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Analytical chemistry

Analytical chemistry studies and uses instruments and methods to separate, identify, and quantify matter. In practice, separation, identification or quantification may constitute the entire analysis or be combined with another method. Separation isolates analytes. Qualitative analysis identifies analytes, while quantitative analysis determines the numerical amount or concentration.

Analytical chemistry consists of classical, wet chemical methods and modern, instrumental methods. Classical qualitative methods use separations such as precipitation, extraction, and distillation. Identification may be based on differences in color, odor, melting point, boiling point, solubility, radioactivity or reactivity. Classical quantitative analysis uses mass or volume changes to quantify amount. Instrumental methods may be used to separate samples using chromatography, electrophoresis or field flow fractionation. Then qualitative and quantitative analysis can be performed, often with the same instrument and may use light interaction, heat interaction, electric fields or magnetic fields. Often the same instrument can separate, identify and quantify an analyte.

Analytical chemistry is also focused on improvements in experimental design, chemometrics, and the creation of new measurement tools. Analytical chemistry has broad applications to medicine, science, and engineering.

History
Analytical chemistry has been important since the early days of chemistry, providing methods for determining which elements and chemicals are present in the object in question. During this period, significant contributions to analytical chemistry included the development of systematic elemental analysis by Justus von Liebig and systematized organic analysis based on the specific reactions of functional groups.

The first instrumental analysis was flame emissive spectrometry developed by Robert Bunsen and Gustav Kirchhoff who discovered rubidium (Rb) and caesium (Cs) in 1860.

Most of the major developments in analytical chemistry took place after 1900. During this period, instrumental analysis became progressively dominant in the field. In particular, many of the basic spectroscopic and spectrometric techniques were discovered in the early 20th century and refined in the late 20th century.

The separation sciences follow a similar time line of development and also became increasingly transformed into high performance instruments. In the 1970s many of these techniques began to be used together as hybrid techniques to achieve a complete characterization of samples.

Starting in the 1970s, analytical chemistry became progressively more inclusive of biological questions (bioanalytical chemistry), whereas it had previously been largely focused on inorganic or small organic molecules. Lasers have been increasingly used as probes and even to initiate and influence a wide variety of reactions. The late 20th century also saw an expansion of the application of analytical chemistry from somewhat academic chemical questions to forensic, environmental, industrial and medical questions, such as in histology.

Modern analytical chemistry is dominated by instrumental analysis. Many analytical chemists focus on a single type of instrument. Academics tend to either focus on new applications and discoveries or on new methods of analysis. The discovery of a chemical present in blood that increases the risk of cancer would be a discovery that an analytical chemist might be involved in. An effort to develop a new method might involve the use of a tunable laser to increase the specificity and sensitivity of a spectrometric method. Many methods, once developed, are kept purposely static so that data can be compared over long periods of time. This is particularly true in industrial quality assurance (QA), forensic and environmental applications. Analytical chemistry plays an increasingly important role in the pharmaceutical industry where, aside from QA, it is used in the discovery of new drug candidates and in clinical applications where understanding the interactions between the drug and the patient are critical.

Classical methods
Although modern analytical chemistry is dominated by sophisticated instrumentation, the roots of analytical chemistry and some of the principles used in modern instruments are from traditional techniques, many of which are still used today. These techniques also tend to form the backbone of most undergraduate analytical chemistry educational labs.

Qualitative analysis
Qualitative analysis determines the presence or absence of a particular compound, but not the mass or concentration. By definition, qualitative analyses do not measure quantity.

Chemical tests
There are numerous qualitative chemical tests, for example, the acid test for gold and the Kastle-Meyer test for the presence of blood.

Flame test
Inorganic qualitative analysis generally refers to a systematic scheme to confirm the presence of certain aqueous ions or elements by performing a series of reactions that eliminate a range of possibilities and then confirm suspected ions with a confirming test. Sometimes small carbon-containing ions are included in such schemes. With modern instrumentation, these tests are rarely used but can be useful for educational purposes and in fieldwork or other situations where access to state-of-the-art instruments is not available or expedient.

Quantitative analysis
Quantitative analysis is the measurement of the quantities of particular chemical constituents present in a substance. Quantities can be measured by mass (gravimetric analysis) or volume (volumetric analysis).

Gravimetric analysis
The gravimetric analysis involves determining the amount of material present by weighing the sample before and/or after some transformation. A common example used in undergraduate education is the determination of the amount of water in a hydrate by heating the sample to remove the water such that the difference in weight is due to the loss of water.

Volumetric analysis
Titration involves the gradual addition of a measurable reactant to an exact volume of a solution being analyzed until some equivalence point is reached. Titrating accurately to either the half-equivalence point or the endpoint of a titration allows the chemist to determine the amount of moles used, which can then be used to determine a concentration or composition of the titrant. Most familiar to those who have taken chemistry during secondary education is the acid-base titration involving a color-changing indicator, such as phenolphthalein. There are many other types of titrations, for example, potentiometric titrations or precipitation titrations. Chemists might also create titration curves in order by systematically testing the pH every drop in order to understand different properties of the titrant.

Spectroscopy
Spectroscopy measures the interaction of the molecules with electromagnetic radiation. Spectroscopy consists of many different applications such as atomic absorption spectroscopy, atomic emission spectroscopy, ultraviolet-visible spectroscopy, X-ray spectroscopy, fluorescence spectroscopy, infrared spectroscopy, Raman spectroscopy, dual polarization interferometry, nuclear magnetic resonance spectroscopy, photoemission spectroscopy, Mössbauer spectroscopy and so on.

Mass spectrometry
Mass spectrometry measures mass-to-charge ratio of molecules using electric and magnetic fields. There are several ionization methods: electron ionization, chemical ionization, electrospray ionization, fast atom bombardment, matrix assisted laser desorption/ionization, and others. Also, mass spectrometry is categorized by approaches of mass analyzers: magnetic-sector, quadrupole mass analyzer, quadrupole ion trap, time-of-flight, Fourier transform ion cyclotron resonance, and so on.

Electrochemical analysis
Electroanalytical methods measure the potential (volts) and/or current (amps) in an electrochemical cell containing the analyte. These methods can be categorized according to which aspects of the cell are controlled and which are measured. The four main categories are potentiometry (the difference in electrode potentials is measured), coulometry (the transferred charge is measured over time), amperometry (the cell's current is measured over time), and voltammetry (the cell's current is measured while actively altering the cell's potential).

Thermal analysis
Calorimetry and thermogravimetric analysis measure the interaction of a material and heat.

Separation

Separation processes are used to decrease the complexity of material mixtures. Chromatography, electrophoresis and field flow fractionation are representative of this field.

Chromatographic assays
Chromatography can be used to determine the presence of substances in a sample as different components in a mixture have different tendencies to adsorb onto the stationary phase or dissolve in the mobile phase. Thus, different components of the mixture move at different speed. Different components of a mixture can therefore be identified by their respective Rƒ values, which is the ratio between the migration distance of the substance and the migration distance of the solvent front during chromatography. In combination with the instrumental methods, chromatography can be used in quantitative determination of the substances.

Hybrid techniques
Combinations of the above techniques produce a "hybrid" or "hyphenated" technique. Several examples are in popular use today and new hybrid techniques are under development. For example, gas chromatography-mass spectrometry, gas chromatography-infrared spectroscopy, liquid chromatography-mass spectrometry, liquid chromatography-NMR spectroscopy, liquid chromatography-infrared spectroscopy, and capillary electrophoresis-mass spectrometry.

Hyphenated separation techniques refer to a combination of two (or more) techniques to detect and separate chemicals from solutions. Most often the other technique is some form of chromatography. Hyphenated techniques are widely used in chemistry and biochemistry. A slash is sometimes used instead of hyphen, especially if the name of one of the methods contains a hyphen itself.

Microscopy

The visualization of single molecules, single cells, biological tissues, and nanomaterials is an important and attractive approach in analytical science. Also, hybridization with other traditional analytical tools is revolutionizing analytical science. Microscopy can be categorized into three different fields: optical microscopy, electron microscopy, and scanning probe microscopy. Recently, this field is rapidly progressing because of the rapid development of the computer and camera industries.

Lab-on-a-chip
Devices that integrate (multiple) laboratory functions on a single chip of only millimeters to a few square centimeters in size and that are capable of handling extremely small fluid volumes down to less than picoliters.

Errors
Error can be defined as numerical difference between observed value and true value. The experimental error can be divided into two types, systematic error and random error. Systematic error results from a flaw in equipment or the design of an experiment while random error results from uncontrolled or uncontrollable variables in the experiment.

In error the true value and observed value in chemical analysis can be related with each other by the equation
 * $$ \varepsilon_{\rm a} = |x - \bar{x}| $$

where An error of a measurement is an inverse measure of accurate measurement, i.e. smaller the error greater the accuracy of the measurement.
 * $$\varepsilon_{\rm a}$$ is the absolute error.
 * $$x$$ is the true value.
 * $$\bar{x}$$ is the observed value.

Errors can be expressed relatively. Given the relative error($$\varepsilon_{\rm r}$$):
 * $$\varepsilon_{\rm r} = \frac{\varepsilon_{\rm a}}{|x|} = \left | \frac{x - \bar{x}}{x} \right |$$

The percent error can also be calculated:
 * $$\varepsilon_{\rm r} \times 100\% $$

If we want to use these values in a function, we may also want to calculate the error of the function. Let $$f$$ be a function with $$N$$ variables. Therefore, the propagation of uncertainty must be calculated in order to know the error in $$f$$:
 * $$\varepsilon_{\rm a} (f) \approx \sum_{i = 1}^N \left | \frac{\partial f}{\partial x_i} \right | \varepsilon_{\rm a}(x_i) = \left | \frac{\partial f}{\partial x_1} \right | \varepsilon_{\rm a}(x_1) + \left | \frac{\partial f}{\partial x_2} \right | \varepsilon_{\rm a}(x_2) + \ldots + \left | \frac{\partial f}{\partial x_N} \right | \varepsilon_{\rm a}(x_N)$$

Standard curve
A general method for analysis of concentration involves the creation of a calibration curve. This allows for the determination of the amount of a chemical in a material by comparing the results of an unknown sample to those of a series of known standards. If the concentration of element or compound in a sample is too high for the detection range of the technique, it can simply be diluted in a pure solvent. If the amount in the sample is below an instrument's range of measurement, the method of addition can be used. In this method, a known quantity of the element or compound under study is added, and the difference between the concentration added and the concentration observed is the amount actually in the sample.

Internal standards
Sometimes an internal standard is added at a known concentration directly to an analytical sample to aid in quantitation. The amount of analyte present is then determined relative to the internal standard as a calibrant. An ideal internal standard is an isotopically enriched analyte which gives rise to the method of isotope dilution.

Standard addition
The method of standard addition is used in instrumental analysis to determine the concentration of a substance (analyte) in an unknown sample by comparison to a set of samples of known concentration, similar to using a calibration curve. Standard addition can be applied to most analytical techniques and is used instead of a calibration curve to solve the matrix effect problem.

Signals and noise
One of the most important components of analytical chemistry is maximizing the desired signal while minimizing the associated noise. The analytical figure of merit is known as the signal-to-noise ratio (S/N or SNR).

Noise can arise from environmental factors as well as from fundamental physical processes.

Thermal noise
Thermal noise results from the motion of charge carriers (usually electrons) in an electrical circuit generated by their thermal motion. Thermal noise is white noise meaning that the power spectral density is constant throughout the frequency spectrum.

The root mean square value of the thermal noise in a resistor is given by
 * $$v_{\rm RMS} = \sqrt { 4 k_{\rm B} T R \Delta f },$$

where kB is the Boltzmann constant, T is the temperature, R is the resistance, and $$\Delta f$$ is the bandwidth of the frequency $$ f$$.

Shot noise
Shot noise is a type of electronic noise that occurs when the finite number of particles (such as electrons in an electronic circuit or photons in an optical device) is small enough to give rise to statistical fluctuations in a signal.

Shot noise is a Poisson process, and the charge carriers that make up the current follow a Poisson distribution. The root mean square current fluctuation is given by
 * $$i_{\rm RMS} = \sqrt{2 e I\Delta f}$$

where e is the elementary charge and I is the average current. Shot noise is white noise.

Flicker noise
Flicker noise is electronic noise with a 1/ƒ frequency spectrum; as f increases, the noise decreases. Flicker noise arises from a variety of sources, such as impurities in a conductive channel, generation, and recombination noise in a transistor due to base current, and so on. This noise can be avoided by modulation of the signal at a higher frequency, for example, through the use of a lock-in amplifier.

Environmental noise
Environmental noise arises from the surroundings of the analytical instrument. Sources of electromagnetic noise are power lines, radio and television stations, wireless devices, compact fluorescent lamps and electric motors. Many of these noise sources are narrow bandwidth and, therefore, can be avoided. Temperature and vibration isolation may be required for some instruments.

Noise reduction
Noise reduction can be accomplished either in computer hardware or software. Examples of hardware noise reduction are the use of shielded cable, analog filtering, and signal modulation. Examples of software noise reduction are digital filtering, ensemble average, boxcar average, and correlation methods.

Applications
Analytical chemistry has applications including in forensic science, bioanalysis, clinical analysis, environmental analysis, and materials analysis. Analytical chemistry research is largely driven by performance (sensitivity, detection limit, selectivity, robustness, dynamic range, linear range, accuracy, precision, and speed), and cost (purchase, operation, training, time, and space). Among the main branches of contemporary analytical atomic spectrometry, the most widespread and universal are optical and mass spectrometry. In the direct elemental analysis of solid samples, the new leaders are laser-induced breakdown and laser ablation mass spectrometry, and the related techniques with transfer of the laser ablation products into inductively coupled plasma. Advances in design of diode lasers and optical parametric oscillators promote developments in fluorescence and ionization spectrometry and also in absorption techniques where uses of optical cavities for increased effective absorption pathlength are expected to expand. The use of plasma- and laser-based methods is increasing. An interest towards absolute (standardless) analysis has revived, particularly in  emission spectrometry.

Great effort is being put into shrinking the analysis techniques to chip size. Although there are few examples of such systems competitive with traditional analysis techniques, potential advantages include size/portability, speed, and cost. (micro total analysis system (μTAS) or lab-on-a-chip). Microscale chemistry reduces the amounts of chemicals used.

Many developments improve the analysis of biological systems. Examples of rapidly expanding fields in this area are genomics, DNA sequencing and related research in genetic fingerprinting and DNA microarray; proteomics, the analysis of protein concentrations and modifications, especially in response to various stressors, at various developmental stages, or in various parts of the body, metabolomics, which deals with metabolites; transcriptomics, including mRNA and associated fields; lipidomics - lipids and its associated fields; peptidomics - peptides and its associated fields; and metallomics, dealing with metal concentrations and especially with their binding to proteins and other molecules.

Analytical chemistry has played a critical role in the understanding of basic science to a variety of practical applications, such as biomedical applications, environmental monitoring, quality control of industrial manufacturing, forensic science, and so on.

The recent developments in computer automation and information technologies have extended analytical chemistry into a number of new biological fields. For example, automated DNA sequencing machines were the basis for completing human genome projects leading to the birth of genomics. Protein identification and peptide sequencing by mass spectrometry opened a new field of proteomics. In addition to automating specific processes, there is effort to automate larger sections of lab testing, such as in companies like Emerald Cloud Lab and Transcriptic.

Analytical chemistry has been an indispensable area in the development of nanotechnology. Surface characterization instruments, electron microscopes and scanning probe microscopes enable scientists to visualize atomic structures with chemical characterizations.

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title: Analytical chemistry


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A cappella

Music performed a cappella (, , ; lit. 'in the style of the chapel'), less commonly spelled a capella in English, is music performed by a singer or a singing group without instrumental accompaniment. The term a cappella was originally intended to differentiate between Renaissance polyphony and Baroque concertato musical styles. In the 19th century, a renewed interest in Renaissance polyphony, coupled with an ignorance of the fact that vocal parts were often doubled by instrumentalists, led to the term coming to mean unaccompanied vocal music. The term is also used, rarely, as a synonym for alla breve.

Early history
A cappella could be as old as humanity itself. Research suggests that singing and vocables may have been what early humans used to communicate before the invention of language. The earliest piece of sheet music is thought to have originated from times as early as 2000 BC, while the earliest that has survived in its entirety is from the first century AD: a piece from Greece called the Seikilos epitaph.

Religious origins
A cappella music was originally used in religious music, especially church music as well as anasheed and zemirot. Gregorian chant is an example of a cappella singing, as is the majority of secular vocal music from the Renaissance. The madrigal, up until its development in the early Baroque into an instrumentally accompanied form, is also usually in a cappella form. The Psalms note that some early songs were accompanied by string instruments, though Jewish and Early Christian music was largely a cappella; the use of instruments has subsequently increased within both of these religions as well as in Islam.

Christian
The polyphony of Christian a cappella music began to develop in Europe around the late 15th century AD, with compositions by Josquin des Prez. The early a cappella polyphonies may have had an accompanying instrument, although this instrument would merely double the singers' parts and was not independent. By the 16th century, a cappella polyphony had further developed, but gradually, the cantata began to take the place of a cappella forms. Sixteenth-century a cappella polyphony, nonetheless, continued to influence church composers throughout this period and to the present day. Recent evidence has shown that some of the early pieces by Palestrina, such as those written for the Sistine Chapel, were intended to be accompanied by an organ "doubling" some or all of the voices. Such is seen in the life of Palestrina becoming a major influence on Bach, most notably in the Mass in B Minor.

Other composers that utilized the a cappella style, if only for the occasional piece, were Claudio Monteverdi and his masterpiece, Lagrime d'amante al sepolcro dell'amata (A lover's tears at his beloved's grave), which was composed in 1610, and Andrea Gabrieli when upon his death many choral pieces were discovered, one of which was in the unaccompanied style. Learning from the preceding two composers, Heinrich Schütz utilized the a cappella style in numerous pieces, chief among these were the pieces in the oratorio style, which were traditionally performed during the Easter week and dealt with the religious subject matter of that week, such as Christ's suffering and the Passion. Five of Schutz's Historien were Easter pieces, and of these the latter three, which dealt with the passion from three different viewpoints, those of Matthew, Luke and John, were all done a cappella style. This was a near requirement for this type of piece, and the parts of the crowd were sung while the solo parts which were the quoted parts from either Christ or the authors were performed in a plainchant.

Byzantine Rite
In the Byzantine Rite of the Eastern Orthodox Church and the Eastern Catholic Churches, the music performed in the liturgies is exclusively sung without instrumental accompaniment. Bishop Kallistos Ware says, "The service is sung, even though there may be no choir... In the Orthodox Church today, as in the early Church, singing is unaccompanied and instrumental music is not found." This a cappella behavior arises from strict interpretation of Psalm 150, which states, ''Let every thing that hath breath praise the Lord. Praise ye the Lord. In keeping with this philosophy, early Russian musika which started appearing in the late 17th century, in what was known as khorovïye kontsertï (choral concertos) made a cappella adaptations of Venetian-styled pieces, such as the treatise, Grammatika musikiyskaya'' (1675), by Nikolai Diletsky. Divine Liturgies and Western Rite Masses composed by famous composers such as Peter Tchaikovsky, Sergei Rachmaninoff, Alexander Arkhangelsky, and Mykola Leontovych are fine examples of this.

Opposition to instruments in worship
Present-day Christian religious bodies known for conducting their worship services without musical accompaniment include many Oriental Orthodox Churches (such as the Coptic Orthodox Church), many Anabaptist communities (including Old Order Anabaptist groups—such as the Amish, Old German Baptist Brethren, Old Order Mennonites, as well as Conservative Anabaptist groups—such as the Dunkard Brethren Church and Conservative Mennonites), some Presbyterian churches devoted to the regulative principle of worship, Old Regular Baptists, Primitive Baptists, Plymouth Brethren, Churches of Christ, Church of God (Guthrie, Oklahoma), the Reformed Free Methodists, Doukhobors, and the Byzantine Rite of Eastern Christianity.

Certain high church services and other musical events in liturgical churches (such as the Roman Catholic Mass and the Lutheran Divine Service) may be a cappella, a practice remaining from apostolic times. Many Mennonites also conduct some or all of their services without instruments. Sacred Harp, a type of folk music, is an a cappella style of religious singing with shape notes, usually sung at singing conventions.

Opponents of musical instruments in the Christian worship believe that such opposition is supported by the Christian scriptures and Church history. The scriptures typically referenced are Matthew 26:30; Acts 16:25; Romans 15:9; 1 Corinthians 14:15; Ephesians 5:19; Colossians 3:16; Hebrews 2:12, 13:15 and James 5:13, which show examples and exhortations for Christians to sing.

There is no reference to instrumental music in early church worship in the New Testament, or in the worship of churches for the first six centuries. Several reasons have been posited throughout church history for the absence of instrumental music in church worship.

Christians who believe in a cappella music today believe that in the Israelite worship assembly during Temple worship only the Priests of Levi sang, played, and offered animal sacrifices, whereas in the church era, all Christians are commanded to sing praises to God. They believe that if God wanted instrumental music in New Testament worship, He would have commanded not just singing, but singing and playing like he did in the Hebrew scriptures.

Instruments have divided Christendom since their introduction into worship. They were considered a Roman Catholic innovation, not widely practiced until the 18th century, and were opposed vigorously in worship by a number of Protestant Reformers, including Martin Luther (1483–1546), Ulrich Zwingli, John Calvin (1509–1564) and John Wesley (1703–1791). Alexander Campbell referred to the use of an instrument in worship as "a cow bell in a concert". In Sir Walter Scott's The Heart of Midlothian, the heroine, Jeanie Deans, a Scottish Presbyterian, writes to her father about the church situation she has found in England (bold added):
 * The folk here are civil, and, like the barbarians unto the holy apostle, have shown me much kindness; and there are a sort of chosen people in the land, for they have some kirks without organs that are like ours, and are called meeting-houses, where the minister preaches without a gown.

Acceptance of instruments in worship
Those who do not adhere to the regulative principle of interpreting Christian scripture, believe that limiting praise to the unaccompanied chant of the early church is not commanded in scripture, and that churches in any age are free to offer their songs with or without musical instruments.

Those who subscribe to this interpretation believe that since the Christian scriptures never counter instrumental language with any negative judgment on instruments, opposition to instruments instead comes from an interpretation of history. There is no written opposition to musical instruments in any setting in the first century and a half of Christian churches (33–180 AD). The use of instruments for Christian worship during this period is also undocumented. Toward the end of the 2nd century, Christians began condemning the instruments themselves. Those who oppose instruments today believe these Church Fathers had a better understanding of God's desire for the church, but there are significant differences between the teachings of these Church Fathers and Christian opposition to instruments today.
 * Modern Christians typically believe it is acceptable to play instruments or to attend weddings, funerals, banquets, etc., where instruments are heard playing religious music. The Church Fathers made no exceptions. Since the New Testament never condemns instruments themselves, much less in any of these settings, it is believed that "the church Fathers go beyond the New Testament in pronouncing a negative judgment on musical instruments."
 * Written opposition to instruments in worship began near the turn of the 5th century. Modern opponents of instruments typically do not make the same assessment of instruments as these writers, who argued that God had allowed David the "evil" of using musical instruments in praise. While the Old Testament teaches that God specifically asked for musical instruments, modern concern is for worship based on the New Testament.

Since "a cappella" singing brought a new polyphony (more than one note at a time) with instrumental accompaniment, it is not surprising that Protestant reformers who opposed the instruments (such as Calvin and Zwingli) also opposed the polyphony. While Zwingli was destroying organs in Switzerland – Luther called him a fanatic – the Church of England was burning books of polyphony.

Some Holiness Churches such as the Free Methodist Church opposed the use of musical instruments in church worship until the mid-20th century. The Free Methodist Church allowed for local church decision on the use of either an organ or piano in the 1943 Conference before lifting the ban entirely in 1955. The Reformed Free Methodist Church and Evangelical Wesleyan Church were formed as a result of a schism with the Free Methodist Church, with the former retaining a cappella worship and the latter retaining the rule limiting the number of instruments in the church to the piano and organ.

Jewish
While worship in the Temple in Jerusalem included musical instruments, traditional Jewish religious services in the Synagogue, both before and after the last destruction of the Temple, did not include musical instruments given the practice of scriptural cantillation. The use of musical instruments is traditionally forbidden on the Sabbath out of concern that players would be tempted to repair (or tune) their instruments, which is forbidden on those days. (This prohibition has been relaxed in many Reform and some Conservative congregations.) Similarly, when Jewish families and larger groups sing traditional Sabbath songs known as zemirot outside the context of formal religious services, they usually do so a cappella, and Bar and Bat Mitzvah celebrations on the Sabbath sometimes feature entertainment by a cappella ensembles. During the Three Weeks musical instruments are prohibited. Many Jews consider a portion of the 49-day period of the counting of the omer between Passover and Shavuot to be a time of semi-mourning and instrumental music is not allowed during that time. This has led to a tradition of a cappella singing sometimes known as sefirah music.

The popularization of the Jewish chant may be found in the writings of the Jewish philosopher Philo, born 20 BC. Weaving together Jewish and Greek thought, Philo promoted praise without instruments, and taught that "silent singing" (without even vocal chords) was better still. This view parted with the Jewish scriptures, where Israel offered praise with instruments by God's own command The shofar is the only temple instrument still being used today in the synagogue, and it is only used from Rosh Chodesh Elul through the end of Yom Kippur. The shofar is used by itself, without any vocal accompaniment, and is limited to a very strictly defined set of sounds and specific places in the synagogue service. However, silver trumpets, as described in Numbers 10:1-18, have been made in recent years and used in prayer services at the Western Wall.

In the United States
Peter Christian Lutkin, dean of the Northwestern University School of Music, helped popularize a cappella music in the United States by founding the Northwestern A Cappella Choir in 1906. The A Cappella Choir was "the first permanent organization of its kind in America."

An a cappella tradition was begun in 1911 by F. Melius Christiansen, a music faculty member at St. Olaf College in Northfield, Minnesota. The St. Olaf College Choir was established as an outgrowth of the local St. John's Lutheran Church, where Christiansen was organist and the choir was composed, at least partially, of students from the nearby St. Olaf campus. The success of the ensemble was emulated by other regional conductors, and a tradition of a cappella choral music was born in the region at colleges like Concordia College (Moorhead, Minnesota), Augustana College (Rock Island, Illinois), Waldorf University (Forest City, Iowa), Luther College (Decorah, Iowa), Gustavus Adolphus College (St. Peter, Minnesota), Augustana College (Sioux Falls, South Dakota), and Augsburg University (Minneapolis, Minnesota). The choirs typically range from 40 to 80 singers and are recognized for their efforts to perfect blend, intonation, phrasing and pitch in a large choral setting.

Movements in modern a cappella over the past century include barbershop and doo wop. The Barbershop Harmony Society, Sweet Adelines International, and Harmony Inc. host educational events including Harmony University, Directors University, and the International Educational Symposium, and international contests and conventions, recognizing international champion choruses and quartets.

Many a cappella groups can be found in high schools and colleges. There are amateur Barbershop Harmony Society and professional groups that sing a cappella exclusively. Although a cappella is technically defined as singing without instrumental accompaniment, some groups use their voices to emulate instruments; others are more traditional and focus on harmonizing. A cappella styles range from gospel music to contemporary to barbershop quartets and choruses.

The Contemporary A Cappella Society (CASA) is a membership option for former students, whose funds support hosted competitions and events.

A cappella music was popularized between the late 2000s and the early to mid-2010s with media hits such as the 2009–2014 TV show The Sing-Off and the musical comedy film series Pitch Perfect.

Recording artists
In July 1943, as a result of the American Federation of Musicians boycott of US recording studios, the a cappella vocal group The Song Spinners had a best-seller with "Comin' In on a Wing and a Prayer". In the 1950s, several recording groups, notably The Hi-Los and the Four Freshmen, introduced complex jazz harmonies to a cappella performances. The King's Singers are credited with promoting interest in small-group a cappella performances in the 1960s. Frank Zappa loved doo wop and a cappella, so Zappa released The Persuasions' first album from his label in 1970. Judy Collins recorded "Amazing Grace" a cappella. In 1983, an a cappella group known as The Flying Pickets had a Christmas 'number one' in the UK with a cover of Yazoo's (known in the US as Yaz) "Only You". A cappella music attained renewed prominence from the late 1980s onward, spurred by the success of Top 40 recordings by artists such as The Manhattan Transfer, Bobby McFerrin, Huey Lewis and the News, All-4-One, The Nylons, Backstreet Boys, Boyz II Men, and *NSYNC.

Contemporary a cappella includes many vocal groups and bands who add vocal percussion or beatboxing to create a pop/rock/gospel sound, in some cases very similar to bands with instruments. Examples of such professional groups include Straight No Chaser, Pentatonix, The House Jacks, Rockapella, Mosaic, Home Free and M-pact. There also remains a strong a cappella presence within Christian music, as some denominations purposefully do not use instruments during worship. Examples of such groups are Take 6, Glad and Acappella. Arrangements of popular music for small a cappella ensembles typically include one voice singing the lead melody, one singing a rhythmic bass line, and the remaining voices contributing chordal or polyphonic accompaniment.

A cappella can also describe the isolated vocal track(s) from a multitrack recording that originally included instrumentation. These vocal tracks may be remixed or put onto vinyl records for DJs, or released to the public so that fans can remix them. One such example is the a cappella release of Jay-Z's Black Album, which Danger Mouse mixed with the Beatles' White Album to create The Grey Album.

On their 1966 album titled Album, Peter, Paul and Mary included the song "Norman Normal". All the sounds on that song, both vocals and instruments, were created by Paul's voice, with no actual instruments used.

In 2013, an artist by the name Smooth McGroove rose to prominence with his style of a cappella music. He is best known for his a cappella covers of video game music tracks on YouTube.

in 2015, an a cappella version of Jerusalem by multi-instrumentalist Jacob Collier was selected for Beats by Dre "The Game Starts Here" for the England Rugby World Cup campaign.

Musical theatre
A cappella has been used as the sole orchestration for original works of musical theatre that have had commercial runs Off-Broadway (theatres in New York City with 99 to 500 seats) only four times. The first was Avenue X which opened on 28 January 1994, and ran for 77 performances. It was produced by Playwrights Horizons with book by John Jiler, music and lyrics by Ray Leslee. The musical style of the show's score was primarily doo-wop as the plot revolved around doo-wop group singers of the 1960s.

In 2001, The Kinsey Sicks, produced and starred in the critically acclaimed off-Broadway hit, ''DRAGAPELLA! Starring the Kinsey Sicks'' at New York's Studio 54. That production received a nomination for a Lucille Lortel award as Best Musical and a Drama Desk nomination for Best Lyrics. It was directed by Glenn Casale with original music and lyrics by Ben Schatz.

The a cappella musical Perfect Harmony, a comedy about two high school a cappella groups vying to win the national championship, made its Off Broadway debut at Theatre Row's Acorn Theatre on 42nd Street in New York City in October 2010 after a successful out-of-town run at the Stoneham Theatre, in Stoneham, Massachusetts. Perfect Harmony features the hit music of The Jackson 5, Pat Benatar, Billy Idol, Marvin Gaye, Scandal, Tiffany, The Romantics, The Pretenders, The Temptations, The Contours, The Commodores, Tommy James & the Shondells and The Partridge Family, and has been compared to a cross between Altar Boyz and The 25th Annual Putnam County Spelling Bee.

The fourth a cappella musical to appear Off-Broadway, In Transit, premiered October 5, 2010, and was produced by Primary Stages with book, music, and lyrics by Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, and Sara Wordsworth. Set primarily in the New York City subway system its score features an eclectic mix of musical genres (including jazz, hip hop, Latin, rock, and country). In Transit incorporates vocal beat boxing into its contemporary a cappella arrangements through the use of a subway beat boxer character. Beat boxer and actor Chesney Snow performed this role for the 2010 Primary Stages production. According to the show's website, it is scheduled to reopen for an open-ended commercial run in the Fall of 2011. In 2011, the production received four Lucille Lortel Award nominations including Outstanding Musical, Outer Critics Circle and Drama League nominations, as well as five Drama Desk nominations including Outstanding Musical and won for Outstanding Ensemble Performance. In December 2016, In Transit became the first a cappella musical on Broadway.

Barbershop style
Barbershop music is one of several uniquely American art forms. The earliest reports of this style of a cappella music involved African Americans. The earliest documented quartets all began in barber shops. In 1938, the first formal men's barbershop organization was formed, known as the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (S.P.E.B.S.Q.S.A), and in 2004 rebranded itself and officially changed its public name to the Barbershop Harmony Society (BHS). Today the BHS has about 22,000 members in approximately 800 chapters across the United States and Canada, and the barbershop style has spread around the world with organizations in many other countries. The Barbershop Harmony Society provides a highly organized competition structure for a cappella quartets and choruses singing in the barbershop style.

In 1945, the first formal women's barbershop organization, Sweet Adelines, was formed. In 1953, Sweet Adelines became an international organization, although it did not change its name to Sweet Adelines International until 1991. The membership of nearly 25,000 women, all singing in English, includes choruses in most of the fifty United States as well as in Australia, Canada, Finland, Germany, Ireland, Japan, New Zealand, Spain, Sweden, the United Kingdom, and the Netherlands. Headquartered in Tulsa, Oklahoma, the organization encompasses more than 1,200 registered quartets and 600 choruses.

In 1959, a second women's barbershop organization started as a break off from Sweet Adelines due to ideological differences. Based on democratic principles which continue to this day, Harmony, Inc. is smaller than its counterpart, but has an atmosphere of friendship and competition. With about 2,500 members in the United States and Canada, Harmony, Inc. uses the same rules in contest that the Barbershop Harmony Society uses. Harmony, Inc. is registered in Providence, Rhode Island.

Amateur and high school
The popularity of a cappella among high schools and amateurs was revived by television shows and movies such as Glee and Pitch Perfect. High school groups may have conductors or student leaders who keep the tempo for the group, or beatboxers/vocal percussionists.

Since 2013, summer training programs have appeared, such as A Cappella Academy in Los Angeles, California (founded by Ben Bram, Rob Dietz, and Avi Kaplan) and Camp A Cappella in Dayton, Ohio (founded by Deke Sharon and Brody McDonald). These programs teach about different aspects of a cappella music, including vocal performance, arranging, and beatboxing/vocal percussion.

Afghanistan
The Islamic Emirate of Afghanistan has no official anthem because of views by the Taliban of music as un-Islamic. However, the de facto national anthem of Afghanistan is an a cappella nasheed, as musical instruments are virtually banned as corrupting and un-Islamic.

Iran
The first a cappella group in Iran is the Damour Vocal Band, which was able to perform on national television despite a ban on women singing.

Pakistan
The musical show Strepsils Stereo is credited for introducing the art of a cappella in Pakistan.

Sri Lanka
Composer Dinesh Subasinghe became the first Sri Lankan to write a cappella pieces for SATB choirs. He wrote "The Princes of the Lost Tribe" and "Ancient Queen of Somawathee" for Menaka De Sahabandu and Bridget Helpe's choirs, respectively, based on historical incidents in ancient Sri Lanka. Voice Print is also a professional a cappella music group in Sri Lanka.

Sweden
The European a cappella tradition is especially strong in the countries around the Baltic and perhaps most so in Sweden as described by Richard Sparks in his doctoral thesis The Swedish Choral Miracle in 2000.

Swedish a cappella choirs have over the last 25 years won around 25% of the annual prestigious European Grand Prix for Choral Singing (EGP) that despite its name is open to choirs from all over the world (see list of laureates in the Wikipedia article on the EGP competition).

The reasons for the strong Swedish dominance are as explained by Richard Sparks manifold; suffice to say here that there is a long-standing tradition, an unusually large proportion of the populations (5% is often cited) regularly sing in choirs, the Swedish choral director Eric Ericson had an enormous impact on a cappella choral development not only in Sweden but around the world, and finally there are a large number of very popular primary and secondary schools ('music schools') with high admission standards based on auditions that combine a rigid academic regimen with high level choral singing on every school day, a system that started with Adolf Fredrik's Music School in Stockholm in 1939 but has spread over the country.

United Kingdom

A cappella has gained attention in the UK in recent years, with many groups forming at British universities by students seeking an alternative singing pursuit to traditional choral and chapel singing. This movement has been bolstered by organisations such as The Voice Festival UK.

Western collegiate
It is not clear exactly where collegiate a cappella began. The Rensselyrics of Rensselaer Polytechnic Institute (formerly known as the RPI Glee Club), established in 1873 is perhaps the oldest known collegiate a cappella group. The longest continuously singing group is probably The Whiffenpoofs of Yale University, which was formed in 1909 and once included Cole Porter as a member. Collegiate a cappella groups grew throughout the 20th century. Some notable historical groups formed along the way include Colgate University's The Colgate 13 (1942), Dartmouth College's Aires (1946), Harvard University's Krokodiloes (1946), Cornell University's Cayuga's Waiters (1949) and The Hangovers (1968), the University of Maine Maine Steiners (1958), the Columbia University Kingsmen (1949), the Jabberwocks of Brown University (1949), and the University of Rochester YellowJackets (1956).

All-women a cappella groups followed shortly, frequently as a parody of the men's groups: the Smiffenpoofs of Smith College (1936), the Night Owls of Vassar College (1942), The Shwiffs of Connecticut College (The She-Whiffenpoofs, 1944), and The Chattertocks of Brown University (1951). A cappella groups exploded in popularity beginning in the 1990s, fueled in part by a change in style popularized by the Tufts University Beelzebubs and the Boston University Dear Abbeys. The new style used voices to emulate modern rock instruments, including vocal percussion/"beatboxing". Some larger universities now have multiple groups. Groups often join one another in on-campus concerts, such as the Georgetown Chimes' Cherry Tree Massacre, a 3-weekend a cappella festival held each February since 1975, where over a hundred collegiate groups have appeared, as well as International Quartet Champions The Boston Common and the contemporary commercial a cappella group Rockapella. Co-ed groups have produced many up-and-coming and major artists, including John Legend, an alumnus of the Counterparts at the University of Pennsylvania, Sara Bareilles, an alumna of Awaken A Cappella at University of California, Los Angeles, Mindy Kaling, an alumna of the Rockapellas at Dartmouth College, and Mira Sorvino, an alumna of the Harvard-Radcliffe Veritones of Harvard College.

Jewish-interest groups such as Queens College's Tizmoret, Tufts University's Shir Appeal, University of Chicago's Rhythm and Jews, Binghamton University's Kaskeset, Ohio State University's Meshuganotes, Rutgers University's Kol Halayla, New York University's Ani V'Ata, University of California, Los Angeles's Jewkbox, and Yale University's Magevet are also gaining popularity across the U.S.

Increased interest in modern a cappella (particularly collegiate a cappella) can be seen in the growth of awards such as the Contemporary A Cappella Recording Awards (overseen by the Contemporary A Cappella Society) and competitions such as the International Championship of Collegiate A Cappella for college groups and the Harmony Sweepstakes for all groups. In December 2009, a new television competition series called The Sing-Off aired on NBC. The show featured eight a cappella groups from the United States and Puerto Rico vying for the prize of $100,000 and a recording contract with Epic Records/Sony Music. The show was judged by Ben Folds, Shawn Stockman, and Nicole Scherzinger and was won by an all-male group from Puerto Rico called Nota. The show returned for a second, third, fourth, and fifth season, won by Committed, Pentatonix, Home Free, and The Melodores from Vanderbilt University respectively.

Each year, hundreds of collegiate a cappella groups submit their strongest songs in a competition to be on The Best of College A Cappella (BOCA), an album compilation of tracks from the best college a cappella groups around the world. The album is produced by Varsity Vocals –which also produces the International Championship of Collegiate A Cappella – and Deke Sharon.). According to ethnomusicologist Joshua S. Dunchan, "BOCA carries considerable cache and respect within the field despite the appearance of other compilations in part, perhaps, because of its longevity and the prestige of the individuals behind it."

Collegiate a cappella groups may also submit their tracks to Voices Only, a two-disc series released at the beginning of each school year. A Voices Only album has been released every year since 2005.

In addition, from 2014 to 2019, female-identifying a cappella groups had the opportunity to send their strongest song tracks to the Women's A Cappella Association (WACA) for its annual best of women's a cappella album. WACA offered another medium for women's voices to receive recognition and released an album every year from 2014 to 2019, featuring female-identifying groups from across the United States. The Women's A Cappella Association hosted seven annual festivals in California before ending operations in 2019.

South Asian
South Asian a cappella features a fusion of music from the Indian subcontinent, which places it in the category of South Asian fusion music. A cappella is gaining popularity among South Asians with the emergence of primarily Hindi-English college groups. The first South Asian a cappella group was Penn Masala, an all-male group founded in 1996 at the University of Pennsylvania. The first co-ed South Asian a cappella was Anokha, from the University of Maryland, formed in 2001. The first South Asian A Cappella competition was "Anahat," hosted by the Indus student organization at UC Berkeley. Maize Mirchi, the co-ed a cappella group from the University of Michigan became the first South Asian group to advance to ICCA finals in 2023.

The South Asian a cappella competitive circuit is governed by the Association of South-Asian A Cappella (ASA), a non-profit organization formed in 2016. The competitive circuit consists of qualifier "bid" competitions all over the United States, as well as the national championship, All-American Awaaz. The first winner of the championship title was Swaram A Cappella at Texas A&M University, who won 1st place at All-American Awaaz in 2017 in New York City as well as in 2018 in Chicago. Dhamakapella currently holds the record for most All-American Awaaz championships, winning three consecutive championships in 2022, 2023, and 2024.

Emulating instruments
In addition to singing words, some a cappella singers also emulate instrumentation by reproducing instrumental sounds with their vocal cords and mouth, often pitched using specialised pitch pipes. One of the earliest 20th century practitioners of this method were The Mills Brothers whose early recordings of the 1930s clearly stated on the label that all instrumentation was done vocally. More recently, "Twilight Zone" by 2 Unlimited was sung a cappella to the instrumentation on the comedy television series Tompkins Square. Another famous example of emulating instrumentation instead of singing the words is the theme song for The New Addams Family series on Fox Family Channel (now Freeform). Groups such as Vocal Sampling and Undivided emulate Latin rhythms a cappella. In the 1960s, the Swingle Singers used their voices to emulate musical instruments to Baroque and Classical music. Vocal artist Bobby McFerrin is famous for his instrumental emulation. A cappella group Naturally Seven recreates entire songs using vocal tones for every instrument.

The Swingle Singers used ad libs to sound like instruments, but have been known to produce non-verbal versions of musical instruments. Beatboxing, more accurately known as vocal percussion, is a technique used in a cappella music popularized by the hip-hop community, where rap is often performed a cappella. The advent of vocal percussion added new dimensions to the a cappella genre and has become very prevalent in modern arrangements.

Beatboxing is performed often by shaping the mouth, making pops and clicks as pseudo-drum sounds. A popular phrase that beat boxers use to begin their training is the phrase "boots and cats". As the beat boxer progresses in their training, they remove the vowels and continue on from there, emulating a "bts n cts n" sound, a solid base for beginner beat boxers. The phrase has become popular enough to where Siri recites "Boots and Cats" when you ask it to beatbox.

Jazz vocalist Petra Haden used a eight-track recorder to produce an a cappella version of The Who Sell Out including the instruments and fake advertisements on her album Petra Haden Sings: The Who Sell Out in 2005.

title: A cappella


text:
Arrangement

In music, an arrangement is a musical adaptation of an existing composition. Differences from the original composition may include reharmonization, melodic paraphrasing, orchestration, or formal development. Arranging differs from orchestration in that the latter process is limited to the assignment of notes to instruments for performance by an orchestra, concert band, or other musical ensemble. Arranging "involves adding compositional techniques, such as new thematic material for introductions, transitions, or modulations, and endings. Arranging is the art of giving an existing melody musical variety". In jazz, a memorized (unwritten) arrangement of a new or pre-existing composition is known as a head arrangement.

Classical music
Arrangement and transcriptions of classical and serious music go back to the early history of classical music.

Eighteenth century
J. S. Bach frequently made arrangements of his own and other composers' pieces. One example is the arrangement that he made of the Prelude from his Partita No. 3 for solo violin, BWV 1006.

Bach transformed this solo piece into an orchestral Sinfonia that introduces his Cantata BWV29. "The initial violin composition was in E major but both arranged versions are transposed down to D, the better to accommodate the wind instruments".

"The transformation of material conceived for a single string instrument into a fully orchestrated concerto-type movement is so successful that it is unlikely that anyone hearing the latter for the first time would suspect the existence of the former".

Piano music
In particular, music written for the piano has frequently undergone this treatment, as it has been arranged for orchestra, chamber ensemble, or concert band. Beethoven made an arrangement of his Piano Sonata No. 9 for string quartet. Conversely, he also arranged his Grosse Fuge (one of his late string quartets) for piano duet. The American composer George Gershwin, due to his own lack of expertise in orchestration, had his Rhapsody in Blue arranged and orchestrated by Ferde Grofé.

Erik Satie wrote his three Gymnopédies for solo piano in 1888.

Eight years later, Debussy arranged two of them, exploiting the range of instrumental timbres available in a late 19th-century orchestra. "It was Debussy whose 1896 orchestrations of the Gymnopédies put their composer on the map."

Pictures at an Exhibition, a suite of ten piano pieces by Modest Mussorgsky, has been arranged over twenty times, notably by Maurice Ravel. Ravel's arrangement demonstrates an "ability to create unexpected, memorable orchestral sonorities". In the second movement, "Gnomus", Mussorgsky's original piano piece simply repeats the following passage: Ravel initially orchestrates it as follows:

Repeating the passage, Ravel provides a fresh orchestration "this time with the celesta (replacing the woodwinds) accompanied by string glissandos on the fingerboard".

Songs
A number of Franz Schubert's songs, originally for voice with piano accompaniment, were arranged by other composers. For example, his "highly charged" and "graphic" song "Erlkönig" ("The Erl King") has a piano introduction that conveys "unflagging energy" from the start.

The arrangement of this song by Hector Berlioz uses strings to convey faithfully the driving urgency and threatening atmosphere of the original.

Berlioz adds colour in bars 6–8 through the addition of woodwind, horns, and a timpani. With typical flamboyance, Berlioz adds spice to the harmony in bar 6 with an E flat in the horn part, creating a half-diminished seventh chord which is not in Schubert's original piano part.

There are subtle differences between this and the arrangement of the song by Franz Liszt. The upper string sound is thicker, with violins and violas playing the fierce repeated octaves in unison and bassoons compensating for this by doubling the cellos and basses. There are no timpani, but trumpets and horns add a small jolt to the rhythm of the opening bar, reinforcing the bare octaves of the strings by playing on the second main beat.

Unlike Berlioz, Liszt does not alter the harmony, but changes the emphasis somewhat in bar 6, with the note A in the oboes and clarinets grating against rather than blending with the G in the strings.

"Schubert has come in for his fair share of transcriptions and arrangements. Most, like Liszt's transcriptions of the Lieder or Berlioz's orchestration for Erlkönig, tell us more about the arranger that about the original composer, but they can be diverting so long as they are in no way a replacement for the original".

Gustav Mahler's Lieder eines fahrenden Gesellen ("Songs of a Wayfarer") were originally written for voice with piano accompaniment. The composer's later arrangement of the piano part shows a typical ear for clarity and transparency in rewriting for an ensemble. Below is the original piano version of the closing bars of the second song, "Gieng heit' Morgen über's Feld".

The orchestration shows Mahler's attention to detail in bringing out differentiated orchestral colours supplied by woodwind, strings and horn. He uses a harp to convey the original arpeggios supplied by the left hand of the piano part. He also extracts a descending chromatic melodic line, implied by the left hand in bars 2–4 (above), and gives it to the horn.

Popular music
Popular music recordings often include parts for brass horn sections, bowed strings, and other instruments that were added by arrangers and not composed by the original songwriters. Some pop arrangers even add sections using full orchestra, though this is less common due to the expense involved. Popular music arrangements may also be considered to include new releases of existing songs with a new musical treatment. These changes can include alterations to tempo, meter, key, instrumentation, and other musical elements.

Well known examples include Joe Cocker's version of the Beatles' "With a Little Help from My Friends", Cream's "Crossroads", and Ike and Tina Turner's version of Creedence Clearwater Revival's "Proud Mary". The American group Vanilla Fudge and the British group Yes based their early careers on radical rearrangements of contemporary hits. Bonnie Pointer performed disco and Motown-styled versions of "Heaven Must Have Sent You". Remixes, such as in dance music, can also be considered arrangements.

Jazz
Arrangements for small jazz combos are usually informal, minimal, and uncredited. Larger ensembles have generally had greater requirements for notated arrangements, though the early Count Basie big band is known for its many head arrangements, so called because they were worked out by the players themselves, memorized ("in the player's head"), and never written down. Most arrangements for big bands, however, were written down and credited to a specific arranger, as with arrangements by Sammy Nestico and Neal Hefti for Count Basie's later big bands.

Don Redman made innovations in jazz arranging as a part of Fletcher Henderson's orchestra in the 1920s. Redman's arrangements introduced a more intricate melodic presentation and soli performances for various sections of the big band. Benny Carter became Henderson's primary arranger in the early 1930s, becoming known for his arranging abilities in addition to his previous recognition as a performer. Beginning in 1938, Billy Strayhorn became an arranger of great renown for the Duke Ellington orchestra. Jelly Roll Morton is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "pickup bands" to perform his compositions.

Big-band arrangements are informally called charts. In the swing era they were usually either arrangements of popular songs or they were entirely new compositions. Duke Ellington's and Billy Strayhorn's arrangements for the Duke Ellington big band were usually new compositions, and some of Eddie Sauter's arrangements for the Benny Goodman band and Artie Shaw's arrangements for his own band were new compositions as well. It became more common to arrange sketchy jazz combo compositions for big band after the bop era.

After 1950, the big bands declined in number. However, several bands continued and arrangers provided renowned arrangements. Gil Evans wrote a number of large-ensemble arrangements in the late 1950s and early 1960s intended for recording sessions only. Other arrangers of note include Vic Schoen, Pete Rugolo, Oliver Nelson, Johnny Richards, Billy May, Thad Jones, Maria Schneider, Bob Brookmeyer, Lou Marini, Nelson Riddle, Ralph Burns, Billy Byers, Gordon Jenkins, Ray Conniff, Henry Mancini, Ray Reach, Vince Mendoza, and Claus Ogerman.

In the 21st century, the big-band arrangement has made a modest comeback. Gordon Goodwin, Roy Hargrove, and Christian McBride have all rolled out new big bands with both original compositions and new arrangements of standard tunes.

Strings
The string section is a body of instruments composed of various bowed stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins (the same instrument as the first violins, but typically playing an accompaniment or harmony part to the first violins, and often at a lower pitch range), violas, cellos, and double basses. The string section in a multi-sectioned orchestra is sometimes referred to as the "string choir".

The harp is also a stringed instrument, but is not a member of nor homogeneous with the violin family, and is not considered part of the string choir. Samuel Adler classifies the harp as a plucked string instrument in the same category as the guitar (acoustic or electric), mandolin, banjo, or zither. Like the harp, these instruments do not belong to the violin family and are not homogeneous with the string choir. In modern arranging these instruments are considered part of the rhythm section. The electric bass and upright string bass—depending on the circumstance—can be treated by the arranger as either string section or rhythm section instruments.

A group of instruments in which each member plays a unique part—rather than playing in unison with other like instruments—is referred to as a chamber ensemble. A chamber ensemble made up entirely of strings of the violin family is referred to by its size. A string trio consists of three players, a string quartet four, a string quintet five, and so on.

In most circumstances the string section is treated by the arranger as one homogeneous unit and its members are required to play preconceived material rather than improvise.

A string section can be utilized on its own (this is referred to as a string orchestra) or in conjunction with any of the other instrumental sections. More than one string orchestra can be utilized.

A standard string section (vln., vln 2., vla., vcl, cb.) with each section playing unison allows the arranger to create a five-part texture. Often an arranger will divide each violin section in half or thirds to achieve a denser texture. It is possible to carry this division to its logical extreme in which each member of the string section plays his or her own unique part.

Size of the string section
Artistic, budgetary and logistical concerns, including the size of the orchestra pit or hall will determine the size and instrumentation of a string section. The Broadway musical West Side Story, in 1957, was booked into the Winter Garden theater; composer Leonard Bernstein disliked the playing of "house" viola players he would have to use there, and so he chose to leave them out of the show's instrumentation; a benefit was the creation of more space in the pit for an expanded percussion section.

George Martin, producer and arranger for the Beatles, warns arrangers about the intonation problems when only two like instruments play in unison: "After a string quartet, I do not think there is a satisfactory sound for strings until one has at least three players on each line . . . as a rule two stringed instruments together create a slight 'beat' which does not give a smooth sound." Different music directors may use different numbers of string players and different balances between the sections to create different musical effects.

While any combination and number of string instruments is possible in a section, a traditional string section sound is achieved with a violin-heavy balance of instruments.

title: Arrangement


text:
Athanasian Creed

The Athanasian Creed — also called the Pseudo-Athanasian Creed or Quicunque Vult (or Quicumque Vult), which is both its Latin name and its opening words, meaning "Whosoever wishes" — is a Christian statement of belief focused on Trinitarian doctrine and Christology. Used by Christian churches since the early sixth century, it was the first creed to explicitly state the equality of the three hypostases of the Trinity. It differs from the Nicene-Constantinopolitan Creed and the Apostles' Creed in that it includes anathemas condemning those who disagree with its statements (as does the original Nicene Creed).

Widely accepted in Western Christianity, including by the Roman Catholic Church, Lutheran Churches (it is part of the Lutheran confessions set out in the Book of Concord), Anglican Churches, Reformed Churches, and ancient liturgical churches, the Athanasian Creed has been used in public worship less frequently, with exception of Trinity Sunday. However, part of it can be found as an "Authorized Affirmation of Faith" in the main volume of the Common Worship liturgy of the Church of England published in 2000. Despite falling out of liturgical use, the creed's influence on current Protestant understanding of trinitarian doctrine is clear.

Designed to distinguish Nicene Christianity from Arianism, the Athanasian Creed traditionally was recited at the Sunday Office of Prime in the Western Church. It has not been commonly used in the Eastern Church.

Origin

There is a possible allusion to the Creed in Gregory Nazianzen's Oration in praise of Athanasius: "For, when all the rest who sympathised with us were divided into three parties, and many were faltering in their conception of the Son, and still more in that of the Holy Ghost, (a point on which to be only slightly in error was to be orthodox) and few indeed were sound upon both points, he was the first and only one, or with the concurrence of but a few, to venture to confess in writing, with entire clearness and distinctness, the Unity of Godhead and Essence of the Three Persons, and thus to attain in later days, under the influence of inspiration, to the same faith in regard to the Holy Ghost, as had been bestowed at an earlier time on most of the Fathers in regard to the Son. This confession, a truly royal and magnificent gift, he presented to the Emperor, opposing to the unwritten innovation, a written account the orthodox faith, so that an emperor might be overcome by an emperor, reason by reason, treatise by treatise." (Oration 21, p. 33)

A medieval account credited Athanasius of Alexandria, the famous defender of Nicene theology, as the author of the Creed. According to that account, Athanasius composed it during his exile in Rome and presented it to Pope Julius I as a witness to his orthodoxy. The traditional attribution of the Creed to Athanasius was first called into question in 1642 by the Dutch Protestant theologian Gerhard Johann Vossius.

It has since been widely accepted by modern scholars that the creed was not authored by Athanasius, that it was not originally called a creed at all and that Athanasius's name was not originally attached to it. Athanasius's name seems to have become attached to the creed as a sign of its strong declaration of Trinitarian faith. The reasoning for rejecting Athanasius as the author usually relies on a combination of the following:

 * 1) The creed originally was most likely written in Latin, but Athanasius composed in Greek.
 * 2) Neither Athanasius nor his contemporaries ever mention the Creed.
 * 3) It is not mentioned in any records of the ecumenical councils.
 * 4) It appears to address theological concerns that developed after Athanasius died (including the filioque).
 * 5) It was most widely circulated among Western Christians.

The use of the creed in a sermon by Caesarius of Arles, as well as a theological resemblance to works by Vincent of Lérins, point to Southern Gaul as its origin. The most likely time frame is in the late fifth or early sixth century AD, at least 100 years after Athanasius lived. The Christian theology of the creed is firmly rooted in the Augustinian tradition and uses the exact terminology of Augustine's On the Trinity (published 415 AD). In the late 19th century, there was a great deal of speculation about who might have authored the creed, with suggestions including Ambrose of Milan, Venantius Fortunatus and Hilary of Poitiers.

The 1940 discovery of a lost work by Vincent of Lérins, which bears a striking similarity to much of the language of the Athanasian Creed, has led many to conclude that the creed originated with Vincent or his students. For example, in the authoritative modern monograph about the creed, J. N. D. Kelly asserts that Vincent of Lérins was not its author but that it may have come from the same milieu, the area of Lérins in southern Gaul.

The oldest surviving manuscripts of the Athanasian Creed date from the late 8th century.

Content
The Athanasian Creed is usually divided into two sections: lines 1–28 address the doctrine of the Trinity, and lines 29–44 address the doctrine of Christology. Enumerating the three persons of the Trinity (Father, the Son, and the Holy Spirit), the first section of the creed ascribes the divine attributes to each individually. Thus, each person of the Trinity is described as uncreated (increatus), limitless (Immensus), eternal (æternus), and omnipotent (omnipotens).

While ascribing the divine attributes and divinity to each person of the Trinity, thus avoiding subordinationism, the first half of the Athanasian Creed also stresses the unity of the three persons in the one Godhead, thus avoiding a theology of tritheism.

The text of the Athanasian Creed is as follows:

The Christology of the second section is more detailed than that of the Nicene Creed and reflects the teaching of the First Council of Ephesus (431) and the definition of the Council of Chalcedon (451). The Athanasian Creed uses the term substantia (a Latin translation of the Nicene ousia: 'being' or 'substance') with respect to the relation of the Son to the Father according to his divine nature, but it also says that the Son is substantia of his mother Mary according to his human nature.

The Creed's wording thus excludes not only Sabellianism and Arianism but also the Christological heresies of Nestorianism and Eutychianism. A need for a clear confession against Arianism arose in Western Europe when the Ostrogoths and Visigoths, who had Arian beliefs, invaded at the beginning of the 5th century.

The final section of this Creed also moved beyond the Nicene (and Apostles') Creeds in making negative statements about the people's fate: "They that have done good shall go into life everlasting: and they that have done evil into everlasting fire." That caused considerable debate in England in the mid-19th century, centred on the teaching of Frederick Denison Maurice.

Uses

Composed of 44 rhythmic lines, the Athanasian Creed appears to have been intended as a liturgical document, the original purpose of the creed being for it to be spoken or sung as a part of worship. The creed itself uses the language of public worship by speaking of the worship of God rather than the language of belief ("Now this is the catholic faith: We worship one God"). In the medieval Catholic Church, the creed was recited following the Sunday sermon or at the Sunday Office of Prime. The creed was often set to music and used in the place of a Psalm.

Protestantism
Early Protestants inherited the late medieval devotion to the Athanasian Creed, and it is considered to be authoritative in many Protestant churches. The statements of Protestant belief (confessional documents) of various Reformers commend the Athanasian Creed to their followers, including the Augsburg Confession, the Formula of Concord, the Second Helvetic Confession, the Belgic Confession, the Bohemian Confession and the Thirty-nine Articles. A metric version, "Quicumque vult", with a musical setting, was published in The Whole Booke of Psalmes printed by John Day in 1562. Among modern Lutheran and Reformed churches adherence to the Athanasian Creed is prescribed by the earlier confessional documents, but the creed does not receive much attention outside occasional use, especially on Trinity Sunday.

In Reformed circles, it is included, for example, in the Christian Reformed Churches of Australia's Book of Forms (published in 1991). It is sometimes recited in liturgies of the Canadian Reformed Churches and in the Protestant Reformed Churches. The Four additional ancient creeds that they adhere to would be Apostles, Athanasian, Creed of Chalcedon, and Nicene Creed.

The text of an abbreviated form—based on the 1990s Christian Reformed Church's translation, arranged as a three-part responsive creed for congregational use—is as follows:

We worship one God in trinity and the trinity in unity. The person of the Father is a distinct person, the person of the Son is another, and that of the Holy Spirit still another. But the divinity of the Father, Son, and Holy Spirit is one. Their glory equal; their majesty co-eternal. What quality the Father has, the Son has, and the Holy Spirit has. The Father is uncreated, the Son is uncreated, the Holy Spirit is uncreated. The Father is immeasurable, the Son is immeasurable, the Holy Spirit is immeasurable. The Father is eternal, the Son is eternal, the Holy Spirit is eternal. And yet there are not three eternal beings. There is but one eternal being. So too there are not three uncreated or immeasurable beings. There is but one uncreated and immeasurable being. The Father is almighty, the Son is almighty, the Holy Spirit is almighty. Yet there are not three almighty beings. There is but one almighty being. Thus the Father is God, the Son is God, the Holy Spirit is God. Yet there are not three gods. There is but one God.

In the successive Books of Common Prayer of the reformed Church of England, from 1549 to 1662, its recitation was provided for on 19 occasions each year, a practice that continued until the 19th century, when vigorous controversy regarding its statement about 'eternal damnation' saw its use gradually decline. It remains one of the three Creeds approved in the Thirty-Nine Articles, and it is printed in several current Anglican prayer books, such as A Prayer Book for Australia (1995). As with Roman Catholic practice, its use is now generally only on Trinity Sunday or its octave. An Anglican devotional manual published by The Church Union, A Manual of Catholic Devotion: For Members of the Church of England, includes the Athanasian Creed with the prayers for Mattins, with the note: "Said on certain feasts at Mattins instead of the Apostles' Creed". The Episcopal Church, based in the United States, has never provided for its use in worship, but added it to its Book of Common Prayer for the first time in 1979, where it is included in small print in a reference section, "Historical Documents of the Church". The Anglo-Catholic devotional manual Saint Augustine's Prayer Book, first published in 1947 and revised in 1967, includes the Athanasian Creed under "Devotions to the Holy Trinity".

Lutheranism
In Lutheranism, the Athanasian Creed is, along with the Apostles' and the Nicene Creed, one of the three ecumenical creeds and is placed at the beginning of the 1580 Book of Concord, the historic collection of authoritative doctrinal statements (confessions) of the Lutheran Church. It is still used in the liturgy on Trinity Sunday.

Catholicism
In Roman Catholic churches, it was traditionally said at Prime on Sundays when the Office was of the Sunday. The 1911 reforms reduced that to Sundays after Epiphany and Pentecost and on Trinity Sunday, except when a commemoration of a double feast or a day within an Octave occurred. The 1960 reforms further reduced its use to once a year, on Trinity Sunday. It has been effectively dropped from the Catholic liturgy since the Second Vatican Council. It is, however, maintained in the rite of exorcism of the Roman Rite. Opus Dei members recite it on the third Sunday of every month. Consistent with its presence in Anglican prayer books, it is preserved in Divine Worship: Daily Office, the official breviary approved for use in the personal ordinariates for former Anglicans.

A common visualization of the first half of the Creed is the Shield of the Trinity.

title: Athanasian Creed