1.
Electronic music
–
In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them
2.
Industrial music
–
Industrial music is a genre of experimental/electronic music that draws on transgressive or provocative sounds and themes. In general, the style is harsh and challenging, allMusic defines industrial as the most abrasive and aggressive fusion of rock and electronic music, initially a blend of avant-garde electronics experiments and punk provocation. The first industrial artists experimented with noise and aesthetically controversial topics, musically and visually, such as fascism, serial killers and their production was not limited to music, but included mail art, performance art, installation pieces and other art forms. Prominent industrial musicians include Throbbing Gristle, Monte Cazazza, SPK, Boyd Rice, Cabaret Voltaire, Musicians also cite writers such as William S. Burroughs, and philosophers such as Friedrich Nietzsche as influences. These artists expanded the genre by pushing it into noisier and more electronic directions, over time, its influence spread into and blended with styles including ambient and rock, all of which now fall under the post-industrial music label. Electro-industrial music is a subgenre that developed in the 1980s. These three distinct genres are often referred to as simply industrial, Industrial music drew from a broad range of predecessors. Industrial music was created originally by using mechanical and electric machinery, monroe also argues for Suicide as an influential contemporary of the industrial musicians. Groups cited as inspirational by the founders of industrial music include The Velvet Underground, Joy Division, genesis P-Orridge of Throbbing Gristle had a cassette library including recordings by the Master Musicians of Jajouka, Kraftwerk, Charles Manson, and William S. Burroughs. P-Orridge also credited 1960s rock such as The Doors, Pearls Before Swine, The Fugs, Captain Beefheart, chris Carter also enjoyed and found inspiration in Pink Floyd and Tangerine Dream. Boyd Rice was influenced by the music of 60s girl groups, Cabaret Voltaire cited Roxy Music as their initial forerunners, as well as Kraftwerks Trans-Europe Express. Cabaret Voltaire also recorded pieces reminiscent of musique concrète and composers such as Morton Subotnick, Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening. 23 Skidoo borrowed from Fela Kuti and Miles Daviss On the Corner, many industrial groups, including Einstürzende Neubauten, took inspiration from world music. Many of the industrial musicians preferred to cite artists or thinkers, rather than musicians. Simon Reynolds declares that Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism, John Cage was an initial inspiration for Throbbing Gristle. SPK appreciated Jean Dubuffet, Marcel Duchamp, Jean Baudrillard, Michel Foucault, Walter Benjamin, Marshall McLuhan, Friedrich Nietzsche, Cabaret Voltaire took conceptual cues from Burroughs, J. G. Ballard, and Tristan Tzara. Whitehouse and Nurse with Wound dedicated some of their work to the Marquis de Sade, another influence on the industrial aesthetic was Lou Reeds Metal Machine Music. Pitchfork Music cites this album as inspiring, in part, much of the contemporary avant-garde music scene—noise, the album consists entirely of guitar feedback, anticipating industrials use of non-musical sounds
3.
Autoharp
–
The autoharp is a trademark for a string instrument having a series of chord bars attached to dampers, which, when depressed, mute all of the strings other than those that form the desired chord. Despite its name, the autoharp is not a harp at all, debate exists over the origin of the autoharp. A German immigrant in Philadelphia, Charles F. Zimmermann, was awarded US257808 in 1882 for a design for an instrument that included mechanisms for muting certain strings during play. He named his invention the autoharp, unlike later autoharps, the shape of the instrument was symmetrical, and the felt-bearing bars moved horizontally against the strings instead of vertically. It is not known if Zimmermann ever commercially produced any instruments of this early design, karl August Gütter of Markneukirchen, Germany, built a model that he called a Volkszither, which most resembles the autoharp played today. Gütter obtained a British patent for his instrument circa 1883–1884, Zimmermann, after returning from a visit to Germany, began production of the Gütter design in 1885, but with his own design patent number and catchy name. Gütters instrument design became popular, and Zimmermann has often been mistaken as the inventor. A stylized form of the term Autoharp was registered as a trademark in 1926, the word is currently claimed as a trademark by U. S. Music Corporation, whose Oscar Schmidt division manufactures Autoharps, the USPTO registration, however, covers only a Mark Drawing Code WORDS, LETTERS, AND/OR NUMBERS IN STYLIZED FORM and has expired. In litigation with George Orthey, it was held that Oscar Schmidt could only claim ownership of the lettering of the word Autoharp. Modern autoharps have 36 or 37 strings, although examples with as many as 47 strings. They are strung in either diatonic or chromatic scales, standard models have 15 or 21 chord bars, or buttons, available, a selection of major, minor, and dominant seventh chords. These are arranged for historical or systemic reasons, as for example, A variety of chord bar layouts exist, although the autoharp is often thought of as a rhythm instrument for playing chordal accompaniment, modern players can play melodies on the instrument. Diatonic players are able to play fiddle tunes using open-chording techniques, skilled chromatic players can perform a range of melodies. Diatonically strung single-key instruments from modern luthiers, such as Orthey, Fladmark, Hollandsworth, DAigle, Baker, Daniels and this is accomplished by doubling the strings for individual notes. Since the strings for notes not in the diatonic scale need not appear in the string bed, until the 1960s, no pickups were available to amplify the autoharp other than a rudimentary contact microphone, which had a poor-quality, tinny sound. Eventually, a bar magnetic pickup was designed by Harry DeArmond, pinkertons Assorted Colours used the instrument on their 1966 single Mirror, mirror. In the 1970s, Oscar Schmidt came out with their own magnetic pickup, shown at the right is a 1930 refinished Oscar Schmidt Inc. Model A
4.
Mellotron
–
The Mellotron is an electro-mechanical, polyphonic tape replay keyboard originally developed and built in Birmingham, England, in 1963. It evolved from an instrument, the Chamberlin, but could be mass-produced more effectively. The instrument works by pulling a section of magnetic tape across a head, different portions of the tape can be played to access different sounds. The original models were designed to be used in the home, bandleader Eric Robinson and television personality David Nixon were heavily involved in the instruments original publicity. A number of celebrities such as Princess Margaret were early adopters. The Mellotron became more popular after the Beatles used it on several tracks and it was subsequently adopted by the Moody Blues, King Crimson and Genesis, and became a notable instrument in progressive rock. Later models such as the M400, the best selling model, dispensed with the accompaniments, the instrument became less popular in the 1980s due to the introduction of polyphonic synthesizers and samplers, despite a number of high profile uses from Orchestral Manoeuvres in the Dark and XTC. Production of the Mellotron ceased in 1986, but it regained popularity in the 1990s and this led to the resurrection of the original manufacturer, Streetly Electronics. In 2007, Streetly produced the M4000, which combined the layout of the M400 with the selection of earlier models. The Mellotron has a similar behaviour to a sampler, but generates its sound via audio tape, when a key is pressed, a tape connected to it is pushed against a playback head, like a tape recorder. While the key remains depressed, the tape is drawn over the head, when the key is released, a spring pulls the tape back to its original position. A variety of sounds are available on the instrument, on earlier models, the instrument is split into lead and rhythm sections. There is a choice of six stations of rhythm sounds, each containing three tracks and three fill tracks. The fill tracks can also be mixed together, similarly, there is a choice of six lead stations, each containing three lead instruments which can be mixed. In the centre of the Mellotron, there is a button that allows a variation in both pitch and tempo. Later models do not have the concept of stations and have a knob to select a sound. However, the containing the tapes is designed to be removed. Pressing a key harder allows the head to come into contact under greater pressure, another factor in the Mellotrons sound is that the individual notes were recorded in isolation
5.
French horn
–
The French horn is a brass instrument made of tubing wrapped into a coil with a flared bell. The double horn in F/B♭ is the horn most often used by players in professional orchestras, a musician who plays any kind of horn is generally referred to as a horn player. Most horns have lever-operated rotary valves, but some, especially older horns, use piston valves, the backward-facing orientation of the bell relates to the perceived desirability to create a subdued sound, in concert situations, in contrast to the more piercing quality of the trumpet. A horn without valves is known as a horn, changing pitch along the natural harmonics of the instrument. Pitch may also be controlled by the position of the hand in the bell, the pitch of any note can easily be raised or lowered by adjusting the hand position in the bell. Three valves control the flow of air in the single horn, the more common double horn has a fourth valve, usually operated by the thumb, which routes the air to one set of tubing tuned to F or another tuned to B♭. Triple horns with five valves are made, tuned in F, B♭. Also common are descant doubles, which typically provide B♭ and alto F branches and this configuration provides a high-range horn while avoiding the additional complexity and weight of a triple. A crucial element in playing the horn deals with the mouthpiece, when playing higher notes, the majority of players exert a small degree of additional pressure on the lips using the mouthpiece. It is the goal of all serious brass musicians to develop their technique such that additional mouthpiece pressure is avoided altogether, or at the very least, the name French horn is found only in English, first coming into use in the late 17th century. At that time, French makers were preeminent in the manufacture of hunting horns, as a result, these instruments were often called, even in English, by their French names, trompe de chasse or cor de chasse. The International Horn Society has recommended since 1971 that the instrument be simply called the horn, there is also a more specific use of French horn to describe a particular horn type, differentiated from the German horn and Vienna horn. In this sense, French horn refers to an instrument with three Périnet valves. It retains the narrow bell-throat and mouthpipe crooks of the orchestral hand horn of the late 18th century, and most often has an ascending third valve. This is a whole-tone valve arranged so that with the valve in the up position the valve loop is engaged, the horn is the third-highest-sounding instrument in the brass family, below the trumpet and the cornet. Horns are mostly tuned in B♭ or F, or a combination of both, in some traditions, novice players use a single horn in F, while others prefer the B♭ horn. The F horn is used more commonly than the B♭ horn, sound is produced by vibrating the players lips into the mouthpiece of the instrument. Different partials in the series can be played by adjusting the air pressure and lip tension
6.
Harpsichord
–
A harpsichord is a musical instrument played by means of a keyboard. It produces sound by plucking a string when a key is pressed, Harpsichord designates the whole family of similar plucked keyboard instruments, including the smaller virginals, muselar, and spinet. The harpsichord was used in Renaissance and Baroque music. During the late 18th century, it disappeared from the musical scene with the rise of the piano. In the 20th century, it made a resurgence, being used in historically informed performances of music, in compositions. Harpsichords vary in size and shape, but all have the basic functional arrangement. The player depresses a key that rocks over a pivot in the middle of its length, the other end of the key lifts a jack that holds a small plectrum, which plucks the string. When the player releases the key, the far end returns to its rest position, the plectrum, mounted on a tongue that can swivel backwards away from the string, passes the string without plucking it again. As the key reaches its rest position, a felt damper atop the jack stops the strings vibrations and these basic principles are explained in detail below. The keylever is a pivot, which rocks on a balance pin that passes through a hole drilled through the keylever. The jack is a thin, rectangular piece of wood that sits upright on the end of the keylever, the jacks are held in place by the registers. These are two strips of wood, which run in the gap between pinblock and bellyrail. The registers have rectangular mortises through which the pass as they can move up. The registers hold the jacks in the location needed to pluck the string. In the jack, a plectrum juts out almost horizontally and passes just under the string, historically, plectra were made of bird quill or leather, many modern harpsichords have plastic plectra. When the front of the key is pressed, the back of the key rises, the jack is lifted, the vertical motion of the jack is then stopped by the jackrail, which is covered with soft felt to muffle the impact. When the key is released, the falls back down under its own weight. This is made possible by having the plectrum held in a tongue attached with a pivot and a spring to the body of the jack
7.
Accordion
–
Accordions are a family of box-shaped musical instruments of the bellows-driven free-reed aerophone type, colloquially referred to as a squeezebox. A person who plays the accordion is called an accordionist, the concertina and bandoneón are related, the harmonium and American reed organ are in the same family. The instrument is played by compressing or expanding the bellows while pressing buttons or keys, causing pallets to open and these vibrate to produce sound inside the body. Valves on opposing reeds of each note are used to make the instruments reeds sound louder without air leaking from each reed block. The performer normally plays the melody on buttons or keys on the manual. The accordion is widely spread across the world, nevertheless, in Europe and North America, some popular music acts also make use of the instrument. Additionally, the accordion is used in cajun, zydeco, jazz music. The piano accordion is the official city instrument of San Francisco, the oldest name for this group of instruments is harmonika, from the Greek harmonikos, meaning harmonic, musical. Today, native versions of the accordion are more common. These names refer to the type of accordion patented by Cyrill Demian, accordions have many configurations and types. Similar to a bow, the production of sound in an accordion is in direct proportion to the motion of the player. The bellows is located between the right- and left-hand manuals, and is made from pleated layers of cloth and cardboard, with added leather and metal. It is used to pressure and vacuum, driving air across the internal reeds and producing sound by their vibration. These boxes house reed chambers for the right- and left-hand manuals, each side has grilles in order to facilitate the transmission of air in and out of the instrument, and to allow the sound to better project. The grille for the manual is usually larger and is often shaped for decorative purposes. The right-hand manual is used for playing the melody and the left-hand manual for playing the accompaniment. The manual mechanism of the instrument either enables the air flow, or disables it, the different types have varying components. All instruments have reed ranks of some format, the most typical accordion is the piano accordion, which is used for many musical genres
8.
Theremin
–
The theremin is an early electronic musical instrument controlled without physical contact by the thereminist. It is named after the Westernized name of its Russian inventor, Léon Theremin, the electric signals from the theremin are amplified and sent to a loudspeaker. The theremin was used in soundtracks such as Miklós Rózsas Spellbound, The Lost Weekend. It has also used in theme songs for television shows such as the ITV drama Midsomer Murders. This has led to its association with eerie situations, Theremins are also used in concert music and in popular music genres such as rock. The theremin was originally the product of Soviet government-sponsored research into proximity sensors, the instrument was invented by a young Russian physicist named Lev Sergeyevich Termen in October 1920 after the outbreak of the Russian Civil War. After a lengthy tour of Europe, during which time he demonstrated his invention to packed houses, Theremin moved to the United States, subsequently, Theremin granted commercial production rights to RCA. Although the RCA Thereminvox, was not a success, it fascinated audiences in America. Clara Rockmore, a well-known thereminist, toured to wide acclaim, performing a repertoire in concert halls around the United States. In 1938, Theremin left the United States, though the circumstances related to his departure are in dispute. Many accounts claim he was taken from his New York City apartment by NKVD agents, taken back to the Soviet Union and made to work in a sharashka laboratory prison camp at Magadan, in any case, Theremin did not return to the United States until 1991. However, a niche interest in the theremin persisted, mostly among electronics enthusiasts, one of these electronics enthusiasts, Robert Moog, began building theremins in the 1950s, while he was a high-school student. Moog subsequently published a number of articles about building theremins, Moog credited what he learned from the experience as leading directly to his groundbreaking synthesizer, the Moog. Since the release of the film Theremin, An Electronic Odyssey in 1994, even though many theremin sounds can be approximated on many modern synthesizers, some musicians continue to appreciate the expressiveness, novelty, and uniqueness of using an actual theremin. The film itself has garnered excellent reviews, both theremin instruments and kits are available from manufacturers such as Moog Music Inc. Burns Theremins, Harrison Instruments, Inc. Theremaniacs LLC, PAiA Corporation USA, and Jaycar Electronics, the theremin is distinguished among musical instruments in that it is played without physical contact. The thereminist stands in front of the instrument and moves his or her hands in the proximity of two metal antennas, the distance from one antenna determines frequency, and the distance from the other controls amplitude. Higher notes are played by moving the hand closer to the pitch antenna, louder notes are played by moving the hand away from the volume antenna
9.
Sampler (musical instrument)
–
The samples are loaded or recorded by the user or by a manufacturer. These sounds are played back by means of the sampler program itself. Because these samples are stored in digital memory, the information can be quickly accessed. A single sample may often be pitch-shifted to different pitches to produce musical scales, often samplers offer filters, effects units, modulation via low frequency oscillation and other synthesizer-like processes that allow the original sound to be modified in many different ways. Most samplers have polyphonic capabilities – they are able to more than one note at the same time. Many are also multitimbral – they can play back different sounds simultaneously, prior to computer memory-based samplers, musicians used tape replay keyboards, which store recordings on analog tape. When a key is pressed the tape head contacts the moving tape, to change sounds a new set of tapes had to be installed in the instrument. The emergence of the sampler made sampling far more practical. Bruce Haack built a digital sampler which he demonstrated on Mister Rogers Neighborhood in 1967, the home made synthesizer device included a built-in sampler which recorded, stored, played back and looped sounds controlled by switches, light sensors and human skin contact. EMS Musys system, developed by Peter Grogono, David Cockerell, the system ran on two mini-computers, Digital Equipment PDP-8s. These had 12,000 bytes of memory, backed up by a hard drive of 32k. EMS equipment was used to control the worlds first digital studio, the E-mu SP-1200 percussion sampler progressed Hip-Hop away from the drum machine sound upon its release in August 1987, ushering in the sample-based sound of the late 1980s and early 1990s. Akai pioneered many processing techniques, such as crossfade looping and time stretch to shorten or lengthen samples without affecting pitch, during the 1980s, hybrid synthesizers began to utilize short samples along with digital synthesis to create more realistic imitations of instruments than had previously been possible. Examples are the Korg M1, Roland U-110, Yamahas SY series, samplers, together with traditional Foley artists, are the mainstay of modern sound effects production. Using digital techniques various effects can be pitch-shifted and otherwise altered in ways that would have required many hours when done with tape, usually a sampler is controlled by an attached music keyboard or other external MIDI controller or source. Each note-message received by the sampler accesses a particular sample, often multiple samples are arranged across the keyboard, each assigned to a note or group of notes. Keyboard tracking allows samples to be shifted in pitch by an appropriate amount, each group of notes to which a single sample has been assigned is often called a keyzone, and the resultant set of zones is called a keymap. For example, in Fig 1, a keymap has been created four different samples
10.
Pontypridd
–
Pontypridd is both a community and the county town of Rhondda Cynon Taf, Wales, and is situated 12 miles/19 km north of the Welsh capital city of Cardiff. Pontypridd is often abbreviated to Ponty by local residents, the town sits at the junction of the Rhondda and Taff/Cynon valleys, where the River Rhondda flows into the Taff immediately south of the town at Ynysangharad War Memorial Park. Pontypridd community had a population of approximately 32,700 according to figures gathered in 2011. While Pontypridd Town Ward itself was recorded as having a population of 2,919 also as of 2001, the town lies alongside the dual carriageway north-south A470, between Cardiff and Merthyr Tydfil. The A4054, running north and south of the town, was the main road. South of the town is the A473, for Llantrisant and Pencoed, to the west is the A4058, which follows the River Rhondda to Porth and the Rhondda Valley beyond. The name Pontypridd is from Pont-y-tŷ-pridd the Welsh for bridge by the earthen house, Pontypridd is noted for its Old Bridge, a stone construction across the River Taff built in 1756 by William Edwards. This was Edwards third attempt, and, at the time of construction, was the longest single-span stone arch bridge in the world. Rising 35 feet above the level of the river, the forms a perfect segment of a circle. Notable features are the three holes of differing diameters through each end of the bridge, the purpose of which is to reduce weight. On completion, questions were raised as to the utility of the bridge, with the steepness of the design making it difficult to get horses. As a result, a new bridge, the Victoria Bridge, Pontypridd was known as Newbridge from shortly after the construction of the Old Bridge until the 1860s. Because of its role in transporting cargo, its railway platform is thought to have once been the longest in the world during its heyday. Pontypridd was, in the half of the 19th century, a hive of industry. The Albion Colliery in the village of Cilfynydd in 1894 was the site of one of the worst explosions within the South Wales coalfield, the town is also home to a large hospital, Dewi Sant Hospital. Pontypridd Urban District Council was established in 1894, and operated until 1974, in turn, that authority was incorporated into the unitary Rhondda Cynon Taf Council in 1995. Pontypridd Town Council continues to function as a community council, labour is the dominant political force, and has been since the First World War. Pontypridd came into being because of transport, as it was on the route from the south Wales coast and the Bristol Channel, to Merthyr
11.
Wire (band)
–
Wire are an English rock band, formed in London in October 1976 by Colin Newman, Graham Lewis, Bruce Gilbert, and Robert Gotobed. They were originally associated with the rock scene, appearing on The Roxy London WC2 album – a key early document of the scene – and were later central to the development of post-punk. Inspired by the burgeoning UK punk scene, Wire are often cited as one of the more important rock groups of the 1970s and 1980s. Critic Stewart Mason wrote, Over their brilliant first three albums, Wire expanded the boundaries of not just punk, but rock music in general. Wire are an art punk and post-punk ensemble, mostly due to their richly detailed and atmospheric sound. The group exhibited a steady development from an early raucous punk style to a complex, structured sound involving increased use of guitar effects. The band gained a reputation for experimenting with song arrangements throughout its career, field Day for the Sundays, for example, is only 28 seconds long. Chairs Missing followed in 1978, and found Wire stepping back from the stark minimalism of Pink Flag, with longer, more atmospheric songs, Outdoor Miner was a minor hit, peaking at number 51 in the UK singles chart. The experimentation was more prominent on 154. In addition, many of the featured bassist Graham Lewis on lead vocals instead of Colin Newman. The LP came packaged with an EP of a different performance of new material. Between 1981 and 1985, Wire ceased recording and performing in favour of solo and non-Wire collaborative projects such as Dome, Cupol, Duet Emmo, in 1985, the group re-formed as a beat combo, with greater use of electronic musical instruments. Wire announced that they would perform none of their older material, the Ex-Lion Tamers played Wires older material, Wire played their new material. They released IBTABA in 1989, an album of mostly reworked versions of songs from The Ideal Copy and A Bell Is a Cup, heavily rearranged, edited. A new song from the album, Eardrum Buzz, was released as a single, Gotobed left the band in 1990, after the release of the album Manscape. After his departure, the band dropped one letter from its name, becoming Wir, there followed a further period of solo recordings, during which Newman founded the swim ~ label, and later Githead with his wife, while Wire remained an occasional collaboration. It was not until 1999 that Wire again became a full-time entity, with Gotobed back in the line-up, the group initially reworked much of their back catalogue for a performance at Royal Festival Hall on 26 February 2000. Wires reception during a tour in early May of the US
12.
Newport, Wales
–
Newport is a cathedral and university city and unitary authority area in south east Wales. It is located on the River Usk close to its confluence with the Severn Estuary, at the 2011 census it is the third largest city in Wales, with a city population of 145,700 and an urban population of 306,844. The city forms part of the Cardiff-Newport metropolitan area with a population of 1,097,000, Newport has been a port since medieval times, when the first Newport Castle was built by the Normans. The town outgrew the earlier Roman town of Caerleon, immediately upstream and it grew significantly in the 19th century, when its port became the focus of coal exports from the eastern valleys of South Wales. Until the rise of Cardiff from the 1850s, Newport was Wales largest coal-exporting port and it was the site of the last large-scale armed insurrection in Britain, the Newport Rising of 1839 led by the Chartists. During the 20th century, when the docks declined in importance and it was granted city status in 2002. Newport hosted the Ryder Cup in 2010, the city was the venue for the 2014 NATO summit. It is the largest urban area within the county boundaries of Monmouthshire. The City of Newport, which includes surrounding rural areas as well as the built up area, is governed by Newport City Council. Bronze Age fishermen settled around the estuary of the River Usk. In AD75, on the edge of their empire. According to legend, in the late 5th century Saint Woolos church was founded by Saint Gwynllyw, the church was certainly in existence by the 9th century and today has become Newport Cathedral, the seat of the Bishop of Monmouth. The Normans arrived from around 1088–1093 to build the first Newport Castle and river crossing downstream from Caerleon, the settlement of Newport is first mentioned as novo burgus established by Robert, Earl of Gloucester in 1126. The name was derived from the original Latin name Novus Burgus, the city can sometimes be found labelled as Newport-on-Usk on old maps. The original Welsh language name for the city, Casnewydd-ar-Wysg means New castle-on-Usk, the original Newport Castle was a small motte-and-bailey castle in the park opposite Newport Cathedral. It was buried in rubble excavated from the Hillfield railway tunnels that were dug under Stow Hill in the 1840s and no part of it is currently visible. Around the settlement, the new town grew to become Newport, obtaining its first charter in 1314 and was granted a second one, by Hugh Stafford, in the 14th century friars came to Newport where they built an isolation hospital for infectious diseases. After its closure the hospital lived on in the place name Spitty Fields, austin Friars also remains a street name in the city
