The violin, sometimes known as a fiddle, is a wooden string instrument in the violin family. Most violins have a hollow wooden body, it is highest-pitched instrument in the family in regular use. Smaller violin-type instruments exist, including the violino piccolo and the kit violin, but these are unused; the violin has four strings tuned in perfect fifths, is most played by drawing a bow across its strings, though it can be played by plucking the strings with the fingers and by striking the strings with the wooden side of the bow. Violins are important instruments in a wide variety of musical genres, they are most prominent in the Western classical tradition, both in ensembles and as solo instruments and in many varieties of folk music, including country music, bluegrass music and in jazz. Electric violins with solid bodies and piezoelectric pickups are used in some forms of rock music and jazz fusion, with the pickups plugged into instrument amplifiers and speakers to produce sound. Further, the violin has come to be played in many non-Western music cultures, including Indian music and Iranian music.
The name fiddle is used regardless of the type of music played on it. The violin was first known in 16th-century Italy, with some further modifications occurring in the 18th and 19th centuries to give the instrument a more powerful sound and projection. In Europe, it served as the basis for the development of other stringed instruments used in Western classical music, such as the viola. Violinists and collectors prize the fine historical instruments made by the Stradivari, Guarneri and Amati families from the 16th to the 18th century in Brescia and Cremona and by Jacob Stainer in Austria. According to their reputation, the quality of their sound has defied attempts to explain or equal it, though this belief is disputed. Great numbers of instruments have come from the hands of less famous makers, as well as still greater numbers of mass-produced commercial "trade violins" coming from cottage industries in places such as Saxony and Mirecourt. Many of these trade instruments were sold by Sears, Roebuck and Co. and other mass merchandisers.
The parts of a violin are made from different types of wood. Violins can be strung with Perlon or other synthetic, or steel strings. A person who makes or repairs violins is called a violinmaker. One who makes or repairs bows is called an bowmaker; the word "violin" was first used in English in the 1570s. The word "violin" comes from "Italian violino, diminutive of viola"; the term "viola" comes from the expression for "tenor violin" in 1797, from Italian viola, from Old Provençal viola, Medieval Latin vitula" as a term which means "stringed instrument," from Vitula, Roman goddess of joy... or from related Latin verb vitulari, "to exult, be joyful." The related term "Viola da gamba" means "bass viol" is from Italian "a viola for the leg"." A violin is the "modern form of the smaller, medieval viola da braccio." The violin is called a fiddle, either when used in a folk music context, or in Classical music scenes, as an informal nickname for the instrument. The word "fiddle" was first used in English in the late 14th century.
The word "fiddle" comes from "fedele, fidel, earlier fithele, from Old English fiðele "fiddle,", related to Old Norse fiðla, Middle Dutch vedele, Dutch vedel, Old High German fidula, German Fiedel, "a fiddle. As to the origin of the word "fiddle", the "...usual suggestion, based on resemblance in sound and sense, is that it is from Medieval Latin vitula." The earliest stringed instruments were plucked. Two-stringed, bowed instruments, played upright and strung and bowed with horsehair, may have originated in the nomadic equestrian cultures of Central Asia, in forms resembling the modern-day Mongolian Morin huur and the Kazakh Kobyz. Similar and variant types were disseminated along East-West trading routes from Asia into the Middle East, the Byzantine Empire; the direct ancestor of all European bowed instruments is the Arabic rebab, which developed into the Byzantine lyra by the 9th century and the European rebec. The first makers of violins borrowed from various developments of the Byzantine lyra.
These included the lira da braccio. The violin in its present form emerged in early 16th-century northern Italy; the earliest pictures of violins, albeit with three strings, are seen in northern Italy around 1530, at around the same time as the words "violino" and "vyollon" are seen in Italian and French documents. One of the earliest explicit descriptions of the instrument, including its tuning, is from the Epitome musical by Jambe de Fer, published in Lyon in 1556. By this time, the violin had begun to spread throughout Europe; the violin proved popular, both among street musicians and the nobility. One of these "noble" instruments, the Charles IX, is the oldest surviving violin; the finest Renaissance carved and decorated violin in the world is the Gasparo da Salò owned by Ferdinand II, Archduke of Austria and from 1841, by the Norwegian virtuoso Ole Bull, who used it for forty years and thousands of concerts, for i
Croats or Croatians are a nation and South Slavic ethnic group native to Croatia. Croats live in Croatia and Bosnia and Herzegovina, but are recognized minorities in such countries as Austria, the Czech Republic, Hungary, Montenegro, Serbia and Slovenia. Due to political and economic reasons, many Croats migrated to North and South America as well as Australia and New Zealand, establishing a diaspora in the aftermath of World War II, with grassroots assistance from earlier communities and the Roman Catholic Church. Croats are Roman Catholics; the Croatian language is official in Croatia and Bosnia and Herzegovina, as well as in the European Union, is a recognised minority language within Croatian autochthonous communities and minorities in Montenegro, Italy and Serbia. Evidence is rather scarce for the period between the 7th and 8th centuries, CE. Archaeological evidence shows population continuity in coastal Istria. In contrast, much of the Dinaric hinterland appears to have been depopulated, as all hilltop settlements, from Noricum to Dardania, were abandoned in the early 7th century.
Although the dating of the earliest Slavic settlements is still disputed, there is a hiatus of a century. The origin and nature of the Slavic migrations remain controversial, all available evidence points to the nearby Danubian and Carpathian regions; the ethnonym "Croat" is first attested in the charter of Duke Trpimir. Much uncertainty revolves around the exact circumstances of their appearance given the scarcity of literary sources during the 7th and 8th century "Dark Ages". Traditionally, scholarship has placed the arrival of the Croats in the 7th century on the basis of the Byzantine document De Administrando Imperio; as such, the arrival of the Croats was seen as a second wave of Slavic migrations, which liberated Dalmatia from Avar hegemony. However, as early as the 1970s, scholars questioned the reliability of Porphyrogenitus' work, written as it was in the 10th century. Rather than being an accurate historical account, De Administrando Imperio more reflects the political situation during the 10th century.
It served as Byzantine propaganda praising Emperor Heraclius for repopulating the Balkans with Croats, who were seen by the Byzantines as tributary peoples living on what had always been'Roman land'. Scholars have hypothesized the name Croat may be Iranian, thus suggesting that the Croatians were a Sarmatian tribe from the Pontic region who were part of a larger movement at the same time that the Slavs were moving toward the Adriatic; the major basis for this connection was the perceived similarity between Hrvat and inscriptions from the Tanais dated to the 2nd and 3rd centuries CE, mentioning the name Khoroathos. Similar arguments have been made for an alleged Gothic-Croat link. Whilst there is indeed possible evidence of population continuity between Gothic and Croatian times in parts of Dalmatia, the idea of a Gothic origin of Croats was more rooted in 20th century Ustaše political aspirations than historical reality. Contemporary scholarship views the rise of "Croats" as an autochthonous, Dalmatian response to the demise of the Avar khanate and the encroachment of Frankish and Byzantine Empires into northern Dalmatia.
They appear to have been based around Klis, down to the Cetina and south of Liburnia. Here, concentrations of the "Old Croat culture" abound, marked by some wealthy warrior burials dating to the 9th century CE. Other, distinct polities existed near the Croat duchy; these included the Guduscans, the Narentines and the Sorabi who ruled some other eastern parts of ex-Roman "Dalmatia". Prominent in the territory of future Croatia was the polity of Prince Liutevid, who ruled the territories between the Drava and Sava rivers, centred from his fort at Sisak. Although Duke Liutevid and his people are seen as a "Pannonian Croats", he is, due to the lack of "evidence that they had a sense of Croat identity" referred to as dux Pannoniae Inferioris, or a Slav, by contemporary sources. However, the Croats became the dominant local power in northern Dalmatia, absorbing Liburnia and expanding their name by conquest and prestige. In the south, while having periods of independence, the Naretines "merged" with Croats under control of Croatian Kings.
With such expansion, Croatia soon became dominant power and absorb other polities between Frankish and Byzantine empire. Although the Chronicle of the Priest of Duklja has been dismissed as an unreliable record, the mentioned "Red Croatia" suggests that Croatian clans and families might have settled as far south as Duklja/Zeta and city of Drač in today's Albania; the lands which constitute modern Croatia fell under three major geographic-politic zones during the Middle Ages, which were influenced by powerful neighbour Empires – notably the Byzantines, the Avars and Magyars and Bulgars. Each vied for control of the Northwest Balkan regions. Two independent Slavic dukedoms emerged sometime during the 9th century: the Croat Duchy and Principality of Lower Pannonia. Having been under Avar control, lower Pannonia became a march of the Carolingian Empire around 800. Aided by Vojnomir in 796, the first named Slavic Duke of Pannonia, the Franks wrested control of
Chamber music is a form of classical music, composed for a small group of instruments—traditionally a group that could fit in a palace chamber or a large room. Most broadly, it includes any art music, performed by a small number of performers, with one performer to a part. However, by convention, it does not include solo instrument performances; because of its intimate nature, chamber music has been described as "the music of friends". For more than 100 years, chamber music was played by amateur musicians in their homes, today, when chamber music performance has migrated from the home to the concert hall, many musicians and professional, still play chamber music for their own pleasure. Playing chamber music requires special skills, both musical and social, that differ from the skills required for playing solo or symphonic works. Johann Wolfgang von Goethe described chamber music as "four rational people conversing"; this conversational paradigm–which refers to the way one instrument introduces a melody or motif and other instruments subsequently "respond" with a similar motif–has been a thread woven through the history of chamber music composition from the end of the 18th century to the present.
The analogy to conversation recurs in analyses of chamber music compositions. From its earliest beginnings in the Medieval period to the present, chamber music has been a reflection of the changes in the technology and the society that produced it. During the Middle Ages and the early Renaissance, instruments were used as accompaniment for singers. String players would play along with the melody line sung by the singer. There were purely instrumental ensembles of stringed precursors of the violin family, called consorts; some analysts consider the origin of classical instrumental ensembles to be the sonata da camera and the sonata da chiesa. These were compositions for one to five or more instruments; the sonata da camera was a suite of fast movements, interspersed with dance tunes. These forms developed into the trio sonata of the Baroque – two treble instruments and a bass instrument with a keyboard or other chording instrument filling in the harmony. Both the bass instrument and the chordal instrument would play the basso continuo part.
During the Baroque period, chamber music as a genre was not defined. Works could be played on any variety of instruments, in orchestral or chamber ensembles; the Art of Fugue by Johann Sebastian Bach, for example, can be played on a keyboard instrument or by a string quartet or a string orchestra. The instrumentation of trio sonatas was often flexibly specified. Sometimes composers mixed movements for chamber ensembles with orchestral movements. Telemann's'Tafelmusik', for example, has five sets of movements for various combinations of instruments, ending with a full orchestral section. Baroque chamber music was contrapuntal; because each instrument was playing the same melodies, all the instruments were equal. In the trio sonata, there is no ascendent or solo instrument, but all three instruments share equal importance; the harmonic role played by the keyboard or other chording instrument was subsidiary, the keyboard part was not written out. In the second half of the 18th century, tastes began to change: many composers preferred a new, lighter Galant style, with "thinner texture... and defined melody and bass" to the complexities of counterpoint.
Now a new custom arose. Patrons invited street musicians to play evening concerts below the balconies of their homes, their friends and their lovers. Patrons and musicians commissioned composers to write suitable suites of dances and tunes, for groups of two to five or six players; these works were called serenades, divertimenti, or cassations. The young Joseph Haydn was commissioned to write several of these. Joseph Haydn is credited with creating the modern form of chamber music as we know it. In 83 string quartets, 45 piano trios, numerous string trios and wind ensembles, Haydn established the conversational style of composition and the overall form, to dominate the world of chamber music for the next two centuries. An example of the conversational mode of composition is Haydn's string quartet Op. 20, No. 4 in D major. In the first movement, after a statement of the main theme by all the instruments, the first violin breaks into a triplet figure, supported by the second violin and cello; the cello answers with its own triplet figure the viola, while the other instruments play a secondary theme against this movement.
Unlike counterpoint, where each part plays the same melodic role as the others, here each instrument contributes its own character, its own comment on the music as it develops. Haydn settled on an overall form for his chamber music compositions, which would become the standard, with slight varia
Ballet is a type of performance dance that originated during the Italian Renaissance in the fifteenth century and developed into a concert dance form in France and Russia. It has since become a widespread technical form of dance with its own vocabulary based on French terminology, it has been globally influential and has defined the foundational techniques used in many other dance genres and cultures. Ballet has been taught in various schools around the world, which have incorporated their own cultures and as a result, the art has evolved in a number of distinct ways. See glossary of ballet. A ballet, a work, consists of the music for a ballet production. Ballets are performed by trained ballet dancers. Traditional classical ballets are performed with classical music accompaniment and use elaborate costumes and staging, whereas modern ballets, such as the neoclassical works of American choreographer George Balanchine are performed in simple costumes and without the use of elaborate sets or scenery.
Ballet is a French word which had its origin in Italian balletto, a diminutive of ballo which comes from Latin ballo, meaning "to dance", which in turn comes from the Greek "βαλλίζω", "to dance, to jump about". The word came into English usage from the French around 1630. Ballet originated in the Italian Renaissance courts of the sixteenth centuries. Under Catherine de' Medici's influence as Queen, it spread to France, where it developed further; the dancers in these early court ballets were noble amateurs. Ornamented costumes were meant to impress viewers, but they restricted performers' freedom of movement; the ballets were performed in large chambers with viewers on three sides. The implementation of the proscenium arch from 1618 on distanced performers from audience members, who could better view and appreciate the technical feats of the professional dancers in the productions. French court ballet reached its height under the reign of King Louis XIV. Louis founded the Académie Royale de Danse in 1661 to establish standards and certify dance instructors.
In 1672, Louis XIV made Jean-Baptiste Lully the director of the Académie Royale de Musique from which the first professional ballet company, the Paris Opera Ballet, arose. Pierre Beauchamp served as Lully's ballet-master. Together their partnership would drastically influence the development of ballet, as evidenced by the credit given to them for the creation of the five major positions of the feet. By 1681, the first "ballerinas" took the stage following years of training at the Académie. Ballet started to decline in France after 1830, but it continued to develop in Denmark and Russia; the arrival in Europe of the Ballets Russes led by Sergei Diaghilev on the eve of the First World War revived interest in the ballet and started the modern era. In the twentieth century, ballet had a wide influence on other dance genres, Also in the twentieth century, ballet took a turn dividing it from classical ballet to the introduction of modern dance, leading to modernist movements in several countries. Famous dancers of the twentieth century include Anna Pavlova, Galina Ulanova, Rudolf Nureyev, Maya Plisetskaya, Margot Fonteyn, Rosella Hightower, Maria Tall Chief, Erik Bruhn, Mikhail Baryshnikov, Suzanne Farrell, Gelsey Kirkland, Natalia Makarova, Arthur Mitchell.
Stylistic variations and subgenres have evolved over time. Early, classical variations are associated with geographic origin. Examples of this are Russian ballet, French ballet, Italian ballet. Variations, such as contemporary ballet and neoclassical ballet, incorporate both classical ballet and non-traditional technique and movement; the most known and performed ballet style is late Romantic ballet. Classical ballet is based on vocabulary. Different styles have emerged in different countries, such as French ballet, Italian ballet, English ballet, Russian ballet. Several of the classical ballet styles are associated with specific training methods named after their creators; the Royal Academy of Dance method is a ballet technique and training system, founded by a diverse group of ballet dancers. They merged their respective dance methods to create a new style of ballet, unique to the organization and is recognized internationally as the English style of ballet; some examples of classical ballet productions are: the Nutcracker.
Romantic ballet was an artistic movement of classical ballet and several productions remain in the classical repertoire today. The Romantic era was marked by the emergence of pointe work, the dominance of female dancers, longer, flowy tutus that attempt to exemplify softness and a delicate aura; this movement occurred during the early to mid-nineteenth century and featured themes that emphasized intense emotion as a source of aesthetic experience. The plots of many romantic ballets revolved around spirit women who enslaved the hearts and senses of mortal men; the 1827 ballet La Sylphide is considered to be the first, the 1870 ballet Coppélia is considered to be the last. Famous ballet dancers of the Romantic era include Marie Taglioni, Fanny Elssler, Jules Perrot. Jules Perrot is known for his choreography that of Giselle considered to be the most celebrated romantic ballet. Neoclassical ballet is abstract, with no clear plot, costumes or scenery. Music choice can be diverse and will include music, neoclassical.
The piano is an acoustic, stringed musical instrument invented in Italy by Bartolomeo Cristofori around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings; the word piano is a shortened form of pianoforte, the Italian term for the early 1700s versions of the instrument, which in turn derives from gravicembalo col piano e forte and fortepiano. The Italian musical terms piano and forte indicate "soft" and "loud" in this context referring to the variations in volume produced in response to a pianist's touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, the louder the sound of the note produced and the stronger the attack; the name was created as a contrast to harpsichord, a musical instrument that doesn't allow variation in volume. The first fortepianos in the 1700s had smaller dynamic range.
An acoustic piano has a protective wooden case surrounding the soundboard and metal strings, which are strung under great tension on a heavy metal frame. Pressing one or more keys on the piano's keyboard causes a padded hammer to strike the strings; the hammer rebounds from the strings, the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air; when the key is released, a damper stops the strings' vibration, ending the sound. Notes can be sustained when the keys are released by the fingers and thumbs, by the use of pedals at the base of the instrument; the sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as sounding a 10-note chord in the lower register and while this chord is being continued with the sustain pedal, shifting both hands to the treble range to play a melody and arpeggios over the top of this sustained chord.
Unlike the pipe organ and harpsichord, two major keyboard instruments used before the piano, the piano allows gradations of volume and tone according to how forcefully a performer presses or strikes the keys. Most modern pianos have a row of 88 black and white keys, 52 white keys for the notes of the C major scale and 36 shorter black keys, which are raised above the white keys, set further back on the keyboard; this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the "accidentals". More some pianos have additional keys. Most notes have three strings, except for the bass; the strings are sounded when keys are pressed or struck, silenced by dampers when the hands are lifted from the keyboard. Although an acoustic piano has strings, it is classified as a percussion instrument rather than as a stringed instrument, because the strings are struck rather than plucked. There are two main types of piano: the upright piano.
The grand piano is used for Classical solos, chamber music, art song, it is used in jazz and pop concerts. The upright piano, more compact, is the most popular type, as it is a better size for use in private homes for domestic music-making and practice. During the 1800s, influenced by the musical trends of the Romantic music era, innovations such as the cast iron frame and aliquot stringing gave grand pianos a more powerful sound, with a longer sustain and richer tone. In the nineteenth century, a family's piano played the same role that a radio or phonograph played in the twentieth century. During the nineteenth century, music publishers produced many musical works in arrangements for piano, so that music lovers could play and hear the popular pieces of the day in their home; the piano is employed in classical, jazz and popular music for solo and ensemble performances and for composing and rehearsals. Although the piano is heavy and thus not portable and is expensive, its musical versatility, the large number of musicians and amateurs trained in playing it, its wide availability in performance venues and rehearsal spaces have made it one of the Western world's most familiar musical instruments.
With technological advances, amplified electric pianos, electronic pianos, digital pianos have been developed. The electric piano became a popular instrument in the 1960s and 1970s genres of jazz fusion, funk music and rock music; the piano was founded on earlier technological innovations in keyboard instruments. Pipe organs have been used since Antiquity, as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches; the first string instruments with struck strings were the hammered dul
Jakov Gotovac was a Croatian composer and conductor of classical music. His comic opera, Ero s onoga svijeta, Croatia's best-known opera, was first performed in Zagreb in 1935. Gotovac was born in Split and had little if any formal education in music. Jakov was fortunate to be encouraged and supported by Josip Hatze, Cyril Metoděj Hrazdira and Antun Dobronić who instilled him with a nationalistic orientation in music, he started as a law student in Zagreb, but switched to writing music in 1920. In Vienna, he studied in the class of Joseph Marx. Back home, in 1922 he worked with Masaryk's Philharmonia Society Kolo founded in Šibenik by Vice Iljadica in 1899. In 1923 he moved to Zagreb, where he kept working both as composer until his death. Between 1923 and 1958, he was the opera conductor at the Croatian National Theatre, leader of an academic musical society Mladost, of the choir Vladimir Nazor, his best-known work is no doubt Ero s onoga svijeta, performed on all continents except Australia, has been translated into nine languages.
It has been performed in more than 80 theatres in Europe alone. He wrote numerous other works for orchestra as well as vocal music, piano pieces, others. In his works, Gotovac represents the late national romanticism, with Croatian folklore being the main source of ideas and inspiration. Musically, he prefers homophonic textures and simple harmonic structures in keeping with the folk idiom he admired. Gotovac died at the age of 87 in Zagreb. Simfonijsko kolo, Op. 12 Pjesma i ples s Balkana, Op. 16 Orači, Op. 18 Guslar, Op. 22 Dinarka Plesovi od Bunjevaca 2 Scherzos 2 pjesme za muški zbor 2 pjesme čuda i smijeha Koleda Dubravka: Pastorale for Choir & Orchestra, text from Ivan Gundulić, Op. 13 3 momačka zbora Pjesme vječnog jada Pjesme zanosa Djevojka i mjesec for alto & orchestra Erotski moment za glas i glasovir 2 Sonate za bariton i orkestar Pjesme djevojčice za jedan glas i glasovir Gradom za glas i glasovir Rizvan-aga za bariton i orkestar (Rizvan-aga for bariton & orchestra Pjesme čežnje za glas i orkestar Morana, Op. 14 Ero s onoga svijeta, Op. 17 Kamenik, Op. 23 Mila Gojsalića, Op. 28 Đerdan, Op. 30 Dalmaro, Op. 32 Stanac, Op. 33 Petar Svačić.
Opera-Oratorij (opera oratorio, Op. 35 Ero s onoga svijeta - in English Vatroslav Lisinski Music Hall - in Croatian