Bohemia is the westernmost and largest historical region of the Czech lands in the present-day Czech Republic. In a broader meaning, Bohemia sometimes refers to the entire Czech territory, including Moravia and Czech Silesia in a historical context, such as the Lands of the Bohemian Crown ruled by Bohemian kings. Bohemia was a duchy of Great Moravia an independent principality, a kingdom in the Holy Roman Empire, subsequently a part of the Habsburg Monarchy and the Austrian Empire. After World War I and the establishment of an independent Czechoslovak state, Bohemia became a part of Czechoslovakia. Between 1938 and 1945, border regions with sizeable German-speaking minorities of all three Czech lands were joined to Nazi Germany as the Sudetenland; the remainder of Czech territory became the Second Czechoslovak Republic and was subsequently occupied as the Protectorate of Bohemia and Moravia, In 1969, the Czech lands were given autonomy within Czechoslovakia as the Czech Socialist Republic. In 1990, the name was changed to the Czech Republic, which became a separate state in 1993 with the split of Czechoslovakia.
Until 1948, Bohemia was an administrative unit of Czechoslovakia as one of its "lands". Since administrative reforms have replaced self-governing lands with a modified system of "regions" which do not follow the borders of the historical Czech lands. However, the three lands are mentioned in the preamble of the Constitution of the Czech Republic: "We, citizens of the Czech Republic in Bohemia and Silesia…"Bohemia had an area of 52,065 km2 and today is home to 6.5 million of the Czech Republic's 10.5 million inhabitants. Bohemia was bordered in the south by Upper and Lower Austria, in the west by Bavaria and in the north by Saxony and Lusatia, in the northeast by Silesia, in the east by Moravia. Bohemia's borders were marked by mountain ranges such as the Bohemian Forest, the Ore Mountains, the Krkonoše, a part of the Sudetes range. In the 2nd century BC, the Romans were competing for dominance in northern Italy with various peoples including the Gauls-Celtic tribe Boii; the Romans defeated the Boii at the Battle of Mutina.
After this, many of the Boii retreated north across the Alps. Much Roman authors refer to the area they had once occupied as Boiohaemum; the earliest mention was by Tacitus' Germania 28, mentions of the same name are in Strabo and Velleius Paterculus. The name appears to include the tribal name Boi- plus the Germanic element *haimaz "home"; this Boiohaemum was isolated to the area where King Marobod's kingdom was centred, within the Hercynian forest. Emperor Constantine VII in 10th century De Administrando Imperio mentioned the region as Boïki; the Czech name "Čechy" is derived from the name of the Slavic ethnic group, the Czechs, who settled in the area during the 6th or 7th century AD. Bohemia, like neighbouring Bavaria, is named after the Boii, who were a large Celtic nation known to the Romans for their migrations and settlement in northern Italy and other places. Another part of the nation moved west with the Helvetii into southern France, one of the events leading to the interventions of Julius Caesar's Gaulish campaign of 58 BC.
The emigration of the Helvetii and Boii left southern Germany and Bohemia a inhabited "desert" into which Suebic peoples arrived, speaking Germanic languages, became dominant over remaining Celtic groups. To the south, over the Danube, the Romans extended their empire, to the southeast in present-day Hungary, were Dacian peoples. In the area of modern Bohemia the Marcomanni and other Suebic groups were led by their king Marobodus, after suffering defeat to Roman forces in Germany, he took advantage of the natural defenses provided by its forests. They were able to maintain a strong alliance with neighbouring tribes including the Lugii, Hermunduri and Buri, sometimes controlled by the Roman Empire, sometimes in conflict with it, for example in the second century when they fought Marcus Aurelius. In late classical times and the early Middle Ages, two new Suebic groupings appeared to the west of Bohemia in southern Germany, the Alemanni, the Bavarians. Many Suebic tribes from the Bohemian region took part in such movements westwards settling as far away as Spain and Portugal.
With them were tribes who had pushed from the east, such as the Vandals, Alans. Other groups pushed southwards towards Pannonia; the last known mention of the kingdom of the Marcomanni, concerning a queen named Fritigil is in the 4th century, she was thought to have lived in or near Pannonia. The Suebian Langobardi, who moved over many generations from the Baltic Sea, via the Elbe and Pannonia to Italy, recorded in a tribal history a time spent in "Bainaib". After this migration period, Bohemia was repopulated around the 6th century, Slavic tribes arrived from the east, their language began to replace the older Germanic and Sarmatian ones; these are precursors of today's Czechs, though the exact amount of Slavic immigration is a subject of debate. The Slavic influx was divided into three waves; the first wave came from the
In the history of the United Kingdom, the Victorian era was the period of Queen Victoria's reign, from 20 June 1837 until her death on 22 January 1901. The era followed the Georgian period and preceded the Edwardian period, its half overlaps with the first part of the Belle Époque era of Continental Europe. In terms of moral sensibilities and political reforms, this period began with the passage of the Reform Act 1832. There was a strong religious drive for higher moral standards led by the nonconformist churches, such as the Methodist, the Evangelical wing of the established Church of England. Britain's relations with the other Great Powers were driven by the colonial antagonism of the Great Game with Russia, climaxing during the Crimean War. Britain embarked on global imperial expansion in Asia and Africa, which made the British Empire the largest empire in history. National self-confidence peaked. Ideologically, the Victorian era witnessed resistance to the rationalism that defined the Georgian period and an increasing turn towards romanticism and mysticism with regard to religion, social values, arts.
Domestically, the political agenda was liberal, with a number of shifts in the direction of gradual political reform, industrial reform, the widening of the franchise. There were unprecedented demographic changes: the population of England and Wales doubled from 16.8 million in 1851 to 30.5 million in 1901, Scotland's population rose from 2.8 million in 1851 to 4.4 million in 1901. However, Ireland's population decreased from 8.2 million in 1841 to less than 4.5 million in 1901 due to emigration and the Great Famine. Between 1837 and 1901 about 15 million emigrated from Great Britain to the United States, South Africa, New Zealand, Australia; the two main political parties during the era remained the Conservatives. These parties were led by such prominent statesmen as Lord Melbourne, Sir Robert Peel, Lord Derby, Lord Palmerston, Benjamin Disraeli, William Gladstone, Lord Salisbury; the unsolved problems relating to Irish Home Rule played a great part in politics in the Victorian era in view of Gladstone's determination to achieve a political settlement in Ireland.
In the strictest sense, the Victorian era covers the duration of Victoria's reign as Queen of the United Kingdom of Great Britain and Ireland, from her accession on 20 June 1837—after the death of her uncle, William IV—until her death on 22 January 1901, after which she was succeeded by her eldest son, Edward VII. Her reign lasted for seven months, a longer period than any of her predecessors; the term'Victorian' was in contemporaneous usage to describe the era. The era has been understood in a more extensive sense as a period that possessed sensibilities and characteristics distinct from the periods adjacent to it, in which case it is sometimes dated to begin before Victoria's accession—typically from the passage of or agitation for the Reform Act 1832, which introduced a wide-ranging change to the electoral system of England and Wales. Definitions that purport a distinct sensibility or politics to the era have created scepticism about the worth of the label "Victorian", though there have been defences of it.
Michael Sadleir was insistent that "in truth the Victorian period is three periods, not one". He distinguished early Victorianism – the and politically unsettled period from 1837 to 1850 – and late Victorianism, with its new waves of aestheticism and imperialism, from the Victorian heyday: mid-Victorianism, 1851 to 1879, he saw the latter period as characterised by a distinctive mixture of prosperity, domestic prudery, complacency – what G. M. Trevelyan called the "mid-Victorian decades of quiet politics and roaring prosperity". In 1832, after much political agitation, the Reform Act was passed on the third attempt; the Act abolished many borough seats and created others in their place, as well as expanding the franchise in England and Wales. Minor reforms followed in 1835 and 1836. On 20 June 1837, Victoria became Queen of the United Kingdom on the death of her uncle, William IV, her government was led by the Whig prime minister Lord Melbourne, but within two years he had resigned, the Tory politician Sir Robert Peel attempted to form a new ministry.
In the same year, a seizure of British opium exports to China prompted the First Opium War against the Qing dynasty, British imperial India initiated the First Anglo-Afghan War—one of the first major conflicts of the Great Game between Britain and Russia. In 1840, Queen Victoria married her German cousin Prince Albert of Saxe-Coburg-Saalfield, it proved a happy marriage, whose children were much sought after by royal families across Europe. In 1840 the Treaty of Waitangi established British sovereignty over New Zealand; the signing of the Treaty of Nanking in 1842 ended the First Opium War and gave Britain control over Hong Kong Island. However, a disastrous retreat from Kabul in the same year led to the annihilation of a British army column in Afghanistan. In 1845, the Great Famine began to cause mass starvation and death in Ireland, sparking large-scale emigration. Peel was replaced by the Whig ministry of Lord John Russell. In 1853, Britain fought alongside France in the Crimean War against Russia.
The goal was to ensure that Russia could not benefit from the declining status
The Rhine is one of the major European rivers, which has its sources in Switzerland and flows in an northerly direction through Germany and The Netherlands to the North Sea. The river begins in the Swiss canton of Graubünden in the southeastern Swiss Alps, forms part of the Swiss-Liechtenstein, Swiss-Austrian, Swiss-German and the Franco-German border flows through the German Rhineland and the Netherlands and empties into the North Sea; the largest city on the Rhine is Cologne, with a population of more than 1,050,000 people. It is the second-longest river in Central and Western Europe, at about 1,230 km, with an average discharge of about 2,900 m3/s; the Rhine and the Danube formed most of the northern inland frontier of the Roman Empire and, since those days, the Rhine has been a vital and navigable waterway carrying trade and goods deep inland. Its importance as a waterway in the Holy Roman Empire is supported by the many castles and fortifications built along it. In the modern era, it has become a symbol of German nationalism.
Among the biggest and most important cities on the Rhine are Cologne, Düsseldorf, Rotterdam and Basel. The variants of the name of the Rhine in modern languages are all derived from the Gaulish name Rēnos, adapted in Roman-era geography as Greek Ῥῆνος, Latin Rhenus; the spelling with Rh- in English Rhine as well as in German Rhein and French Rhin is due to the influence of Greek orthography, while the vocalisation -i- is due to the Proto-Germanic adoption of the Gaulish name as *Rīnaz, via Old Frankish giving Old English Rín,Old High German Rīn, early Middle Dutch Rijn. The diphthong in modern German Rhein is a Central German development of the early modern period, the Alemannic name Rī retaining the older vocalism, as does Ripuarian Rhing, while Palatine has diphthongized Rhei, Rhoi. Spanish is with French in adopting the Germanic vocalism Rin-, while Italian and Portuguese retain the Latin Ren-; the Gaulish name Rēnos belongs to a class of river names built from the PIE root *rei- "to move, run" found in other names such as the Reno in Italy.
The grammatical gender of the Celtic name is masculine, the name remains masculine in German and French. The Old English river name was variously inflected as feminine; the length of the Rhine is conventionally measured in "Rhine-kilometers", a scale introduced in 1939 which runs from the Old Rhine Bridge at Constance to Hoek van Holland. The river is shortened from its natural course due to a number of canalisation projects completed in the 19th and 20th century; the "total length of the Rhine", to the inclusion of Lake Constance and the Alpine Rhine is more difficult to measure objectively. Its course is conventionally divided as follows: The Rhine carries its name without distinctive accessories only from the confluence of the Rein Anteriur/Vorderrhein and Rein Posteriur/Hinterrhein next to Reichenau in Tamins. Above this point is the extensive catchment of the headwaters of the Rhine, it belongs exclusively to the Swiss canton of Graubünden, ranging from Saint-Gotthard Massif in the west via one valley lying in Ticino and Italy in the south to the Flüela Pass in the east.
Traditionally, Lake Toma near the Oberalp Pass in the Gotthard region is seen as the source of the Anterior Rhine and the Rhine as a whole. The Posterior Rhine rises in the Rheinwald below the Rheinwaldhorn; the source of the river is considered north of Lai da Tuma/Tomasee on Rein Anteriur/Vorderrhein, although its southern tributary Rein da Medel is longer before its confluence with the Anterior Rhine near Disentis. The Anterior Rhine springs from Lai da Tuma/Tomasee, near the Oberalp Pass and passes the impressive Ruinaulta formed by the largest visible rock slide in the alps, the Flims Rockslide; the Posterior Rhine starts near the Rheinwaldhorn. One of its tributaries, the Reno di Lei, drains the Valle di Lei on politically Italian territory. After three main valleys separated by the two gorges and Viamala, it reaches Reichenau in Tamins; the Anterior Rhine arises from numerous source streams in the upper Surselva and flows in an easterly direction. One source is Lai da Tuma with the Rein da Tuma, indicated as source of the Rhine, flowing through it.
Into it flow tributaries from the south, some longer, some equal in length, such as the Rein da Medel, the Rein da Maighels, the Rein da Curnera. The Cadlimo Valley in the canton of Ticino is drained by the Reno di Medel, which crosses the geomorphologic Alpine main ridge from the south. All streams in the source area are sometimes captured and sent to storage reservoirs for the local hydro-electric power plants; the culminating point of the Anterior Rhine's drainage basin is the Piz Russein of the Tödi massif of the Glarus Alps at 3,613 metres above sea level. It starts with the creek Aua da Russein. In its lower course the Anterior Rhine flows through a gorge named Ruinaulta; the whole stretch of the Anterior Rhine to the Alpine Rhine confluence next to Reichen
Zarzuela is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular songs, as well as dance. The etymology of the name is uncertain, but some propose it may derive from the name of a Royal hunting lodge, the Palacio de la Zarzuela near Madrid, where this type of entertainment was first presented to the court; the palace was named after the place called "La Zarzuela" because of the profusion of brambles that grew there, so the festivities held within the walls became known as "Zarzuelas". There are two main forms of zarzuela: Baroque zarzuela, the earliest style, Romantic zarzuela, which can be further divided into two. Main subgenres are género género chico, although other sub-divisions exist. Zarzuela spread to the Spanish colonies, many Hispanic countries – notably Cuba – developed their own traditions. There is a strong tradition in the Philippines where it is known as sarswela/sarsuela. Other regional and linguistic variants in Spain include the Basque zartzuela and the Catalan sarsuela.
A masque-like musical theatre had existed in Spain since the time of Juan del Encina. The zarzuela genre was innovative in giving a dramatic function to the musical numbers, which were integrated into the argument of the work. Dances and choruses were incorporated as well as solo and ensemble numbers, all to orchestral accompaniment. In 1657 at the Royal Palace of El Prado, King Philip IV of Spain, Queen Mariana and their court attended the first performance of a new comedy by Pedro Calderón de la Barca, with music by Juan Hidalgo de Polanco titled El Laurel de Apolo. El Laurel de Apolo traditionally symbolises the birth of a new musical genre that had become known as La Zarzuela. Like Calderón de la Barca's earlier El golfo de las sirenas, El Laurel de Apolo mixed mythological verse drama with operatic solos, popular songs and dances; the characters in these early, baroque zarzuelas were a mixture of gods, mythological creatures and rustic or pastoral comedy characters. Unlike some other operatic forms, there were spoken interludes in verse.
In 18th-century Bourbon Spain, Italian artistic style dominated in the arts, including Italian opera. Zarzuela, though still written to Spanish texts, changed to accommodate the Italian vogue. During the reign of King Charles III, political problems provoked a series of revolts against his Italian ministers; the older style zarzuela fell out of fashion, but popular Spanish tradition continued to manifest itself in shorter works, such as the single-scene tonadilla of which the finest literary exponent was Ramón de la Cruz. Musicians such as Antonio Rodríguez de Hita were proficient in the shorter style of works, though he wrote a full-scale zarzuela with de la Cruz entitled Las segadoras de Vallecas. José Castel was one of several composers to write for the Teatro del Príncipe. In the 1850s and 1860s a group of patriotic writers and composers led by Francisco Barbieri and Joaquín Gaztambide revived the zarzuela form, seeing in it a possible release from French and Italian music hegemony; the elements of the work continue to be the same: sung solos and choruses, spiced with spoken scenes, comedic songs and dances.
Costume dramas and regional variations abound, the librettos are rich in Spanish idioms and popular jargon. The zarzuelas of the day included in their librettos various regionalisms and popular slang, such as that of Madrid castizos; the success of a work was due to one or more songs that the public came to know and love. Despite some modifications the basic structure of the zarzuela remained the same: dialogue scenes, songs and comic scenes performed by two actor-singers; the culminating masterpieces from this period were Barbieri's Pan y toros and Gaztambide's El juramento. Another notable composer from this period was Emilio Arrieta. After the Glorious Revolution of 1868, the country entered a deep crisis, reflected in theatre; the public could not afford high-priced theatre tickets for grandiose productions, which led to the rise of the Teatros Variedades in Madrid, with cheap tickets for one-act plays. This "theatre of an hour" had great success and zarzuela composers took to the new formula with alacrity.
Single-act zarzuelas were classified as género chico whilst the longer zarzuelas of three acts, lasting up to four hours, were called género grande. Zarzuela grande battled on at the Teatro de la Zarzuela de Madrid, founded by Barbieri and his friends in the 1850s. A newer theatre, the Apolo, opened in 1873. At first it attempted to present the género grande, but it soon yielded to the taste and economics of the time, became the "temple" of the more populist género chico in the late 1870s. Musical content from this era ranges from full-scale operatic arias through to popular songs, dialogue from high poetic drama to lowlife comedy characters. There are many types of zarzuela in between the two named genres, with a variety of musical and dramatic flavours. Many of the greatest zarzuelas were written in the 1880s and 1890s, but the form continued to adapt to new theatrical stimuli until well into the 20th century. With the onset of the Spanish Civil War, the form declined, the last romantic zarzuelas to hold the stage were written in the 1950s.
Whilst Barbieri produced the greatest zarzuela grande in El barberill
In musical terminology, tempo is the speed or pace of a given piece. In classical music, tempo is indicated with an instruction at the start of a piece and is measured in beats per minute. In modern classical compositions, a "metronome mark" in beats per minute may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will simply be stated in bpm. Tempo may be separated from articulation and meter, or these aspects may be indicated along with tempo, all contributing to the overall texture. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic accelerando. In ensembles, the tempo is indicated by a conductor or by one of the instrumentalists, for instance the drummer. While tempo is described or indicated in many different ways, including with a range of words, it is measured in beats per minute.
For example, a tempo of 60 beats per minute signifies one beat per second, while a tempo of 120 beats per minute is twice as rapid, signifying one beat every 0.5 seconds. The note value of a beat will be that indicated by the denominator of the time signature. For instance, in 44 the beat will be a crotchet; this measurement and indication of tempo became popular during the first half of the 19th century, after Johann Nepomuk Maelzel invented the metronome. Beethoven was one of the first composers to use the metronome. Instead of beats per minute, some 20th-century classical composers specify the total playing time for a piece, from which the performer can derive tempo. With the advent of modern electronics, bpm became an precise measure. Music sequencers use the bpm system to denote tempo. In popular music genres such as electronic dance music, accurate knowledge of a tune's bpm is important to DJs for the purposes of beatmatching; the speed of a piece of music can be gauged according to measures per minute or bars per minute, the number of measures of the piece performed in one minute.
This measure is used in ballroom dance music. In different musical contexts, different instrumental musicians, conductors, music directors or other individuals will select the tempo of a song or piece. In a popular music or traditional music group or band, the bandleader or lead singer may select the tempo. In popular and traditional music, whoever is setting the tempo counts out one or two bars in tempo. In some songs or pieces in which a singer or solo instrumentalist begins the work with a solo introduction, the tempo they set will provide the tempo for the group. In an orchestra or concert band, the conductor sets the tempo. In a marching band, the drum major may set the tempo. In a sound recording, in some cases a record producer may set the tempo for a song. In classical music it is customary to describe the tempo of a piece by one or more words, most in Italian, in addition to or instead of a metronome mark in beats per minute. Italian is used because it was the language of most composers during the time these descriptions became commonplace.
Some well-known Italian tempo indications include "Allegro", "Andante" and "Presto". This practice developed during the baroque and classical periods. In the earlier Renaissance music, performers understood most music to flow at a tempo defined by the tactus; the mensural time signature indicated. In the Baroque period, pieces would be given an indication, which might be a tempo marking, or the name of a dance, the latter being an indication both of tempo and of metre. Any musician of the time was expected to know how to interpret these markings based on custom and experience. In some cases, these markings were omitted. For example, the first movement of Bach's Brandenburg Concerto No. 3 has no tempo or mood indication whatsoever. Despite the increasing number of explicit tempo markings, musicians still observe conventions, expecting a minuet to be at a stately tempo, slower than a Viennese waltz. Genres imply tempos. Thus, Ludwig van Beethoven wrote "In tempo d'un Menuetto" over the first movement of his Piano Sonata Op. 54, though that movement is not a minuet.
Many tempo markings indicate mood and expression. For example and allegro both indicate a speedy execution, but allegro connotes joy. Presto, on the other hand indicates speed. Additional Italian words indicate tempo and mood. For example, the "agitato" in the Allegro agitato of the last movement of George Gershwin's piano concerto in F has both a tempo indication and a mood indication. Composers name movements of compositions after their tempo marking. For instance, the second movement of Samuel Barber's first String Quartet is an Adagio. A particular musical form or genre implies its own tempo, so composers need place no further explanation in the score. Popular music charts use terms such as bossa nova, ballad
Country/western dance called country and western dance, encompasses many dance forms or styles, which are danced to country-western music, which are stylistically associated with American country and/or western traditions. Many of these dances were "tried and true" dance steps, "put aside" for many years, became popular under the name "country-western", "cowboy", or "country". Country dancing is known as "kicker dancing" in Texas. Western couple dancing is a form of social dance. Many different dances are done to country-western music; these dances include: Two Step, Cowboy or Traveling Cha Cha, Polka Ten Step and other Western promenade dances, East Coast Swing, West Coast Swing, Nightclub Two Step. The Two Step and various Western promenade or pattern couples dances are unique to country western dancing. Western group dances include the following: Line dance Square dance Traditional square dance Modern western square danceCountry dancing is informal; because of cowboy boots, country western dance is more to feature a flat-footed glide with some heel and toe touches rather than a lot of "toe type" dancing.
In addition to a quiet upper body, there is little hip movement. Pumping of the hands and waddling are not encouraged. Cowboy, or "country" waltz consists of gliding steps that are consistent with wearing cowboy boots, rather than "on the balls of the feet" quick steps of the classic version. Neither foot is lifted from the ground. Steps should be a light footed glide rather than a flat footed shuffle. There are many versions of each dance, they may go by different names depending on the area of the U. S. and in the particular dance hall. There may be no one "correct" way to a particular dance. Several types of dancing may take place at country western dances. Progressive dancers use the outside of the floor. Swing and other non progressive dancers are found either in the outside corners, or in the center of the floor, along with line dancers. Traditionally the man set the pace, established the length of stride, decided when to change step, the woman followed. A woman having more dance skills sometimes provided a tactful guiding push or pull, as long as it wasn't obvious.
As soon as the man learns the routine, he takes the lead by combining firm, but gentle pushes and pulls. The leader should move assertively, the follower should duplicate the countermovements, or perform her part of the dance. A photograph from one early "stag" dance shows a "closed" dance position, with the "man's" right arm around the back of the "woman". In frontier days men danced with each other. According to an early settler in Texas, "The gentle sex were few in number at the dance... Two men had to dance together to make a set." Another account states that "due to the scarcity of young women, a number of young bachelors who were either smooth shaven or wore polished shoes were designated as ladies." There were "stag" dances with no women. "Heifer branded" men, those dancing the woman's role, wore handkerchiefs tied around one arm. At other times men dancing the role of the woman wore aprons. Miners in the California Gold Rush danced with one another. From the earliest days, the dances and the music that accompanied them were brought to The United States by the people of the British Isles, continental Europe, Africa.
The Virginia Reel, based on the "Sir Roger de Coverly" became popular after the French Revolution. Quadrilles, including the cotillon, anglicized as cotillion, were brought to America by French dancing masters, their influence survives in terms used in square dancing. One 1774 account states. A couple begins to cut a jig. Others come and cut them out, these dances always last as long as the fidler can play." Another author wrote of whites doing "giggs". Southern wrote that "the whites themselves, the younger ones, were apt to move into reels and jigs at their own dances after a few perfunctory bows in the direction of "society sets" such as minuets and cotillions. In the early 19th century larger farm houses had dance rooms built in along the back of the second story. In smaller houses the kitchen was used for dancing. "Junkets" were casual affairs. Town halls were used for gatherings; these dances would last from mid-afternoon through the next morning. Early solo dancing was composed of extemporaneous jigging done by men.
The term "jig" has been used to describe various forms of solo dance steps, as well as music, has not been well defined. Jigs, shuffles, heel clicking and other step dances may have come from various ethnic traditions, or nothing more than an individual improvisation. Other early terms used to describe either solo dancing or steps done as part of a circle or square dance were buck-and-wing, flat-footing, double shuffle and breakdown. In the early 19th century Richmond, Virginia held an annual event at the conclusion of a week of horse racing, the Race Ball, which began with a stately minuet followed by "the reel, like a storm after a calm." Music provided by two black musicians was quite "fast and furious" with the dancers doing "all sorts of capers" to reels, congos and jigs. Dances on the prairie frontier included the scamperdown, double shuffle, western-swing, double shuffle."Making the splinters fly" along with rapid clatter and thumping was heard at frontier parties, either as side entertainment at the dance parties, or in contests.
A Texan "stag dance" held in 1829 inclu
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i