Orchestra Wives is a 1942 American musical film by 20th Century Fox starring Ann Rutherford, George Montgomery, Glenn Miller. The film was the second and last film to feature The Glenn Miller Orchestra, is notable among the many swing era musicals because its plot is more serious and realistic than the insubstantial storylines that were typical of the genre; the movie was re-released in 1954 by 20th Century Fox to tie-in with the biopic The Glenn Miller Story. Connie Ward is a young woman who on the spur of the moment marries Bill Abbott, a trumpet player in Gene Morrison's swing band, she soon finds herself at odds with the cattiness and petty jealousies of the other band members' spouses, as they accompany their husbands on their cross-country train tour. Her discomfort is exacerbated by the band's female vocalist; when Ward walks out on Abbott, their split releases so many other tensions among the musicians and their wives, that leader Morrison is forced to break up the orchestra. Ward and the band's pianist Sinjin work behind the scenes to reunite the band, which produces a reconciliation between Ward and Abbott.
Montgomery's trumpet playing on the soundtrack was performed by Johnny Best, Glenn Miller's lead trumpet player. Orchestra Wives features a treasure trove of songs by Mack Gordon and Harry Warren, the same team responsible for the hits featured in Miller's first film Sun Valley Serenade; the main production number is "I've Got a Gal in Kalamazoo", an analogue of "Chattanooga Choo-Choo", from the first film that features a folksy vocal and some gutsy tenor sax work by Tex Beneke, backup singing by Marion Hutton with the Modernaires, a gravity-defying dance sequence by the Nicholas Brothers. This was nominated as Original Song in Academy Awards: Harry Warren, Mack Gordon. Other songs include the period piece "People Like You and Me", a breakneck performance of "Bugle Call Rag" and the classic romantic ballads "At Last" and "Serenade in Blue"; the film score uses "At Last" as a musical motif laced throughout the movie in dramatic and romantic scenes. "That's Sabotage" was written for the movie but was cut from the film.
The song was, released as a 78 single by Glenn Miller and His Orchestra, the unused soundtrack recording was featured on various LP compilations of Miller's soundtracks. Glenn Miller's theme song "Moonlight Serenade" from 1939 appears over the opening credits. "Boom Shot", an instrumental composed by Glenn Miller and Billy May for the movie, first on the jukebox in the soda shop later when Ann Rutherford and Harry Morgan are shown dancing, but is uncredited on the soundtrack and film credits. Three future stars have uncredited appearances: Jackie Gleason portrays the band's bass player, Ben Beck, in the soda fountain scene, Harry Morgan is the soda-jerk Cully Anderson, who dates Connie Ward, Dale Evans plays Ann Rutherford's friend Hazel. Pat Friday dubbed Lynn Bari's singing. George Montgomery's on-screen trumpet playing was performed on the soundtrack by Miller sideman Johnny Best. Glenn Miller Orchestra pianist Chummy MacGregor dubbed Cesar Romero's playing. Harry Morgan would co-star in the film The Glenn Miller Story in 1953, portraying MacGregor.
Academy Awards Nominated: Best Music, Original Song, "I've Got a Gal in Kalamazoo", Harry Warren, Mack Gordon Production Dates: 6 April-17 April. Information in the MPAA/PCA Collection at the AMPAS Library indicates that an early draft of the film's screenplay was rejected by the PCA because it implied that some of the characters had committed adultery. After PCA officials met with producer William LeBaron in mid-June 1942, the story was approved on the condition that there would be no adultery depicted. Orchestra Wives was the second and final film made by famed band leader Glenn Miller, who, in September 1942, disbanded his orchestra in order to enter the military. An July 8, 1942 Variety news item reported that the song "At Last," composed by Mack Gordon and Harry Warren, had been recorded by Miller and his orchestra for the 1941 Twentieth Century-Fox film Sun Valley Serenade. Studio records indicate that the Gordon and Warren song "That's Sabotage" was recorded for Orchestra Wives and was included on the soundtrack album though it does not appear in the completed picture.
Instrumental versions of "You Say The Sweetest Things, Baby" and "The Darktown Strutters' Ball" were to have been recorded for the film, but were cut. Kalamazoo, Michigan List of American films of 1942 Orchestra Wives at the American Film Institute Catalog Orchestra Wives on IMDb Orchestra Wives at AllMovie Orchestra Wives at the TCM Movie Database Orchestra Wives at Rotten Tomatoes
Swing music, or swing, is a form of popular music developed in the United States that dominated in the 1930s and 1940s. The name swing came from the'swing feel' where the emphasis is on the off–beat or weaker pulse in the music. Swing bands featured soloists who would improvise on the melody over the arrangement; the danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, a period known as the swing era. The verb "to swing" is used as a term of praise for playing that has a strong groove or drive. Notable musicians of the swing era include Louis Armstrong, Louis Prima, Larry Clinton, Duke Ellington, Count Basie, Benny Goodman, Artie Shaw, Glenn Miller, Woody Herman, Tommy Dorsey, Jimmy Dorsey, Harry James, Louis Jordan, Cab Calloway. Swing has roots in the 1920s as larger dance music ensembles began using new styles of written arrangements incorporating rhythmic innovations pioneered by Louis Armstrong and Earl Hines.
A typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely tied wind and brass. The most common style consisted of theme choruses and choruses with improvised solos within the framework of his bandmates playing support. Swing music began to decline in popularity during World War II because of several factors. Swing influenced the styles of traditional pop music, jump blues, bebop jazz. Swing music saw a revival in the late 1950s and 1960s with the resurgent Count Basie and Duke Ellington orchestras, with pop vocalists such as Frank Sinatra and Nat King Cole. Swing blended with other genres to create new music styles. In country music, artists such as Jimmie Rodgers, Moon Mullican and Bob Wills introduced many elements of swing along with blues to create a genre called western swing. Gypsy swing is Lang's jazz violin swing. Swing revivals have occurred periodically from the late 1960s to the 2000s. In the late-1980s a trendier, more urban-styled swing-beat emerged called new jack swing, spearheaded by Teddy Riley.
In the late 1990s and into the 2000s there was a swing revival, led by Squirrel Nut Zippers, Brian Setzer, Big Bad Voodoo Daddy, Lavay Smith. In Canada, some of the early 2000s records by The JW-Jones Blues Band included swing revival elements. Developments in dance orchestra and jazz music during the 1920s both contributed to the development of the 1930s swing style. Starting in 1923, the Fletcher Henderson Orchestra featured innovative arrangements by Don Redman that featured call-response interplay between brass and reed sections, interludes arranged to back up soloists; the arrangements had a smoother rhythmic sense than the ragtime-influenced arrangements that were the more typical "hot" dance music of the day. In 1924 Louis Armstrong joined the Henderson band, lending impetus to an greater emphasis on soloists; the Henderson band featured Coleman Hawkins, Benny Carter, Buster Bailey as soloists, who all were influential in the development of swing era instrumental styles. During the Henderson band's extended residency at the Roseland Ballroom in New York, it became influential on other big bands.
Duke Ellington credited the Henderson band with being an early influence when he was developing the sound for his own band. In 1925 Armstrong left the Henderson band and would add his innovations to New Orleans style jazz to develop Chicago style jazz, another step towards swing. Traditional New Orleans style jazz was based on a two-beat meter and contrapuntal improvisation led by a trumpet or cornet followed by a clarinet and trombone in a call-response pattern; the rhythm section consisted of a sousaphone and drums, sometimes a banjo. By the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the sousaphone. Use of the string bass opened possibilities for 4/4 instead of 2/4 time at faster tempos, which increased rhythmic freedom; the Chicago style released the soloist from the constraints of contrapuntal improvisation with other front-line instruments, lending greater freedom in creating melodic lines. Louis Armstrong used the additional freedom of the new format with 4/4 time, accenting the second and fourth beats and anticipating the main beats with lead-in notes in his solos to create a sense of rhythmic pulse that happened between the beats as well as on them, i.e. swing.
In 1927 Armstrong worked with pianist Earl Hines, who had a similar impact on his instrument as Armstrong had on trumpet. Hines' melodic, horn-like conception of playing deviated from the contemporary conventions in jazz piano centered on building rhythmic patterns around "pivot notes." His approaches to rhythm and phrasing were free and daring, exploring ideas that would define swing playing. His approach to rhythm used accents on the lead-in instead of the main beat, mixed meters, to build a sense of anticipation to the rhythm and make his playing swing, he used "stops" or musical silences to build tension in his phrasing. Hines' style was a seminal influence on the styles of swing-era pianists Teddy Wilson, Art Tatum, Jess Stacy, Nat "King" Cole, Erroll Garner, Mary Lou Williams, Jay McShann. Black territory dance bands in the southwest were developing dynamic styles that went in the direction of blues-based simplicity, using riffs in a call-response pattern to build a strong, danceable rhythm and provide a musical platform for extended solos.
The rhythm-heavy tunes for dancing were called "stomps." The requirement for volume led to continued use of the sousaphone over the string bass with the larger ensembles, which dictated a more conservative approach to rhythm based on 2/4 time signatures. Meanwhile, string bass player
Système universitaire de documentation
The système universitaire de documentation or SUDOC is a system used by the libraries of French universities and higher education establishments to identify and manage the documents in their possession. The catalog, which contains more than 10 million references, allows students and researcher to search for bibliographical and location information in over 3,400 documentation centers, it is maintained by the Bibliographic Agency for Higher Education. Official website
Mechanicville, New York
Mechanicville is a city in Saratoga County, New York, United States. The population is 5,196 as of the 2010 census, it is the smallest city by area in the state. The name is derived from the occupations of early residents; the city is located on the eastern border of Saratoga County and is north of Albany, the state capital. Mechanicville borders the towns of Stillwater and Halfmoon in the county, the town of Schaghticoke, Rensselaer County; the first listing of a settlement on Thenendehowa Creek is in 1721. At that time, Cornelius Van Buren had a sawmill at the mouth of the creek where it emptied into the Hudson River; the first documented occurrence of the name "Mechanicville" dates back to 1829. The name comes from the early settlers, who were independent mastercraftsmen such as millers, carpenters, or butchers, whose professions were known as the "mechanical arts" at the time. About 35 years small flour mills were established; when the Champlain Canal reached the settlement in 1823, when the Rensselaer and Saratoga Railroad laid a track through the area in 1835, Mechanicville became an important commerce interchange.
The community became an incorporated village in 1859. It grew as textile mills, a linen thread company came to Mechanicville; the first conspicuous casualty of the American Civil War, Elmer E. Ellsworth, was buried in Mechanicville in 1861. In 1878, additional railways came to the village, it became an important center of papermaking. In 1898, Robert Newton King built a hydroelectric power plant on the Hudson River; the Mechanicville Hydroelectric Plant is now the oldest continuously-operating hydroelectric plant in the United States and was listed on the National Register of Historic Places in 1989. By 1900, Mechanicville was a major transfer car repair center for the railways. In the 1920s, Mechanicville had a population of nearly 10,000. In both the 1900 and 1910 censuses, Mechanicville was enumerated with the town of Half Moon, just to the south of Stillwater. Mechanicville became a city in 1915. By 1932, it became the terminal of the first experimental high-voltage direct-current scheme in the U.
S.: the HVDC Mechanicville–Schenectady line. With the decline of the railroads, Mechanicville suffered; the largest paper mill in the world, which Mechanicville had hosted since 1904, ceased operations in 1971, the once thriving industrial city is today a quiet residential city, with most inhabitants working in Albany and other nearby communities. On November 1, 2001, Mechanicville was featured on the Daily Show with then-rising comedian Steve Carell; the Mechanicville Hydroelectric Plant and Col. Elmer E. Ellsworth Monument and Grave are listed on the National Register of Historic Places. On May 31, 1998, a large tornado tore through the adjacent town of Stillwater, it was spawned by a series of severe storms in the late afternoon, causing major damage to the town's old industrial section located on US Route 4 and NY-32 along the Hudson River. One of the two historic smokestacks was knocked down by the tornado. In 2005, the other smokestack and the conjoined building were bulldozed. Houses on the Viall Avenue hill sections of Mechanicville and Stillwater were destroyed.
The tornado was rated F3 on the Fujita scale. In January 2012, a new intermodal and automotive terminal opened on the site of a former Boston and Maine rail yard; the new rail yard was built by Pan Am Southern, a joint venture between Pan Am Railways and Norfolk Southern. The $40 million facility Is used for filet-toupee operations, converting double stack container trains from the west to single stack by removing the top layer of containers; this allows the rest of the train to proceed east along track that lacks double stack clearance the 4-3/4 mile Hoosac Tunnel. The removed containers are trucked to local destinations. Toupee refers to the reverse process, where a single stack train coming from the east has additional containers placed on top for the rest of its trip; some 300 trucks a day visit the site. The automotive terminal opened in 2014. Mechanicville is located at 42°54′14″N 73°41′26″W. According to the United States Census Bureau, the city has a total area of 0.9 square miles, of which, 0.8 square miles of it is land and 0.1 square miles of it is water.
The city of Mechanicville is on the west bank of the Hudson River at the influx of Anthony Kill. US Route 4, conjoined New York State Route 32 are north-south highways through Mechanicville. New York State Route 67 intersects US-4 in the city. County Roads 75 and 1345 lead into the city. While Mechanicville has had many religious institutions, there are two active churches in the city, the Catholic parish of All Saints on the Hudson, the Mechanicville United Methodist Church. Chad Brown - Thoroughbred horse racing trainer Elmer E. Ellsworth - friend and law clerk to Lincoln, colonel in the Union Army, leader of the Fire Zouaves, first conspicuous Casualty of the American Civil War. Most Reverend John Gavin Nolan - Bishop of the Military Ordinariate of the United States. Orie Amodeo - Musician in the Lawrence Welk orchestra Ray Heindorf - American songwriter, composer and arranger Gordon Sheehan - Animator for Fleischer Studios. Fred Isabella - dentist and politician Bob Eberly and Ray Eberle – singers Aida M. Brewer - First female treasurer of New York State.
John R. Fellows – American lawyer and Confederate soldier. Joe Cocozzo – American professional football player and Super Bowl XXIX particip
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
Glenn Miller Orchestra
Glenn Miller and His Orchestra was an American swing dance band formed by Glenn Miller in 1938. Arranged around a clarinet and tenor saxophone playing melody, three other saxophones playing harmony, the band became the most popular and commercially successful dance orchestra of the Swing era and one of the greatest singles charting acts of the 20th century. Miller began professionally recording in New York City as a sideman in the Hot jazz era of the late 1920s. With the arrival of virtuoso trombonists Jack Teagarden and Tommy Dorsey, Miller focused more on developing his arrangement skills. Writing for contemporaries and future stars such as Artie Shaw, Benny Goodman, Miller gained prowess as an arranger by working in a variety of settings. Miller improved his arranging and writing skills by studying under music theorist Joseph Schillinger. In February 1937, Miller started an orchestra that made records for Decca. With this group, Miller used an arrangement he wrote for British bandleader Ray Noble's American band in an attempt to form a clarinet-reed sound.
This style developed over time, became known as the Glenn Miller sound. Frustrated with his agency over playing inconsistent bookings and lacking broad radio exposure, Miller gave the band notice in December 1937. Less than three months he was looking for members and forming a new band. Miller began a partnership with Eli Oberstein, which led directly to a contract with Victor subsidiary Bluebird Records. Gaining notoriety at such engagements as the Paradise Restaurant and Frank Dailey–owned Meadowbrook and their corresponding nationwide broadcasts, Miller struck enormous popularity playing the Glen Island Casino in the summer of 1939. From late 1939 to mid-1942, Miller was the number-one band in the country, with few true rivals. Only Harry James' band began to equal Miller's in popularity as he winded down his career in the wake of the Second World War; the AFM strike prevented Miller from making any new recordings in the last two months of his band's existence, they formally disbanded at the end of September 1942.
Miller's short-term chart successes have been duplicated and his group's unprecedented dominance of early Your Hit Parade and Billboard singles charts, resulting in 16 number-one singles and 69 Top Ten hits, foreshadowed future record-breaking chart acts such as Elvis Presley and The Beatles. By March 1938, Glenn was planning to form a new group; the newly reformed band featured several longtime associates of Miller. From his first orchestra, Miller invited back Hal McIntyre, hired Paul Tanner, Wilbur Schwartz, Ray Eberle, his old friend Chummy MacGregor. Miller's perseverance, business expertise, combined with a penchant for showmanship and musical taste, provided the faith for financiers Mike Nidorf and Cy Shribman. Miller used the'clarinet-lead' sound as the foundation for his new band, this caught the attention of students at Northeastern campuses, they opened on April 1938, at Raymor Ballroom in Boston. When the band reached New York, they were billed below Freddie Fisher and His Schnickelfritzers, a dance band comedy routine.
From Vincent Lopez's group came Marion Hutton, who added enthusiasm and energy in her performances. On September 7, 1938, the band made their first recordings, "My Reverie", "King Porter Stomp" and "By the Waters of Minnetonka", in two parts. Keeping up radio dates, Miller was only booked for 1 more session the rest of the year. In March 1939, the Glenn Miller Orchestra was given its big break, when they were chosen to play the summer season at the prestigious Glen Island Casino located on the north shore of Long Island Sound in New Rochelle, New York. Frank Dailey, manager of The Meadowbrook Ballroom in Cedar Grove, New Jersey booked the band for a four-week stay in March and April, before Glen Island; the band was well-received and within days Dailey picked up a three-week extension offer. During this time, Bluebird recording dates became more common and Glenn added drummer Maurice Purtill and trumpeter Dale "Mickey" McMickle to stabilize personnel. Opening at Glen Island on May 17, 1939, the casino's radio broadcast antenna ensured the Miller band was heard around the country.
In late August, the end of their summer season, they had nationwide attention. George T. Simon and one-time drummer for Miller, spoke of the Glen Island broadcasts: Glen Island was the prestige place for people who listened to bands on radio; the band's first semi hit, "Little Brown Jug", came out. That helped, and the clarinet lead in Glenn's arrangements was such a romantic sound! It caught the public fancy during this exposure. Miller began ending his broadcasts from Glen Island with his "Something Old, Something New" medleys, but the most important thing for Glenn's success was that he recorded "In the Mood" while he was at the casino. That made him the Michael Jackson of his day. Capitalizing on newfound popularity, Miller decided to add a trombone and a trumpet, giving the band a fuller sound. On April 4, 1939, Miller and his orchestra recorded "Moonlight Serenade". Considered one of the top songs of the swing era, Miller's best composition, it soon became the theme song to start and end all of his radio performances.
Miller's most popular track "In the Mood" was recorded August 1, 1939. Famous for its opening and bass riffs as well as its "dueling" saxophone solos between Tex Beneke and Al Klink, the song hit number one on the Billboard charts, staying for a total of 30 weeks. Joe Garland compiled the song from riffs he'd heard in other songs, is credited on the label. Elements of "In the Mood" can be found in earlier jazz recordings, such as Jimmy O'Bryant's "Clarinet Getaway", Wingy Manone's "Tar Pa
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus