. The two carried on with recruiting members, keeping Tony Edwards as their manager
Deep Purple
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L–R:
Ian Paice,
Roger Glover,
Ian Gillan,
Steve Morse and
Don Airey performing live in 2013
Deep Purple
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Organ player
Jon Lord
Deep Purple
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Ritchie Blackmore in Hannover, Germany, 1970
Deep Purple
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Vocalist
Ian Gillan on stage in Clemson, South Carolina, US, 1972
35.
Sarabande (album)
–
Sarabande is the second solo album by Jon Lord recorded in September 1975 near Düsseldorf. The orchestra was conducted by Eberhard Schoener, the complete Sarabande suite was premiered in live performance in Budapest on 18 September 2010 and later in Sofia on and Essen. Lord amended the 1975 orchestrations, and also orchestrated Aria, which was played on piano and synthesizers on the recording, finale was made-over to allow the ‘parade of themes’ section -which was done with tape-loops on the recording- to be played live. The cover shows the drawing of an ourobouros, on which three naked women ride, the woman at 120° from the top stands in a position evocative of the woman on Whitesnakes Lovehunter cover. The original Jon Lord sleeve was designed by Kosh, and the illustration by Mike Bryan. E. M
Sarabande (album)
–
Sarabande
36.
Eric Clapton
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Eric Patrick Clapton, CBE, is an English rock and blues guitarist, singer, and songwriter. He is the only inductee to the Rock and Roll Hall of Fame, once as a solo artist and separately as a member of the Yardbirds. Clapton has been referred to as one of the most important, Clapton ranked second in Rolling Stone magazines list of the 100 Greatest Guitarists of All Time and fourth in Gibsons Top 50 Guitarists of All Time. He was also named number five in Time magazines list of The 10 Best Electric Guitar Players in 2009, in the mid-1960s Clapton left the Yardbirds to play with John Mayall & the Bluesbreakers. Furthermore, he formed rock band Blind Faith with Baker, Steve Winwood. For most of the 1970s Claptons output bore the influence of the style of J. J. Cale. His version of Marleys I Shot the Sheriff helped reggae reach a mass market, two of his most popular recordings were Layla, recorded with Derek and the Dominos, and Robert Johnsons Crossroads, recorded with Cream. Following the death of his son Conor in 1991, Claptons grief was expressed in the song Tears in Heaven, Clapton has been the recipient of 18 Grammy Awards, and the Brit Award for Outstanding Contribution to Music. In 2004 he was awarded a CBE at Buckingham Palace for services to music, in 1998, Clapton, a recovering alcoholic and drug addict, founded the Crossroads Centre on Antigua, a medical facility for recovering substance abusers. Clapton was born on 30 March 1945 in Ripley, Surrey, England, to 16-year-old Patricia Molly Clapton and Edward Walter Fryer, Fryer shipped off to war prior to Claptons birth and then returned to Canada. The similarity in surnames gave rise to the belief that Claptons real surname is Clapp. Years later, his mother married another Canadian soldier and moved to Germany, Clapton received an acoustic Hoyer guitar, made in Germany, for his thirteenth birthday, but the inexpensive steel-stringed instrument was difficult to play and he briefly lost interest. Two years later Clapton picked it up again and started playing consistently, Clapton was influenced by the blues from an early age, and practised long hours to learn the chords of blues music by playing along to the records. He preserved his practice sessions using his portable Grundig reel-to-reel tape recorder and his guitar playing was so advanced that, by the age of 16, he was getting noticed. Around this time, Clapton began busking around Kingston, Richmond, in 1962, Clapton started performing as a duo with fellow blues enthusiast David Brock in pubs around Surrey. When he was seventeen years old, Clapton joined his first band, an early British R&B group and he stayed with this band from January until August 1963. In October of that year, Clapton did a stint with Casey Jones & the Engineers. In October 1963, Clapton joined the Yardbirds, a rock and roll band
Eric Clapton
–
Clapton performing at Hyde Park, London in June 2008
Eric Clapton
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Appearing at the
Royal Albert Hall in London for the first time in 1964, Clapton has since performed at the venue over 200 times.
Eric Clapton
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Clapton (right) with Cream
Eric Clapton
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Clapton's
The Fool guitar (replica shown), with its bright artwork and famous "woman tone", was symbolic of the 1960s psychedelic rock era.
37.
Jay Adams
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Jay J. Adams was an American skateboarder who as a teen, was the youngest member of the Zephyr Competition Skateboarding Team. His spontaneous freestyle skateboarding style, inspired by surfing, helped innovate. His aggressive vertical tricks make him one of skateboardings most influential stylists, Adams died of a heart attack on August 15,2014. Jay Adams was born in a part of Venice, California and he grew up with his mother and his stepfather, Kent Sherwood. He began skating and surfing at the age of four, Sherwood worked at Dave Sweets Surf Shop under Pacific Ocean Park, where Adams was introduced to skateboarding. Adams skateboarding was greatly influenced by Larry Bertlemann, a professional surfer known for dragging his hands along the waves as he rode them and he also credited Todd Levy from the Outer Banks of NC as being the most influential surfer/skater of the time who never turned pro. In 1974 at age 13, Adams became the youngest member to join the Santa Monica-based Zephyr surf team, known to locals as Dogtown, representing Jeff Ho Surfboards and Zephyr Productions. Fellow Z-Boy Tony Alva said of Adams, Some kids are born and raised on graham crackers and milk, he was born, the Z-Boys became a skate team when they heard about the Bahne-Cadillac Del Mar Nationals in 1975. Adams was the first member to enter the competition, held in Del Mar, California, Adams ability to turn near-disasters into never-before-seen feats of style and agility was termed an athletic stream-of-consciousness by the 2001 documentary about the team, Dogtown and Z-Boys. Much of Adams and the rest of the Zephyr teams fame is due to photo-journalist, the series of magazine articles chronicled the adventures of the Z-Boys, who rode empty swimming pools in Southern California over a two-year period, laying the foundation for vertical skateboarding. The international reach of Stecyks Dogtown articles and skateboard-industry sponsorship led to skateboarding becoming a viable profession, by age 15, Adams was one of the first skateboarders shown catching air above the edge of a swimming pool. The Zephyr team broke up shortly after the Del Mar Nationals, half the team formed a new team under Adams stepfather Kent Sherwood, who made the Zephyr boards. Sherwood and Adams created the brand and team EZ-RYDER, which changed its name to Z-Flex six months later, Adams was the face of the brand. During his skateboarding career, Adams was sponsored by Hurley, Nixon, Osiris Shoes, Z-Flex, Tracker Trucks, Vercelli Surfboards, Carver Racks, Abec 11 wheels and Black Flys. Along with Jef Hartsel, Adams would go on to revive EZ-RYDER as EZ Ryder Originalz and he collaborated with Z-Flex, designing boards in the Z-Flex range, most notably the Z-Flex Jay Adams Cruiser Skateboard. Adams was inducted into the Skateboarding Hall of Fame in 2012, Adams is featured prominently in the 2001 Peralta-directed documentary Dogtown and Z-Boys. Los Angeles Times critic Kenneth Turan noted his contribution to the film, the documentary won awards at Sundance and an Independent Spirit Award. Adams was portrayed by Emile Hirsch in the 2005 dramatized feature-film account of the Z-Boys origins, Lords of Dogtown, written by Peralta and he was also featured in Joshua Pomers 2010 surf documentary The Westsiders
Jay Adams
–
Adams in 2011
38.
Alternative history
–
Alternate history or alternative history, sometimes abbreviated as AH, is a genre of fiction consisting of stories in which one or more historical events occur differently. These stories usually contain what if scenarios at crucial points in history, the stories are conjectural, but are sometimes based on scientific fact. Alternate history can be seen as a subgenre of fiction, science fiction, or historical fiction. Another term occasionally used for the genre is allohistory, cross-time, time-splitting, and alternate history themes have become so closely interwoven that it is impossible to discuss them fully apart from one another. In French, Italian, Spanish, Catalan and German, the genre of history is called uchronie / ucronia / ucronía / Uchronie. This neologism is based on the prefix ου- and the Greek χρόνος, a uchronia means literally no time. This term apparently also inspired the name of the history book list. Several genres of fiction have been misidentified as alternate history, Science fiction set in what was the future but is now the past, like Arthur C. Clarkes 2001, A Space Odyssey or George Orwells Nineteen Eighty-Four, is not alternate history because the author did not make the choice to change the past at the time of writing, Alternate history is related to, but distinct from, counterfactual history. The earliest example of history is found in Livys Ab Urbe Condita Libri. Livy concluded that the Romans would likely have defeated Alexander, another example is Joanot Martorells 1490 epic romance Tirant lo Blanch, which was written when the loss of Constantinople to the Turks was still a recent and traumatic memory for Christian Europe. It tells the story of the knight Tirant the White from Brittany who travels to the remnants of the Byzantine Empire. He becomes a Megaduke and commander of its armies and manages to fight off the invading Ottoman armies of Mehmet II and he saves the city from Islamic conquest, and even chases the Turks deeper into lands they had previously conquered. In the English language, the first known complete alternate history is Nathaniel Hawthornes short story P. s Correspondence, the first novel-length alternate history in English would seem to be Castello Holfords Aristopia. While not as nationalistic as Louis Geoffroys Napoléon et la conquête du monde, 1812–1823, in Aristopia, the earliest settlers in Virginia discover a reef made of solid gold and are able to build a Utopian society in North America. A number of alternate history stories and novels appeared in the late 19th, in 1931, British historian Sir John Squire collected a series of essays from some of the leading historians of the period for his anthology If It Had Happened Otherwise. In this work, scholars from major universities turned their attention to questions as If the Moors in Spain Had Won. The essays range from serious scholarly efforts to Hendrik Willem van Loons fanciful, among the authors included were Hilaire Belloc, André Maurois, and Winston Churchill
Alternative history
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Speculative fiction
39.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
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A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
40.
Renaissance music
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Renaissance music is vocal and instrumental music written and performed in Europe during the Renaissance era. From this changing society emerged a common, unifying musical language, in particular the style of the Franco-Flemish school. The invention of the press in 1440 made it cheaper and easier to distribute music and musical theory texts on a wider geographic scale. Prior to the invention of printing, songs and music that were written down and music theory texts had to be hand-copied, demand for music as entertainment and as a leisure activity for educated amateurs increased with the emergence of a bourgeois class. These musicians were sought throughout Europe, particularly in Italy, where churches and aristocratic courts hired them as composers, performers. This reversed the situation from a hundred years earlier, opera, a dramatic staged genre in which singers are accompanied by instruments, arose at this time in Florence. Opera was developed as an attempt to resurrect the music of ancient Greece. Music was increasingly freed from constraints, and more variety was permitted in range, rhythm, harmony, form. In the Renaissance, music became a vehicle for personal expression, composers found ways to make vocal music more expressive of the texts they were setting. Secular music absorbed techniques from sacred music, and vice versa, popular secular forms such as the chanson and madrigal spread throughout Europe. Courts employed virtuoso performers, both singers and instrumentalists, Music also became more self-sufficient with its availability in printed form, existing for its own sake. Precursor versions of familiar modern instruments developed into new forms during the Renaissance. These instruments were modified to responding to the evolution of musical ideas, Early forms of modern woodwind and brass instruments like the bassoon and trombone also appeared, extending the range of sonic color and increasing the sound of instrumental ensembles. From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works, an enormous diversity of musical styles and genres flourished during the Renaissance. These can be heard on recordings made in the 20th and 21st century, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, beginning in the late 20th century, numerous early music ensembles were formed. One of the most pronounced features of early Renaissance European art music was the reliance on the interval of the third. Polyphony – the use of multiple, independent melodic lines, performed simultaneously – became increasingly elaborate throughout the 14th century, the beginning of the 15th century showed simplification, with the composers often striving for smoothness in the melodic parts. The modal characteristics of Renaissance music began to break down towards the end of the period with the use of root motions of fifths or fourths
Renaissance music
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Musicians, ca 1600
Renaissance music
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1611
woodcut of Josquin des Prez, copied from a now-lost oil painting done during his lifetime
Renaissance music
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San Marco in the evening. The spacious, resonant interior was one of the inspirations for the music of the Venetian School.
Renaissance music
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Hurdy-gurdy
41.
Burgundian School
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The Burgundian School was a group of composers active in the 15th century in what is now northern and eastern France, Belgium, and the Netherlands, centered on the court of the Dukes of Burgundy. The main names associated with this school are Guillaume Dufay, Gilles Binchois, Antoine Busnois, the Burgundian School was the first phase of activity of the Franco-Flemish School, the central musical practice of the Renaissance in Europe. When France was ravaged by the Hundred Years War, the cultural center migrated farther east, to towns in Burgundy, especially during the reigns of Philip the Good and Charles the Bold, this entire area, loosely known as Burgundy, was a center of musical creativity. Most of the activity did not take place in what is modern-day Burgundy. The main centers of music-making were Brussels, Bruges, Lille, Musicians from the region came to Burgundy to study and further their own careers as the reputation of the area spread. The Burgundian rulers were not merely patrons of the arts, but took a part, Charles the Bold himself played the harp. Charles the Bold was killed in 1477 in the Battle of Nancy, both the French court and the Habsburgs were patrons of music, however a French style began to diverge from that of the Low Countries, especially in secular music, and in the period after 1500. The history of Burgundian music began with the organization of the chapel in 1384, twenty years later, other early composers there were Hugo and Arnold de Lantins, both of whom Dufay later met in Italy. Of all the associated with the Burgundian School, the most famous was Guillaume Dufay. He wrote music in many of the forms which were current, music which was melodic, singable and memorable. After the death of Dufay in 1474, the most prominent Burgundian musician was Antoine Busnois, who was also a composer of chansons. The most prominent secular forms used by the Burgundians were the four formes fixes, of the four, the rondeau was by far the most popular, at any rate more rondeaux have survived than any other form. Most of the rondeaux were in three voices, and in French, though there are a few in other languages, in most of the rondeaux, the uppermost voice was texted, and the other voices were most likely played by instruments. The bergerette was developed by the Burgundians themselves, it was like a virelai, most of the composers also wrote sacred music in Latin, this was to remain true for the next several generations. They wrote both masses and motets, as well as cycles of Magnificats, during the period, the mass transformed from a group of individual sections written by different composers, often using a head-motif technique, to unified cycles based on a cantus firmus. Dufay, Binchois, Busnois, Reginald Liebert and others all wrote cyclic masses, david Fallows writes of it in the New Grove, It is hard to think of any other melody in the history of music that has yielded so much music of the highest quality. During the period the motet transformed from the model of the 14th century to the smoothly polyphonic. Composition using fauxbourdon allowed sung text to be understood
Burgundian School
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Composer
Guillaume Dufay (left) and
Gilles Binchois (right),
Martin le Franc, "Champion des Dames"
42.
Franco-Flemish School
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The diffusion of their technique, especially after the revolutionary development of printing, produced the first true international style since the unification of Gregorian chant in the 9th century. Franco-Flemish composers mainly wrote sacred music, primarily masses, motets, several generations of Renaissance composers from the region loosely known as the Low Countries—i. e. Present-day Northern France, Belgium and the Southern Netherlands—are grouped under Franco-Flemish School, most of these musicians were born in the thriving Burgundian provinces of Flanders, Brabant, Hainaut, or Limburg. During periods of political and economic stability, the courts of the Burgundian dukes were a centre of activity in Europe. The exact centres shifted during time, and by the end of the sixteenth century the focal point of the Western musical world had moved from the Low Countries to Italy. Following are five groups, or generations, that are distinguished in the Franco-Flemish/Netherlandish school. Development of this style was continuous, and these generations only provide useful reference points. The First generation, dominated by Guillaume Du Fay, Gilles Binchois and Antoine Busnois, the origins of the style of the first generation embraces both earlier Burgundian traditions and also Italian and English styles. For example, in 1442, the poet Martin le Franc praised Binchois, the Second generation, with Ockeghem as its main exponent, others including Orto, Compère, Prioris, Agricola, Caron, Faugues, Regis and Tinctoris. The Third generation, Obrecht, de la Rue, Isaac, Brumel, Févin, Pipelare, Richafort, Divitis, the Fourth generation, Gombert, Crecquillon, Manchicourt, Arcadelt, Rore, Willaert, Courtois and Clemens non Papa. The Fifth generation, Lassus, de Monte, Vaet, Regnart, Luython, Wert, de Macque, and Rogier. By this time, many of the composers of music were native to Italy and other countries, the Netherlandish style had naturalized on foreign soil. Composed between 1450 and 1520, these motets were written for four voices, with all voices being equal. They often exhibit thick, dark textures, with a low range. The most notable composers of this style include Ockeghem and Josquin, whose De profundis clamavi ad te, category, Franco-Flemish composers The New Harvard Dictionary of Music. A History of Music and Musical Style, by Homer Ulrich & Paul Pisk, register of Polyphonists out of The Low countries/the Netherlands born in between 1400-1600
Franco-Flemish School
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Josquin des Prez, Petrus Opmeer's woodcut
43.
Venetian School (music)
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In music history, the Venetian School was the body and work of composers working in Venice from about 1550 to around 1610. The Venetian polychoral compositions of the sixteenth century were among the most famous musical events in Europe. Several major factors came together to create the Venetian School, another factor, possibly the most important, was the existence of the splendid Basilica San Marco di Venezia, with its unique interior with opposing choir lofts. The first composer to make this effect famous was Adrian Willaert, Marks in 1527, and remained in the position until his death in 1562. Yet another factor which promoted the rich period of creativity was printing. Composers from northern Europe—especially Flanders and France—were already renowned as the most skilled composers in Europe, the international flavor of musical society in the city was to linger into the 17th century. In the 1560s, two groups developed within the Venetian school, a progressive group, led by Baldassare Donato. Friction between the two came to a head in 1569 with a dramatic, public fight between Donato and Zarlino during the Feast of St. Mark. An additional point of contention between the two groups was whether or not Venetians — or at least Italians — should be given the top job of maestro di cappella at St. Marks. The peak of development of the Venetian School was in the 1580s, when Andrea and Giovanni Gabrieli composed enormous works for choirs, groups of brass and string instruments. These works are the first to include dynamics, and are among the first to include instructions for ensemble instrumentation. S. The term Venetian School is sometimes used to distinguish it from the contemporary, other important centers of musical activity in Italy at the same time included Florence, Ferrara, Naples, Padua, Mantua and Milan. Major members of the Venetian school include, Venetian polychoral style Neapolitan school Various articles, including Venice, in The New Grove Dictionary of Music and Musicians, ISBN 1-56159-174-2 Gustave Reese, Music in the Renaissance. ISBN 0-393-09530-4 Manfred Bukofzer, Music in the Baroque Era, ISBN 0-393-09745-5 Harold Gleason and Warren Becker, Music in the Middle Ages and Renaissance. ISBN 0-89917-034-X Eleanor Selfridge-Field, Venetian Instrumental Music, from Gabrieli to Vivaldi, london, J. M. Dent & Sons Ltd,1975. ISBN 0-460-03155-4 Blanche Gangwere, Music History During the Renaissance Period, 1520–1550
Venetian School (music)
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San Marco in the evening. The spacious, resonant interior was one of the inspirations for the music of the Venetian School.
44.
Musical instrument
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A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
Musical instrument
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Anne Vallayer-Coster, Attributes of Music, 1770. This
still life painting depicts a variety of French Baroque musical instruments, such as a
natural horn,
transverse flute,
musette,
violin, and
lute.
Musical instrument
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Found in
Slovenia, the
Divje Babe Flute is considered the world's
oldest known musical instrument
Musical instrument
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Two
Aztec slit drums, called teponaztli. The characteristic " H " slits can be seen on the top of the drum in the foreground.
Musical instrument
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Ancient Egyptian tomb painting depicting lute players,
18th Dynasty (c. 1350 BC)
45.
Bagpipes
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Bagpipes are a wind instrument using enclosed reeds fed from a constant reservoir of air in the form of a bag. The term bagpipe is equally correct in the singular or plural, though pipers usually refer to the bagpipes as the pipes, a set of bagpipes minimally consists of an air supply, a bag, a chanter, and usually at least one drone. Many bagpipes have more than one drone in various combinations, held in place in stocks—sockets that fasten the various pipes to the bag, the most common method of supplying air to the bag is through blowing into a blowpipe, or blowstick. In some pipes the player must cover the tip of the blowpipe with their tongue while inhaling, an innovation, dating from the 16th or 17th century, is the use of a bellows to supply air. In these pipes, sometimes called cauld wind pipes, air is not heated or moistened by the players breathing, the bag is an airtight reservoir that holds air and regulates its flow via arm pressure, allowing the player to maintain continuous even sound. The player keeps the bag inflated by blowing air into it through a blowpipe or pumping air into it with a bellows, materials used for bags vary widely, but the most common are the skins of local animals such as goats, dogs, sheep, and cows. More recently, bags made of materials including Gore-Tex have become much more common. A drawback of the bag is the potential for fungal spores to colonise the bag because of a reduction in necessary cleaning. An advantage of a bag is that they have a zip which allows the user to fit a more effective moisture trap to the inside of the bag. Bags cut from larger materials are usually saddle-stitched with an extra strip folded over the seam, holes are then cut to accommodate the stocks. The chanter is the pipe, played with two hands. Almost all bagpipes have at least one chanter, some pipes have two chanters, particularly those in North Africa, the Balkans in Southern Europe, and Southwest Asia. A chanter can be bored internally so that the walls are parallel for its full length. The chanter is usually open-ended, so there is no way for the player to stop the pipe from sounding. Thus most bagpipes share a constant, legato sound where there are no rests in the music, primarily because of this inability to stop playing, technical movements are used to break up notes and to create the illusion of articulation and accents. Because of their importance, these embellishments are often highly technical systems specific to each bagpipe, a few bagpipes have closed ends or stop the end on the players leg, so that when the player closes the chanter becomes silent. A practice chanter is a chanter without bag or drones, allowing a player to practice the instrument quietly, the term chanter is derived from the Latin cantare, or to sing, much like the modern French word chanteur. The note from the chanter is produced by a reed installed at its top, the reed may be a single or double reed
Bagpipes
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Angel playing bagpipes in the
Thistle Chapel, Edinburgh
Bagpipes
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A detail from the
Cantigas de Santa Maria showing bagpipes with one chanter and a parallel drone (Spain, 13th century).
Bagpipes
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A detail from a painting by
Hieronymus Bosch showing two bagpipers (15th century).
Bagpipes
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A Great Highland Bagpipe practice chanter
46.
Celtic harp
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The Celtic harp is a triangular harp traditional to Brittany, Ireland, Scotland and Wales. It is known as a telenn in Breton, cláirseach in Irish, clàrsach in Scottish Gaelic, in Ireland and Scotland, it was a wire-strung instrument requiring great skill and long practice to play, and was associated with the Gaelic ruling class. It appears on the coins and coat of arms of the Republic of Ireland, the early history of the triangular frame harp in Europe is contested. The first instrument associated with the tradition in the Gaelic world was known as a cruit. This word may originally have described a different stringed instrument, being related to the Welsh crwth. It has been suggested that the word clàrsach/cláirseach was coined for the triangular frame harp which replaced the cruit, the last two are examples of the small low-headed harp, and are both made from hornbeam, a wood not native to Scotland. All three are dated approximately to the 15th century and may have made in Argyll in western Scotland. Many “Irish” harps from later periods have no provenance and could possibly be of Scottish origin, gerald refers to the cythara and the tympanum, but their identification with the harp is uncertain, and it is not known that he ever visited Scotland. In construction the Irish and Scottish harps may in general be considered as one, a characteristic feature is the metal strings. Historical sources mention various types of wire, including brass and iron, some also argue for the use of silver. The wires were attached to a massive soundbox typically carved from a log, commonly of willow, although other woods including alder. This harp also had a reinforced curved pillar and a substantial neck, the strings, usually played with the fingernails, produced a brilliant ringing sound. This type of harp is also unique amongst single row triangular harps in that the first two strings tuned in the middle of the gamut were set to the same pitch. In Scottish Gaelic, the names of the components of the clàrsach were as follows, amhach, cnagan, corr, com r forepillar), teudan, cruidhean nan teud, the corr had a brass strap nailed to each side, pierced by tapered brass tuning pins. The treble end had a tenon which fitted into the top of the com, on a low-headed harp the corr was morticed at the bass end to receive a tenon on the làmh-chrann, on a high-headed harp this tenon fitted into a mortice on the back of the làmh-chrann. The com was usually carved from a piece of willow. A panel of timber was carefully inserted to close the back. Cruidhean nan teud were usually made of brass and prevented the metal strings from cutting into the wood of the soundbox, the urshnaim may refer to the wooden toggle to which a string was fastened once it had emerged from its hole in the soundboard
Celtic harp
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The medieval 'Queen Mary harp' (Clàrsach na Banrìgh Màiri) preserved in the National Museum of Scotland, Edinburgh
Celtic harp
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Maedoc book-cover, Ireland, circa 1100 AD: the earliest unambiguous depiction of an Irish harp
Celtic harp
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Replica of the 'Queen Mary harp' (Clàrsach na Banrìgh Màiri) by Davy Patton, 2007
Celtic harp
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A modern 'Celtic harp' in Canada
47.
Cittern
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The cittern or cithren is a stringed instrument dating from the Renaissance. Modern scholars debate its exact history, but it is accepted that it is descended from the Medieval citole. It looks much like the modern-day flat-back mandolin and the modern Irish bouzouki and its flat-back design was simpler and cheaper to construct than the lute. It was also easier to play, smaller, less delicate, played by all classes, the cittern was a premier instrument of casual music-making much as is the guitar today. The cittern is one of the few metal-strung instruments known from the Renaissance period and it generally has four courses of strings, one or more course being usually tuned in octaves, though instruments with more or fewer courses were made. The tuning and narrow range allow the player a number of chord shapes useful for both simple song accompaniment and dances, however much more complex music was written for it. Its bright and cheerful timbre make it a valuable counterpoint to gut-strung instruments, the Spanish bandurria, still used today, is a similar instrument. DUMAIN, The head of a bodkin, BIRON, A Deaths face in a ring. The leading 18th century Swedish songwriter Carl Michael Bellman played mostly on the cittern, in Germany the cittern survives under the names Waldzither and Lutherzither. The last name comes from the belief that Martin Luther played this instrument, also, the names Thüringer Waldzither in Thüringer Wald, Harzzither in the Harz mountains, Halszither in German-speaking Switzerland are used. There is a tendency in modern German to interchange the words for cittern, the term waldzither came into use around 1900, to distinguish citterns from zithers. The cittern family survives as the Corsican cetara and the Portuguese guitar, the guitarra portuguesa is typically used to play the popular traditional music known as fado. Chitarra Italiana Cithara Italica English guitar Stringed instrument tunings Gregory Doc Rossi Martina Rosenberger Musics Delight on the Cithren, John Playford. Renovata Cythara, The Renaissance Cittern Pages Stefan Sobell website G.1550 at the National Music Museum Decorated Cittern by Joachim Tielke, Hamburg, ca.1685 at The Metropolitan Museum of Art
Cittern
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"Woman with cittern", canvas painted 1677 by
Pieter van Slingelandt (ca. 1630-1691).
Cittern
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Hamburger Waldzither, c. 1920
Cittern
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A modern cittern made by Lawrence Nyberg of British Columbia, Canada 2003
48.
Cornett
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The cornett, cornetto, or zink is an early wind instrument that dates from the Medieval, Renaissance and Baroque periods, popular from 1500 to 1650. It was used in what are now called alta capellas or wind ensembles and it is not to be confused with the trumpet-like cornet. The sound of the cornett is produced by lip vibrations against a cup mouthpiece, a cornett consists of a conical wooden pipe covered in leather, is about 24 inches long, and has finger holes and a small horn or ivory mouthpiece. The ordinary treble cornett is made by splitting a length of wood, the halves are then glued together, and the outside planed to an octagonal cross section, the whole being bound in thin black leather. Six front finger holes and a hole on the back are bored in the instrument. The socket for the mouthpiece at the end is reinforced with a brass collar. The separate cup mouthpiece is made of horn, ivory, or bone, with a thin rim. Because it lacks a little-finger hole at the bottom, its lowest note is the A below middle C, at least three existing specimens of bass cornett reside in the collection of the Musée de la Musique, Paris. Historically, two cornetts were frequently used in consort with three sackbuts, often to double a church choir and this was particularly popular in Venetian churches such as the Basilica San Marco, where extensive instrumental accompaniment was encouraged, particularly in use with antiphonal choirs. Giovanni Bassano was an early player of the cornett. Heinrich Schütz also used the instrument extensively, especially in his earlier work, the serpent largely supplanted the bass cornett in the 17th century. Other versions include the mute cornett, which is a straight instrument with integrated mouthpiece. The cornett was used as a virtuoso solo instrument. The use of the instrument had declined by 1700, although the instrument was common in Europe until the late 18th century. Johann Sebastian Bach, Georg Philipp Telemann and their German contemporaries used both the cornett and cornettino in cantatas to play in unison with the voices of the choir. Occasionally, these composers allocated a part to the cornetto. Alessandro Scarlatti used the cornetto or pairs of cornetts in a number of his operas, johann Joseph Fux used a pair of mute cornetts in a Requiem. It was scored for by Gluck, in his opera Orfeo ed Euridice and features in the TV theme music Testament by Nigel Hess, at every stage of its development the cornett was an instrument of professional musicians
Cornett
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Three different c: mute cornett, curved cornett and tenor cornett
Cornett
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16th and 17th century Cornetts
