1.
Wind instrument
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The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air. In the case of wind instruments, sound is produced by blowing through a reed. Using different air columns for different tones, such as in the pan flute and this method is used on nearly all brass instruments. Changing the length of the air column by lengthening and/or shortening the tube using a sliding mechanism. This method is used on the trombone and the slide whistle, changing the frequency of vibration through opening or closing holes in the side of the tube. This can be done by covering the holes with fingers or pressing a key which then closes the hole and this method is used in nearly all woodwind instruments. Making the column of air vibrate at different harmonics without changing the length of the column of air, almost all wind instruments use the last method, often in combination with one of the others, to extend their register. A more accurate way to determine whether an instrument is brass or woodwind is to examine how the player produces sound, in brass instruments, the players lips vibrate, causing the air within the instrument to vibrate. For example, the saxophone is typically made of brass, but is classified as an instrument because it produces sound with a vibrating reed. In the Hornbostel-Sachs scheme of musical instrument classification, wind instruments are classed as aerophones, sound production in all wind instruments depends on the entry of air into a flow-control valve attached to a resonant chamber. The resonator is typically a long cylindrical or conical tube, open at the far end, a pulse of high pressure from the valve will travel down the tube at the speed of sound. It will be reflected from the end as a return pulse of low pressure. Under suitable conditions, the valve will reflect the pulse back, with increased energy, Reed instruments such as the clarinet or oboe have a flexible reed or reeds at the mouthpiece, forming a pressure-controlled valve. Standing waves inside the tube will be odd multiples of a quarter-wavelength, with a pressure anti-node at the mouthpiece, the reed vibrates at a rate determined by the resonator. For Lip Reed instruments, the controls the tension in their lips so that they vibrate under the influence of the air flow through them. They adjust the vibration so that the lips are most closed, and the air flow is lowest, standing waves inside the tube will be odd multiples of a quarter-wavelength, with a pressure anti-node at the mouthpiece, and a pressure node at the open end. For Air Reed instruments, the thin grazing air sheet flowing across an opening in the pipe interacts with an edge to generate sound. The jet is generated by the player, when blowing through a thin slit, for recorders and flue organ pipes this slit is manufactured by the instrument maker and has a fixed geometry
2.
Fipple
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A fipple is a constricted mouthpiece common to many end-blown flutes, such as the tin whistle and the recorder. These instruments are known variously as fipple flutes, duct flutes, exiting from the windway, the breath is directed against a hard, bladed edge, called the labium lip or windcutter, producing a Bernoulli effect or siphon. The air flowing over the voicing mouth creates a flow-controlled valve, interaction between the air reed and the air column in the body of the instrument excites standing waves in the air column, which determines the pitch of the sound. This oscillation results in the sound in ducted flue instruments. See wind instrument and flue pipe, a distinct tone color, determined by the dimensions of the instrument and the voicing mouth, is then slightly modified by the players technique or embouchure. The space created between the ducted flue windway and the labium ramp edge is referred to as the mouth or voicing, the size of the mouth is usually in proportion to the instruments bore, depending on the model of instrument and specifically which original instrument is being copied. Many mass-produced factory instruments feature a voicing of a rectangular or flat lozenge cross section, such a flat and rectangular voicing however, produces a less-than-sweet tone and offers far less dynamic flexibility than a flute embouchure. The recorder voicing was designed to limit pitch bending for a more stable tone with variations in breath pressure, some modern recorder makers now produce curved labium lip voicings to add harmonic tone color. If the air stream strikes a curved D shaped lip, there will be slight turbulence created at the voicing mouth and this translates to extra sympathetic harmonics or tone color. The chamfer/rounding at the end of the windway that opens on the mouth/voicing is responsible for the quality of articulation of the ducted flue instrument and it consists of one or both of the windway exit lips being rounded. This can be seen by looking through the labium at the place where the windway opens out on the mouth/window and these rounded edges affect the responsiveness produced by the player. This enables the rhythmic and dynamic language of the instrument to be spoken, articulations such as Ta, Da, Ra, Ta-ka and Da-ga and Diddle will be very clearly differentiated in a good instrument played by a good player. An inferior instrument lacking these modified rounded edges on the exit will greatly limit the dynamics of tone or create dead spots in the music. The lack of this feature will degrade the performance of a ducted flue instrument, regardless of the effort made by the player to correct tone, or his or her level of skill. Because of the position of the windway with respect to the labium. However, it is not true that no embouchure is required to make a beautiful-sounding tone, embouchure on fipple flutes is centered on the idea of focusing the air inside the instruments windway and bore alike, following the shape of the bore. A bore which tapers down to a bell sounds best when the lips are used to focus the air to a tighter stream. The idea is to always resonate the full length and width of the bore with the airflow, at all times, closing the lips around the beak of the recorder or fipple flute will help to focus the air down the narrow windway
3.
Recorder (musical instrument)
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The recorder is a woodwind musical instrument in the group known as internal duct flutes—flutes with a whistle mouthpiece. It is distinguished from other duct flutes by having a thumb-hole for the hand and seven finger-holes. It is the most prominent duct flute in the classical tradition. Recorders are made in different sizes with compasses corresponding to different vocal ranges, the sizes most commonly in use today are the soprano, alto, tenor and bass. Recorders are traditionally constructed from wood and ivory, although the use of plastics is now common, other characteristics of their construction, such as bore profile and fingering systems, have varied over time and between instruments. The recorder is first documented in the Middle Ages, and continued to enjoy popularity in the renaissance and baroque periods. It was revived in the 20th century as part of the historically informed performance movement, today, there are many professional recorder players who demonstrate the instruments full solo range and a large community of amateurs. The sound of the recorder is described as clear and sweet. It is notable for its response and its corresponding ability to produce a wide variety of articulations. This ability, coupled with its open finger holes, allow it to produce a variety of tone colors. Acoustically, its tone is relatively pure and odd harmonics predominate in its sound, the instrument has been known by its modern English name at least since the 14th century. David Lasocki reports the earliest use of recorder in the accounts of the Earl of Derby in 1388. By the 15th century, the name had appeared in English literature, the instrument name recorder derives from the Latin recordārī, by way of Middle French recorder and MFr recordeur, itself derived from MFr recorder. Thus, the recorder cannot have been named after the sound of birds, the name of the instrument is also uniquely English, in Middle French there is no equivalent noun sense of recorder referring to a musical instrument. Partridge indicates that the use of the instrument by jongleurs led to its association with the verb, recorder the minstrels action, the reason we know this instrument as the recorder and not one of the other instruments played by the jongleurs is uncertain. Until about 1695, the recorder and flute overlapped, but from 1673 to the late 1720s in England. Until at least 1765, some still used flute to mean recorder. Until the mid 18th century, musical scores written in Italian refer to the instrument as flauto and this distinction, like the English switch from recorder to flute, has caused confusion among modern editors, writers and performers
4.
Piston
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A piston is a component of reciprocating engines, reciprocating pumps, gas compressors and pneumatic cylinders, among other similar mechanisms. It is the component that is contained by a cylinder and is made gas-tight by piston rings. In an engine, its purpose is to force from expanding gas in the cylinder to the crankshaft via a piston rod and/or connecting rod. In a pump, the function is reversed and force is transferred from the crankshaft to the piston for the purpose of compressing or ejecting the fluid in the cylinder, in some engines, the piston also acts as a valve by covering and uncovering ports in the cylinder wall. An internal combustion engine is acted upon by the pressure of the combustion gases in the combustion chamber space at the top of the cylinder. This force then acts downwards through the rod and onto the crankshaft. The connecting rod is attached to the piston by a swivelling gudgeon pin and this pin is mounted within the piston, unlike the steam engine, there is no piston rod or crosshead. The pin itself is of hardened steel and is fixed in the piston, a few designs use a fully floating design that is loose in both components. All pins must be prevented from moving sideways and the ends of the pin digging into the cylinder wall, gas sealing is achieved by the use of piston rings. These are a number of iron rings, fitted loosely into grooves in the piston. The rings are split at a point in the rim, allowing them to press against the cylinder with a light spring pressure. Two types of ring are used, the rings have solid faces and provide gas sealing, lower rings have narrow edges. There are many proprietary and detail design features associated with piston rings, pistons are cast from aluminium alloys. For better strength and fatigue life, some racing pistons may be forged instead, early pistons were of cast iron, but there were obvious benefits for engine balancing if a lighter alloy could be used. To produce pistons that could survive engine combustion temperatures, it was necessary to develop new alloys such as Y alloy and Hiduminium, a few early gas engines had double-acting cylinders, but otherwise effectively all internal combustion engine pistons are single-acting. During World War II, the US submarine Pompano was fitted with a prototype of the infamously unreliable H. O. R, although compact, for use in a cramped submarine, this design of engine was not repeated. Media related to Internal combustion engine pistons at Wikimedia Commons Trunk pistons are long relative to their diameter and they act both as a piston and cylindrical crosshead. As the connecting rod is angled for much of its rotation, a longer piston helps to support this
5.
Woodwind instrument
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Woodwind instruments are a family of musical instruments within the more general category of wind instruments. There are two types of woodwind instruments, flutes and reed instruments. What differentiates these instruments from other instruments is the way in which they produce their sound. Examples are a saxophone, a bassoon and a piccolo, flutes produce sound by directing a focused stream of air below the edge of a hole in a cylindrical tube. The flute family can be divided into two sub-families, open flutes and closed flutes, to produce a sound with an open flute, the player is required to blow a stream of air across a sharp edge that then splits the airstream. This split airstream then acts upon the air contained within the flutes hollow causing it to vibrate. Examples of open flutes are the flute, panpipes and shakuhachi. Ancient flutes of this variety were often made from sections of plants such as grasses, reeds. Later, flutes were made of such as tin, copper. Modern concert flutes are made of high-grade metal alloys, usually containing nickel, silver, copper. To produce a sound with a flute, the player is required to blow air into a duct. This duct acts as a channel bringing the air to a sharp edge, as with the open flutes, the air is then split, this causes the column of air within the closed flute to vibrate and produce sound. Examples of this type of include the recorder, ocarina. Reed instruments produce sound by focusing air into a mouthpiece which then causes a reed, or reeds, similar to flutes, Reed pipes are also further divided into two types, single reed and double reed. Single-reed woodwinds produce sound by placing a reed onto the opening of a mouthpiece, when air is forced between the reed and the mouthpiece, the reed causes the air column in the instrument to vibrate and produce its unique sound. Single reed instruments include the clarinet, saxophone, and others such as the chalumeau, double-reed instruments use two precisely cut, small pieces of cane bound together at the base. This form of production has been estimated to have originated in the middle to late Neolithic period. The finished, bound reed is inserted into the instrument and vibrates as air is forced between the two pieces and this family of reed pipes is subdivided further into another two sub-families, exposed double reed, and capped double reed instruments
6.
Bicycle pump
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A bicycle pump is a type of positive-displacement air pump specifically designed for inflating bicycle tires. It has a connection or adapter for use with one or both of the two most common types of valves used on bicycles, Schrader or Presta, a third type of valve called the Dunlop valve exists, but tubes with these valves can be filled using a Presta pump. Several basic types are available, Floor pumps Frame mounted Compact or mini Foot operated Double action In its most basic form, during the up-stroke, this piston draws air through a one-way valve into the pump from the outside. During the down-stroke, the piston displaces the air from the pump into the bicycle tire. Most floor pumps, also commonly called track pumps, have a built in pressure gauge to indicate tire pressure, electrically-operated pumps intended to inflate car tires can in principle be used to inflate a bicycle tire if the right type of connection is available. Some such pumps are designed to cut off before a suitable pressure, others may not cut off, but deliver a high rate of flow to fill the larger car tire, with a risk of overinflating and bursting a bicycle tire unless it is stopped with split-second timing. The first bicycle pump consisted of a cylinder that had a metal rod running down the middle of it. This would have forced the air out of the cylinder and then sucked in new air when the rod was pulled up again. Many modern pumps use a similar method, while some, such as the electric pumps. When the cylinder is compressed, air is pushed down the tube of the pump and then into the tire via the valve, which is forced open by the pressure of the air. When the handle is pulled up again, the valve shuts off automatically so that the air cannot escape from the tire, some pumps have a gauge that shows the pressure of air that is forced into the tire. Once the tire is at the pressure, the pump valve can be removed from the tire. There are two types of tire valves to which the bicycle tire pump attaches. These are the Presta valve and the Schrader valve, some pumps fit both types of valves, whereas others do not, but adapters are available that enable the pump to fit any type of valve. The AVACS feature is available on pump models and can also be bought as a separate valve attachment. There are three types of bicycle pumps Stand pump Hand pump Foot pump Also known as a floor or track pump. To operate, the user rests the base of the pump on the floor, resting feet at the base, an additional tube must connect the pump to the fill valve, which may create dead volume. There are two types, tubed and integral
7.
Harmonic
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A harmonic is any member of the harmonic series, the divergent infinite series. Every term of the series after the first is the mean of the neighboring terms. The phrase harmonic mean likewise derives from music, the term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields. It is typically applied to repeating signals, such as sinusoidal waves, a harmonic of such a wave is a wave with a frequency that is a positive integer multiple of the frequency of the original wave, known as the fundamental frequency. The original wave is called the 1st harmonic, the following harmonics are known as higher harmonics. As all harmonics are periodic at the frequency, the sum of harmonics is also periodic at that frequency. On strings, harmonics that are bowed have a glassy, pure tone, harmonics may also be called overtones, partials or upper partials. In some music contexts, the harmonic, overtone and partial are used fairly interchangeably. Most acoustic instruments emit complex tones containing many individual partials, rather, a musical note is perceived as one sound, the quality or timbre of that sound being a result of the relative strengths of the individual partials. Oscillators that produce harmonic partials behave somewhat like one-dimensional resonators, and are long and thin. Wind instruments whose air column is open at one end, such as trumpets and clarinets. However they only produce partials matching the odd harmonics, at least in theory, the reality of acoustic instruments is such that none of them behaves as perfectly as the somewhat simplified theoretical models would predict. Partials whose frequencies are not integer multiples of the fundamental are referred to as inharmonic partials, antique singing bowls are known for producing multiple harmonic partials or multiphonics. An overtone is any partial higher than the lowest partial in a compound tone, the relative strengths and frequency relationships of the component partials determine the timbre of an instrument. This chart demonstrates how the three types of names are counted, In many musical instruments, it is possible to play the upper harmonics without the note being present. In a simple case this has the effect of making the note go up in pitch by an octave, in some cases it also changes the timbre of the note. This is part of the method of obtaining higher notes in wind instruments. The extended technique of playing multiphonics also produces harmonics, on string instruments it is possible to produce very pure sounding notes, called harmonics or flageolets by string players, which have an eerie quality, as well as being high in pitch
8.
Africa
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Africa is the worlds second-largest and second-most-populous continent. At about 30.3 million km² including adjacent islands, it covers 6% of Earths total surface area and 20.4 % of its land area. With 1.2 billion people as of 2016, it accounts for about 16% of the human population. The continent includes Madagascar and various archipelagos and it contains 54 fully recognized sovereign states, nine territories and two de facto independent states with limited or no recognition. Africas population is the youngest amongst all the continents, the age in 2012 was 19.7. Algeria is Africas largest country by area, and Nigeria by population, afarensis, Homo erectus, H. habilis and H. ergaster – with the earliest Homo sapiens found in Ethiopia being dated to circa 200,000 years ago. Africa straddles the equator and encompasses numerous climate areas, it is the continent to stretch from the northern temperate to southern temperate zones. Africa hosts a diversity of ethnicities, cultures and languages. In the late 19th century European countries colonized most of Africa, Africa also varies greatly with regard to environments, economics, historical ties and government systems. However, most present states in Africa originate from a process of decolonization in the 20th century, afri was a Latin name used to refer to the inhabitants of Africa, which in its widest sense referred to all lands south of the Mediterranean. This name seems to have referred to a native Libyan tribe. The name is connected with Hebrew or Phoenician ʿafar dust. The same word may be found in the name of the Banu Ifran from Algeria and Tripolitania, under Roman rule, Carthage became the capital of the province of Africa Proconsularis, which also included the coastal part of modern Libya. The Latin suffix -ica can sometimes be used to denote a land, the later Muslim kingdom of Ifriqiya, modern-day Tunisia, also preserved a form of the name. According to the Romans, Africa lay to the west of Egypt, while Asia was used to refer to Anatolia, as Europeans came to understand the real extent of the continent, the idea of Africa expanded with their knowledge. 25,4, whose descendants, he claimed, had invaded Libya, isidore of Seville in Etymologiae XIV.5.2. Suggests Africa comes from the Latin aprica, meaning sunny, massey, in 1881, stated that Africa is derived from the Egyptian af-rui-ka, meaning to turn toward the opening of the Ka. The Ka is the double of every person and the opening of the Ka refers to a womb or birthplace
9.
Asia
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Asia covers an area of 44,579,000 square kilometres, about 30% of Earths total land area and 8. 7% of the Earths total surface area. The continent, which has long been home to the majority of the population, was the site of many of the first civilizations. Asia is notable for not only its large size and population. In general terms, Asia is bounded on the east by the Pacific Ocean, on the south by the Indian Ocean, the western boundary with Europe is a historical and cultural construct, as there is no clear physical and geographical separation between them. The most commonly accepted boundaries place Asia to the east of the Suez Canal, the Ural River, and the Ural Mountains, and south of the Caucasus Mountains, China and India alternated in being the largest economies in the world from 1 to 1800 A. D. The accidental discovery of America by Columbus in search for India demonstrates this deep fascination, the Silk Road became the main East-West trading route in the Asian hitherland while the Straits of Malacca stood as a major sea route. Asia has exhibited economic dynamism as well as robust population growth during the 20th century, given its size and diversity, the concept of Asia—a name dating back to classical antiquity—may actually have more to do with human geography than physical geography. Asia varies greatly across and within its regions with regard to ethnic groups, cultures, environments, economics, historical ties, the boundary between Asia and Africa is the Red Sea, the Gulf of Suez, and the Suez Canal. This makes Egypt a transcontinental country, with the Sinai peninsula in Asia, the border between Asia and Europe was historically defined by European academics. In Sweden, five years after Peters death, in 1730 Philip Johan von Strahlenberg published a new atlas proposing the Urals as the border of Asia, the Russians were enthusiastic about the concept, which allowed them to keep their European identity in geography. Tatishchev announced that he had proposed the idea to von Strahlenberg, the latter had suggested the Emba River as the lower boundary. Over the next century various proposals were made until the Ural River prevailed in the mid-19th century, the border had been moved perforce from the Black Sea to the Caspian Sea into which the Ural River projects. The border between the Black Sea and the Caspian is usually placed along the crest of the Caucasus Mountains, the border between Asia and the loosely defined region of Oceania is usually placed somewhere in the Malay Archipelago. The terms Southeast Asia and Oceania, devised in the 19th century, have had several different geographic meanings since their inception. The chief factor in determining which islands of the Malay Archipelago are Asian has been the location of the possessions of the various empires there. Lewis and Wigen assert, The narrowing of Southeast Asia to its present boundaries was thus a gradual process, Asia is larger and more culturally diverse than Europe. It does not exactly correspond to the borders of its various types of constituents. From the time of Herodotus a minority of geographers have rejected the three-continent system on the grounds there is no or is no substantial physical separation between them
10.
Pacific Ocean
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The Pacific Ocean is the largest and deepest of the Earths oceanic divisions. It extends from the Arctic Ocean in the north to the Southern Ocean in the south and is bounded by Asia and Australia in the west, the Mariana Trench in the western North Pacific is the deepest point in the world, reaching a depth of 10,911 metres. Both the center of the Water Hemisphere and the Western Hemisphere are in the Pacific Ocean, the oceans current name was coined by Portuguese explorer Ferdinand Magellan during the Spanish circumnavigation of the world in 1521, as he encountered favourable winds on reaching the ocean. He called it Mar Pacífico, which in both Portuguese and Spanish means peaceful sea, important human migrations occurred in the Pacific in prehistoric times. Long-distance trade developed all along the coast from Mozambique to Japan, trade, and therefore knowledge, extended to the Indonesian islands but apparently not Australia. By at least 878 when there was a significant Islamic settlement in Canton much of trade was controlled by Arabs or Muslims. In 219 BC Xu Fu sailed out into the Pacific searching for the elixir of immortality, from 1404 to 1433 Zheng He led expeditions into the Indian Ocean. The east side of the ocean was discovered by Spanish explorer Vasco Núñez de Balboa in 1513 after his expedition crossed the Isthmus of Panama and he named it Mar del Sur because the ocean was to the south of the coast of the isthmus where he first observed the Pacific. Later, Portuguese explorer Ferdinand Magellan sailed the Pacific East to West on a Castilian expedition of world circumnavigation starting in 1519, Magellan called the ocean Pacífico because, after sailing through the stormy seas off Cape Horn, the expedition found calm waters. The ocean was often called the Sea of Magellan in his honor until the eighteenth century, sailing around and east of the Moluccas, between 1525 and 1527, Portuguese expeditions discovered the Caroline Islands, the Aru Islands, and Papua New Guinea. In 1542–43 the Portuguese also reached Japan, in 1564, five Spanish ships consisting of 379 explorers crossed the ocean from Mexico led by Miguel López de Legazpi and sailed to the Philippines and Mariana Islands. The Manila galleons operated for two and a half centuries linking Manila and Acapulco, in one of the longest trade routes in history, Spanish expeditions also discovered Tuvalu, the Marquesas, the Cook Islands, the Solomon Islands, and the Admiralty Islands in the South Pacific. In the 16th and 17th century Spain considered the Pacific Ocean a Mare clausum—a sea closed to other naval powers, as the only known entrance from the Atlantic the Strait of Magellan was at times patrolled by fleets sent to prevent entrance of non-Spanish ships. On the western end of the Pacific Ocean the Dutch threatened the Spanish Philippines, Spain also sent expeditions to the Pacific Northwest reaching Vancouver Island in southern Canada, and Alaska. The French explored and settled Polynesia, and the British made three voyages with James Cook to the South Pacific and Australia, Hawaii, and the North American Pacific Northwest, one of the earliest voyages of scientific exploration was organized by Spain in the Malaspina Expedition of 1789–1794. It sailed vast areas of the Pacific, from Cape Horn to Alaska, Guam and the Philippines, New Zealand, Australia, and the South Pacific. Growing imperialism during the 19th century resulted in the occupation of much of Oceania by other European powers, and later, Japan, in Oceania, France got a leading position as imperial power after making Tahiti and New Caledonia protectorates in 1842 and 1853 respectively. After navy visits to Easter Island in 1875 and 1887, Chilean navy officer Policarpo Toro managed to negotiate an incorporation of the island into Chile with native Rapanui in 1888, by occupying Easter Island, Chile joined the imperial nations
11.
Europe
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Europe is a continent that comprises the westernmost part of Eurasia. Europe is bordered by the Arctic Ocean to the north, the Atlantic Ocean to the west, yet the non-oceanic borders of Europe—a concept dating back to classical antiquity—are arbitrary. Europe covers about 10,180,000 square kilometres, or 2% of the Earths surface, politically, Europe is divided into about fifty sovereign states of which the Russian Federation is the largest and most populous, spanning 39% of the continent and comprising 15% of its population. Europe had a population of about 740 million as of 2015. Further from the sea, seasonal differences are more noticeable than close to the coast, Europe, in particular ancient Greece, was the birthplace of Western civilization. The fall of the Western Roman Empire, during the period, marked the end of ancient history. Renaissance humanism, exploration, art, and science led to the modern era, from the Age of Discovery onwards, Europe played a predominant role in global affairs. Between the 16th and 20th centuries, European powers controlled at times the Americas, most of Africa, Oceania. The Industrial Revolution, which began in Great Britain at the end of the 18th century, gave rise to economic, cultural, and social change in Western Europe. During the Cold War, Europe was divided along the Iron Curtain between NATO in the west and the Warsaw Pact in the east, until the revolutions of 1989 and fall of the Berlin Wall. In 1955, the Council of Europe was formed following a speech by Sir Winston Churchill and it includes all states except for Belarus, Kazakhstan and Vatican City. Further European integration by some states led to the formation of the European Union, the EU originated in Western Europe but has been expanding eastward since the fall of the Soviet Union in 1991. The European Anthem is Ode to Joy and states celebrate peace, in classical Greek mythology, Europa is the name of either a Phoenician princess or of a queen of Crete. The name contains the elements εὐρύς, wide, broad and ὤψ eye, broad has been an epithet of Earth herself in the reconstructed Proto-Indo-European religion and the poetry devoted to it. For the second part also the divine attributes of grey-eyed Athena or ox-eyed Hera. The same naming motive according to cartographic convention appears in Greek Ανατολή, Martin Litchfield West stated that phonologically, the match between Europas name and any form of the Semitic word is very poor. Next to these there is also a Proto-Indo-European root *h1regʷos, meaning darkness. Most major world languages use words derived from Eurṓpē or Europa to refer to the continent, in some Turkic languages the originally Persian name Frangistan is used casually in referring to much of Europe, besides official names such as Avrupa or Evropa
12.
Sound effect
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In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, in professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, the term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published an article about The Use of Sound Effects. It considers sounds effect deeply linked with broadcasting and states, It would be a mistake to think of them as anologous to punctuation marks. They should never be inserted into an already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of value with speech. If it fails to do so its presence could not be justified, the sound of people talking in the background is also considered a BG, but only if the speaker is unintelligible and the language is unrecognizable. These background noises are also called ambience or atmos, Foley sound effects are sounds that synchronize on screen, and require the expertise of a foley artist to record properly. Footsteps, the movement of hand props, and the rustling of cloth are common foley units, design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a fiction film. Each of these sound effect categories is specialized, with sound editors known as specialists in an area of sound effects, Foley is another method of adding sound effects. With this technique the action onscreen is essentially recreated to try to match it as closely as possible, if done correctly it is very hard for audiences to tell what sounds were added and what sounds were originally recorded. In the early days of film and radio, foley artists would add sounds in realtime or pre-recorded sound effects would be played back from analogue discs in realtime. Today, with effects held in digital format, it is easy to any required sequence to be played in any desired timeline. In the days of silent film, sound effects were added by the operator of an organ or photoplayer. Theater organ sound effects are usually electric or electro-pneumatic, and activated by a button pressed with the hand or foot, photoplayer operators activate sound effects either by flipping switches on the machine or pulling cow-tail pull-strings, which hang above. Sounds like bells and drums are made mechanically, sirens and horns electronically, due to its smaller size, a photoplayer usually has less special effects than a theater organ, or less complex ones
13.
Animated cartoon
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Animated cartoons are still created for commercial, educational, and personal purposes to this day. The first animated projection was created in France, by Charles-Émile Reynaud, Reynaud created the Praxinoscope in 1877 and the Théâtre Optique in December 1888. On 28 October 1892, he projected the first animation in public, Pauvre Pierrot and this film is also notable as the first known instance of film perforations being used. His films were not photographed, but drawn directly onto the transparent strip, in 1900, more than 500,000 people had attended these screenings. The first animated projection was Humorous Phases of Funny Faces by newspaper cartoonist J. Stuart Blackton, in the movie, a cartoonists line drawings of two faces were animated on a blackboard. The two faces smiled and winked, and the man blew smoke in the ladys face, also. The first animated projection in the sense was Fantasmagorie by the French director Émile Cohl in 1908. This was followed by two films, Le Cauchemar du fantoche and Un Drame chez les fantoches, all completed in 1908. One of the very first successful animated cartoons was Gertie the Dinosaur by Winsor McCay and it is considered the first example of true character animation. At first, animated cartoons were black-and-white and silent, felix the Cat and Oswald the Lucky Rabbit are notable examples. From the 1920s to 1960s, theatrical cartoons were produced in huge numbers, MGM, and UPA were the largest studios producing these 5- to 10-minute shorts. Other studios included Walter Lantz, DePatie-Freleng, Charles Mintz Studios, Famous Studios, the first cartoon to use a soundtrack was in 1926 with Max Fleischers My Old Kentucky Home. However the Fleischers used a De Forest sound system and the sound was not completely synchronized with the film, walt Disneys 1928 cartoon Steamboat Willie starring Mickey Mouse was the first to use a click track during the recording session, which produced better synchronism. Mickey Mousing became a term for any action that was perfectly synchronized with music. The music used is original most of the time, but musical quotation is often employed, animated characters usually performed the action in loops, i. e. drawings were repeated over and over. Although other producers had made films earlier using 2-strip color, Disney produced the first cartoon in 3-strip Technicolor, Flowers and Trees, technicians at the Fleischer studio invented rotoscoping, in which animators trace live action in order to make animation look more realistic. However, rotoscoping made the animation look stiff and the technique was used more for studying human and animal movement. Today, traditional animation uses traditional methods, but is aided by computers in certain areas and this gives the animator new tools not available that could not be achieved using old techniques
14.
Glissando
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In music, a glissando is a glide from one pitch to another. It is an Italianized musical term derived from the French glisser, in some contexts it is distinguished from the continuous portamento. Some colloquial equivalents are slide, sweep, bend, smear, rip, lip, some instruments, such as the clarinet and saxophone, can produce a continuous pitch change, although their characteristic design is to provide distinct pitches. The latter could thus be thought of as capable of glissando or portamento. On some instruments, discrete tones are clearly audible when sliding, on a harp, the player can slide their finger across the strings, quickly playing the scale. Wind, brass, and fretted-stringed-instrument players can perform a rapid chromatic scale. Maurice Ravels piece Alborada del Gracioso contains notable piano glissando passages in thirds executed by the right hand, arpeggio effects are also obtained by bowed strings and brass, especially the horn. Musical instruments with variable pitch can effect a portamento over a substantial range. Many electric guitars are fitted with an arm which can produce either a portamento. Tremolo is a variation of loudness while holding pitch constant. List of ornaments Bent note Octave glissando Portamento Shepard tone Staccato Meend Boyden, David D. the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie, hoppe, Ulrich, Frank Rosanowski, Michael Döllinger, Jörg Lohscheller, Maria Schuster, and Ulrich Eysholdt. New York, W. W. Norton & Company, Inc
15.
Wheel of Fortune (U.S. game show)
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Wheel of Fortune is an American television game show created by Merv Griffin. The show features a competition in which contestants solve word puzzles, similar to those used in Hangman, to win cash, Wheel premiered as a daytime series on NBC on January 6,1975, and continued to air on the network until June 30,1989. After some changes were made to its format, the series returned on July 17,1989 as part of CBSs daytime lineup. On January 14,1991, Wheel moved back to NBC, the popularity of the daytime series led to a nightly syndicated edition being developed, that series premiered on September 19,1983 and continues to air to this day. The network version was hosted by Chuck Woolery and Susan Stafford. ODonnell left in 1980, Woolery in 1981, and Stafford in 1982, they were replaced, respectively, by Jack Clark, Pat Sajak, after Clarks death in 1988, M. G. Kelly took over briefly as announcer until ODonnell returned in 1989. ODonnell remained on the network version until its cancellation, and continued to announce on the show until his death in 2010. Sajak left the network version in January 1989 to host his own talk show. Bob Goen replaced Benirschke when the show moved to CBS. The syndicated version has been hosted continuously by Sajak and White since its inception, Wheel of Fortune ranks as the longest-running syndicated game show in the United States, with over 6,000 episodes aired. TV Guide named it the top-rated syndicated series in a 2008 article, and in 2013, the program has also come to gain a worldwide following with sixty international adaptations. The syndicated series 34th season premiered on September 12,2016, the core game is based on Hangman. Each round has a category and a word puzzle, with each blank representing a letter in the answer. Each game features three contestants, or occasionally, three two-contestant teams, each contestant/team is positioned behind a single scoreboard with its own flipper. The left scoreboard from the perspective is colored red, the center yellow, and the right blue. A contestant spins the wheel to determine a value and guess a consonant. Calling a correct letter earns the value before the corresponding flipper, a contestant with at least $250 may buy a vowel for a flat rate of that amount, until all the vowels in the puzzle have been revealed. Calling a correct letter keeps the wheel in the contestants control, in the first three rounds, the wheel contains a Wild Card and a Gift Tag, while two ½ Car tags are present in rounds two and three only
16.
Distin family
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The Distin family was a family of British Musicians in the 19th century who performed on saxhorns and were influential in the evolution of brass instruments in then popular music. Henri Distin, son of John Distin eventually became a celebrated brass instrument manufacturer in England, John Distin and his family constituted a musical group that toured in the mid to late 19th century. They performed on Saxhorns from the company of Adolph Sax, the Distin family quintet was importantly responsible for popularizing Saxhorns, and influenced further evolution of brass instruments. The Distins toured in the United States in addition to Europe and they accepted a 40 concert booking in New York for the 1849 season, but the venue burned to the ground while they were crossing the Atlantic. While critically hailed, their tour was plagued by illness, a Cholera epidemic that scared away the audience, a brief tour of Canada went no better. Following the acclaimed but financially failed American tour, Henri Distin established an instrument manufacturing and sales concern and he sold Adolph Sax’s instruments alongside his own traditional brass instruments. The acquisition of Distin’s brass instrument manufacturing positioned Boosey to become a well-respected brass instrument company in the late 19th through mid-20th century, Distin would subsequently lose most of his money on concert schemes and other ventures within a few years. In 1876, Henri Distin returned to the United States and set up a business manufacturing cornets in New York. In 1882 he relocated to Williamsport, Pennsylvania, to produce instruments in partnership, the company would take his name in 1885 as the Henri Distin Manufacturing Company making a full line of brass instruments. Henri Distin remained a performer and marketer of brass instruments
17.
H A Ward
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Henry Arthur Ward was a Birmingham whistle maker who made whistles of high quality, all rare and hard to find. He made whistles from 1889 to 1908, H. A. Ward is one of the whistle makers that little is known about, and most of it is revealed by his designs and stamps, which testify to an innovative maker of high-quality whistles. All his whistles are rare and some were discovered only in the last year or two, only one London style of H A Ward Thunderer had been seen. Small types of slide whistles of one octave range. General service whistles, mostly ones stamped with Police or Fire whistle name variations and these were made with cast top mouthpieces at the earlier ones and later with rolled mouthpieces. Round pea whistles some stamped and some not, Many named, Midget, Express, H. A. W, Thunderer, The City Whistle The City Police, The Standart Police or Fire, L. M. S London Midland & Scottish Railway. The City Police or Fire Whistle in 5 Lines & in 3 Lines along the cylindrical body. Express on a round pea whistle, Speedwell on a Double pipe type, H A Ward whistle manufacturer History & Samples, Double pipe The City Whistle c 1890s, Birmingham, A. Strauss, WhistleMuseum. com
18.
Popular music
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Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training and it stands in contrast to both art music and traditional or folk music. Art music was historically disseminated through the performances of music, although since the beginning of the recording industry. Traditional music forms such as blues songs or hymns were passed along orally, or to smaller. The original application of the term is to music of the 1880s Tin Pan Alley period in the United States, although popular music sometimes is known as pop music, the two terms are not interchangeable. Popular music songs and pieces typically have easily singable melodies, in the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have an appeal within the culture of their origin. Through the mixture of genres, new popular music forms are created to reflect the ideals of a global culture. The examples of Africa, Indonesia and the Middle East show how Western pop music styles can blend with local traditions to create new hybrid styles. Sales of recordings or sheet music are one measure, middleton and Manuel note that this definition has problems because multiple listens or plays of the same song or piece are not counted. Manuel states that one criticism of music is that it is produced by large media conglomerates and passively consumed by the public. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, moreover, understandings of popular music have changed with time. A societys popular music reflects the ideals that are prevalent at the time it is performed or published, david Riesman states that the youth audiences of popular music fit into either a majority group or a subculture. The majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values and this allows youth to choose what music they identify with, which gives them power as consumers to control the market of popular music. Form in popular music is most often sectional, the most common sections being verse, chorus or refrain, other common forms include thirty-two-bar form, chorus form *, and twelve-bar blues. Popular music songs are rarely composed using different music for each stanza of the lyrics, the verse and chorus are considered the primary elements. Each verse usually has the melody, but the lyrics change for most verses. The chorus usually has a phrase and a key lyrical line which is repeated
19.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, 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 rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a 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. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
20.
Paul Whiteman
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Paul Samuel Whiteman was an American bandleader, composer, orchestral director and violinist. He also co-wrote the 1925 jazz classic Flamin Mamie and his popularity faded in the swing music era of the middle 1930s, and by the 1940s Whiteman was semi-retired from music. But he experienced a revival and had a comeback in the 1950s with his own television series on ABC, Paul Whitemans Goodyear Revue. He also hosted the 1954 ABC talent contest show On the Boardwalk with Paul Whiteman, Whitemans place in the history of early jazz is somewhat controversial. Detractors suggest that Whitemans ornately-orchestrated music was jazz in name only, in his autobiography, Duke Ellington declared, Paul Whiteman was known as the King of Jazz, and no one as yet has come near carrying that title with more certainty and dignity. Whitemans crowning of the term King of Jazz was likely not meant to take anything away from the performers of the more pure jazz style, Whiteman was born in Denver, Colorado. His father insisted that he learn an instrument, preferably the violin, but young Paul preferred the viola, and that was what he learned to play. His skill at playing the viola led him to an opportunity to perform in the Denver Symphony Orchestra, he was a member from 1907, from 1917 to 1918, Whiteman conducted a 40-piece U. S. Navy band. After the war, he formed the Paul Whiteman Orchestra, moreover, with his classical violinist and violist start, he led a jazz-influenced dance band, which became popular locally in San Francisco, California in 1918. In 1920 he moved with his band to New York City where they started recording for the Victor Talking Machine Company which made the Paul Whiteman Orchestra famous nationally, Whiteman became the most popular band director of that decade. In a time when most dance bands consisted of six to ten men, Whiteman directed a much larger, by 1922, Whiteman already controlled some 28 ensembles on the East Coast and was earning over a $1,000,000 a year. Whiteman recorded Hoagy Carmichael singing and playing Washboard Blues to the accompaniment of his orchestra in 1927, in May 1928 Whiteman signed with Columbia Records, and recorded for the label until September 1931, when he returned to RCA Victor. He would remain with Victor until March 1937, in the early 1960s, he played in Las Vegas before retiring. In the 1920s the media referred to Whiteman as The King of Jazz, Whiteman emphasized the way he had approached the already well-established style of music, while also organizing its composition and style in his own fashion. There were musicians, such as Eddie Condon, who criticized Whiteman for being a bad influence on the due to his attempts to make a lady out of jazz. However, Whitemans recordings were still popular critically and successful commercially, in all, the King of Jazz wrote more than 3000 arrangements. For more than 30 years Whiteman, referred to as Pops, sought and encouraged musicians, vocalists, composers, arrangers, in 1924 Whiteman commissioned George Gershwins Rhapsody in Blue, which was premiered by Whitemans orchestra with George Gershwin at the piano. Another familiar piece in Whitemans repertoire was Grand Canyon Suite, by Ferde Grofé, however, Whiteman crossed racial lines behind-the-scenes, hiring black arrangers like Fletcher Henderson and engaging in mutually beneficial efforts with recording sessions and scheduling of tours
21.
Whispering (song)
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Whispering is a popular song by lyricists John Schonberger and Richard Coburn and composer Vincent Rose. Whispering was first published in 1920 by Sherman, Clay & Co. of San Francisco, the initial 1920 copyright and first publishing attributes the lyrics to Malvin Schonberger and the music to John Schonberger. Whispering was most famously recorded by Paul Whiteman and his Ambassador Orchestra on August 23,1920, for Victor. Whiteman — Denver-born, ex-army, and self-acclaimed King of Jazz — flourished in popularity from a series of hits beginning in 1920 with his release of Whispering, no.1 hit, which stayed 20 weeks in the charts and sold in excess of two million copies. The song charted twice in the nineteen-sixties, in 1963, Irish singers the Bachelors had a hit with their version which went to the Top 20 in the UK. In 1964, after recording their hit Deep Purple, American brother and sister singers Nino Tempo and this version went to number eleven on the Hot 100 and number four on the Easy Listening chart. According to Allmusic, there have been over 700 versions of the song, as of 2010, on the online music site www. lala. com, there were 161 listed albums or singles containing the song Whispering. Also, as of 2014, TJD Online listed 281 recording sessions of Dizzy Gillespies composition, Groovin High, Whispering, originally scored in E ♭ major, is in 44 time. It has a 12-bar intro, the last 4 of which is an optional vamp — then a 16-bar A-theme is followed by a 32-bar repeated chorus, the 32 bars is essentially a 16-bar B-theme played twice — or 4 times with the repeat. Dizzys 1945 composition, Groovin High, is a contrafact of Whispering, following a standard practice in jazz, Diz front-ran the static V7 chords with ii7 chords, setting up a series of ii7–V7 progressions, which creates more structure for improvising. The ii7 chord has similar properties to a iv chord, because Groovin High was a contrafact, performers, publishers, and record companies did not have to pay royalties to the original composers. Moreover, the contrafacted rendition followed a unified bebop convention — a series of chord changes with a ii7–V7–I7 turnaround — for jazz artists
22.
Louis Armstrong
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Louis Armstrong, nicknamed Satchmo or Satch, was an American trumpeter, composer, singer and occasional actor who was one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s and he was also skilled at scat singing. Armstrong was one of the first truly popular African-American entertainers to cross over and he rarely publicly politicized his race, often to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society which were restricted for black men of his era. Armstrong often stated that he was born on July 4,1900, although he died in 1971, it was not until the mid-1980s that his true birth date, August 4,1901, was discovered by the researcher Tad Jones through the examination of baptismal records. Armstrong was born into a family in New Orleans, Louisiana. He spent his youth in poverty, in a neighborhood known as the Battlefield. His father, William Armstrong, abandoned the family when Louis was an infant and his mother, Mary Mayann Albert, then left Louis and his younger sister, Beatrice Armstrong Collins, in the care of his grandmother, Josephine Armstrong, and at times his uncle Isaac. At five, he moved back to live with his mother, her relatives and he attended the Fisk School for Boys, where he most likely had early exposure to music. He hung out in dance halls close to home, where he observed everything from licentious dancing to the quadrille, after dropping out of the Fisk School at age eleven, Armstrong joined a quartet of boys who sang in the streets for money. He also started to get into trouble, Cornet player Bunk Johnson said he taught Armstrong to play by ear at Dago Tonys Tonk in New Orleans, although in his later years Armstrong gave the credit to Oliver. It has given me something to live for and he also worked for a Lithuanian-Jewish immigrant family, the Karnofskys, who had a junk-hauling business and gave him odd jobs. They took him in and treated him like family, knowing he lived without a father and he later wrote a memoir of his relationship with the Karnofskys, Louis Armstrong + the Jewish Family in New Orleans, La. the Year of 1907. Armstrong wore a Star of David pendant for the rest of his life and wrote about what he learned from them, how to live—real life, professor Peter Davis instilled discipline in and provided musical training to the otherwise self-taught Armstrong. Eventually, Davis made Armstrong the band leader, the home band played around New Orleans and the thirteen-year-old Louis began to draw attention by his cornet playing, starting him on a musical career. At fourteen he was released from the home, living again with his father and new stepmother, Gertrude, Armstrong got his first dance hall job at Henry Ponces, where Black Benny became his protector and guide. He hauled coal by day and played his cornet at night, later, he played in brass bands and riverboats of New Orleans, and began traveling with the well-regarded band of Fate Marable, which toured on a steamboat up and down the Mississippi River. He described his time with Marable as going to the University, in 1919, Joe Oliver decided to go north and resigned his position in Kid Orys band, Armstrong replaced him
23.
Cornet
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The cornet /ˈkɔːrnɪt/ is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is an instrument in B♭, though there is also a soprano cornet in E♭. Both are unrelated to the renaissance and early baroque cornett, the cornet was initially derived from the post horn around 1820 in France. Among the first manufacturers of modern cornets was Parisian Jean Asté in 1828, cornets first appeared as separate instrumental parts in 19th century French compositions. This instrument could not have developed without the improvement of piston valves by Silesian oboe player Friedrich Blühmel. These two instrument makers almost simultaneously invented valves, though it is likely that Blühmel was the inventor and they jointly applied for a patent and were granted this for a period of ten years. Later, and most importantly, François Périnet received a patent in 1838 for a valve which is the basis of all modern brass instrument piston valves. Up until the early 20th century, the trumpet and cornet coexisted in musical ensembles, symphonic repertoire often involves separate parts for trumpet and cornet. As several instrument builders made improvements to instruments, they started to look and sound more alike. The modern day cornet is used in bands, concert bands. The name cornet derives from corne, meaning horn, itself from Latin cornu, while not musically related, instruments of the Zink family are named cornetto or cornett in modern English to distinguish them from the valved cornet described here. The 11th edition of the Encyclopædia Britannica referred to serpents as old wooden cornets, the Roman/Etruscan cornu is the lingual ancestor of these. It is a predecessor of the post horn from which the evolved and was used like a bugle to signal orders on the battlefield. The instrument was once referred to as a cornopean, referencing the earliest cornets with the Stölzel valve system. The cornet was invented by adding valves to the post horn in 1814, the valves allowed for melodic playing throughout the register of the cornet. Trumpets were slower to adopt the new technology, so for the next 100 years or more. The trumpet would play fanfare-like passages, while the cornet played more melodic passages, the modern trumpet has valves that allow it to play the same notes and fingerings as the cornet. Cornets and trumpets made in a key play at the same pitch
24.
King Oliver
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Joseph Nathan Oliver better known as King Oliver or Joe Oliver, was an American jazz cornet player and bandleader. He was particularly recognized for his style and his pioneering use of mutes in jazz. Also a notable composer, he wrote many tunes still played today, including Dippermouth Blues, Sweet Like This, Canal Street Blues and he was the mentor and teacher of Louis Armstrong. His influence was such that Armstrong claimed, if it had not been for Joe Oliver, joseph Nathan Oliver was born in Aben, Louisiana, near Donaldsonville in Ascension Parish, and moved to New Orleans in his youth. He first studied the trombone, then changed to cornet, from 1908 to 1917 Oliver played cornet in New Orleans brass bands and dance bands, and also in the citys red-light district. A band he co-led with trombonist Kid Ory was considered to be New Orleans hottest and best in the late 1910s. Oliver achieved great popularity in New Orleans across economic and racial lines and this, coupled with the closure of The District caused Oliver to leave the Jim Crow South. He, his wife, and their daughter Ruby left New Orleans for Chicago, Oliver found musical work in Chicago with colleagues from New Orleans such as clarinetist Lawrence Duhé, bassist Bill Johnson, trombonist Roy Palmer, and drummer Paul Barbarin. He became leader of Duhés band, playing at a number of Chicago clubs, in the summer of 1921 he took a group to the West Coast, playing engagements in San Francisco and Oakland, California. In 1922 Oliver and his band returned to Chicago, where they began performing as King Oliver, in the mid-1920s Oliver, following the popular trend of the time, enlarged his band to nine musicians, and began performing more written arrangements with jazz solos. In 1927 the band went to New York, but Oliver disbanded the group to do freelance jobs and he reformed the band in 1928, continuing with modest success until the continuing downturn of the economy made it more and more difficult to find bookings. This, coupled with his ability to play as a result of suffering from periodontitis. As a player, Oliver took great interest in altering his horns sound and he pioneered the use of mutes, including the rubber plumbers plunger, derby hat, bottles and cups. His favorite mute was a small mute made by the C. G. Conn Instrument Company. His recording Wa Wa Wa with the Dixie Syncopators can be credited with giving the name wah-wah to such techniques. Oliver was also a composer, and wrote many tunes that are still regularly played, including Dippermouth Blues, Sweet Like This, Canal Street Blues. Oliver performed mostly on cornet, but like many cornetists he switched to trumpet in the late 1920s, one of his protégés, Louis Panico, authored a book entitled The Novelty Cornetist, which is illustrated with photos showing some of the mute techniques he learned from Oliver. As mentor to Armstrong in New Orleans, Oliver taught young Louis, a few years later Oliver summoned him to Chicago to play with his band
25.
Saxophone
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The saxophone is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet, the saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. He patented the saxophone on June 28,1846, in two groups of seven instruments each, each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for bands, have proved extremely popular. The saxophone is used in music, military bands, marching bands. The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker, flautist, born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business. Prior to his work on the saxophone, he had several improvements to the bass clarinet by improving its keywork and acoustics. Sax was also a maker of the ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with two instruments allowed him to develop the skills and technologies needed to make the first saxophones. As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and he wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblows at the octave has identical fingering for both registers, Sax created an instrument with a single-reed mouthpiece like a clarinet, conical brass body like an ophicleide, and some acoustic properties of both the horn and the clarinet. Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, the patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered orchestral, the C soprano saxophone was the only instrument to sound at concert pitch. Saxs patent expired in 1866, thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design, the first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification and this extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings allows a player to play faster and more easily, a player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, a substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. This enables a chromatic scale to be played two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit
26.
Jug band
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A jug band is a band employing a jug player and a mix of conventional and homemade instruments. These homemade instruments are ordinary objects adapted to or modified for making sound, like the bass, washboard, spoons, bones, stovepipe. Banjos were sometimes made from a guitar neck and a metal pie plate. The jug sound is made by taking a jug and buzzing the lips into its mouth from about an inch away, as with brass instruments, changes in pitch are controlled by altering lip tension, and an accomplished jug player could have a two-octave range. The stovepipe is played in much the manner, with the pipe rather than the jug serving as the resonating chamber. There is some similarity to the didgeridoo, but there is no contact between the stovepipe and the players lips, some jug and stovepipe players utilize throat vocalization along with lip buzzing, as with the didgeridoo. The swooping sounds of the jug fill a musical role halfway between the trombone and sousaphone or tuba in Dixieland bands, playing mid- and lower-range harmonies in rhythm, early jug bands were typically made up of African-American vaudeville and medicine show musicians. Beginning in the urban South, they played a mixture of blues, ragtime, the history of jug bands is related to the development of the blues. The informal and energetic music of the jug bands also contributed to the development of rock, Jug bands from Louisville, Kentucky, were the first to record. The violinist Clifford Hayess Old Southern Jug Band recorded as early as 1923, whistler & His Jug Band, often making use of a slide whistle, first recorded in 1924 for Gennett Records. Earl McDonalds Original Louisville Jug Band and Dixieland Jug Blowers were also among the first to record, the vaudeville-blues singer Sara Martin and The Blue Yodeler, Jimmie Rodgers, both employed these bands for their recordings. Louisville bands often used whiskey jugs and were more jazz-oriented, a melding of string band, Jug bands made street performances, played at parties, and began entertaining on riverboats on the Ohio River around 1900 and first appeared at the Kentucky Derby in 1903. Jug bands from the Memphis area were firmly rooted in country blues, hokum. The Memphis Jug Band and Gus Cannons Jug Stompers featured harmonica played by Will Slade and Noah Lewis, other bans from the Memphis area were Jack Kelly and His South Memphis Jug Band, Jed Davenport and Dewey Corleys Beale Street Jug Band, and Noah Lewiss Jug Band. Ma Raineys tub-jug band featured the first recordings of the slide guitarist Tampa Red, Big Bill Broonzy and Memphis Minnie cut a few sides each backed up by their own jug bands, Memphis Minnie also sang and played with the Memphis Jug Band. Memphis jug band music is associated with Memphis blues. The Cincinnati Jug Band recorded for Paramount Records in 1929, with Stovepipe No.1 on the stovepipe, the Seven Gallon Jug Band, including Clarence Williams on jug and Willie The Lion Smith on piano, recorded for Columbia Records in 1929. The Birmingham Jug Band, including Jaybird Coleman and Big Joe Williams, daddy Stovepipe and Mississippi Sarah recorded for Vocalion Records in 1931
27.
Hoosier Hot Shots
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The Hoosier Hot Shots were an American quartet of musicians who entertained on stage, screen, radio and records from the mid-1930s into the 1970s. The group formed in the U. S. state of Indiana where they performed on radio before moving to Chicago. The group later moved to Hollywood to star in many western movies. It consisted of a sheet metal washboard on a metal stand with various noisemakers attached, including bells. Trietsch constructed this instrument himself as well as a series of slide whistles he played in addition to the washboard, the washboard, along with other artifacts from the band, is now in the collection of the Indiana State Museum. The Hot Shots repertoire focused on swing and jazz standards and originals, the Trietsch family grew to be one of four girls and five boys, two of which—Kenneth and Paul—were to become the nucleus of the Hot Shots. Growing up in rural Indiana and aided by the example of a father, Kenneth, Paul. An ensemble featuring father and sons toured the American and Canadian vaudeville circuit for several years, after the family act broke up, Ken and Paul went to work with another vaudeville group called Ezra Buzzingtons Rube Band. It was while touring with the Rube Band that they met another Hoosier, Charles Otto Ward, Gabe became the third Hot Shot. When the crash of 29 effectively ended vaudeville they, like other vaudevillians, looked to radio and landed a job at WOWO in Ft. Wayne, Indiana. One day they arrived late for a performance and the announcer greeted them with Hey, you Hoosier hot shots, in 1933 they moved to Chicagos WLS, the Prairie Farmer Station. With the addition in 1934 of Frank Delaney Kettering on bass fiddle and their music was characterized by novelty songs and arrangements – such as I Like Bananas and From the Indies to the Andes in His Undies – hot jazz rhythms and the occasional sweet harmonies. They also played the pop songs of the day, like Nobodys Sweetheart, Ken kicked off the band with Are you ready, Hezzie. —directed at his brother Paul—and it became one of the bands big taglines, even entering the common vernacular. Over their career the Hoosier Hot Shots recorded hundreds of 78s for such labels as Banner, Conqueror, Decca, Melotone, Oriole, Perfect, Romeo, some of these releases have made it to LPs, cassettes, and compact discs. Recordings of songs made by the Hoosier Hot Shots often include the spoken intro, Are you ready. Followed by the sound of the bustle of the musicians preparing to play their instruments, however, the tightly-rehearsed skill of the performers lets the listener in on the joke as soon as the song actually begins. Between 1937 and 1950 the Hot Shots appeared in more than 20 movies, sharing billing with the likes of Gene Autry, Dale Evans, Bob Wills, during the mid- to late 1940s they starred in their own series of musical westerns for Columbia Pictures. They were a presence in the early Billboard magazine country charts with songs like Beer Barrel Polka, When There Are Tears In The Eyes Of The Potato, Everybody Loves My Baby
28.
Bob Dylan
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Bob Dylan is an American songwriter, singer, painter, and writer. He has been influential in music and culture for more than five decades. Much of his most celebrated work dates from the 1960s, when his songs chronicled social unrest, early songs such as Blowin in the Wind and The Times They Are a-Changin became anthems for the Civil Rights Movement and anti-war movement. Leaving behind his initial base in the American folk music revival, his six-minute single Like a Rolling Stone, recorded in 1965, Dylans lyrics incorporate a wide range of political, social, philosophical, and literary influences. They defied existing pop music conventions and appealed to the burgeoning counterculture, initially inspired by the performances of Little Richard and the songwriting of Woody Guthrie, Robert Johnson, and Hank Williams, Dylan has amplified and personalized musical genres. Dylan performs with guitar, keyboards, and harmonica, backed by a changing lineup of musicians, he has toured steadily since the late 1980s on what has been dubbed the Never Ending Tour. His accomplishments as a recording artist and performer have been central to his career, since 1994, Dylan has published seven books of drawings and paintings, and his work has been exhibited in major art galleries. As a musician, Dylan has sold more than 100 million records and he has also received numerous awards including eleven Grammy Awards, a Golden Globe Award, and an Academy Award. Dylan has been inducted into the Rock and Roll Hall of Fame, Minnesota Music Hall of Fame, Nashville Songwriters Hall of Fame, and Songwriters Hall of Fame. The Pulitzer Prize jury in 2008 awarded him a citation for his profound impact on popular music and American culture. In May 2012, Dylan received the Presidential Medal of Freedom from President Barack Obama, in 2016, he was awarded the Nobel Prize in Literature for having created new poetic expressions within the great American song tradition. Bob Dylan was born Robert Allen Zimmerman in St. Marys Hospital on May 24,1941, in Duluth, Minnesota and he has a younger brother, David. Dylans paternal grandparents, Zigman and Anna Zimmerman, emigrated from Odessa, in the Russian Empire and his maternal grandparents, Ben and Florence Stone, were Lithuanian Jews who arrived in the United States in 1902. Dylans father, Abram Zimmerman – an electric-appliance shop owner – and mother, Beatrice Beatty Stone, were part of a small, close-knit Jewish community. They lived in Duluth until Robert was six, when his father had polio and the returned to his mothers hometown, Hibbing. In his early years he listened to the radio—first to blues and country stations from Shreveport, Louisiana, and later and he formed several bands while attending Hibbing High School. In the Golden Chords, he performed covers of songs by Little Richard and their performance of Danny & the Juniors Rock and Roll Is Here to Stay at their high school talent show was so loud that the principal cut the microphone. In 1959, his high school yearbook carried the caption Robert Zimmerman, the same year, as Elston Gunnn, he performed two dates with Bobby Vee, playing piano and clapping
29.
Highway 61 Revisited (song)
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Highway 61 Revisited is the title track of Bob Dylans 1965 album Highway 61 Revisited. It was also released as the B-side to the single Can You Please Crawl Out Your Window, in 2004, Rolling Stone magazine ranked the song as number 373 in their 500 Greatest Songs of All Time. Highway 61 runs from Duluth, Minnesota, where Bob Dylan grew up in the 1940s and 1950s down to New Orleans, in each stanza, someone describes an unusual problem that is ultimately resolved on Highway 61. In Verse 1, God tells Abraham to kill me a son, God wants the killing done on Highway 61. This stanza references Genesis 22, in which God commands Abraham to kill one of his two sons, Isaac, abram, the original name of the biblical Abraham, is the name of Dylans own father. Verse 2 describes a poor fellow, Georgia Sam, who is beyond the helping of the welfare department and he is told to go down Highway 61. Georgia Sam may be a reference to Piedmont blues musician Blind Willie McTell, in the third verse, a Mack the Finger has this problem of getting rid of particular absurd things, I got forty red white and blue shoe strings / And a thousand telephones that dont ring. Louie the King solves the problem with Highway 61, Verse 4 is about the fifth daughter who on the twelfth night told the first father that her complexion is too pale. Agreeing, the father seeks to tell the second mother, the fifth and last verse is the story of a bored gambler, trying to create the next world war. His promoter tells him to put some bleachers out in the sun / And have it on Highway 61, there is an evident political undertone in this absurd tale. Between each verse Dylan is heard blowing a slide whistle brought in by Sam Lay who was drummer on the Highway 61 sessions as noted by Tony Glover in the notes to Live 1966. Other accounts say that the whistle was brought in by Al Kooper and it is said that he had originally brought in the slide whistle to police the sessions. Supposedly, if someone were to begin doing drugs he would go into a corner and he later suggested to Dylan that he use the whistle in this song instead of his harmonica. In 1969, Johnny Winter covered Highway 61 Revisited on his second Columbia release, Winters rendition is regarded as a career-defining track, and the song continued as a staple of his live performances. The recording now forms part of the albums CD release, in 1987, Dr Feelgood also covered the song for their album Classic, a track Allmusic describes as utterly inspired. The song has been recorded by P. J. Harvey on her 1993 album Rid of Me, paste magazine selected this version as the 15th best cover of a Dylan song of all time, while also paying homage to Johnny Winters classic electric-blues version. Highway 61 Revisited has been covered by Billy Joel, the song highlights a selection of covers that appear on his 2005 box set My Lives. Terry Reid recorded a version of the song, the song has been recorded by Steve Gibbons on his 1998 Dylan Project album
30.
Al Kooper
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He has had a successful solo career since then, written music for film soundtracks, and has lectured in musical composition. Kooper, born in Brooklyn, grew up in a Jewish family in Hollis Hills, Queens and his first musical success was as a 14-year-old guitarist in the Royal Teens, best known for their 1958 ABC Records novelty 12-bar blues riff, Short Shorts. When he was 21, Kooper moved to Greenwich Village and he performed with Bob Dylan in concert in 1965, including playing Hammond organ with Dylan at the Newport Folk Festival, and in the recording studio in 1965 and 1966. Kooper also played the Hammond organ riffs on Dylans Like a Rolling Stone and it was in those recording sessions that Kooper met and befriended Mike Bloomfield, whose guitar playing he admired. He worked extensively with Bloomfield for several years, Kooper played organ once again with Dylan during his 1981 world tour. Kooper joined the Blues Project as their keyboardist in 1965, he left the band shortly before their gig at the Monterey Pop Festival in 1967. He formed Blood, Sweat & Tears in 1967, leaving due to differences in 1968, after the release of the groups first album. He recorded Super Session with Bloomfield and Stills in 1968, in 1975 he produced the debut album by the Tubes. Kooper has played on hundreds of records, including ones by the Rolling Stones, King, the Who, the Jimi Hendrix Experience, Alice Cooper, and Cream. On occasion, he has even overdubbed his own efforts, as on The Live Adventures of Mike Bloomfield and Al Kooper and other albums, under the pseudonym Roosevelt Gook. After moving to Atlanta in 1972, he discovered the band Lynyrd Skynyrd and he wrote the score for the TV series Crime Story and for the film The Landlord and wrote music for several made-for-television movies. He was the force behind many of the pop tunes, including Youre the Lovin End, for The Banana Splits. During the late 1980s Kooper had his own dedicated keyboard studio room in the historic Sound Emporium recording studio in Nashville, next to studio B. Kooper published a memoir, Backstage Passes, Rock n Roll Life in the Sixties, the revised edition includes indictments of manipulators in the music industry, including his one-time business manager, Stan Polley. Koopers status as an author enabled him to join the Rock Bottom Remainders, a band made up of writers, including Dave Barry, Stephen King, Amy Tan. Kooper is retired from teaching songwriting and recording production at Berklee College of Music, in Boston, and plays concerts with his bands the ReKooperators. In 2008, he participated in the production of the album Psalngs, Kooper was inducted into the Musicians Hall of Fame and Museum, in Nashville, in 2008. In 2005, Martin Scorsese produced a documentary titled No Direction Home, Kooper had been invited to the session as an observer and hoped to be allowed to sit in on guitar, his primary instrument
31.
Groove Is in the Heart
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Groove Is in the Heart is a song by American dance band Deee-Lite. It was released in August 1990 as the single from their debut album. The song was a hit in countries, reaching number one in Australia. Though the album version was not recorded until 1990, the song was written in the late 1980s. Parliament-Funkadelic legend Bootsy Collins played bass guitar and provided guest vocals, NME and The Village Voices Pazz & Jop annual critics poll named Groove Is in the Heart the best single released in the year 1990. An immediate smash in nightclubs, the song went to one on the US Hot Dance Club Play chart. It peaked at number 1 for one week in Australia in November 1990, following complaints from Deee-Lites record company, WEA, the rule, of which this had been the only case, was scrapped and joint positions were once again allowed. The Joker spent a week at the number one spot. And Lady Miss Kier exclaiming Deee-groovy, in 2011, The Guardian featured the song on their A history of modern music, Dance. Rick Braun released a jazz cover of Groove Is in the Heart on his album Yours Truly. American lo-fi group Crocodiles also recorded a version of the song. Natasha Bedingfield performed the song at VH1 Divas 2012 concert live with Iggy Azalea performing Q-Tips rap verse, keke Palmers song Footworkin, featured on her debut album So Uncool, features samples from the song. American retail chain Target Corporation used the song, as performed by Charli XCX with Questlove and Black Thought from The Roots and this is an incomplete list of samples used in the song
32.
Fred Schneider
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Frederick William Fred Schneider III is an American singer, songwriter, arranger, and musician, best known as the frontman of the rock band the B-52s, of which he is a founding member. Schneider is well known for his sprechgesang, which he developed from reciting poetry over guitars, frederick William Schneider III was born on July 1,1951, in Newark, New Jersey. He has stated that his influences included Halloween songs and nutty Christmas songs along with Motown. He attended the University of Georgia, where he wrote a book of poetry for a class project. After college, he held jobs as a janitor as well as a Meals on Wheels driver. At the time the B-52s formed, he had little music experience. The band played their first real gig in 1977 at a Valentines Day party for their friends, the bands first single was Rock Lobster which was recorded for DB Records in 1978. It was an success, and sold over 2,000 copies in total. In 1979, the B-52s signed a contract with Warner Bros. Records for South America, North America, Australia. They also signed with Island Records for the UK, Asia, after the death of Ricky Wilson in 1985, the band went on hiatus. They reformed in 1989, and went on to mainstream success, aside from duties as the frontman of the B-52s, Fred Schneider has released two solo albums. He also worked on a project called the Superions. The group released a self-titled EP and the album Destination, in 2010, and in February 2011 began working on a proper full-length album. Fred Schneider and the Shake Society Just Fred, which was produced by Steve Albini, batbaby Konnichiwa Besides working with the B-52s, Schneider has collaborated with a number of artists. Selected examples include, Schneider sang with Richard Barone on Barones 1990 album, Primal Dream, the track Mr. Used-To-Be. Barone also co-wrote two songs, and arranged on Just Fred, and produced Schneiders version of Harry Nilssons Coconut and he was a guest vocalist on the song The Power of Pussy, on Bongwaters 1990 album of the same name. He worked with Captain Planet on the Eco Rap, a theme song used for The New Adventures of Captain Planet. Fred Schneider is featured on Stinky Dinky, Track 9 of RuPauls 1993 debut album, the 1994 compilation Elvira Presents Monster Hits features the track Here Comes The Bride sung by Elvira
33.
The B-52's
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The B-52s are an American new wave band, formed in Athens, Georgia, in 1976 and one of the only quintessential 1980s bands that have survived to date. Their best selling songs have been Love Shack and Roam while Rock Lobster remains a well-known hit, the original line-up consisted of Fred Schneider, Kate Pierson, Cindy Wilson, Ricky Wilson, and Keith Strickland. After Ricky Wilsons death from AIDS in 1985, Strickland switched from drums to lead guitar, the band also added touring members for albums and live performances. Rooted in new wave and 1960s rock and roll, the group later covered many genres, ranging from post-punk to pop rock. The guy vs. gals vocals of Schneider, Pierson, and Wilson, sometimes used in call and response style, other ideas they had to name their band were the Tina-Trons and Fellinis Children. When they first jammed, Strickland played guitar and Wilson played congas and they later played their first concert in 1977 at a Valentines Day party for their friends. The bands name comes from a beehive hairdo resembling the nose cone of the aircraft of the same name. Strickland suggested the name after a dream he had had one night, in the dream he heard someone whisper in his ear that the name of the band was the B-52s. Both this version of Rock Lobster and its B-side 52 Girls are different recordings from those on their first album, the re-recorded version of Rock Lobster was released as a single. In the UK and Germany it was backed with a version of Running Around. In Canada, released on the Warner Bros. label, the single went from cult hit to bona fide smash, eventually going on to reach the No.1 position in the RPM-compiled national chart on May 24,1980. In 1979, the B-52s signed contracts with Warner Bros. Records for North America, South America, Australia, and New Zealand, and with Island Records for the UK, Europe, and Asia. In April, they flew over to Compass Point Studios in Nassau, Bahamas to record their studio album. The band was surprised by Blackwells recording methods, he wanted to keep the sound as close as possible to their live sound so used almost no overdubs or additional effects. Released on July 6,1979, The B-52s contained re-recorded versions of Rock Lobster and 52 Girls, six originals recorded solely for the album, and a cover of the Petula Clark single Downtown. The album was a success, especially in Australia where it reached number three on the charts alongside its three singles Planet Claire, Rock Lobster, and Dance This Mess Around. In the United States, the single Rock Lobster reached the Billboard Hot 100 chart, in 1980, John Lennon cited Rock Lobster as an inspiration for his comeback with Double Fantasy. In April 1980, as with their first album, The B-52s traveled to Compass Point Studios in the Bahamas to record the follow-up
34.
Trumpet
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A trumpet is a musical instrument commonly used in classical and jazz ensembles. The trumpet group contains the instruments with the highest register in the brass family, trumpets are used in art music styles, for instance in orchestras, concert bands, and jazz ensembles, as well as in popular music. They are played by blowing air through almost-closed lips, producing a sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century they have primarily been constructed of brass tubing, there are many distinct types of trumpet, with the most common being pitched in B♭, having a tubing length of about 1.48 m. Early trumpets did not provide means to change the length of tubing, most trumpets have valves of the piston type, while some have the rotary type. The use of rotary-valved trumpets is more common in orchestral settings, each valve, when engaged, increases the length of tubing, lowering the pitch of the instrument. A musician who plays the trumpet is called a trumpet player or trumpeter, the earliest trumpets date back to 1500 BC and earlier. The bronze and silver trumpets from Tutankhamuns grave in Egypt, bronze lurs from Scandinavia, trumpets from the Oxus civilization of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is considered a technical wonder. The Shofar, made from a ram horn and the Hatzotzeroth and they were played in Solomons Temple around 3000 years ago. They were said to be used to blow down the walls of Jericho and they are still used on certain religious days. The Salpinx was a straight trumpet 62 inches long, made of bone or bronze, Salpinx contests were a part of the original Olympic Games. The Moche people of ancient Peru depicted trumpets in their art going back to AD300, the earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense, and the modern bugle continues this signaling tradition. Improvements to instrument design and metal making in the late Middle Ages, the natural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series. Changing keys required the player to change crooks of the instrument, the development of the upper, clarino register by specialist trumpeters—notably Cesare Bendinelli—would lend itself well to the Baroque era, also known as the Golden Age of the natural trumpet. During this period, a vast body of music was written for virtuoso trumpeters, the art was revived in the mid-20th century and natural trumpet playing is again a thriving art around the world. The melody-dominated homophony of the classical and romantic periods relegated the trumpet to a role by most major composers owing to the limitations of the natural trumpet. Berlioz wrote in 1844, Notwithstanding the real loftiness and distinguished nature of its quality of tone, there are few instruments that have been more degraded. The attempt to give the trumpet more chromatic freedom in its range saw the development of the keyed trumpet, the symphonies of Mozart, Beethoven, and as late as Brahms, were still played on natural trumpets
35.
Wild Planet
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Wild Planet is the second studio album by The B-52s, released in 1980. As with their first album, The B-52s traveled to Compass Point Studios in the Bahamas to record Wild Planet, several of the songs from the album had been concert staples since 1978. Rhett Davies co-produced the album, and more emphasis was put on production for Wild Planet and it was very well received by critics, most of whom regarded it as a strong second album following the success of their first. Wild Planet was quickly certified gold, many fans consider it their best album. Director Gus Van Sant thanks the band in the credits of the 1991 film My Own Private Idaho for the use of the song title, the song itself is not referred to anywhere in the movie. All tracks written by Fred Schneider, Keith Strickland, Ricky Wilson, Cindy Wilson and Kate Pierson, except as noted. Party Out of Bounds lends its name both to singer Fred Schneiders radio show on Sirius Satellite Radio, and to a charity benefit party held in the bands hometown of Athens
36.
Classical music
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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
37.
Maurice Ravel
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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
38.
Opera
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
39.
Paul Hindemith
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Paul Hindemith was a prolific German composer, violist, violinist, teacher and conductor. Notable compositions include his song cycle Das Marienleben, Der Schwanendreher for Viola and Orchestra, Hindemiths most popular work, both on record and in the concert hall, is likely the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943. Born in Hanau, near Frankfurt am Main, Hindemith was taught the violin as a child and he entered Frankfurts Hoch’sche Konservatorium, where he studied violin with Adolf Rebner, as well as conducting and composition with Arnold Mendelssohn and Bernhard Sekles. At first he supported himself by playing in bands and musical-comedy groups. He became deputy leader of the Frankfurt Opera Orchestra in 1914 and he played second violin in the Rebner String Quartet from 1914. Hindemith was conscripted into the German army in September,1917, there he was assigned to play bass drum in the regiment band, and also formed a string quartet. In May 1918 he was deployed to the front in Flanders, after the armistice he returned to Frankfurt and the Rebner Quartet. In 1921 he founded the Amar Quartet, playing viola, in 1922, some of his pieces were played in the International Society for Contemporary Music festival at Salzburg, which first brought him to the attention of an international audience. The following year, he began to work as an organizer of the Donaueschingen Festival, in 1927 he was appointed Professor at the Berliner Hochschule für Musik in Berlin. Hindemith wrote the music for Hans Richters 1928 avant-garde film Ghosts Before Breakfast, although the score was subsequently lost, in 1929 he played the solo part in the premiere of William Waltons Viola Concerto, after Lionel Tertis, for whom it was written, turned it down. Hindemith did not stay in Turkey as long as many other émigrés, nevertheless, he greatly influenced the developments of Turkish musical life, the Ankara State Conservatory owes much to his efforts. In fact, Hindemith was regarded as a master by young Turkish musicians and he was appreciated. Towards the end of the 1930s, he made tours in America as a viola and viola damore soloist. Hindemiths relationship to the Nazis is a complicated one, the controversy around his work continued throughout the thirties, with the composer falling in and out of favor with the Nazi hierarchy, he finally emigrated to Switzerland in 1938. This development seems to have been supported by the Nazi regime, it may have got him out of the way, yet at the same time he propagated a German view of musical history. In 1940, Hindemith emigrated to the United States, at the same time that he was codifying his musical language, his teaching and compositions began to be affected by his theories, according to critics like Ernest Ansermet. During this time he gave the Charles Eliot Norton Lectures at Harvard. Hindemith had a friendship with Erich Katz, whose own compositions were influenced by him
40.
Luciano Berio
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Luciano Berio, Cavaliere di Gran Croce OMRI was an Italian composer. He is noted for his work and also for his pioneering work in electronic music. He was taught the piano by his father and grandfather who were both organists, during World War II he was conscripted into the army, but on his first day, he injured his hand while learning how a gun worked, and spent time in a military hospital. Following the war, Berio studied at the Milan Conservatory under Giulio Cesare Paribeni and he was unable to continue studying the piano because of his injured hand, so instead concentrated on composition. In 1947 came the first public performance of one of his works, Berio made a living at this time accompanying singing classes, and it was in doing this that he met the American mezzo-soprano Cathy Berberian, whom he married shortly after graduating. Berio wrote a number of pieces which exploit her distinctive voice, in 1952, Berio went to the United States to study with Luigi Dallapiccola at Tanglewood, from whom he gained an interest in serialism. He later attended the Internationale Ferienkurse für Neue Musik at Darmstadt and he became interested in electronic music, co-founding the Studio di fonologia musicale, an electronic music studio in Milan, with Bruno Maderna in 1955. He invited a number of significant composers to work there, among them Henri Pousseur and he also produced an electronic music periodical, Incontri Musicali. In 1960, Berio returned to Tanglewood, this time as Composer in Residence, from 1960 to 1962 Berio also taught at the Dartington International Summer School. In 1965 he began to teach at the Juilliard School, and there he founded the Juilliard Ensemble, in 1966, he again married, this time to the noted philosopher of science Susan Oyama. His students included Louis Andriessen, Steven Gellman, Dina Koston, Steve Reich, Luca Francesconi, Giulio Castagnoli, Flavio Emilio Scogna, William Schimmel, all this time Berio had been steadily composing and building a reputation, winning the Prix Italia in 1966 for Laborintus II. His reputation was cemented when his Sinfonia was premiered in 1968, in 1972, Berio returned to Italy. From 1974 to 1980 he was director of the division of IRCAM in Paris. In 1987 he opened Tempo Reale, a centre for musical research, in 1988 he was made an Honorary Member of the Royal Academy of Music, London. In 1989 he received the Ernst von Siemens Music Prize and he was elected a Foreign Honorary Member of the American Academy of Arts and Sciences in 1994. The same year, he became Distinguished Composer in Residence at Harvard University, in 1993–94 he gave the Charles Eliot Norton lectures at Harvard, later published as Remembering the Future. He was active as a conductor and continued to compose to the end of his life, in 2000, he became Presidente and Sovrintendente at the Accademia Nazionale di Santa Cecilia in Rome. Luciano Berio died in 2003 in a hospital in Rome, Berios electronic work dates for the most part from his time at Milans Studio di Fonologia
