1.
Wind instrument
–
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
Wind instrument
–
Erke, wind instrument of Argentina
Wind instrument
–
The bell of a B Flat clarinet
2.
Woodwind instrument
–
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
Woodwind instrument
–
Alto and
tenor saxophone reeds
Woodwind instrument
–
A piper playing the
bagpipes
3.
Aerophone
–
Aerophones categorically comprise the largest and most complex group of instruments in the Americas. The first class includes instruments which, when played, do not contain the vibrating air and this class includes free reed instruments, such as the harmonica, but also many instruments unlikely to be called wind instruments at all by most people, such as sirens and whips. The second class includes instruments which contain the air when being played. This class includes almost all instruments generally called wind instruments — including the didgeridoo, brass instruments, additionally, very loud sounds can be made by explosions directed into, or being detonated inside of resonant cavities. Detonations inside the calliope, as well as the pyrophone might thus be considered as class 42 instruments, according to Ardal Powell, flute is a simple instrument found in numerous ancient cultures. There are three legendary and archeologically verifiable birthplace sites of flutes, Egypt, Greece and India, of these, the transverse flute appeared only in ancient India, while the fipple flutes are found in all three. It is likely, states Powell, that the modern Indian bansuri has not changed much since the medieval era. Archaeological studies have found examples of globular flutes in ancient Mexico, Colombia and Peru, the use of shells of Conches as an aerophone have also been found to be prevalent in areas such as Central America and Peru. Examples of aerophone type instruments in China can be dated back to the Neolithic period, fragments of bone flutes can be found at the burial sites of the Jiahu settlements of ancient China, and they represent some of the earliest known examples of playable instruments. The instruments were carved from the wing bone of the red-crowned crane. The flutes were efficient enough to sound in a nearly accurate octave. Examples of flutes made out of bamboo in China date back to 2nd Century BC and these flutes were known as Dizis or simply Di and typically had 6 holes for playing melodies that were framed by scale-modes. Flutes including the famous Bansuri, have been a part of Indian classical music since 1500 BC. A major deity of Hinduism, Krishna, has been associated with the flute, some early flutes were made out of tibias. Free aerophones are instruments where the air is not enclosed by the instrument itself. The air-stream meets a sharp edge, or an edge is moved through the air. Occasionally called percussive aerophones, plosive aerophones are sounded by percussion caused by a single compression, an example of a plosive aerophone is the scraper flute which has tubes with ridged or serrated edges so that they can be scraped with a rod to produce sound. Non-free aerophones are instruments where the air is contained within the instrument
Aerophone
–
Flutes are aerophones
Aerophone
–
Neolithic bone flute
Aerophone
–
A
Carnatic eight-holed bamboo flute
Aerophone
–
An eight-holed classical Indian bamboo flute.
4.
Range (music)
–
In music, the range of a musical instrument is the distance from the lowest to the highest pitch it can play. For a singing voice, the equivalent is vocal range, the range of a musical part is the distance between its lowest and highest note. The terms sounding range, written range, designated range, duration range, a piccolo, for example, typically has a sounding range one octave higher than its written range. The designated range is the set of notes the player should or can achieve while playing, all instruments have a designated range, and all pitched instruments have a playing range. Timbre, dynamics, and duration ranges are interrelated and one may achieve registral range at the expense of timbre, the designated range is thus the range in which a player is expected to have comfortable control of all aspects. The duration range is the difference between the shortest and longest rhythm used, dynamic range is the difference between the quietest and loudest volume of an instrument, part or piece of music. Although woodwind instruments and string instruments have no upper limit to their range. Brass instruments, on the hand, can play beyond their designated ranges. Notes lower than the brass instruments designated range are called pedal tones, the playing range of a brass instrument depends on both the technical limitations of the instrument and the skill of the player. Classical arrangements seldom make woodwind or brass instruments play beyond their designed range, string musicians play the bottom of their ranges very frequently, but the top of a string instruments range is rather fuzzy, and it is unusual for a string player to exceed the designated range. It is quite rare for wind musicians to play the extremes of their instruments, the most common exception is that in many 20th century works, pedal tones are called for in bass trombones. This chart uses standard numberings for octaves where middle C corresponds to C4, in the MIDI language middle C is referred to as MIDI note number 60. The lowest note that an organ can sound is C−1. However, if acoustic combination counts, the lowest note is C−2, *This chart only displays down to C0, though some pipe organs, such as the Boardwalk Hall Auditorium Organ, extend down to C−1. Also, the frequency of the subcontrabass tuba is B♭−1
Range (music)
–
Written range of a
Saxophone.
5.
Scientific pitch notation
–
Scientific pitch notation is a method of specifying musical pitch by combining a musical note name and a number identifying the pitchs octave. Although scientific pitch notation was designed as a companion to scientific pitch. Scientific pitch is a pitch standard—a system which defines the specific frequencies of particular pitches, SPN concerns only how pitch names are notated, that is, how they are designated in printed and written text, and does not inherently specify actual frequencies. Thus the use of SPN to distinguish octaves does not depend on the standard used. The octave number increases by 1 upon an ascension from B to C, thus A4 refers to the first A above C4. In describing musical pitches, enharmonic spellings can give rise to anomalies where C♭4 is a lower frequency than B♯3, scientific pitch notation is often used to specify the range of an instrument. It is also translated into staff notation, as needed. For example, a d′ played on a B♭ trumpet is actually a C4 in scientific pitch notation, scientific pitch notation avoids possible confusion between various derivatives of Helmholtz notation which use similar symbols to refer to different notes. For example, c in Helmholtz notation refers to the C below middle C, with scientific pitch notation, middle C is always C4, and C4 is never any note but middle C. C7 is much easier to distinguish visually from C8, than is, for example, c′′′′ from c′′′′′. Although pitch notation is intended to describe audible sounds, it can also be used to specify the frequency of non-audible phenomena, for example, some MIDI software uses C5 to represent middle C. This differentiation is unnecessary and can result in confusion and this creates a linear pitch space in which an octave spans 12 semitones, where each semitone is the distance between adjacent keys of the piano keyboard. Distance in this space corresponds to musical pitch distance in a scale,2 semitones being a whole step,1 semitone being a half step. An equal-tempered semitone can also be subdivided further into 100 cents, each cent is 1⁄100 semitone or 1⁄1200 octave. This measure of pitch allows the expression of microtones not found on standard piano keyboards, the table below gives notation for pitches based on standard piano key frequencies, in other words, standard concert pitch and twelve-tone equal temperament). When a piano is tuned to just intonation, C4 refers to the key on the keyboard. Mathematically, given the number n of semitones above middle C, given the MIDI number m, the frequency is 440 ⋅2 /12 Hz. Scientific pitch is a pitch standard, first proposed in 1713 by French physicist Joseph Sauveur
Scientific pitch notation
–
Ten Cs in scientific pitch notation
6.
Musical instrument
–
A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
Musical instrument
–
Anne Vallayer-Coster, Attributes of Music, 1770. This
still life painting depicts a variety of French Baroque musical instruments, such as a
natural horn,
transverse flute,
musette,
violin, and
lute.
Musical instrument
–
Found in
Slovenia, the
Divje Babe Flute is considered the world's
oldest known musical instrument
Musical instrument
–
Two
Aztec slit drums, called teponaztli. The characteristic " H " slits can be seen on the top of the drum in the foreground.
Musical instrument
–
Ancient Egyptian tomb painting depicting lute players,
18th Dynasty (c. 1350 BC)
7.
Shawm
–
The shawm is a conical bore, double-reed woodwind instrument made in Europe from the 12th century to the present day. It achieved its peak of popularity during the medieval and Renaissance periods and it is likely to have come to Western Europe from the Eastern Mediterranean around the time of the Crusades. Double reed instruments similar to the shawm were long present in Southern Europe and the East, for instance the Ancient Greek, and later Byzantine, aulos, the Persian sorna, and the Armenian duduk. The body of the shawm is usually turned from a piece of wood. Beginning in the 16th century, shawms were made in sizes, from sopranino to great bass. All later shawms have at least one key allowing an extension of the compass. The pirouette, a small wooden attachment with a cavity in the center resembling a thimble, surrounds the lower part of the reed—this provides support for the lips and embouchure. Since only a portion of the reed protrudes past the pirouette, the player has only limited contact with the reed. In English the name only first appears in the 14th century, the early plural forms were often mistaken for a singular, and new plurals were formed from them. The later reduction in the 15th and 16th centuries to a syllable in forms such as schalme, shaume, shawme. In Portugal there is an instrument called charamela, and the name of the Italian shawm is ciaramella, Instruments resembling the medieval shawm can still be heard in many countries today, played by street musicians or military bands. The latter use would have been familiar to crusaders, who often had to face massed bands of Saracen shawms and nakers and it must have had a profound effect, as the shawm was quickly adopted by Europeans, for dancing as well as for military purposes. The standard outdoor dance band in the century consisted of a slide trumpet playing popular melodies. In many Asian countries, shawm technique includes circular breathing allowing continuous playing without pauses for air, by the early 16th century, the shawm had undergone considerable development. The harsh tonality of the shawm had been modulated somewhat by a narrowing of the bore. This also extended the range, enabling the performer to play the notes in the second octave. Larger sizes of shawm were built, down to the bass in Bb, two octaves and a major third below the soprano in D. However, the larger sizes were unwieldy. The shawm became standard equipment for bands, or waits
Shawm
–
Shawm
Shawm
8.
Clarinet
–
The clarinet is a musical-instrument family belonging to the group known as the woodwind instruments. It has a mouthpiece, a straight cylindrical tube with an almost cylindrical bore. A person who plays a clarinet is called a clarinetist, the word clarinet may have entered the English language via the French clarinette, or from Provençal clarin, oboe. It would seem however that its roots are to be found amongst some of the various names for trumpets used around the renaissance. Clarion, clarin and the Italian clarino are all derived from the medieval term claro which referred to a form of trumpet. This is probably the origin of the Italian clarinetto, itself a diminutive of clarino, according to Johann Gottfried Walther, writing in 1732, the reason for the name is that it sounded from far off not unlike a trumpet. The English form clarinet is found as early as 1733, while the similarity in sound between the earliest clarinets and the trumpet may hold a clue to its name, other factors may have been involved. The trumpet parts that required this speciality were known by the term clarino, Johann Christoph Denner is generally believed to have invented the clarinet in Germany around the year 1700 by adding a register key to the earlier chalumeau. Over time, additional keywork and airtight pads were added to improve the tone and these days the most popular clarinet is the B♭ clarinet. However, the clarinet in A, just a lower, is commonly used in orchestral music. Since the middle of the 19th century the clarinet has become an essential addition to the orchestra. The clarinet family ranges from the BBB♭ octo-contrabass to the A♭ piccolo clarinet, the clarinet has proved to be an exceptionally flexible instrument, equally at home in the classical repertoire as in concert bands, military bands, marching bands, klezmer, and jazz. The cylindrical bore is primarily responsible for the clarinets distinctive timbre, the tone quality can vary greatly with the musician, the music, the instrument, the mouthpiece, and the reed. The most prominent were the German/Viennese traditions and the French school, the latter was centered on the clarinetists of the Conservatoire de Paris. The proliferation of recorded music has made examples of different styles of clarinet playing available, the modern clarinetist has a diverse palette of acceptable tone qualities to choose from. The A clarinet and B♭ clarinet have nearly the same bore, orchestral players using the A and B♭ instruments in the same concert could use the same mouthpiece for both. The A and the B♭ instruments have nearly identical tonal quality, the tone of the E♭ clarinet is brighter than that of the lower clarinets and can be heard even through loud orchestral or concert band textures. The bass clarinet has a deep, mellow sound, while the alto clarinet is similar in tone to the bass
Clarinet
–
Bass clarinet
Clarinet
–
Written range (though it is possible to play higher):
Clarinet
–
Sound wave propagation in the soprano clarinet
Clarinet
–
Schüller's quarter-tone clarinet
9.
Saxophone
–
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
Saxophone
–
An alto saxophone in E ♭
Saxophone
–
Adolphe Sax, the inventor of the saxophone
Saxophone
–
A
military band saxophonist holding a
baritone saxophone
Saxophone
–
Straight saxophones, including common fully straight types and unusual variants with slightly curved bell. Clockwise from top left: an
E♭ baritone, a
B♭ tenor, a C soprano, a
B♭ soprano, and a
B♭ soprillo
10.
Romanian language
–
Romanian is a Romance language spoken by around 24 million people as a native language, primarily in Romania and Moldova, and by another 4 million people as a second language. It has official status in Romania and the Republic of Moldova and it is one of the official languages of the European Union and the Latin Union. Romanian is a part of the Balkan-Romance group that evolved from several dialects of Vulgar Latin separated from the Western Romance during the 5th–8th centuries. To distinguish it within that group in comparative linguistics it is called Daco-Romanian as opposed to its closest relatives, Aromanian, Megleno-Romanian, and Istro-Romanian. Eastern Romance languages, like the branches of Romance languages, descend from Vulgar Latin. These vestiges of military usage are unique to Romanian in its language family. s. o, sat village, șes plain, a supune, tindă veranda, țară homeland a. s. o. This linguistic evidence challenges the Roeslerian theory, the vestiges from sermo castrensis particularize the Romanian language in the neolatin area, together with its isolated history. e. With Rom. māgurā and Alb. magulë etc, the Roman Empire withdrew from Dacia in 271–272 AD, leaving it to the Goths. The history of Eastern Romance between the 3rd century and the development of Proto-Romanian by the 10th century, when the area came under the influence of the Byzantine Empire, is unknown. It is a matter of debate whether Proto-Romanian developed among Romanized people who were left behind in Dacia by the Roman withdrawal or among Latin-speakers in the Balkans south of the Danube, during the Middle Ages, Romanian became influenced by the Slavic languages and to some degree by Greek. Romanian remains unattested throughout the Middle Ages, and only enters the record in the early 16th century. The use of the denomination Romanian for our language and use of the demonym Romanians for speakers of this language predates the foundation of the modern Romanian state. In 1534, Tranquillo Andronico notes, Valachi nunc se Romanos vocant, francesco della Valle writes in 1532 that Romanians are calling themselves Romans in their own language, and he subsequently quotes the expression, Știi Românește. After travelling through Wallachia, Moldavia and Transylvania Ferrante Capecci accounts in 1575 that the population of these regions call themselves românești. Pierre Lescalopier writes in 1574 that those who live in Moldavia, Wallachia, the Transylvanian Saxon Johann Lebel writes in 1542 that Vlachi se numeau între ei Romuini and the Polish chronicler Stanislaw Orzechowski notes in 1554 that în limba lor walachii se numesc romini. In Palia de la Orăștie stands written «, că văzum cum toate limbile au și înfluresc întru cuvintele slăvite a lui Dumnezeu numai noi românii pre limbă nu avem. și le-au dăruit voo fraților români. », nevertheless, the oldest extant document written in Romanian remains Neacșus letter and was written using Cyrillic letters. There are no records of any documents written in Romanian from before 1521
Romanian language
–
Neacșu's letter is the oldest surviving document written in Romanian
Romanian language
–
Distribution of the Romanian language in
Europe.
Romanian language
–
A sample of Romanian written in the
Romanian Cyrillic alphabet, which was still in use in the early 19th century
Romanian language
–
A close shot of some keys with Romanian characters on the keyboard of a laptop
11.
Hungarian folk music
–
Hungarian folk music includes a broad array of styles, including the recruitment dance verbunkos, the csárdás and nóta. Béla Bartók took this departure into the musical world in his appropriation of traditional Hungarian as the basis for symphonic creations. Zoltán Kodály and Béla Bartók observed that Hungarian peasant music use isometric strophe structure and certain pentatonic formations and these features jointly may be considered as altogether typical, and differentiate Hungarian peasant music from that of any other nation. Bartók studied over 300 melodies, and noted that more modern tunes used for dancing featured pentatonic turns with frequent leaps in fourths
Hungarian folk music
–
Kaláka
12.
Romanian folk music
–
Romania is a European country with a multicultural music environment which includes active ethnic music scenes. Romania also has thriving scenes in the fields of pop music, hip hop, heavy metal and rock and roll. During the first decade of the 21st century some Europop groups/artists, such as Tom Boxer, Morandi, Connect-R, Akcent, Edward Maya, Alexandra Stan, Inna and Yarabi, traditional Romanian folk music remains popular, and some folk musicians have come to national fame. Folk music is the oldest form of Romanian musical creation, characterised by great vitality, it is the source of the cultured musical creation. Conservation of Romanian folk music has been aided by a large and enduring audience, one of them, Gheorghe Zamfir, is famous throughout the world today, and helped popularize a traditional Romanian folk instrument, the panpipes. Russian and Western influences brought about the introduction of polyphony in religious music in the 18th century, in Banat, the violin is the most common folk instrument, now played alongside imported woodwind instruments, other instruments include the taragot, which was imported in the 1920s from Hungary. Efta Botoca is among the most renowned violinists from Banat, bucovina is a remote province, and its traditions include some of the most ancient Romanian instruments, including the ţilincă and the cobza. Pipes are also played, usually with accompaniment by a cobza, violins and brass instruments have been imported in modern times. Crişana has an ancient tradition of using violins, often in duos and this format is also found in Transylvania but is an older tradition. Petrică Paşca has recently helped popularize the taragot in the region, also, in Roşia village are well known two local instruments, Hidede, a type of violin with a trumpet, replacing the resonance box, and a type of drum called Dobă. Dobrogeas population is diverse, and there exist elements of traditional Tartar, Ukrainian, Turkish. The most popular dance from Dobrogea is the geamparale, which is different from the other traditional dances of Romania. In fact, Dobrujan music is characterized by Balkan and Turkish rhythms, the typical folk ensemble from Maramureş is zongora and violin, often with drums. Taragot, saxophone and accordion have more recently been introduced, in Oaş, a violin adapted to be shriller is used, accompanied by the zongora. The singing in this region is unique, shrill with archaic melodic elements. Violin and ţambal are the format most common in Moldavian dance music. Prior to the 20th century, however, the violin was usually accompanied by the cobza, brass ensembles are now found in the central part of the county. Among the most renowned violinists from this region is Ion Drăgoi, moldavia is also known for brass bands similar to those in Serbia
Romanian folk music
–
A Romanian popular dance
Romanian folk music
–
Alexandra Stan
13.
Turkish wars
–
The earliest conflicts began during the Byzantine–Ottoman wars in the 13th century, followed by the Bulgarian–Ottoman wars and the Serbian–Ottoman Wars in the 14th century. Much of this period was characterized by Ottoman expansion into the Balkans, the Ottoman Empire made further inroads into Central Europe in the 15th and 16th centuries, culminating in the peak of Ottoman territorial claims in Europe. The Ottoman–Venetian Wars spanned four centuries, starting in 1423 and lasting until 1718, the island of Corfu under Venetian rule remained the only Greek island not conquered by the Ottomans. Nevertheless, Ottoman armies were able to hold their own against their European rivals until the half of the eighteenth century. In the nineteenth century the Ottomans were confronted with insurrection from their Serbian and this occurred in tandem with the Russo-Turkish wars, which further destabilized the empire. The final retreat of Ottoman rule came with the First Balkan War, Constantinople fell in 1453 after the Battle of Varna and the Second Battle of Kosovo. The remaining Greek state fell in 1461, sofia fell in 1382, followed by the capital of the Second Bulgarian Empire Tarnovgrad in 1393, and the northwest remnants of the state after the Battle of Nicopolis in 1396. Much of Serbia fell to the Ottomans by 1459, the Kingdom of Hungary made a partial reconquest in 1480, the Ottomans took much of Albania in the 1385 Battle of Savra. The 1444 League of Lezhë briefly restored one part of Albania, until Ottomans captured complete territory of Albania after capture of Shkodër in 1479 and Durrës in 1501. It has been argued that Albanian resilience halted the Ottoman advance along the Eastern flank of the Western Civilization, Sultan Mehmet II died in 1481, merely two years after the collapse of the Albanian resistance and one year after he launched an Italian campaign. Ottoman Empire first reached Bosnia in 1388 where they were defeated by Bosnian forces in the Battle of Bileca, after the fall of Serbia in 1389 Battle of Kosovo, where the Bosnians participated through Vlatko Vuković, the Turks began various offensives against the Kingdom of Bosnia. The Bosnians defended themselves but without much success, Bosnians resisted strongly in the Bosnian Royal castle of Jajce, where the last Bosnian king Stjepan Tomašević tried to repel the Turks. The Ottoman army conquered it after a few months of the siege of Jajce, in 1463, the House of Kosača held Herzegovina until 1482. The Ottomans meanwhile reached the river Neretva and having conquered Herzegovina in 1482, they encroached upon Croatia, a decisive Ottoman victory at the Battle of Krbava field shook all of Croatia. However, it did not dissuade the Croats from making persistent attempts at defending themselves against the attacks of the superior Ottoman forces. After almost two hundred years of Croatian resistance against the Ottoman Empire, the victory in the Battle of Sisak marked the end of Ottoman rule, the Viceroys army, chasing the fleeing remnants at Petrinja in 1595, sealed the victory. The Kingdom of Hungary, which at the time spanned the area from Croatia in the west to Transylvania in the east, was gravely threatened by Ottoman advances. The origins of such a deterioration can be traced back to the fall of the ruling dynasty and their subsequent replacement with the Angevin
Turkish wars
–
Conquest of Constantinople by Sultan
Mehmed the Conqueror in 1453
Turkish wars
–
Albanian assault on a Turkish encampment in 1457
Turkish wars
–
Croatian captain
Petar Kružić led the defense of the
Klis Fortress against a Turkish invasion and siege that lasted for more than two and a half decades. During this defense, an elite Croatian military faction of
Uskoci was formed.
14.
Double reed
–
A double reed is a type of reed used to produce sound in various wind instruments. The term double reed comes from the fact there are two pieces of cane vibrating against each other. A single reed consists of one piece of cane which vibrates against a mouthpiece made of metal, hardened rubber, resin, the term double reeds can also refer collectively to the class of instruments which use double reeds. There are several differences, the most obvious being size, between various types of reeds, for example between that for a bassoon and that for an oboe or a cor anglais. Typically, Arundo donax cane is used for the making of double reeds, for bassoon reeds, tubes of this cane are first split lengthwise then gouged to a certain thickness. The chosen piece of cane is cut to shape and the centre portion is thinned. The cane is folded end to end to form the two blades of the reed, the unprofiled end of the cane is shaped into a tube with the aid of a mandrel and bound with three strategically placed wires. A turban made out of thread is added on the third wire and it provides a hand hold for the reed that isnt a sharp wire. The folded tip is cut off to allow the blades to vibrate and final adjustments to the interior of the using a reamer. The reed is then ready to fit to the bocal of the bassoon, note that there are many schools of thought and processes for making reeds. However, because the oboe does not have a bocal, the cane must be fastened to a metal tube, the staple is then inserted into the farrow at the upper end of the oboe. There are many different methods of making reeds and many variations of design have been developed, players can buy reeds either ready-made, or in various stages of formation, such as part-scraped, reed blanks, or buy the staples and cane separately. Cane is sold in forms, as tubes, gouged, gouged and shaped. Bassoon cane has the option of being profiled before purchase. Cane from several different regions is used in reed making, traditionally from southern France, there are also many options with regard to staples, shaping equipment, and so forth, which all have a subtle effect on the tone quality a reed will produce. While cane is by far the most common material for double reeds, reeds made out of synthetic materials may be used, these reeds often last longer and are less sensitive to temperature and humidity flucutations. Most reeds produced from synthetic materials have a quality that is dissimilar to that of a cane reed and are not favored by musicians. However, some recent manufacturers produce synthetic reeds that are used in a professional setting, oboe double reeds are about 7 mm in width
Double reed
–
Bassoon reeds
Double reed
–
A bassoon reed
Double reed
–
An oboe reed
15.
Bugle (instrument)
–
The bugle is one of the simplest brass instruments, having no valves or other pitch-altering devices. All pitch control is done by varying the players embouchure, consequently, the bugle is limited to notes within the harmonic series. See bugle call for scores to standard bugle calls, all consisting of five notes. These notes are known as the bugle scale, the bugle developed from early musical or communication instruments made of animal horns, with the word bugle itself coming from buculus, Latin for bullock. Predecessors and relatives of the bugle included the post horn, the Pless horn, the ancient Roman army used the buccina. The first verifiable use of a brass bugle as a military signal device was the Halbmondbläser, or half-moon bugle. It was U-shaped and comfortably carried by a strap attached at the mouthpiece. It first spread to England in 1764 where it was accepted widely in foot regiments. The bugle is used mainly in the military and Boy Scouts, historically the bugle was used in the cavalry to relay instructions from officers to soldiers during battle. They were used to assemble the leaders and to give marching orders to the camps, the bugle is also used in Boy Scout troops and in the Boys Brigade. The Rifles, a regiment in the British Army, has retained the bugle for ceremonial. The bugle has also used as a sign of peace in the case of a surrender. 19th century variants based on the bugle included both keyed and valved bugles. Keyed bugles were invented in England in the early 19th century, with a patent for one design, the Royal Kent bugle, taken out by Joseph Halliday in 1811. This bugle was highly popular and widely in use until c.1850 – for example, in works by Richard Willis and this variant of the bugle fell out of use with the invention of the valved cornet. Modern instruments classified as bugles are often valved, soprano bugle Alto bugle Baritone bugle Contrabass bugle Ralph T
Bugle (instrument)
–
American naval bugler in 1917
Bugle (instrument)
–
Military bugle in
B-flat
Bugle (instrument)
–
Military bugle in Japan
Bugle (instrument)
–
Bugle used by American militaries in the mid-19th century
16.
Bagpipes
–
Bagpipes are a wind instrument using enclosed reeds fed from a constant reservoir of air in the form of a bag. The term bagpipe is equally correct in the singular or plural, though pipers usually refer to the bagpipes as the pipes, a set of bagpipes minimally consists of an air supply, a bag, a chanter, and usually at least one drone. Many bagpipes have more than one drone in various combinations, held in place in stocks—sockets that fasten the various pipes to the bag, the most common method of supplying air to the bag is through blowing into a blowpipe, or blowstick. In some pipes the player must cover the tip of the blowpipe with their tongue while inhaling, an innovation, dating from the 16th or 17th century, is the use of a bellows to supply air. In these pipes, sometimes called cauld wind pipes, air is not heated or moistened by the players breathing, the bag is an airtight reservoir that holds air and regulates its flow via arm pressure, allowing the player to maintain continuous even sound. The player keeps the bag inflated by blowing air into it through a blowpipe or pumping air into it with a bellows, materials used for bags vary widely, but the most common are the skins of local animals such as goats, dogs, sheep, and cows. More recently, bags made of materials including Gore-Tex have become much more common. A drawback of the bag is the potential for fungal spores to colonise the bag because of a reduction in necessary cleaning. An advantage of a bag is that they have a zip which allows the user to fit a more effective moisture trap to the inside of the bag. Bags cut from larger materials are usually saddle-stitched with an extra strip folded over the seam, holes are then cut to accommodate the stocks. The chanter is the pipe, played with two hands. Almost all bagpipes have at least one chanter, some pipes have two chanters, particularly those in North Africa, the Balkans in Southern Europe, and Southwest Asia. A chanter can be bored internally so that the walls are parallel for its full length. The chanter is usually open-ended, so there is no way for the player to stop the pipe from sounding. Thus most bagpipes share a constant, legato sound where there are no rests in the music, primarily because of this inability to stop playing, technical movements are used to break up notes and to create the illusion of articulation and accents. Because of their importance, these embellishments are often highly technical systems specific to each bagpipe, a few bagpipes have closed ends or stop the end on the players leg, so that when the player closes the chanter becomes silent. A practice chanter is a chanter without bag or drones, allowing a player to practice the instrument quietly, the term chanter is derived from the Latin cantare, or to sing, much like the modern French word chanteur. The note from the chanter is produced by a reed installed at its top, the reed may be a single or double reed
Bagpipes
–
Angel playing bagpipes in the
Thistle Chapel, Edinburgh
Bagpipes
–
A detail from the
Cantigas de Santa Maria showing bagpipes with one chanter and a parallel drone (Spain, 13th century).
Bagpipes
–
A detail from a painting by
Hieronymus Bosch showing two bagpipers (15th century).
Bagpipes
–
A Great Highland Bagpipe practice chanter
17.
Habsburg monarchy
–
The Monarchy was a composite state composed of territories within and outside the Holy Roman Empire, united only in the person of the monarch. The dynastic capital was Vienna, except from 1583 to 1611, from 1804 to 1867 the Habsburg Monarchy was formally unified as the Austrian Empire, and from 1867 to 1918 as the Austro-Hungarian Empire. The two entities were never coterminous, as the Habsburg Monarchy covered many lands beyond the Holy Roman Empire, the monarchy had no official name. The entity had no official name, Austrian Empire, This was the official name. Note that the German version is Kaisertum Österreich, i. e. the English translation empire refers to a territory ruled by an emperor, Austria-Hungary, This was the official name. An unofficial popular name was the Danubian Monarchy also often used was the term Doppel-Monarchie meaning two states under one crowned ruler, Crownlands or crown lands, This is the name of all the individual parts of the Austrian Empire, and then of Austria-Hungary from 1867 on. The Hungarian parts of the Empire were called Lands of the Holy Hungarian Crown of Saint Stephen or Lands of Holy Stephens Crown, the Bohemian Lands were called Lands of the St. Wenceslaus Crown. Burgenland came to Austria in 1921 from Hungary, Salzburg finally became Austrian in 1816 after the Napoleonic wars. Vienna, Austrias capital became a state January 1,1922, after being residence, Upper and Lower Austria, historically, were split into Austria above the Enns and Austria below the Enns. Upper Austria was enlarged after the Treaty of Teschen following the War of the Bavarian Succession by the so-called Innviertel, formerly part of Bavaria. Hereditary Lands or German Hereditary Lands or Austrian Hereditary Lands, In a narrower sense these were the original Habsburg Austrian territories, i. e. basically the Austrian lands, in a wider sense the Lands of the Bohemian Crown were also included in the Hereditary lands. The term was replaced by the term Crownlands in the 1849 March Constitution, within the Habsburg Monarchy, each province was governed according to its own particular customs. Until the mid 17th century, not all of the provinces were even necessarily ruled by the same members of the family often ruled portions of the Hereditary Lands as private apanages. An even greater attempt at centralization began in 1849 following the suppression of the revolutions of 1848. For the first time, ministers tried to transform the monarchy into a bureaucratic state ruled from Vienna. The Kingdom of Hungary, in particular, ceased to exist as a separate entity, in this system, the Kingdom of Hungary was given sovereignty and a parliament, with only a personal union and a joint foreign and military policy connecting it to the other Habsburg lands. When Bosnia and Herzegovina was annexed, it was not incorporated into either half of the monarchy, instead, it was governed by the joint Ministry of Finance. Austria-Hungary collapsed under the weight of the various unsolved ethnic problems that came to a head with its defeat in World War I, to these were added in 1779 the Inn Quarter of Bavaria, and in 1803 the Bishoprics of Trent and Brixen
Habsburg monarchy
–
Growth of the Habsburg Monarchy
Habsburg monarchy
–
Flag
Habsburg monarchy
–
Europa regina, symbolizing a Habsburg-dominated Europe.
Habsburg monarchy
–
Soldiers of the
Military Frontier against the incursions of the Ottoman Turks, 1756
18.
Budapest
–
Budapest is the capital and most populous city of Hungary, one of the largest cities in the European Union and sometimes described as the primate city of Hungary. It has an area of 525 square kilometres and a population of about 1.8 million within the limits in 2016. Budapest became a single city occupying both banks of the Danube river with the unification of Buda and Óbuda on the west bank, the history of Budapest began with Aquincum, originally a Celtic settlement that became the Roman capital of Lower Pannonia. Hungarians arrived in the territory in the 9th century and their first settlement was pillaged by the Mongols in 1241–1242. The re-established town became one of the centres of Renaissance humanist culture by the 15th century, following the Battle of Mohács and nearly 150 years of Ottoman rule, the region entered a new age of prosperity, and Budapest became a global city after its unification in 1873. It also became the co-capital of the Austro-Hungarian Empire, a power that dissolved in 1918. Budapest was the point of the Hungarian Revolution of 1848, the Hungarian Republic of Councils in 1919, the Battle of Budapest in 1945. Budapest is an Alpha- global city, with strengths in arts, commerce, design, education, entertainment, fashion, finance, healthcare, media, services, research, and tourism. Its business district hosts the Budapest Stock Exchange and the headquarters of the largest national and international banks and it is the highest ranked Central and Eastern European city on Innovation Cities Top 100 index. Budapest attracts 4.4 million international tourists per year, making it the 25th most popular city in the world, further famous landmarks include Andrássy Avenue, St. It has around 80 geothermal springs, the worlds largest thermal water system, second largest synagogue. Budapest is home to the headquarters of the European Institute of Innovation and Technology, the European Police College, over 40 colleges and universities are located in Budapest, including the Eötvös Loránd University, Central European University and Budapest University of Technology and Economics. Budapest is the combination of the city names Buda and Pest, One of the first documented occurrences of the combined name Buda-Pest was in 1831 in the book Világ, written by Count István Széchenyi. The origins of the names Buda and Pest are obscure, according to chronicles from the Middle Ages, the name Buda comes from the name of its founder, Bleda, brother of the Hunnic ruler Attila. The theory that Buda was named after a person is also supported by modern scholars, an alternative explanation suggests that Buda derives from the Slavic word вода, voda, a translation of the Latin name Aquincum, which was the main Roman settlement in the region. There are also theories about the origin of the name Pest. One of the states that the word Pest comes from the Roman times. According to another theory, Pest originates from the Slavic word for cave, or oven, the first settlement on the territory of Budapest was built by Celts before 1 AD
Budapest
Budapest
–
From top, left to right:
Hungarian Parliament,
Fisherman's Bastion,
Sándor Palace guard,
Heroes' Square,
National Theatre,
St. Stephen's Basilica and
Széchenyi Chain Bridge by night
Budapest
Budapest
19.
Reed (music)
–
A reed is a thin strip of material which vibrates to produce a sound on a musical instrument. The reeds of most woodwind instruments are made from Arundo donax or synthetic material, musical instruments may be classified according to the type and number of reeds used. The earliest types of single-reed instruments used idioglottal reeds, where the reed is a tongue cut. Much later, single-reed instruments started using heteroglottal reeds, where a reed is cut and separated from the tube of cane, by contrast, in a an uncapped double reed instrument, there is no mouthpiece, the two parts of the reed vibrate against one another. Single reeds are used on the mouthpieces of clarinets and saxophones, the back of the reed is flat and is placed against the mouthpiece, the rounded top side tapers to a thin tip. These reeds are roughly rectangular in shape except for the thin vibrating tip, all single reeds are shaped similarly but vary in size to fit each instruments mouthpiece. Reeds designed for the instrument may look identical to each other. Hardness is generally measured on a scale of 1 through 5 from softest to hardest and this is not a standardized scale and reed strengths vary by manufacturer. The thickness of the tip and heel and the profile in between affect the sound and playability, cane of different grades, even if cut with the same profile, will also respond differently. This is due to the natural differences in the density of the cane fibers. The cane used to make reeds for saxophone, clarinet, once the cane is cut, it must lay out and dry in direct sunlight for about a month. The cane is rotated regularly to ensure proper and complete drying, once dry, they are taken to be stored in a warehouse. As the cane is needed, it is pulled from the warehouse, once at the factory, the cane is taken to the cutting department where it is cut into tubes. The tubes are graded by diameter and wall density, the tubes are then cut into splits which are transformed into reed blanks. The blanks are tapered and profiled using blades or CNC machines into reeds, after the reeds are completed, they are taken to a machine that grades them for strength. Double reeds are used on the oboe, oboe damore, English horn, bass oboe, Heckelphone, bassoon, contrabassoon, sarrusophone, shawm, bagpipes, nadaswaram and they are typically not used in conjunction with a mouthpiece, rather the two reeds vibrate against each other. Reed strengths are graded from hard to soft, the making of double reeds begins in the same way as how single reeds are made. The cane is collected from Arundo donax, dried, processed, similar to single reed production, the cane is separated into various diameters. The most common diameters for American-style oboe reeds are as follows,9. 5–10 mm, 10–10.5 mm, many American oboists prefer a specific diameter at one time of the year and a different diameter at other times, depending on the season and the weather
Reed (music)
–
Alto and
tenor saxophone reeds.
Reed (music)
–
Bassoon double reeds.
Reed (music)
–
An oboe reed.
20.
Grenadilla
–
Dalbergia melanoxylon is a flowering plant in the family Fabaceae, native to seasonally dry regions of Africa from Senegal east to Eritrea and south to the north-eastern parts of South Africa. The tree is an important timber species in its areas, it is used in the manufacture of musical instruments. It is a tree, reaching 4–15 m tall, with grey bark. The leaves are deciduous in the dry season, alternate, 6–22 cm long, pinnately compound, the flowers are white and produced in dense clusters. The fruit is a pod 3–7 cm long, containing one to two seeds, the dense, lustrous wood ranges from reddish to pure black. It is generally cut into small billets or logs with its sharply demarcated bright yellow white sapwood left on to assist in the slow drying so as to prevent cracks developing, good quality A grade African blackwood commands high prices on the commercial timber market. The tonal qualities of African blackwood are particularly valued when used in instruments, principally clarinets, oboes, transverse flutes, piccolos, Highland pipes. The timber is used mainly because of its machinability and dimensional stability, deering Banjo Company uses blackwood to construct the tone ring in its John Hartford model banjo. Deering indicates that this reduces weight versus brass/bronze tone rings, furniture makers from the time of the Egyptians have valued this timber. A story states that it has even used as ballast in trading ships. The German knife companies Wüsthof and J. A. Henckels sell knives with blackwood handles due to the woods moisture repellent qualities, due to overuse, the mpingo tree is severely threatened in Kenya and is needing attention in Tanzania and Mozambique. The trees are being harvested at a rate, partly because of illegal smuggling of the wood into Kenya. African blackwood is no longer regarded as ebony, a name now reserved for a number of timbers yielded by the genus Diospyros. The genus Dalbergia yields other famous timbers such as Brazilian rosewood, Dalbergia cearensis, other names by which the tree is known include babanus and grenadilla, which appear as loanwords in various local English dialects. The Mpingo Conservation & Development Initiative is involved in research, awareness raising, in order to achieve this, the MCDI is helping communities to get Forest Stewardship Certification. The African blackwood Conservation Project works around Mount Kilimanjaro replanting African blackwood trees and it also works with adult and womens groups in the promotion of environmentally sound land uses. Clarinets for Conservation is based in Moshi, Tanzania and aims to raise awareness, small growers in Naples, Florida have been successful in growing African blackwood there. Growth habit in Florida yields taller, larger trees, and the rich soil combined with ample nutrients, hopefully, ventures like this will be able to take strain off African reserves and allow this timber to be used in the future
Grenadilla
–
African blackwood
Grenadilla
–
"African blackwood" redirects here. For the Rhodesian weeping wattle, also known as blackwood, see
Peltophorum africanum.
21.
English horn
–
The cor anglais or English horn in North America, is a double-reed woodwind instrument in the oboe family. It is approximately one and a half times the length of an oboe, the cor anglais is a transposing instrument pitched in F, a perfect fifth lower than the oboe. This means that music for the cor anglais is written a fifth higher than the instrument actually sounds. The fingering and playing technique used for the cor anglais are essentially the same as those of the oboe, the cor anglais normally lacks the lowest B♭ key found on most oboes and so its sounding range stretches from E3 below middle C to C6 two octaves above middle C. The pear-shaped bell of the cor anglais gives it a more covered timbre than the oboe, the cor anglais is perceived to have a more mellow and plaintive tone than the oboe. Its appearance differs from the oboe in that the reed is attached to a bent metal tube called the bocal, or crook. The cor anglais is usually notated in the treble clef, a fifth higher than sounding. Some composers notated it in the bass clef, when the register was persistently used. Alto clef written at sounding pitch is used, even by as late a composer as Sergei Prokofiev. In late-18th- and early-19th-century Italy, where the instrument was played by bassoonists instead of oboists. French operatic composers up to Fromental Halévy notated the instrument at sounding pitch in the mezzo-soprano clef, although the instrument usually descends only to low B♮, continental instruments with an extension to low B♭ have existed since early in the 19th century. Examples of works requiring this note include Arnold Schoenbergs Gurre-Lieder and Gustav Mahlers Das Lied von der Erde, antonín Dvořák, in his Scherzo Capriccioso, even writes for the cor anglais down to low A, though it seems unlikely that such an extension ever existed. Reeds used to play the cor anglais are similar to those used for an oboe, consisting of a piece of cane folded in two. While the cane on a reed is mounted on a small metal tube partially covered in cork, there is no such cork on a cor anglais reed. The cane part of the reed is wider and longer than that of the oboe, unlike American style oboe reeds, cor anglais reeds typically have wire at the base, approximately 5 mm from the top of the string used to attach the cane to the staple. This wire serves to hold the two blades of cane together and stabilize tone and pitch. Perhaps the best-known makers of modern cors anglais are the French firms of F. Lorée, Marigaux and Rigoutat, the British firm of T. W. Howarth, instruments from smaller makers, such as A. Laubin, are also sought after. Fox has recently made some instruments in plastic resin and in maple, the instrument originated in Silesia about 1720, when a bulb bell was fitted to a curved oboe da caccia-type body by the Weigel family of Breslau
English horn
–
Cor anglais or English horn
English horn
–
Opening motive from the 2nd movement (Largo) of
Dvořák 's
Symphony No. 9, From the New World
22.
World War II
–
World War II, also known as the Second World War, was a global war that lasted from 1939 to 1945, although related conflicts began earlier. It involved the vast majority of the worlds countries—including all of the great powers—eventually forming two opposing alliances, the Allies and the Axis. It was the most widespread war in history, and directly involved more than 100 million people from over 30 countries. Marked by mass deaths of civilians, including the Holocaust and the bombing of industrial and population centres. These made World War II the deadliest conflict in human history, from late 1939 to early 1941, in a series of campaigns and treaties, Germany conquered or controlled much of continental Europe, and formed the Axis alliance with Italy and Japan. Under the Molotov–Ribbentrop Pact of August 1939, Germany and the Soviet Union partitioned and annexed territories of their European neighbours, Poland, Finland, Romania and the Baltic states. In December 1941, Japan attacked the United States and European colonies in the Pacific Ocean, and quickly conquered much of the Western Pacific. The Axis advance halted in 1942 when Japan lost the critical Battle of Midway, near Hawaii, in 1944, the Western Allies invaded German-occupied France, while the Soviet Union regained all of its territorial losses and invaded Germany and its allies. During 1944 and 1945 the Japanese suffered major reverses in mainland Asia in South Central China and Burma, while the Allies crippled the Japanese Navy, thus ended the war in Asia, cementing the total victory of the Allies. World War II altered the political alignment and social structure of the world, the United Nations was established to foster international co-operation and prevent future conflicts. The victorious great powers—the United States, the Soviet Union, China, the United Kingdom, the Soviet Union and the United States emerged as rival superpowers, setting the stage for the Cold War, which lasted for the next 46 years. Meanwhile, the influence of European great powers waned, while the decolonisation of Asia, most countries whose industries had been damaged moved towards economic recovery. Political integration, especially in Europe, emerged as an effort to end pre-war enmities, the start of the war in Europe is generally held to be 1 September 1939, beginning with the German invasion of Poland, Britain and France declared war on Germany two days later. The dates for the beginning of war in the Pacific include the start of the Second Sino-Japanese War on 7 July 1937, or even the Japanese invasion of Manchuria on 19 September 1931. Others follow the British historian A. J. P. Taylor, who held that the Sino-Japanese War and war in Europe and its colonies occurred simultaneously and this article uses the conventional dating. Other starting dates sometimes used for World War II include the Italian invasion of Abyssinia on 3 October 1935. The British historian Antony Beevor views the beginning of World War II as the Battles of Khalkhin Gol fought between Japan and the forces of Mongolia and the Soviet Union from May to September 1939, the exact date of the wars end is also not universally agreed upon. It was generally accepted at the time that the war ended with the armistice of 14 August 1945, rather than the formal surrender of Japan
World War II
–
Clockwise from top left: Chinese forces in the
Battle of Wanjialing, Australian
25-pounder guns during the
First Battle of El Alamein, German
Stuka dive bombers on the
Eastern Front in December 1943, a U.S. naval force in the
Lingayen Gulf,
Wilhelm Keitel signing the
German Instrument of Surrender, Soviet troops in the
Battle of Stalingrad
World War II
–
The
League of Nations assembly, held in
Geneva,
Switzerland, 1930
World War II
–
Adolf Hitler at a German
National Socialist political rally in
Weimar, October 1930
World War II
–
Italian soldiers recruited in 1935, on their way to fight the
Second Italo-Abyssinian War
23.
Tristan und Isolde
–
Tristan und Isolde is an opera, or music drama, in three acts by Richard Wagner to a German libretto by the composer, based largely on the romance by Gottfried von Strassburg. It was composed between 1857 and 1859 and premiered at the Königliches Hof- und Nationaltheater in Munich on 10 June 1865 with Hans von Bülow conducting. Wagner referred to the not as an opera, but called it eine Handlung. Wagners composition of Tristan und Isolde was inspired by the philosophy of Arthur Schopenhauer, widely acknowledged as one of the peaks of the operatic repertoire, Tristan was notable for Wagners unprecedented use of chromaticism, tonality, orchestral colour and harmonic suspension. Other composers like Claude Debussy, Maurice Ravel and Igor Stravinsky formulated their styles in contrast to Wagners musical legacy. Many see Tristan as the beginning of the move away from common practice harmony and tonality, both Wagners libretto style and music were also profoundly influential on the Symbolist poets of the late 19th century and early 20th century. Wagner was forced to abandon his position as conductor of the Dresden Opera in 1849 and he left his wife, Minna, in Dresden, and fled to Zürich. There, in 1852, he met the wealthy silk trader Otto Wesendonck, Wesendonck became a supporter of Wagner and bankrolled the composer for several years. Wesendoncks wife, Mathilde, became enamoured of the composer, though Wagner was working on his epic Der Ring des Nibelungen, he found himself intrigued by the legend of Tristan and Iseult. The story of Tristan and Isolde is a romance of the Middle Ages. Several versions of the story exist, the earliest dating to the middle of the 12th century, gottfrieds version, part of the courtly branch of the legend, had a huge influence on later German literature. It was some such mood that inspired the conception of a Tristan und Isolde. I have devised in my mind a Tristan und Isolde, the simplest, yet most full-blooded musical conception imaginable, by the end of 1854, Wagner had sketched out all three acts of an opera on the Tristan theme, based on Gottfried von Strassburgs telling of the story. On 20 August he began the prose sketch for the opera, Wagner, at this time, had moved into a cottage built in the grounds of Wesendoncks villa, where, during his work on Tristan und Isolde, he became passionately involved with Mathilde Wesendonck. Whether or not this relationship was platonic remains uncertain, one evening in September of that year, Wagner read the finished poem of Tristan to an audience including his wife, Minna, his current muse, Mathilde, and his future mistress, Cosima von Bülow. By October 1857, Wagner had begun the composition sketch of the first Act, during November, however, he set five of Mathildes poems to music known today as the Wesendonck Lieder. This was a move by Wagner, who almost never set to music poetic texts other than his own. But Wagner resolved to write Tristan only after he had secured a deal with the Leipzig-based firm Breitkopf & Härtel
Tristan und Isolde
–
Ludwig and
Malvina Schnorr von Carolsfeld as Tristan and Isolde in the first performance, conducted by
Hans von Bülow
Tristan und Isolde
–
Tristan and Isolde with the Potion (1916) by
John William Waterhouse, oil on canvas
Tristan und Isolde
–
Tristan und Isolde by Ferdinand Leeke
24.
Richard Wagner
–
Wilhelm Richard Wagner was a German composer, theatre director, polemicist, and conductor who is primarily known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works and he described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most fully in the first half of the four-opera cycle Der Ring des Nibelungen and his advances in musical language, such as extreme chromaticism and quickly shifting tonal centres, greatly influenced the development of classical music. His Tristan und Isolde is sometimes described as marking the start of modern music, Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features. The Ring and Parsifal were premiered here and his most important stage works continue to be performed at the annual Bayreuth Festival, until his final years, Wagners life was characterised by political exile, turbulent love affairs, poverty and repeated flight from his creditors. His controversial writings on music, drama and politics have attracted extensive comment, notably, since the late 20th century, where they express antisemitic sentiments. The effect of his ideas can be traced in many of the arts throughout the 20th century, his influence spread beyond composition into conducting, philosophy, literature, Richard Wagner was born to an ethnic German family in Leipzig, where his family lived at No. 3, the Brühl in the Jewish quarter and he was baptized at St. Thomas Church. He was the child of Carl Friedrich Wagner, who was a clerk in the Leipzig police service, and his wife, Johanna Rosine. Wagners father Carl died of typhus six months after Richards birth, afterwards his mother Johanna lived with Carls friend, the actor and playwright Ludwig Geyer. In August 1814 Johanna and Geyer probably married—although no documentation of this has found in the Leipzig church registers. She and her family moved to Geyers residence in Dresden, until he was fourteen, Wagner was known as Wilhelm Richard Geyer. He almost certainly thought that Geyer was his biological father, Geyers love of the theatre came to be shared by his stepson, and Wagner took part in his performances. In his autobiography Mein Leben Wagner recalled once playing the part of an angel, in late 1820, Wagner was enrolled at Pastor Wetzels school at Possendorf, near Dresden, where he received some piano instruction from his Latin teacher. He struggled to play a scale at the keyboard and preferred playing theatre overtures by ear. Following Geyers death in 1821, Richard was sent to the Kreuzschule, at the age of nine he was hugely impressed by the Gothic elements of Carl Maria von Webers opera Der Freischütz, which he saw Weber conduct. At this period Wagner entertained ambitions as a playwright and his first creative effort, listed in the Wagner-Werk-Verzeichnis as WWV1, was a tragedy called Leubald. Begun when he was in school in 1826, the play was influenced by Shakespeare
Richard Wagner
–
Richard Wagner in 1871
Richard Wagner
–
Wagner's birthplace, at 3,
the Brühl, Leipzig
Richard Wagner
–
Wilhelmine "Minna" Planer (1835), by Alexander von Otterstedt
Richard Wagner
–
Wagner c. 1840, by Ernest Benedikt Kietz
25.
Cor anglais
–
The cor anglais or English horn in North America, is a double-reed woodwind instrument in the oboe family. It is approximately one and a half times the length of an oboe, the cor anglais is a transposing instrument pitched in F, a perfect fifth lower than the oboe. This means that music for the cor anglais is written a fifth higher than the instrument actually sounds. The fingering and playing technique used for the cor anglais are essentially the same as those of the oboe, the cor anglais normally lacks the lowest B♭ key found on most oboes and so its sounding range stretches from E3 below middle C to C6 two octaves above middle C. The pear-shaped bell of the cor anglais gives it a more covered timbre than the oboe, the cor anglais is perceived to have a more mellow and plaintive tone than the oboe. Its appearance differs from the oboe in that the reed is attached to a bent metal tube called the bocal, or crook. The cor anglais is usually notated in the treble clef, a fifth higher than sounding. Some composers notated it in the bass clef, when the register was persistently used. Alto clef written at sounding pitch is used, even by as late a composer as Sergei Prokofiev. In late-18th- and early-19th-century Italy, where the instrument was played by bassoonists instead of oboists. French operatic composers up to Fromental Halévy notated the instrument at sounding pitch in the mezzo-soprano clef, although the instrument usually descends only to low B♮, continental instruments with an extension to low B♭ have existed since early in the 19th century. Examples of works requiring this note include Arnold Schoenbergs Gurre-Lieder and Gustav Mahlers Das Lied von der Erde, antonín Dvořák, in his Scherzo Capriccioso, even writes for the cor anglais down to low A, though it seems unlikely that such an extension ever existed. Reeds used to play the cor anglais are similar to those used for an oboe, consisting of a piece of cane folded in two. While the cane on a reed is mounted on a small metal tube partially covered in cork, there is no such cork on a cor anglais reed. The cane part of the reed is wider and longer than that of the oboe, unlike American style oboe reeds, cor anglais reeds typically have wire at the base, approximately 5 mm from the top of the string used to attach the cane to the staple. This wire serves to hold the two blades of cane together and stabilize tone and pitch. Perhaps the best-known makers of modern cors anglais are the French firms of F. Lorée, Marigaux and Rigoutat, the British firm of T. W. Howarth, instruments from smaller makers, such as A. Laubin, are also sought after. Fox has recently made some instruments in plastic resin and in maple, the instrument originated in Silesia about 1720, when a bulb bell was fitted to a curved oboe da caccia-type body by the Weigel family of Breslau
Cor anglais
–
Cor anglais or English horn
Cor anglais
–
Opening motive from the 2nd movement (Largo) of
Dvořák 's
Symphony No. 9, From the New World
26.
World War I
–
World War I, also known as the First World War, the Great War, or the War to End All Wars, was a global war originating in Europe that lasted from 28 July 1914 to 11 November 1918. More than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history and it was one of the deadliest conflicts in history, and paved the way for major political changes, including revolutions in many of the nations involved. The war drew in all the worlds great powers, assembled in two opposing alliances, the Allies versus the Central Powers of Germany and Austria-Hungary. These alliances were reorganised and expanded as more nations entered the war, Italy, Japan, the trigger for the war was the assassination of Archduke Franz Ferdinand of Austria, heir to the throne of Austria-Hungary, by Yugoslav nationalist Gavrilo Princip in Sarajevo on 28 June 1914. This set off a crisis when Austria-Hungary delivered an ultimatum to the Kingdom of Serbia. Within weeks, the powers were at war and the conflict soon spread around the world. On 25 July Russia began mobilisation and on 28 July, the Austro-Hungarians declared war on Serbia, Germany presented an ultimatum to Russia to demobilise, and when this was refused, declared war on Russia on 1 August. Germany then invaded neutral Belgium and Luxembourg before moving towards France, after the German march on Paris was halted, what became known as the Western Front settled into a battle of attrition, with a trench line that changed little until 1917. On the Eastern Front, the Russian army was successful against the Austro-Hungarians, in November 1914, the Ottoman Empire joined the Central Powers, opening fronts in the Caucasus, Mesopotamia and the Sinai. In 1915, Italy joined the Allies and Bulgaria joined the Central Powers, Romania joined the Allies in 1916, after a stunning German offensive along the Western Front in the spring of 1918, the Allies rallied and drove back the Germans in a series of successful offensives. By the end of the war or soon after, the German Empire, Russian Empire, Austro-Hungarian Empire, national borders were redrawn, with several independent nations restored or created, and Germanys colonies were parceled out among the victors. During the Paris Peace Conference of 1919, the Big Four imposed their terms in a series of treaties, the League of Nations was formed with the aim of preventing any repetition of such a conflict. This effort failed, and economic depression, renewed nationalism, weakened successor states, and feelings of humiliation eventually contributed to World War II. From the time of its start until the approach of World War II, at the time, it was also sometimes called the war to end war or the war to end all wars due to its then-unparalleled scale and devastation. In Canada, Macleans magazine in October 1914 wrote, Some wars name themselves, during the interwar period, the war was most often called the World War and the Great War in English-speaking countries. Will become the first world war in the sense of the word. These began in 1815, with the Holy Alliance between Prussia, Russia, and Austria, when Germany was united in 1871, Prussia became part of the new German nation. Soon after, in October 1873, German Chancellor Otto von Bismarck negotiated the League of the Three Emperors between the monarchs of Austria-Hungary, Russia and Germany
World War I
–
Clockwise from the top: The aftermath of shelling during the
Battle of the Somme,
Mark V tanks cross the
Hindenburg Line,
HMS Irresistible sinks after hitting a
mine in the
Dardanelles, a British
Vickers machine gun crew wears
gas masks during the Battle of the Somme,
Albatros D.III fighters of
Jagdstaffel 11
World War I
–
Sarajevo citizens reading a poster with the proclamation of the
Austrian annexation in 1908.
World War I
–
This picture is usually associated with the arrest of
Gavrilo Princip, although some believe it depicts Ferdinand Behr, a bystander.
World War I
–
Serbian Army
Blériot XI "Oluj", 1915.
27.
Banat
–
The region of Banat is populated by ethnic Romanians, Serbs, Hungarians, Romani, Germans, Krashovani, Ukrainians, Slovaks, Bulgarians, Czechs, Croats, Jews and other ethnicities. During the Middle Ages, the term banate was designating a frontier province led by a governor who was called ban. Such provinces existed mainly in South Slavic, Hungarian and Romanian lands, in South Slavic and other regional languages, terms for banate were, Serbian - бановина / banovina, Hungarian - bánság, Romanian - banatul and Latin - banatus. At the time of the medieval Hungarian kingdom, the territory of modern-day Banat appeared in sources as Temesköz. The Hungarian name mainly referred to the areas between the Mureş, Tisza and Danube Rivers. Its Ottoman name was Eyalet of Temeşvar, during the Turkish occupation, the territory of Temesköz was also called Rascia. The word Banat without any qualification, typically refers to the historical Banat of Temeswar. The name was used from 1941 to 1944, during Axis occupation, for the short-lived political entity. Some of these languages would also have other terms, from their own frame of reference, to describe this historical and its historical capital was Timișoara, now in Timiș County in Romania. The Romanian Banat is mountainous in the south and southeast, while in the north, west and south-west it is flat, the climate, except in the marshy parts, is generally healthy. Wheat, barley, oats, rye, maize, flax, hemp and tobacco are grown in quantities. Game is plentiful and the swarm with fish. The mineral wealth is great, including copper, tin, lead, zinc, iron, amongst its numerous mineral springs, the most important are those of Mehadia, with sulphurous waters, which were already known in the Roman period as the Termae Herculis. The present Banat Region of Romania includes some areas that are mountainous and were not part of the historical Banat or of the Pannonian plain, in Serbia, the Banat is mostly plains. Wheat, barley, oats, rye, maize, hemp and sunflower are grown, a popular tourist destination in the Banat is Deliblatska Peščara. There are also ethnic minorities in the region, including Hungarians, Romanians, Slovaks, Bulgarians, Macedonians, Roma people. The first known inhabitants of present-day Banat were the various Thracian tribes, Agathyrsi, Getae, Dacians, in the 3rd century BC, Celtic tribes settled in this area. The region was part of the Dacian kingdom under Burebista in the first century BC, at the beginning of the 2nd century A. D. Trajan led two wars against the Dacians, the campaigns of 101-102, and 105-106
Banat
–
Banat in 16th century map
Tabula Hungariae. Note the dramatic geographic changes — a large lake around
Zrenjanin is today dried out.
Banat
–
Location of the Banat (dark green) in Europe (territorially-involved countries light green)
Banat
–
After the capture of Temesvár (Temeşvar), 1552
Banat
–
Romanian king Carol II visits a village in the Romanian Banat, 1934.
28.
Romania
–
Romania is a sovereign state located in Southeastern Europe. It borders the Black Sea, Bulgaria, Ukraine, Hungary, Serbia and it has an area of 238,391 square kilometres and a temperate-continental climate. With over 19 million inhabitants, the country is the member state of the European Union. Its capital and largest city, Bucharest, is the sixth-largest city in the EU, the River Danube, Europes second-longest river, rises in Germany and flows in a general southeast direction for 2,857 km, coursing through ten countries before emptying into Romanias Danube Delta. The Carpathian Mountains, which cross Romania from the north to the southwest are marked by one of their tallest peaks, Moldoveanu, modern Romania was formed in 1859 through a personal union of the Danubian Principalities of Moldavia and Wallachia. The new state, officially named Romania since 1866, gained independence from the Ottoman Empire in 1877, at the end of World War I, Transylvania, Bukovina and Bessarabia united with the sovereign Kingdom of Romania. Romania lost several territories, of which Northern Transylvania was regained after the war, following the war, Romania became a socialist republic and member of the Warsaw Pact. After the 1989 Revolution, Romania began a transition towards democracy and it has been a member of NATO since 2004, and part of the European Union since 2007. A strong majority of the population identify themselves as Eastern Orthodox Christians and are speakers of Romanian. The cultural history of Romania is often referred to when dealing with artists, musicians, inventors. For similar reasons, Romania has been the subject of notable tourist attractions, Romania derives from the Latin romanus, meaning citizen of Rome. The first known use of the appellation was attested in the 16th century by Italian humanists travelling in Transylvania, Moldavia, after the abolition of serfdom in 1746, the word rumân gradually fell out of use and the spelling stabilised to the form român. Tudor Vladimirescu, a leader of the early 19th century. The use of the name Romania to refer to the homeland of all Romanians—its modern-day meaning—was first documented in the early 19th century. The name has been officially in use since 11 December 1861, in English, the name of the country was formerly spelt Rumania or Roumania. Romania became the predominant spelling around 1975, Romania is also the official English-language spelling used by the Romanian government. The Neolithic-Age Cucuteni area in northeastern Romania was the region of the earliest European civilization. Evidence from this and other sites indicates that the Cucuteni-Trypillian culture extracted salt from salt-laden spring water through the process of briquetage
Romania
–
Neacșu's letter from 1521, the oldest surviving document written in
Romanian.
Romania
–
Flag
Romania
–
Writ issued on 14 October 1465 by
Radu cel Frumos, from his residence in
Bucharest, indicating
Ottoman victory.
Romania
–
A 1917 British map showing territories with majority Romanian populations.
29.
Melody Maker
–
Melody Maker was a British weekly pop/rock/disco music newspaper, one of the worlds earliest music weeklies. It was founded in 1926, largely as a magazine for dance band musicians, by Leicester-born composer, publisher Lawrence Wright, in 2000 it was merged into long-standing rival New Musical Express. Originally the Melody Maker concentrated on jazz, and had Max Jones, one of the leading British proselytizers for that music and it was slow to cover rock and roll and lost ground to the New Musical Express, which had begun in 1952. MM began its Melody Maker LP charts in November 1958, two years after the Record Mirror published the first UK Albums Chart, MM had larger and more specialised advertising, soon-to-be well-known groups would advertise for musicians. It ran pages devoted to minority interests like folk and jazz, a 1968 Melody Maker poll named John Peel best radio DJ, attention which John Walters revealed may have helped Peel keep his job despite concerns at BBC Radio 1 about Peels style and record selection. Melody Maker supported glam rock and progressive rock in the 1970s, Coleman had been insistent that the paper should look like The Daily Telegraph, but Williams wanted the paper to look more contemporary. He commissioned a design, but this was rejected by Coleman. During this period Melody Maker was described as the journal. In January 1972, in a moment for rock journalism. It was during this interview that Bowie claimed, Im gay, OH YOU PRETTY THING ran the headline, and swiftly became part of pop mythology. Bowie later attributed his success to this interview, stating that, Yeah and it was that piece by Mick Watts. During his tenure at the paper, Watts also toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan, in 1980, after a strike which had taken the paper out of publication for a period, Williams left MM. Several journalists, such as Chris Bohn and Vivien Goldman, moved to NME, Coleman left in 1981, the papers design was updated, but sales and prestige were at a low ebb through the early 1980s, with NME dominant. While MM continued to devote most space to rock and indie music, it covered techno, rap and post rock, two of the papers writers, Push and Ben Turner, went on to launch IPC Medias monthly dance music magazine Muzik. The paper printed harsh criticism of Ocean Colour Scene and Kula Shaker, in 1992, they gave a French rock band called Darlin a negative review calling them a daft punky thrash. Darlin eventually became the music duo Daft Punk. The magazine retained its large classified ads section, and remained the first call for musicians wanting to form a band, Suede formed through ads placed in the paper. In early 1997, Allan Jones left to edit Uncut and he was replaced by Mark Sutherland, formerly of NME and Smash Hits, who thus fulfilled boyhood dream and stayed on to edit the magazine for three years
Melody Maker
–
Melody Maker
30.
Free jazz
–
For the Ornette Coleman album see Free Jazz, A Collective Improvisation. Though the music of jazz composers varied widely, a common feature was dissatisfaction with the limitations of bebop, hard bop. Often described as avant-garde, free jazz has also described as an attempt to return jazz to its primitive, often religious, roots. As its name implies, free jazz cannot be defined more than loosely, as many musicians draw on free jazz concepts and idioms, and it was never completely distinct as a genre. Many free jazz musicians, notably Pharoah Sanders and John Coltrane, used harsh overblowing or other techniques to elicit unconventional sounds from their instruments, Free jazz musicians created a progressive musical language which drew on earlier styles of jazz such as Dixieland jazz and African music. Typically this kind of music is played by groups of musicians. The music often swings but without regular meter, and there are frequent accelerandi and ritardandi, Free jazz is strongly associated with the 1950s innovations of Ornette Coleman and Cecil Taylor and the later works of saxophonist John Coltrane. Other important pioneers include Charles Mingus, Eric Dolphy, Albert Ayler, Archie Shepp, Joe Maneri, some of bassist Charles Minguss work was also important in establishing free jazz. Although today free jazz is the generally used term, many terms were used to describe the loosely defined movement, including avant-garde, energy music. During its early and mid-1960s heyday, much free jazz was released by established labels such as Prestige, Blue Note, keith Johnson of AllMusic describes a Modern Creative genre, in which musicians may incorporate free playing into structured modes -- or play just about anything. Defining the essence of jazz is complicated, many musicians draw on free jazz concepts and idioms. Many individual musicians reject efforts at classification, regarding them as useless or unduly limiting, earlier jazz styles typically were built on a framework of song forms with a set framework of chord changes. In free jazz, the dependence on a fixed and pre-established form is eliminated, Free jazz, especially during its inception, contains theme of both progressive musical language and gathering inspiration from the past. The rejection of the bop aesthetic was combined with a fascination with earlier styles of jazz such as Dixieland jazz with its collective improvisation. This includes Ed Blackwells use of the West African talking drum, typically this kind of music is played by small groups of musicians, although some examples use larger numbers. For example, John Coltranes 1965 album Ascension, uses eleven musicians, other forms of jazz use clear regular meters and strongly pulsed rhythms, usually in 4/4 or 3/4. Free jazz normally retains a general pulsation and often swings but without regular meter, despite all of this, it is still very often possible to tap ones foot to a free jazz performance, meter is more freely variable but has not disappeared entirely. Previous jazz forms used harmonic structures, and even when improvisation occurred it was founded on the notes in the chords, Free jazz almost by definition is free of such structures, but also by definition it retains much of the language of earlier jazz playing
Free jazz
–
Ornette Coleman
Free jazz
–
Pharoah Sanders
Free jazz
–
Sun Ra in 1992
Free jazz
–
Charles Mingus in 1976
31.
Charles Lloyd (jazz musician)
–
Charles Lloyd is an American jazz musician. Though he primarily plays tenor saxophone and flute, he has recorded on other reed instruments, including alto saxophone. Lloyds working band since 2007 features pianist Jason Moran, bassist Reuben Rogers, Charles Lloyd grew up in Memphis and was exposed to blues, gospel and jazz. He is of African, Cherokee, Mongolian, and Irish ancestry and he was given his first saxophone at the age of 9 and was riveted by 1940s radio broadcasts by Charlie Parker, Coleman Hawkins, Lester Young, Billie Holiday and Duke Ellington. His early teachers included pianist Phineas Newborn, Jr. and saxophonist Irvin Reason and his closest childhood friend was trumpeter Booker Little. As a teenager Lloyd played jazz with saxophonist George Coleman, Harold Mabern, and Frank Strozier, in 1956 Lloyd left Memphis for Los Angeles to earn a degree in music at the University of Southern California, where he studied with Halsey Stevens, whose speciality was Bartók. At night, he played in clubs with Ornette Coleman, Billy Higgins, Scott LaFaro, Don Cherry, Charlie Haden, Eric Dolphy, Bobby Hutcherson. He also was a member of the Gerald Wilson big band, in 1960 Lloyd was invited to become music director of Chico Hamiltons group when Eric Dolphy left to join Charles Minguss band. The Hungarian guitarist Gábor Szabó and bassist Albert Sparky Stinson soon joined Lloyd in the band, passin Thru and Man from Two Worlds, featured music arranged and written almost entirely by Lloyd. He collaborated with Nigerian drummer Babatunde Olatunji, with whom he when he wasnt on the road with Hamilton and he joined the Cannonball Adderley Sextet in 1964, and performed with Nat Adderley, Joe Zawinul, Sam Jones and Louis Hayes. For two years he remained with Cannonball Adderley, whom he credits in his own development as a leader, in 1964 Lloyd signed with CBS Records and began to record as a leader. Of Course, Of Course was reissued on Mosaic Records in 2006, Lloyd left Cannonball Adderley in 1965 to form his own quartet, an ensemble that included pianist Keith Jarrett, drummer Jack DeJohnette and bassist Cecil McBee. Their first release together was a recording, Dream Weaver, followed by Forest Flower. Forest Flower was one of the first jazz recordings to sell a million copies, Lloyds Quartet was the first jazz group to appear at the famed Fillmore Auditorium in San Francisco. It fused improvisation, avant-garde jazz, and free jazz with the rock of the 1960s. Lloyd was invited to play pop and rock acts such as the Doors, the Byrds, Aashish and Pranesh Khan. Miles Davis and other figures were influenced. The Quartet also shared billing with Jimi Hendrix, Janis Joplin, Cream, the Grateful Dead, in 1967 Lloyd was voted Jazz Artist of the Year by Down Beat magazine, and the Quartet was invited to tour the world
Charles Lloyd (jazz musician)
–
Lloyd in 2014
Charles Lloyd (jazz musician)
–
Charles Lloyd with
Reuben Rogers and
Eric Harland, Santa Barbara, 2006
32.
Scott Robinson (jazz musician)
–
Scott Robinson is an American jazz multi-instrumentalist. Robinson is best known for his work on various styles of saxophone, but he has performed on clarinet, flute, trumpet, sarrusophone. The son of a teacher and a senior book editor for the National Geographic Society. The next year, he joined the staff, becoming its youngest faculty member. Two of these recordings won a Grammy Award and he has received four fellowships from the National Endowment for the Arts. In 2000, the U. S. State Department named him an ambassador for the year 2001. Material from these appearances was released on the album Jazz Ambassador, throughout his career, Robinson has worked to keep unusual and obscure instruments in the public view. For example, he has recorded an album featuring the C-melody saxophone and he also owns and records with a vintage contrabass saxophone, so rare that fewer than twenty in playable condition are known to exist. Since 2009, he has operated his own label, ScienSonic Laboratories
Scott Robinson (jazz musician)
–
Scott Robinson Aarhus Jazz Festival 2013 Photo Hreinn Gudlaugsson
Scott Robinson (jazz musician)
–
Robinson performing at the International Jazz Festival of Punta del Este in 2015.
33.
Joe Lovano
–
Joseph Salvatore Joe Lovano is an American jazz saxophonist, alto clarinetist, flautist, and drummer. He is married to jazz singer Judi Silvano with whom he records, Lovano was a longtime member of a trio led by drummer Paul Motian. Lovano was born in Cleveland, Ohio, to Sicilian-American parents and his fathers family came from Alcara Li Fusi in Sicily, and his mothers family came from Cesarò, also in Sicily. Lovano started on alto at age six and switched to tenor five years later, John Coltrane, Dizzy Gillespie, and Sonny Stitt were among his earlier influences. After graduating from Euclid High School in 1971, he went to Berklee College of Music, after Berklee he worked with Jack McDuff and Dr. Lonnie Smith. After three years with Woody Hermans orchestra, Lovano moved to New York and began playing regularly with Mel Lewiss Big Band and this influence is still present in his solos. He often plays lines that convey the rhythmic drive and punch of a horn section. In the early 1980s Lovano began working in John Scofields quartet, steeped in the tradition of Ornette Coleman, Motians recordings show off Lovanos avant-garde abilities. In 1993, at the suggestion of musicologist Gunther Schuller, fellow Clevelander and he was a major mentor for all of us round here, said Lovano. In 1999, having developed dementia, DeArango was taken into a nursing home, two hours after Lovano left, DeArango died. He knew we were there, said Lovano, Lovanos Quartets, Live at the Village Vanguard, garnered a Down Beat Jazz Album of the Year award. Other releases include Trio Fascination and 52nd Street Themes, in the late 1990s, he formed the Saxophone Summit with Dave Liebman and Michael Brecker. Lovano played the saxophone on the 2007 McCoy Tyner album Quartet. In 2006 Lovano released Streams of Expression, a tribute to cool jazz and he did this with the help of Gunther Schuller, who contributed his Birth of the Cool Suite. Lovano and pianist Hank Jones released an album together in June 2007, although the follow-up was not approached as such, Bird Songs was a tribute to Charlie Parker. On Cross Culture, the subsequent album by Us Five, released in 2013 on Blue Note. Lovano saw the occasion to play a variety of reed and percussion instruments he had been colleting since the late 1970s. Ubergirl bassist Spalding is replaced by Peter Slavov for six of the tracks, the idea wasnt just to play at the same time, but to collectively create music within the music, Lovano wrote in the liner notes to Cross Culture
Joe Lovano
–
Photo by Ed Newman
Joe Lovano
–
Joe Lovano, Paul Motian and Bill Frisell
34.
Music of Hungary
–
Hungary has made many contributions to the fields of folk, popular and classical music. Hungarian folk music is a prominent part of the national identity and it is also strong in the Szabolcs-Szatmár area and in the southwest part of Transdanubia, near the border with Croatia. The Busójárás carnival in Mohács is a major Hungarian folk music event, Hungarian classical music has long been an experiment, made from Hungarian antedecents and on Hungarian soil, to create a conscious musical culture musical world of the folk song. For example, Béla Bartók and Zoltán Kodály, two of Hungarys most famous composers, are known for using folk themes in their music. Bartók collected folk songs from across Eastern Europe, including Romania and Slovakia, during the era of Communist rule in Hungary a Song Committee scoured and censored popular music for traces of subversion and ideological impurity. The three giants of Hungarian rock, Illés, Metró and Omega, remain popular, especially Omega. Older veteran underground bands such as Beatrice from the 1980s also remain popular, unlike most Western European peoples, the Hungarian people, Magyars, emerged from the intermingling of Finno-Ugric and Eastern Turkish peoples during the fifth to eighth centuries CE. This makes the origins of their music unique in Europe. Bence Szabolcsi, however, claims that the Finno-Ugric and Turkish-Mongolian elements are present but cannot be attached to certain, definite national or linguistic groups. These, he claims, are evidence that Asian memories slumber in the depths of Hungarian folk music, the subsequent influence on neighboring countries music is seen in the music of Slovakia and, with intervals of the third or second, in the music of the Czech Republic. Modern Hungarian folk music evolved in the 19th century, and is contrasted with previous styles through the use of arched melodic lines as opposed to the more archaic descending lines, the earliest documentation of Hungarian music dates from the introduction of Gregorian chant in the 11th century. Though Hungarys early religious history is relatively well documented, secular music remains mostly unknown, though it was apparently a common feature of community festivals. Thereafter the organ came to play a major role, the 16th century saw the rise of Transylvania as a center for Hungarian music. It also saw the first publication of music in Hungary, in Kraków, at this time Hungarian instrumental music was well known in Europe, the lutenist and composer Bálint Bakfark, for example, was famed as a virtuoso player. His compositions pioneered a new style of writing for the lute based on vocal polyphony, the lutenist brothers Melchior and Konrad Neusiedler were also noted, as was Stephan Monetarius, the author of an important early work in music theory, the Epithoma utriusque musices. During the 17th century, Hungary was divided into three parts, a controlled by the Turks, an area controlled by the Habsburgs. Historic songs declined in popularity and were replaced by lyrical poetry, many courts or households maintained large ensembles of musicians who played the trumpet, whistle, cimbalom, violin or bagpipes. Some of these musicians were German, Polish, French or Italian
Music of Hungary
–
Franz Liszt, prominent Hungarian composer
Music of Hungary
–
Kuruc tárogató, c. 1700
Music of Hungary
–
George Szell, conductor
Music of Hungary
–
Main stage of
Sziget Festival in 2006
35.
Music of Romania
–
Romania is a European country with a multicultural music environment which includes active ethnic music scenes. Romania also has thriving scenes in the fields of pop music, hip hop, heavy metal and rock and roll. During the first decade of the 21st century some Europop groups/artists, such as Tom Boxer, Morandi, Connect-R, Akcent, Edward Maya, Alexandra Stan, Inna and Yarabi, traditional Romanian folk music remains popular, and some folk musicians have come to national fame. Folk music is the oldest form of Romanian musical creation, characterised by great vitality, it is the source of the cultured musical creation. Conservation of Romanian folk music has been aided by a large and enduring audience, one of them, Gheorghe Zamfir, is famous throughout the world today, and helped popularize a traditional Romanian folk instrument, the panpipes. Russian and Western influences brought about the introduction of polyphony in religious music in the 18th century, in Banat, the violin is the most common folk instrument, now played alongside imported woodwind instruments, other instruments include the taragot, which was imported in the 1920s from Hungary. Efta Botoca is among the most renowned violinists from Banat, bucovina is a remote province, and its traditions include some of the most ancient Romanian instruments, including the ţilincă and the cobza. Pipes are also played, usually with accompaniment by a cobza, violins and brass instruments have been imported in modern times. Crişana has an ancient tradition of using violins, often in duos and this format is also found in Transylvania but is an older tradition. Petrică Paşca has recently helped popularize the taragot in the region, also, in Roşia village are well known two local instruments, Hidede, a type of violin with a trumpet, replacing the resonance box, and a type of drum called Dobă. Dobrogeas population is diverse, and there exist elements of traditional Tartar, Ukrainian, Turkish. The most popular dance from Dobrogea is the geamparale, which is different from the other traditional dances of Romania. In fact, Dobrujan music is characterized by Balkan and Turkish rhythms, the typical folk ensemble from Maramureş is zongora and violin, often with drums. Taragot, saxophone and accordion have more recently been introduced, in Oaş, a violin adapted to be shriller is used, accompanied by the zongora. The singing in this region is unique, shrill with archaic melodic elements. Violin and ţambal are the format most common in Moldavian dance music. Prior to the 20th century, however, the violin was usually accompanied by the cobza, brass ensembles are now found in the central part of the county. Among the most renowned violinists from this region is Ion Drăgoi, moldavia is also known for brass bands similar to those in Serbia
Music of Romania
–
A Romanian popular dance
Music of Romania
–
Alexandra Stan
36.
Piccolo oboe
–
The piccolo oboe, also known as the piccoloboe and historically called an oboe musette, is the smallest and highest pitched member of the oboe family. Pitched in E♭ or F above the regular oboe, the oboe is a sopranino version of the oboe. Piccolo oboes are produced by the French makers F. Lorée, Lorée calls its instrument piccolo oboe or oboe musette, while Marigaux and Patricola call their instruments simply oboe musette. As of 2006, a new instrument typically sold for US$6, the instrument has found the most use in chamber and contemporary music, where it is valued for its unusual tone colour. It is also employed in double-reed ensembles such as Amoris, perhaps the best-known pieces requiring piccolo oboe are Solo for Oboe Instruments and Concerto for Oboe and Orchestra No. 2, both by Bruno Maderna, as well as Ar-Loth by Paolo Renosto, Oboe Piccolo heckelphone F. Lorée page with description and photograph Wayback archive of Amoris International Musette page WIMA scores for oboe family instruments
Piccolo oboe
–
A piccolo oboe with two-key action.
Piccolo oboe
–
Two oboe musette players from the
Cantigas de Santa Maria (13th century).
37.
Oboe
–
Oboes /ˈoʊboʊ/ OH-boh are a family of double reed woodwind musical instruments. The most common oboe plays in the treble or soprano range, oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with keys, a conical bore. Sound is produced by blowing into the reed and vibrating a column of air, the distinctive oboe tone is versatile, and has been described as bright. When the term oboe is used alone, it is taken to mean the standard treble instrument rather than other instruments of the family. In English, prior to 1770, the instrument was called a hautbois, hoboy. The spelling of oboe was adopted into English c.1770 from the Italian oboè, a musician who plays the oboe is called an oboist or simply an oboe player. In comparison to other woodwind instruments, the treble oboe is sometimes referred to as having a clear. The Sprightly Companion, a book published by Henry Playford in 1695, describes the oboe as Majestical and Stately. Humorously, the sound of the oboe is described in the play Angels in America as like that of a if the duck were a songbird. The rich timbre of the oboe is derived from its conical bore, as a result, oboes are readily audible over other instruments in large ensembles. The highest note of the oboe is a lower than the nominally highest note of the B♭ clarinet. Since the clarinet has a range of notes, the lowest note of the B♭ clarinet is significantly deeper than the lowest note of the oboe. Music for the oboe is written in concert pitch. Orchestras normally tune to a concert A played by the oboe, according to the League of American Orchestras, this is done because the pitch of the oboe is secure and its penetrating sound makes it ideal for tuning purposes. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound of the instrument, Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch of the instrument. German and French reeds, for instance, differ in many ways, weather conditions such as temperature and humidity also affect the pitch
Oboe
–
A modern oboe with a reed
Oboe
–
Classical oboe, copy by Sand Dalton of an original by Johann Friedrich Floth, c. 1805
Oboe
–
The members of the oboe family from top:
heckelphone,
bass oboe,
cor anglais,
oboe d'amore, regular oboe, and
piccolo oboe
Oboe
–
Oboist
Albrecht Mayer preparing reeds for use. Most oboists scrape their own reeds to achieve the desired tone and response
38.
Bass oboe
–
The bass oboe or baritone oboe is a double reed instrument in the woodwind family. It is about twice the size of an oboe and sounds an octave lower, it has a deep, full tone somewhat akin to that of its higher-pitched cousin. The bass oboe is notated in the treble clef, sounding one octave lower than written. Its lowest note is B2, one octave and a semitone below middle C, the bass oboe uses its own double reed, similar to but larger than that of the English horn. The instrument is known popularly as the oboe in the English language. The bass designation is in resonance with that of the flute in the flute family and the bass clarinet in that family. Early bass oboes were modeled after bassoons, with a joint and bocal and some holes drilled obliquely. The concept of the oboe as an enlarged English horn survived. As a result, it is not always clear in English orchestral works of the early 20th century which of the two instruments is intended when the composer requests bass oboe. The instrument has been manufactured sporadically by various companies, including F. Lorée, Marigaux, Rigoutat, Fossati and it is usually a special order instrument, and its purchase price normally exceeds that of a top-of-the-line English horn. Another similar instrument, the Lupophon, has developed by Guntram Wolf. The bass oboe is also featured in the First Interlude of Sir Michael Tippetts Triple Concerto. There is also a substantial solo in the second movement of Thomas Ades Asyla. Frederick Delius scored for the oboe in a number of works, including Songs of Sunset, A Mass of Life, Requiem, An Arabesque, Fennimore and Gerda. 1, however, the latest research reveals that despite his use of this term, arnold Bax calls for it in his Symphony No. 1, and Havergal Brian requires an instrument in both the Gothic Symphony and his Symphony No.4 Das Siegeslied, percy Grainger includes the bass oboe in Childrens March and The Warriors. The bass oboe has not as yet come into its own as a solo instrument, the work was written for the Canadian performer Lawrence Cherney, who uses a bass oboe manufactured by F. Lorée. Robert Morans Survivor From Darmstadt, for nine amplified bass oboes, was commissioned by oboist Nora Post, at least one sonata for bass oboe and piano, by Simon Zaleski, has been written
Bass oboe
–
Bass Oboe
39.
Bassoon
–
The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor clefs, and occasionally the treble. Appearing in its form in the 19th century, the bassoon figures prominently in orchestral, concert band. The bassoon is an instrument known for its distinctive tone color, wide range, variety of character. Listeners often compare its warm, dark, reedy timbre to that of a baritone voice. Someone who plays the bassoon is called a bassoonist, the word bassoon comes from French basson and from Italian bassone. However, the Italian name for the instrument is fagotto. B♭1–C5 The range of the bassoon begins at B♭1 and extends upward over three octaves, roughly to the G above the treble staff, higher notes are possible but difficult to produce, and rarely called for, orchestral and concert band parts rarely go higher than C5 or D5. Even Stravinskys famously difficult opening solo in The Rite of Spring only ascends to D5, a1 is possible with a special extension to the instrument—see Extended techniques below. The bassoon disassembles into six pieces, including the reed. Bassoons are double reed instruments like the oboe and the English horn, a modern beginners bassoon is generally made of maple, with medium-hardness types such as sycamore maple and sugar maple preferred. Both bore and tone holes are precision-machined, and each instrument is finished by hand for proper tuning and this ensures coverage by the fingers of the average adult hand. Wooden instruments are lined with hard rubber along the interior of the wing and boot joints to prevent damage from moisture, the end of the bell is usually fitted with a ring, either of metal, plastic or ivory. The joints between sections consist of a tenon fitting into a socket, the tenons are wrapped in either cork or string as a seal against air leaks. The bocal connects the reed to the rest of the instrument and is inserted into a socket at the top of the wing joint, bocals come in many different lengths and styles, depending on the desired tuning and playing characteristics. Folded upon itself, the bassoon stands 1.34 m tall, there are also short-reach bassoons made for the benefit of young or petite players. The origins of the dulcian are obscure, but by the century it was available in as many as eight different sizes. Otherwise, dulcian technique was rather primitive, with eight finger holes, the dulcian came to be known as fagotto in Italy. However, the etymology that equates fagotto with bundle of sticks is somewhat misleading
Bassoon
–
Two views of a Renard model 220 bassoon
Bassoon
–
Dulcians and
racketts, from the Syntagma musicum by
Michael Praetorius.
Bassoon
–
Heckel system bassoon from 1870
Bassoon
–
Edgar Degas, L'Orchestre de L'Opera, (1868)
40.
Contrabassoon
–
The contrabassoon, also known as the double bassoon or bass bassoon is a larger version of the bassoon, sounding an octave lower. Its technique is similar to its cousin, with a few notable differences. The reed is considerably larger than the bassoons, at 65–75 mm in length as compared to 53–58 mm for most bassoon reeds. The large blades allow ample vibration that produces the low register of the instrument, the contrabassoon reed is similar to an average bassoons in that scraping the reed affects both the intonation and response of the instrument. The fingering of the contrabassoon is slightly different than that of the bassoon, particularly at the register change and in the extreme high range. The instrument is twice as long, curves around on itself twice, additional support is sometimes given by a strap around the players neck. A wider hand position is required, as the primary finger keys are widely spaced. The contrabassoon has a key to expel condensation and a tuning slide for gross pitch adjustments. The instrument comes in a few pieces, some models cannot be disassembled without a screwdriver, sometimes, however, the bell can be detached, and instruments with a low A extension often come in two parts. The contrabassoon is a very deep sounding woodwind instrument that plays in the same register as the tuba. It has a range beginning at B♭0 and extending up three octaves and a major third to D4. Donald Erb and Kalevi Aho write even higher in their concertos for the instrument, the instrument is notated an octave above sounding pitch in bass clef, with tenor or even treble clef called for in high passages. Tonally, it sounds much like the bassoon except for an organ pedal quality in the lowest octave of its range which provides a solid underpinning to the orchestra or concert band. The lowest range, in comparison with the bassoon, can be played quieter than the bassoon can, while prominent in solo and small ensemble situations, the sound can be completely obscured in the volume of the full orchestra or concert band. The contrabassoon was developed, especially in England, in the century, the oldest surviving instrument. It was around that time that the contrabassoon began gaining acceptance in church music, however, until the late 19th century, the instrument typically had a weak tone and poor intonation. For more than a century, between 1880 and 2000, Heckel’s design remained relatively unchanged, chip Owen at the American company, Fox, began manufacturing an instrument in 1971 with some improvements. Generally, during the 20th century changes to the instrument were limited to an upper vent key near the socket, a tuning slide
Contrabassoon
–
Contrabassoon
Contrabassoon
–
Written pitch, sounds one
octave lower Sounding pitch
41.
Sarrusophone
–
The sarrusophones are a family of transposing musical instruments patented and placed into production by Pierre-Louis Gautrot in 1856. It was named after the French bandmaster Pierre-Auguste Sarrus who is credited with the concept of the instrument, the instrument was intended to serve as a replacement in wind bands for the oboe and bassoon which, at that time, lacked the carrying power required for outdoor band music. The traditional conventional range of the saxophone is written B♭-F, initially, Gautrot advertised the range of the sarrusophone to high F as well, but later fingering charts indicated a range to high G. Sometime after 1868, Gautrot also released a chart indicating fingerings higher still up to a top B-flat. All members of the family are made of metal, with a conical bore. Like the oboe and bassoon, all sizes of sarrusophone were originally designed to be played with a double reed, later, single reed mouthpieces were developed which resemble alto or soprano saxophone mouthpieces. It is unclear if these were available for all sizes of the sarrusophone family and this similarity caused Adolphe Sax to file and lose at least one lawsuit against Gautrot, claiming infringement upon his patent for the saxophone. Sax lost on the grounds that the produced by the two families of instruments is markedly different, despite their mechanical similarities. However, because the sarrusophone never gained acceptance, makers were not inclined to develop its mechanism to the same extent as that of the saxophone. Features of the sarrusophones mechanism generally include, Non-automatic octave keys, from sopranino through bass,2 octave keys. The contra basses have 3, the 3rd key being used for the notes D and E♭ directly above the break, only No articulated G♯, bis B♭, F♯ trill keys or 1/1. The top and bottom key stacks are not linked and this key can also be used to play high D as well. This may be taken to be an equivalent of the high D palm key of a saxophone, No palm keys for playing the top range. Using the non-automatic register keys, 3rd harmonics are easily available, additionally on some instruments made by Buffet in the early 20th century, the G♯ key is semi-articulated so that a G natural to G♯ trill can be made by an additional touchpiece for the right hand. Saxophones of this period also have this mechanism. Additionally, there is no connection from G♯ to low C♯ or low B natural, the sarrusophone is rarely called for in orchestral music. Igor Stravinsky included a part for contrabass sarrusophone in Threni, the composer Paul Dukas used the contrabass sarrusophone to great effect in 1897 in his The Sorcerers Apprentice, where the instrument begins the bassoons macabre dance motif. These parts are all normally played on the contrabassoon, though recordings of at least some of these pieces using sarrusophones are extant
Sarrusophone
–
Conn Sarrusophone (c. late 1850s)
Sarrusophone
–
Sarrusophones,
Museu de la Música de Barcelona
42.
P. D. Q. Bach
–
Bach is a fictitious composer invented by musical satirist Professor Peter Schickele. Schickele developed a career, performing the discovered works of the only forgotten son of the Bach family. Schickeles music combines parodies of musicological scholarship, the conventions of Baroque and classical music, and slapstick. The name P. D. Q. is a parody of the names given to some members of the Bach family that are commonly reduced to initials. PDQ is an initialism for pretty damned quick, Schickele began working on the character while studying at the Aspen Music Festival and School and at Juilliard, and has performed a variety of P. D. Q. The Village Voice mentions the juxtaposition of collage, bitonality, musical satire, Bach he has single-handedly mapped a musical universe that everyone knew was there and no one else had the guts to explore. As of 2012 he has decreased touring due to age and he performed two concerts to commemorate the 50th anniversary of his first concert at The Town Hall in New York on December 28 and 29,2015, and continues to have live concert performances. Schickele gives a fictional biography of the composer according to which P. D. Q. Bach was born in Leipzig on April 1,1742, the son of Johann Sebastian Bach and Anna Magdalena Bach and he died May 5,1807, though his birth and death years are often listed on album literature in reverse, as. According to Schickele, P. D. Q. possessed the originality of Johann Christian, the arrogance of Carl Philipp Emanuel, schickeles works attributed to P. D. Q. Bach often incorporate comical rearrangements of well-known works of other composers, there is often a startling juxtaposition of styles within a single P. D. Q. The Prelude to Einstein on the Fritz, which alludes to Philip Glass opera Einstein on the Beach, Bachs first prelude from The Well-Tempered Clavier, but at double the normal speed, with each phrase repeated interminably in a minimalist manner that parodies Glasss. On top of this structure is added everything from jazz phrases to snoring to heavily-harmonized versions of Three Blind Mice to the chanting of a meaningless phrase. Through all these mutilations, the piece never deviates from Bachs original harmonic structure, Bachs fictional musical output into three periods, the Initial Plunge, the Soused Period, and Contrition. During the Initial Plunge, P. D. Q, Bach wrote the Traumerei for solo piano, an Echo Sonata for two unfriendly groups of instruments, and a Gross Concerto for Divers Flutes, two Trumpets, and Strings. During the Soused Period, P. D. Q, during the Contrition Period, P. D. Q. A final work is the mock religious work Missa Hilarious, the tromboon is a musical instrument made up of the reed and bocal of a bassoon, attached to the body of a trombone in place of the trombones mouthpiece. It combines the sound of double reeds and the slide for a distinctive, the name of the instrument is a portmanteau of trombone and bassoon
P. D. Q. Bach
–
Tromboon
P. D. Q. Bach
–
Tromboon detail; the bassoon reed is on the left
43.
Aulos
–
An aulos or tibia was an ancient Greek wind instrument, depicted often in art and also attested by archaeology. An aulete was the musician who performed on an aulos, the ancient Roman equivalent was the tibicen, from the Latin tibia, pipe, aulos. There were several kinds of aulos, single or double, the most common variety was a reed instrument. Archeological finds, surviving iconography and other evidence indicate that it was double-reeded, like the modern oboe, a single pipe without a reed was called the monaulos. A single pipe held horizontally, as the flute, was the plagiaulos. A pipe with a bag to allow for sound, that is a bagpipe, was the askaulos. Like the Great Highland Bagpipe, the aulos has been used for martial music and it was the standard accompaniment of the passionate elegiac poetry. It also accompanied physical activities such as wrestling matches, the broad jump, plato associates it with the ecstatic cults of Dionysus and the Korybantes, banning it from his Republic but reintroducing it in Laws. It appears that some variants of the instrument were loud, shrill, sometimes a second strap was used over the top of the head to prevent the phorbeiá from slipping down. Aulos players are depicted with puffed cheeks. The playing technique almost certainly made use of breathing, very much like the Sardinian launeddas and Armenian duduk. Nevertheless, such musicians could achieve fame, the Romano-Greek writer Lucian discusses aulos playing in his dialogue Harmonides, in which Alexander the Greats aulete Timotheus discusses fame with his pupil Harmonides. Timotheus advises him to impress the experts within his profession rather than seek popular approval in big public venues, if leading musicians admire him, popular approval will follow. However, Lucian reports that Harmonides died from excessive blowing during practicing, in myth, Marsyas the satyr was supposed to have invented the aulos, or else picked it up after Athena had thrown it away because it caused her cheeks to puff out and ruined her beauty. But Apollo and his lyre beat Marsyas and his aulos, and since the pure lord of Delphis mind worked in different ways from Marsyass, he celebrated his victory by stringing his opponent up from a tree and flaying him alive. King Midas was cursed with donkeys ears for judging Apollo as the lesser player, Marsyass blood and the tears of the Muses formed the river Marsyas in Asia Minor. This tale was a warning against committing the sin of hubris, or overweening pride, some of this is a result of 19th century AD classical interpretation, i. e. Apollo versus Dionysus, or Reason opposed to Madness. In the temple to Apollo at Delphi, there was also a shrine to Dionysus, and his Maenads are shown on drinking cups playing the aulos, so a modern interpretation can be a little more complicated than just simple duality
Aulos
–
Aulos
Aulos
–
Drawing of a plagiaulos.
Aulos
–
The competition between Marsyas and Apollo on a Roman
sarcophagus (290–300)
Aulos
–
Theatrical scene from a
Pompeiian mosaic showing a masked performer with an aulos and two goatskin-wearing actors
44.
Bassanello
–
The bore of bassanelli is straight and opens at the bottom, and these instruments only have one key. They are blown by direct contact with the reeds, exactly as are curtals, pommers, and bassets, and are nearly the same as these instruments in timbre, with good reeds, bassanelli can be made to play rather high. Like shawms, they have seven fingerholes, with a key on the lowest, in the rear, however, there is no hole to be found. They are pitched a fourth lower than chamber pitch, for their lowest size is the bass in F, though Praetorius attributes the invention of bassanelli to Johann Bassanello, it is more likely Giovannis father Santo who invented them. As there are no surviving examples of bassanelli, there has been some disagreement concerning its construction, a comparison of the lengths for the various sizes shown in the scale drawings by Praetorius to the pitches he gave for them, indicates the acoustical properties of a conical bore
Bassanello
–
Bassanelli
45.
Cornamuse
–
The cornamuse is a double reed instrument dating from the Renaissance period. It is similar to the crumhorn in having a windcap over the reed, Praetorius unfortunately did not include a woodcut of the cornamuse, but his depiction of the bassanello has a single bore and double reed. Since the paragraph by Praetorius is the only description of the cornamuse and no period specimen has been found. The name is not to be confused with cornemuse, which is the French word for bagpipes, musica Antiqua Cornamuse Page Building a Cornamuse in F
Cornamuse
–
Alto Cornamuse in F, made of pear wood (Reconstruction by Dominik Bauer, Saarbrücken)
Cornamuse
–
Description of the Cornamuse, a renaissance instrument, by Michael Praetorius
46.
Crumhorn
–
The crumhorn is a musical instrument of the woodwind family, most commonly used during the Renaissance period. In modern times, there has been a revival of interest in early music, the name derives from the German Krumhorn meaning bent horn. This relates to the old English crump meaning curve, surviving in modern English in crumpled and it is uncertain if the Spanish wind instrument orlo designates the crumhorn, but it is known that crumhorns were used in Spain in the sixteenth century, and the identification seems likely. The crumhorn is a reed instrument. Its construction is similar to that of the chanter of a bagpipe, a double reed is mounted inside a long windcap. Blowing through a slot in the windcap produces a musical note, the pitch of the note can be varied by opening or closing finger holes along the length of the pipe. One unusual feature of the crumhorn is its shape, the end is bent upwards in a curve resembling the letter J, the curve is decorative only and does not influence the sound. Crumhorns make a buzzing sound, but quieter than their conical-bore relatives the rauschpfeife. They have a range, usually a ninth. Some modern instruments have their range extended upwards to an eleventh by two keys, Crumhorns can be chromatically played by using cross-fingerings, except for the minor second above the lowest note. Because of the range, music for crumhorns is usually played by a group of instruments of different sizes. Such a group is known as a consort of crumhorns, Crumhorns are built in imitation of the vocal quartet with soprano, alto, tenor and bass as a family, as was true of most instruments of the Renaissance. There are examples of higher- and lower-sounding instruments, of which the bass is the only commonly used one. Michael Praetorius suggested the use of crumhorns in some of his vocal works as a possible alternative to trombones, dulcians. In Ursula Dubosarskys novel Bruno and the Crumhorn, two children, Bruno and Sybil, find themselves learning to play the crumhorn almost by accident, the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. The Crumhorn and Other Renaissance Windcap Instruments, A Contribution to Renaissance Organology, buren, The Netherlands, Frits Knuf ISBN9789060274248, ISBN9789060274231. Spielanleitung für Krümmhorner, Cornamusen und Kortholte / How to Play the Crumhorn, Cornamusa, the Crumhorn, A Concise Method for the Crumhorn and Other Wind-cap Instruments. The Crumhorn, Its History, Design, Repertory, and Technique, Crumhorn Musica Antiqua Crumhorn Page Crumhorns by Moeck Renaissance Studio Mahillon, Victor-Charles, Schlesinger, Kathleen
Crumhorn
–
modern crumhorns with keys, alto crumhorn in f, bass crumhorn in f
Crumhorn
–
double-reed of an alto crumhorn in f
47.
Dulcian
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The dulcian is a Renaissance woodwind instrument, with a double reed and a folded conical bore. Equivalent terms include English, curtal, German, Dulzian, Spanish, bajón, French, douçaine, Dutch, dulciaan, the predecessor of the modern bassoon, it flourished between 1550 and 1700, but was probably invented earlier. Towards the end of this period it co-existed with, and was superseded by the baroque bassoon. It was played in both secular and sacred contexts, throughout northern and western Europe, as well as in the New World. The dulcian is generally made from a piece of maple, with the bores being drilled and reamed first. The reed is attached to the end of a metal bocal, unlike the bassoon it normally has a flared bell, sometimes made from a separate piece of timber. This bell can sometimes be muted, the mute being either detachable, the outside of the instrument can also be covered in leather, like the cornett. Although the bass in F is the most common size, the comes in many other sizes, tenor, alto. There are also examples of a quart bass dulcian in C, the range of each instrument is two and a half octaves, centred on the range of the corresponding singing voice, for example, the bass ranges from C2, to G4. The reed on the dulcian is fully exposed, allowing the player to control the sound and intonation by embouchure. At the time it first appeared, other double reed instruments either had the fully enclosed, like the crumhorn or the bagpipe, or partially enclosed by a pirouette. The instrument seems to have been in use by the middle of the sixteenth century. A set of instruments in various sizes exist in Brussels, these have a mark of Melchor and are thought to be Spanish. Another well known example is a later instrument in Linz, leather covered. The latest commonly copied example is by Denner, c,1700, which also has a built in mute. Modern copies of the Linz instrument have a sound and reach the high notes more easily. The dulcian is an instrument, capable of being loud enough to play in outdoor bands, quiet enough for chamber music. There are explicit dulcian parts in the sonatas by Dario Castello, Dulcian Home Page Hans Mons excellent site Curtal, Dulcian, Bajón – A History of the Precursor to the Bassoon, Maggie Kilbeys comprehensive book IDRS, many useful articles
Dulcian
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Dulcian, 1700,
Museu de la Música de Barcelona
Dulcian
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Dulcians in Theatrum Instrumentorum (Michael Praetorius - 1620)
Dulcian
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Soprano, alto, alto, tenor and bass dulcians from the Brussels collection.
