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Inuyasha

Inuyasha (犬夜叉) is a Japanese manga series written and illustrated by Rumiko Takahashi. It was serialized in Shogakukan's manga magazine Weekly Shōnen Sunday from November 1996 to June 2008, with its chapters collected in 56  volumes. The series begins with Kagome Higurashi, a fifteen-year-old middle school girl from modern-day Tokyo who is transported to the Sengoku period after falling into a well in her family shrine, where she meets the half-dog demon, half-human Inuyasha. After the sacred Shikon Jewel re-emerges from deep inside Kagome's body, she inadvertently shatters it into dozens of fragments that scatter across Japan. Inuyasha and Kagome set to recover Jewel's fragments, and through their quest, they are joined by the lecherous monk Miroku, the demon slayer Sango, and the fox demon Shippō. Together, they journey to restore the Shikon Jewel before it falls into the hands of the evil half-demon Naraku.

In contrast to the typically comedic nature of much of Takahashi's previous work, Inuyasha deals with a darker and more serious subject matter, using the setting of the Sengoku period to easily display the violent content while still retaining some comedic elements. The manga was adapted into two anime television series by Sunrise. The first series ran for 167 episodes on Nippon TV and Yomiuri TV from October 2000 to September 2004. The second series, Inuyasha: The Final Act, is a direct sequel that adapts the remainder of the manga. It ran for 26 episodes from October 2009 to March 2010. Four feature films and an original video animation (OVA) have also been released. Other merchandise includes video games and a light novel. An anime original sequel spin-off television series, titled Yashahime: Princess Half-Demon, aired for two seasons from October 2020 to March 2022.

Viz Media licensed the manga, the two anime series, and movies for North America. Both Inuyasha and Inuyasha: The Final Act aired in the United States on Adult Swim (and later on its revived Toonami block) from 2002 to 2015.

By September 2020, Inuyasha had 50 million copies in circulation, making it one of the best-selling manga series of all time. In 2002, the manga won the 47th Shogakukan Manga Award for the category.

Plot
In 1496 Japan, humans and demons battle over the Shikon Jewel (四魂の玉), which is said to grant any wish. Kikyo, the priestess who keeps the Shikon Jewel, is in love with the half-demon Inuyasha. However, they fall into a deceitful trap and betray each other. Inuyasha steals the Shikon Jewel, but the dying Kikyo pins Inuyasha to a tree with a sacred arrow. Per Kikyo's will, her body is cremated along with the Shikon Jewel, which disappeared from the era.

Five hundred years later, Kagome Higurashi lives on the grounds of her family's Shinto shrine, with her mother, grandfather and younger brother. On her fifteenth birthday, Kagome is dragged into the enshrined Bone Eater's Well (骨喰いの井戸) by a centipede demon and sent back in time to the Sengoku period in 1546. The Shikon Jewel manifests from within the body of Kagome, who is Kikyo's reincarnation, and she desperately frees Inuyasha from the tree to kill the centipede demon. When Inuyasha threatens her, Kikyo's sister Kaede subdues him with a magical bead necklace to keep him under control. Later, Kagome inadvertently shatters the Shikon Jewel into many shards with an arrow, and they scatter across Japan and into the possession of various demons and humans.

Inuyasha obtains his father's sword Tessaiga, which places him at odds with his older half-brother Sesshomaru, the wielder of Tenseiga. Inuyasha aids Kagome in collecting the shards and dealing with the threats they come across. On their journey, the presence of Naraku, a spider half-demon who was responsible for manipulating Inuyasha and Kikyo, comes to light. While pursuing Naraku, Inuyasha and Kagome recruit the young fox demon Shippō, the perverted monk Miroku (whose hand was cursed by Naraku), and the demon slayer Sango and her two-tailed demon cat Kirara. Sango's clan was killed when they were tricked by Naraku, and her younger brother Kohaku fell under his control. Over time, Inuyasha enhances Tessaiga into stronger forms while defeating his enemies. His team is loosely allied with Sesshomaru, whom Naraku attempted to manipulate, the resurrected Kikyo who plans to purify the Shikon Jewel if all shards are collected, and Kōga, the leader of a wolf demon tribe who seeks to avenge his comrades whom Naraku killed. As Inuyasha and his friends journey together, he and Kagome begin to fall in love with one another, which is complicated by Inuyasha's lingering feelings for Kikyo.

Desperately hunted by his enemies, Naraku temporarily removes his heart and wounds Kikyo. Kohaku, having been previously killed but later revived by Naraku and kept alive and under his control by a Shikon Jewel shard, eventually regains his free will and memories, and attempts to escape Naraku's group. During that time, Sesshomaru settles his feud with Inuyasha to enable his brother to perfect Tessaiga to its optimal abilities. Kikyo sacrifices herself to give life to Kohaku, and Naraku collects all the shards to restore the Shikon Jewel. As he is slain by Inuyasha and his allies, Naraku reveals his true desire for Kikyo, despite his hatred towards her, and he uses his wish to trap himself and Kagome inside the Shikon Jewel before dying. Revealed to be sentient, the Shikon Jewel intends for Kagome to make a selfish wish so that she and Naraku will be trapped in an eternal conflict, thus prolonging the Jewel's existence. However, with Inuyasha by her side, Kagome wishes for the Shikon Jewel to disappear forever, allowing her to return to her time with the well sealed, and she and Inuyasha lose contact for three years.

In that time, the Sengoku period changes drastically: Sango and Miroku marry and have three children together, Kohaku continues his role as a demon slayer, and Shippō trains to make his demon magic stronger. Back in the present, Kagome graduates from high school, and manages to get the Bone Eater's Well in her backyard to work again. She returns to the Sengoku period, where she reunites with Inuyasha, marries him, and continues to train with Kaede and become a topmost-level priestess.

Development
Takahashi wrote Inuyasha after finishing Ranma ½. In contrast to her previous comedic works such as Urusei Yatsura (1978–1987), Maison Ikkoku (1980–1987), and One Pound Gospel (1987–2006), Takahashi wanted to create a darker storyline that was thematically closer to her Mermaid Saga stories. To portray violent themes softly, the story was set in the Sengoku period, when wars were common. Takahashi did no notable research on the designs of samurai or castles because she considered such topics common knowledge. By June 2001, a clear ending to the series had not been established because Takahashi still was unsure about how to end the relationship between Inuyasha and Kagome. Furthermore, Takahashi said that she did not have an ending to previous manga she wrote during the beginning, having figured them out as their serialization progressed.

Manga
Inuyasha is written and illustrated by Rumiko Takahashi. The series debuted in Shogakukan's Weekly Shōnen Sunday (issue #50, 1996) on November 13, 1996. Inuyasha finished after an 11 year and seven month run in the magazine (issue #29, 2008) on June 18, 2008. Its 558 chapters were collected in 56 volumes by Shogakukan, released from April 18, 1997, to February 18, 2009. Shogakukan re-published the series in a 30-volume edition, released from January 18, 2013, to June 18, 2015. Takahashi published a special epilogue chapter, titled "Since Then" (あれから), in Weekly Shōnen Sunday on February 6, 2013, as part of the "Heroes Come Back" anthology, which comprised short stories by manga artists to raise funds for recovery of the areas afflicted by the 2011 Tōhoku earthquake and tsunami. The chapter was later included in the last volume of the wide-ban edition of the manga in 2015, and was published again in Shōnen Sunday S on October 24, 2020.

In North America, Inuyasha has been licensed for English language release by Viz Media, initially titled as Inu-Yasha. They began publishing the manga in April 1997 in an American comic book format, each issue containing two or three chapters from the original manga, and the last issue was released in February 2003, which covered up until the original Japanese 14th volume. Viz Media started publishing the series in a first trade-paperback edition, with 12 volumes published from July 6, 1998, to October 6, 2002. A second edition began with the 13th volume, released on April 9, 2003, and the first 12 volumes, following this edition, were reprinted as well. Up until the 37th volume, Viz Media published the series in left-to-right orientation, and with the release of the 38th volume on July 14, 2009, they published the remaining volumes in "unflipped" right-to-left page layout. Viz Media published the 56th and final volume of Inuyasha on January 11, 2011. In 2009, Viz Media began publishing the series in their 3-in-1 omnibus volume "VizBig" edition, with the original unflipped chapters. The 18 volumes were released from November 10, 2009, to February 11, 2014. On December 15, 2020, Viz released the 18 volumes digitally.

Inuyasha
The first Inuyasha anime adaptation, sometimes known as Inuyasha: A Feudal Fairy Tale (戦国御伽草子 犬夜叉), produced by Sunrise, was broadcast for 167 episodes on Nippon TV and Yomiuri TV from October 16, 2000, to September 13, 2004. Avex collected the episodes in a total of seven series of DVD volumes distributed in Japan between May 30, 2001, and July 27, 2005.

In North America, the series was licensed for an English dub release by Viz Media. The series was first run on Adult Swim from August 31, 2002, to October 27, 2006, with reruns from 2006 to 2014. When Toonami became a block on Adult Swim, Inuyasha aired there from November 2012 to March 2014, when the network announced that they had lost the broadcast rights to the series. On August 25, 2017, Starz announced that they would be offering episodes of the series for their video on demand service starting on September 1 of that same year, where they were available until November 30, 2018. The series was also streamed on HBO Max in the United States from August 4, 2020, until August 3, 2022. The series aired in Canada on YTV's Bionix programming block from September 5, 2003, to December 1, 2006. Viz collected the series in a total of 55 DVD volumes, while seven box sets were also released. In September 2020, Funimation announced that they would begin streaming the first 54 episodes of the series and the four films.

Viz Media also released a separate series of ani-manga volumes which are derived from full-color screenshots of the anime episodes. 30 volumes were released from January 14, 2004 to December 9, 2008.

Inuyasha: The Final Act
In July 2009, it was announced that another anime television series adaptation, covering the original 36–56 volumes of the manga, would be made by the first anime's same cast and crew. Titled Inuyasha: The Final Act (犬夜叉 完結編), the series was broadcast for 26 episodes on Nippon TV and Yomiuri TV from October 4, 2009, to March 30, 2010. In other parts of Asia, the series was broadcast in the same week as its broadcast in Japan on Animax Asia. Aniplex collected the episodes on seven DVDs, released between December 23, 2009, and June 23, 2010.

In North America, the series was licensed by Viz Media, and the episodes were simulcast via Hulu and Viz Media's Shonen Sunday site in the United States. Viz Media released the series in two DVD or Blu-ray sets, which included an English dub. The first thirteen episodes, constituting the first set, were released on November 20, 2012, and the last thirteen episodes, constituting the second set, were released on February 12, 2013. The series began broadcasting in the United States and Canada on Viz Media's online network, Neon Alley, on October 2, 2012. On October 24, 2014, it was announced that Adult Swim would air The Final Act on the Toonami block, beginning on November 15, at 2:00 a.m. EST.

Yashahime: Princess Half-Demon
In May 2020, an anime original sequel spin-off television series was announced, titled Yashahime: Princess Half-Demon (半妖の夜叉姫), which follows the journey of Towa Higurashi and Setsuna, Sesshomaru and Rin's fraternal twin daughters, and Moroha, Inuyasha and Kagome's daughter. It premiered on October 3, 2020.

The series is produced by Sunrise, with direction by Teruo Sato for the first season and Masakazu Hishida for the second, and main character designs by Inuyasha author Rumiko Takahashi. Staff from the Inuyasha anime returned, with Katsuyuki Sumisawa in charge of the scripts, Yoshihito Hishinuma in charge of the anime character designs and Kaoru Wada as composer. The cast includes Sara Matsumoto as Towa Higurashi, Mikako Komatsu as Setsuna, and Azusa Tadokoro as Moroha.

Viz Media announced the rights to digital streaming, EST, and home video release of the series for North and Latin American territories.

Films
There are four animated films with original storylines written by Katsuyuki Sumisawa, the writer for the Inuyasha anime series. The films were released with English subtitles and dubbed audio tracks on Region 1 DVD by Viz Media. Together, the four films have earned over US$20 million in Japanese box offices.

The first film, Inuyasha the Movie: Affections Touching Across Time, was released in 2001. In the film, Inuyasha and his friends confront Menomaru, a demonic moth warrior brought to life by one of the shards.

In the second film, Inuyasha the Movie: The Castle Beyond the Looking Glass, released in 2002, the group seemingly kills Naraku for good and returns to their normal lives, only to encounter a new enemy named Kaguya, a character based on the literature The Tale of the Bamboo Cutter.

The third film, Inuyasha the Movie: Swords of an Honorable Ruler, was released in 2003. In it, Inuyasha and Sesshomaru forcefully work together to seal the evil Sō'unga, their father's third sword, when it is awakened from its sheath.

The fourth and final film, Inuyasha the Movie: Fire on the Mystic Island, was released in 2004. It follows Inuyasha and his friends protecting a group of half-demon children from four evil demons on an ancient mystical island.

Original video animation
A 30-minute original video animation titled Black Tessaiga (黒い鉄砕牙), was presented on July 30, 2008, at an "It's a Rumic World" exhibit at the Matsuya Ginza department store in Tokyo's Ginza shopping district. The episode uses the original voice cast from the anime series. It was released in Japan on October 20, 2010, in both DVD and Blu-ray formats.

Soundtrack CDs
Multiple soundtracks and character songs were released for the series by Avex Mode. Three character singles were released August 3, 2005 – "Aoki Yasei o Daite" (蒼き野生を抱いて) by Inuyasha featuring Kagome, "Kaze no Naka e" (風のなかへ) by Miroku featuring Sango and Shippō, and "Gō" (業) by Sesshomaru featuring Jaken and Rin. The singles charted at number 63, 76, and 79 respectively on the Oricon chart. Three more character songs were released on January 25, 2006 – "Rakujitsu" (落日) by Naraku, "Tatta Hitotsu no Yakusoku" (たったひとつの約束) by Kagome Higurashi, and "Abarero!!" (暴れろ!!) by Bankotsu and Jakotsu. The singles charted at number 130, 131, and 112 respectively on the Oricon chart.

On March 24, 2010, Avex released Inuyasha Best Song History (犬夜叉 ベストソング ヒストリー), a best album that contains all the opening and ending theme songs used in the series. The album peaked at number 20 on the Oricon album chart and charted for seven weeks.

Video games
Three video games based on the series were released for the WonderSwan: Inuyasha: Kagome no Sengoku Nikki (犬夜叉 〜かごめの戦国日記), Inuyasha: Fūun Emaki (犬夜叉 風雲絵巻), and Inuyasha: Kagome no Yume Nikki (犬夜叉 かごめの夢日記).

A single title, Inuyasha: Naraku no Wana! Mayoi no Mori no Shōtaijō (犬夜叉〜奈落の罠!迷いの森の招待状), was released for the Game Boy Advance on January 23, 2003, in Japan.

Inuyasha has been adapted into a mobile game released for Java and Brew handsets on June 21, 2005.

Two titles were released for the PlayStation: an RPG simply titled Inuyasha, and the fighting game Inuyasha: A Feudal Fairy Tale, the latter of which was released in North America. For the PlayStation 2, the two released games were the RPG Inuyasha: The Secret of the Cursed Mask and the fighting game Inuyasha: Feudal Combat, which also received an English version. An English-only RPG, Inuyasha: Secret of the Divine Jewel, was released for the Nintendo DS on January 23, 2007.

Inuyasha appeared in the crossover video game Sunday vs Magazine: Shūketsu! Chōjō Daikessen as a playable character.

Inuyasha's sword, Tessaiga, has appeared in Monster Hunter as a craftable weapon using items gained from a special event.

An English-language original collectible card game created by Score Entertainment that was first released on October 20, 2004.

Light novel
A light novel, written by Tomoko Komparu and illustrated by Rumiko Takahashi, was published by Shogakukan in 2004.

Stage plays
In 2000, a Japanese live-action stage play ran from April through May in the Akasaka ACT Theater in Tokyo, around the same time the anime series began production. The play's script followed the general plot line of the original manga, with a few minor changes to save time. A second run of the play ran from January through February 2001 at the Akasaka ACT Theater in Tokyo.

In February 2017, it was announced that a stage play adaptation of Inuyasha would be performed at Tennozu Galaxy Theater in Tokyo from April 6–15 of the same year, featuring Yutaka Kyan from Golden Bomber as Inuyasha and Nogizaka46's Yumi Wakatsuki as Kagome.

Manga
Inuyasha was one of the Manga Division's Jury Recommended Works at the fifth and 12th installments of the Japan Media Arts Festival in 2001 and 2008, respectively. In 2002, the manga won the 47th Shogakukan Manga Award in the category. On TV Asahi's Manga Sōsenkyo 2021 poll, in which 150,000 people voted for their top 100 manga series, Inuyasha ranked 28th.

By February 2010, Inuyasha had over 45 million copies in circulation. By September 2020, the manga had over 50 million copies in circulation. Individual volumes from Inuyasha have been popular in Japan, taking high places in rankings listing sales. In North America, the manga volumes have appeared various times in The New York Times and Diamond Comic Distributors top selling lists. Moreover, in 2005 Inuyasha was one of the most researched series according to Lycos.

Reviewing volume two for Ex.org, Eri Izawa wrote that Inuyasha combines many of Rumiko Takahashi's best elements; "fast-paced action, interesting characters, deep doses of imaginative fantasy, a bit of horror, and those famous touches of Takahashi humor." She also praised the "undeniably intelligent and observant" Kagome as refreshing. Izawa described the faults of the series as subtle and minor; feeling that the action sometimes seems to drag a little and that some of the characters are too familiar to those from Takahashi's previous works. Rebecca Bundy began her review of volume 23 of Inuyasha for Anime News Network by claiming; "Twenty three volumes in and this series still packs a serious punch." She called its balance of action, conversation, and "reflection" perfect, and noted it had plenty of character development for the main cast, sans Koga. Bundy's sole complaint was that she felt the character designs had changed a modest amount since the beginning of the series. Even though they had not read Inuyasha since around volume six, Manga Life's Penny Kenny said they were able to jump right in with volume 52 thanks in part to the sense of familiarity provided by Takahashi "riffing on the same themes." Kenny stated that Takahashi's genius lies in her "endless improvisations on the standard elements" by adding new enemies and monsters she forces the heroes to up their game and grow as individuals. The reviewer described the art as having little background detail, with Takahashi instead focusing on the characters and their actions. Kenny also noted that, like all of the manga artist's works, the drama is heightened by levity, with each character having their own style of humor.

Anime
The Inuyasha anime was ranked twenty by TV Asahi of the 100 best anime series in 2006 based on an online survey in Japan. In ICv2's Anime Awards from both 2004 and 2005, the series was the winner in the category of Property of the Year. In the Anime Grand Prix polls by Animage, Inuyasha has appeared various times in the category of Best Anime, taking third place in 2003. In the American Anime Awards from 2007, Inuyasha was a nominee in the categories of Best Cast, Best Long Series, and Best Anime Feature, but lost to Fullmetal Alchemist and Final Fantasy VII: Advent Children, respectively. A 2019 NHK poll of 210,061 people saw Inuyasha named Takahashi's best animated work. Inuyasha and Sesshomaru were voted first and third place respectively in her characters category.

The English DVDs from the series had sold over one million copies between March 2003 and November 2004, with the first film's DVD topping the Nielsen VideoScan anime bestseller list for three weeks. By 2016, Viz Media had sold more than 2 million Inuyasha home video units. Mania Entertainment listed the series in an article ranking anime series that required a reboot, criticizing the series' repetitiveness.

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Total depravity

Total depravity (also called radical corruption or pervasive depravity) is a Protestant theological doctrine derived from the concept of original sin. It teaches that, as a consequence of the Fall, every person born into the world is enslaved to the service of sin as a result of their fallen nature and, apart from the efficacious (irresistible) or prevenient (enabling) grace of God, is completely unable to choose by themselves to follow God, refrain from evil, or accept the gift of salvation as it is offered.

The doctrine is advocated to various degrees by many Protestant denominations, including Lutheranism and all Calvinist churches. Arminian denominations, such as Methodists, believe and teach total depravity, but with distinct differences, the most important of which is the distinction between irresistible grace and prevenient grace.

History
Contrary to all prior early church fathers, Augustine of Hippo argued that, since the Fall, all humanity is in a self-imposed bondage to sin. All people are inescapably predisposed to evil prior to making any actual choice, and are unable to refrain from sin. Free will is not taken away in the sense of the ability to choose between alternatives, but people are unable to make these choices in service to God rather than self. Thomas Aquinas also taught that people are not able to avoid sin after the Fall, and that this entailed a loss of original righteousness or sinlessness, as well as concupiscence or selfish desire. Duns Scotus, however, modified this interpretation, and only believed that sin entailed a lack of original righteousness. During the Protestant Reformation, the Reformers took Scotus's position to be the Catholic position and argued that it made sin only a defect or privation of righteousness rather than an inclination toward evil. Martin Luther, John Calvin and other Reformers used the term "total depravity" to articulate what they claimed to be the Augustinian view that sin corrupts the entire human nature. This did not, however, mean the loss of the imago Dei (image of God). The only theologian who argued that the imago Dei itself was taken away and that the very substance of fallen humanity was sin was Matthias Flacius Illyricus, and this view was repudiated in the Formula of Concord.

John Calvin used terms like "total depravity" to mean that, despite the ability of people to outwardly uphold the law, there remained an inward distortion which makes all human actions displeasing to God, whether or not they are outwardly good or bad. Even after regeneration, every human action is mixed with evil. Later Calvinist theologians were agreed on this, but the language of the Canons of Dort as well as the 17th century Reformed theologians which followed it did not repeat the language of "total depravity", and arguably offer a more moderate view on the state of fallen humanity than Calvin.

In Arminianism
Arminianism also accepts a doctrine of total depravity, although not identical to the Calvinist position. Total depravity was affirmed by the Five articles of Remonstrance, by Jacobus Arminius himself, and by John Wesley, who strongly identified with Arminius through publication of his periodical The Arminian and also advocated a strong doctrine of inability. The Methodist Quarterly Review states that: "It is not sufficiently known, we opine, that Methodists—the genuine Arminians of the present—do not entirely agree with this view of depravity. To what has been said, as being the Calvinist view of the total depravity of our nature, we do heartily assent, with the following exceptions:—First. We do not think that all men continue totally depraved until their regeneration. Secondly. We think man, under the atonement, is not, properly speaking, in a state of nature. He is not left to the unalleviated evils of total depravity. The atonement has not only secured grace for him, but a measure in him, by virtue of which he not only has moral light, but is often incited to good desires, and well-intended efforts to do what is perceived to be the divine will."

Some Reformed theologians have mistakenly used the term "Arminianism" to include some who hold the Semipelagian doctrine of limited depravity, which allows for an "island of righteousness" in human hearts that is uncorrupted by sin and able to accept God's offer of salvation without a special dispensation of grace. Although Arminius and Wesley both vehemently rejected this view, it has sometimes inaccurately been lumped together with theirs (particularly by Calvinists) because of other similarities between their respective systems such as conditional election, unlimited atonement, and prevenient grace. In particular, prevenient grace is viewed by some as giving humans back the freedom to follow God in one way or another.

Theology
The term "total depravity", as understood in colloquial English, obscures the theological issues involved. One cannot simply look at the two words and conjecture upon the extent of the depravity of humanity. For example, Reformed and Lutheran theologians have never considered humans to be absent of goodness or unable to do good outwardly as a result of the fall. People retain the imago Dei, though it has been distorted.

Total depravity is the fallen state of human beings as a result of original sin. The doctrine of total depravity asserts that people are, as a result of the fall, not inclined or even able to love God wholly with heart, mind, and strength, but rather are inclined by nature to serve their own will and desires and reject his rule. Even religion and philanthropy are wicked to God because they originate from a selfish human desire and are not done to the glory of God. Therefore, in Reformed theology, if God is to save anyone, he must predestine, elect, regenerate and call individuals to salvation since fallen humanity does not want to, and is indeed incapable of, choosing him. However, in Arminian theology prevenient grace (or "enabling grace") does reach through total depravity to enable people to respond to the salvation offered by God in Jesus Christ.

Total depravity does not mean that people have lost part of their humanity or are ontologically deteriorated. Just as Adam and Eve were created with the ability not to sin, people retain that essential ability either to sin or not to sin, even though some properties of their humanity are corrupted. It also does not mean that people are as evil as possible. Rather, it means that even the good which a person may intend is faulty in its premise, false in its motive, and weak in its implementation; and there is no mere refinement of natural capacities that can correct this condition. Thus, even acts of generosity and altruism are in fact egoist acts in disguise. All good, consequently, is derived from God alone, and in no way through humanity.

The total reach of sin taught with the doctrine of total depravity highlights people's dire need for God. No part of the person is not in need of grace, and all people are in need of grace, no matter how outwardly pious.

It is important to understand the scope of the "total depravity" of humanity in order to understand the Calvinist–Arminian debate. As noted, both views embrace total depravity; it is a question of the action which they believe God must take to reach humanity in its fallen and depraved state. May God grant to humanity the grace to respond to His offer of salvation, so that all may believe (as Arminius taught)? Or must God's grace be irresistible in order to reach humanity (as Calvin taught), so that it is impossible for anyone to be saved unless God first extends to them His irresistible grace? Stated in this manner, there is no substantial difference in total depravity as embraced by Calvinists and Arminians; both agree that humanity is in a state of depravity which prevents them from responding to God. Rather, the two groups have a different belief in the grace which God extended to humanity in response to total depravity. Calvin taught Irresistible Grace; Arminius taught Prevenient Grace.

Roman Catholic and Orthodox perspectives
The Roman Catholic Church maintains that a person cannot, "be justified before God by his own works, ... without the grace of God through Jesus Christ", thereby rejecting Pelagianism in accordance with the writings of Augustine and the Second Council of Orange (529). However, even strictly Augustinian Catholics disagree with the Protestant doctrine of total depravity. Referring to Scripture and the Church Fathers, Catholicism views human free will as deriving from God's image because humans are created in God's image. Accordingly, the Council of Trent, at its sixth session (January 1547), condemned as heresy any doctrine asserting "since Adam's sin, the free will of man is lost and extinguished". Anyhow the concept of radical depravity is sortway stressed in some Catholic theological currents like Jansenism and Molinism. The Eastern Orthodox Church embraces the "semi-Augustinian" position of John Cassian and also defends Augustine of Hippo relating to this doctrine. Seraphim Rose, for example, contends that Augustine never denied the free will of every human, thus he never taught total depravity. Archbishop Chrysostomos has likewise asserted that Augustine's teaching might have been used and distorted in Western Christianity to produce innovative theologizing, and it is not Augustine's fault.

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Skåne County

Skåne County (Skåne län ), sometimes referred to as Scania County in English, is the southernmost county, or län, of Sweden, basically corresponding to the traditional province of Scania. It borders the counties of Halland, Kronoberg and Blekinge and connects to Capital Region, Denmark by the Öresund Bridge across the Øresund strait. The seat of residence for the Skåne Governor is the city of Malmö. The headquarters of Skåne Regional Council are located in both Kristianstad and Malmö.

The present county was created in 1997 when Kristianstad County and Malmöhus County were merged; it covers around 3% of Sweden's total area, while its population of 1.3 million comprises 13% of Sweden's total population. Prince Oscar is Duke of Skåne.

Endonym and exonym
When the new county was established in 1997, it was named Skåne län as its borders coincide with those of the province Skåne. In English, the county as well as the province are sometimes known as Scania, but the name Skåne is more frequently used, e.g. by the county administrative board.

Heraldry
The coat of arms for Skåne County is the same as for the province of Skåne, only with the tinctures reversed and the crown, beak and tongue of the griffin in the same color. When the arms are shown with a royal crown, it represents the County Administrative Board, which is the regional presence of (royal) government authority. Blazon: "Gules, a Griffin's head erased Or, crowned and armed the same."

Provinces
Skåne County is the administrative equivalent of the province of Skåne, but it also includes an insignificant part of the province of Halland.

Administration
Skåne County is administered by Region Skåne, one of the 20 county councils of Sweden. Its main responsibilities are for the public healthcare system and public transport. In addition, it has for a trial period assumed certain tasks from the County Administrative Board. The two former administrative county councils of the province of Skåne shown on the map, Kristianstad County and Malmöhus County, which were established in 1719, were merged in 1997, forming the present county with boundaries that are almost identical to the boundaries of the province.

The seat of residence for the Governor (landshövding) is the city of Malmö. The County Administrative Board is a Government Agency headed by a Governor. See List of Skåne Governors.

County council
Region Skåne is an evolved County Council, which was established in 1999 when the County Councils of the former counties were amalgamated.

Its county or regional assembly is the region's highest political body, and its members are elected by the electorate, as opposed to the county administrative board, that guards the national interests in the county under the chairmanship of the county governor (landshövding in Swedish).

Municipalities
Skåne County contains 33 municipalities (kommuner), the largest by population being Malmö Municipality (340,000 inhabitants), Helsingborg Municipality (145,000), Lund Municipality (123,000 inhabitants) and Kristianstad Municipality (85,000 inhabitants). The municipalities have municipal governments, similar to city commissions, and are further divided into parishes. The parish division is traditionally used by the Church of Sweden, but also serves as a divisioning measure for Swedish census and elections.

• # Bjuv

• # Bromölla

• # Burlöv

• # Båstad

• # Eslöv

• # Helsingborg

• # Hässleholm

• # Höganäs

• # Hörby

• # Höör

• # Klippan

• # Kristianstad

• # Kävlinge

• # Landskrona

• # Lomma

• # Lund

• # Malmö

• # Osby

• # Perstorp

• # Simrishamn

• # Sjöbo

• # Skurup

• # Staffanstorp

• # Svalöv

• # Svedala

• # Tomelilla

• # Trelleborg

• # Vellinge

• # Ystad

• # Åstorp

• # Ängelholm

• # Örkelljunga

• # Östra Göinge

Riksdag
The table details all Riksdag elections held in the area currently constituting Skåne County since the unicameral era began in 1970. Although both were rounded to 49.3 under one decimal, the leftist bloc had 49.33 to 49.25% for the centre-right bloc in the 1970 election.

Regional

The county is divided into four parliamentary constituencies or electoral districts, electing 47 of the 349 members of the Riksdag. Each district is made up of one or more municipalities.

In the 2018 general election, the Sweden Democrats performed particularly well in Skåne County, getting the highest number of votes in 21 out of the county's 33 municipalities.

Overall representation in the Riksdag during the 2018–2022 mandate period was as follows:

Localities in order of size
The ten most populous localities of Skåne County in 2020 were:

The ten largest municipalities of the county by total area are:

Foreign background
SCB have collected statistics on backgrounds of residents since 2002. These tables consist of all who have two foreign-born parents or are born abroad themselves. The chart lists election years and the last year on record alone.

Transport
The motorway built between Malmö and Lund in 1953 was the first motorway in Sweden. With the opening of the Öresund Bridge between Malmö and Copenhagen (the longest combined road and rail bridge in Europe) in 2000, the Swedish motorways were linked with European route E20 in Denmark, and the two countries' railway systems were physically connected. Before the bridge was built there were train ferries operated between Helsingborg and Helsingør. There are also train ferries to and from Germany and Poland.

Skåne has three major public airports, Malmö Airport, Ängelholm–Helsingborg Airport and Kristianstad Airport. One of the oldest airports in the world still in use is located in Skåne, namely Ljungbyhed Airport, in operation since 1910. Starting in 1926, the Swedish Air Force used the airport for flight training, and up until the military school was moved to the nearby Ängelholm F10 Wing in 1997, the airport was extremely busy. In the late 1980s, it was Sweden's busiest airport, with a record high of more than 1,400 take-offs and landings per day.

The major ports of Skåne are Trelleborg, Ystad, Åhus, Copenhagen Malmö Port, Landskrona Harbour and Helsingborg Harbour. Ferry connections across the Baltic Sea operate from several smaller ports as well.

title: Skåne County


text:
Whole-tone scale

In music, a whole-tone scale is a scale in which each note is separated from its neighbors by the interval of a whole tone. In twelve-tone equal temperament, there are only two complementary whole-tone scales, both six-note or hexatonic scales. A single whole-tone scale can also be thought of as a "six-tone equal temperament".

The whole-tone scale has no leading tone and because all tones are the same distance apart, "no single tone stands out, [and] the scale creates a blurred, indistinct effect". This effect is especially emphasised by the fact that triads built on such scale tones are all augmented triads. Indeed, all six tones of a whole-tone scale can be played simply with two augmented triads whose roots are a major second apart. Since they are symmetrical, whole-tone scales do not give a strong impression of the tonic or tonality.

"Only two triads are possible, both of them augmented, and...all inversions sound alike. All 'progressions' tend to have the same tonal character. What one hears are tone centers rather than tonics, and only when they are stressed [emphasized], as by repetition or duration. It cannot be denied that the small number of possible different intervals [only even semitone intervals: 2, 4, 6, 8, 10] and nonequivalent chords available in the whole-tone scale results in a soft-edged, neutral kind of sound lacking in tonal contrast.... Since the 1930s...whole-tone harmony...has become one of the platitudes of the 'Hollywood Style.'"

The composer Olivier Messiaen called the whole-tone scale his first mode of limited transposition. The composer and music theorist George Perle calls the whole-tone scale interval cycle 2, or C2. Since there are only two possible whole-tone-scale positions (that is, the whole-tone scale can be transposed only once), it is either C20 or C21. For this reason, the whole-tone scale is also maximally even and may be considered a generated collection.

Due to this symmetry, the hexachord consisting of the whole-tone scale is not distinct under inversion or more than one transposition. Thus many composers have used one of the "almost whole-tone" hexachords, whose "individual structural differences can be seen to result only from a difference in the 'location', or placement, of a semitone within the otherwise whole-tone series." Alexander Scriabin's mystic chord is a primary example, being a whole-tone scale with one note raised a semitone; this alteration allows for a greater variety of resources through transposition.

Classical music
In 1662, Johann Rudolf Ahle wrote a melody to the lyrics of Franz Joachim Burmeister's "Es ist genug" (It is enough), beginning it with four notes of the whole-tone scale on the four syllables. Johann Sebastian Bach chose the chorale to end his cantata O Ewigkeit, du Donnerwort, BWV 60, set for four parts. The first four measures are shown below.

Mozart also used the scale in his Musical Joke, for strings and horns.

In the 19th century, Russian composers went further with melodic and harmonic possibilities of the scale, often to depict the ominous; examples include the endings of the overtures to Glinka's opera Ruslan and Lyudmila and Borodin's Prince Igor, and the Commander's theme in Dargomyzhsky's The Stone Guest. Further examples can be found in the works of Rimsky-Korsakov: the sea king's music in Sadko and also in Scheherazade. Shown below is the opening theme to Scheherazade, which is "simply a descending whole-tone scale with diatonic trimmings." Notes in the whole-tone scale are highlighted.

(For some short piano pieces written completely in whole-tone scale, see Nos. 1, 6, and 7 from V.A. Rebikov's Празднество (Une fête), Op. 38, from 1907.)

H. C. Colles names as the "childhood of the whole-tone scale" the music of Berlioz and Schubert in France and Austria and then Russians Glinka and Dargomyzhsky. Claude Debussy, who had been influenced by Russians, along with other impressionist composes made extensive use of whole-tone scales. Voiles, the second piece in Debussy's first book of Préludes, is almost entirely within one whole-tone scale. The opening measures are shown below.

Janáček's use of the scale in the bracing opening to the second movement of his Sinfonietta is, to quote William W. Austin, "utterly different". Austin writes, "Janáček’s free chromaticism never loses touch with a diatonic scale for long. Though the whole-tone scale is prominent in much of his music after 1905 when he encountered Debussy, it serves simply to fit the motifs over augmented chords. The same motifs return from the whole-tone to the diatonic scale without emphasizing the contrast." The first measures of the second movement of Sinfonietta are shown below.

Giacomo Puccini used whole-tone scales as well as pentatonic scales in his 1904 opera Madama Butterfly to imitate east Asian music styles.

The first of Alban Berg's Seven Early Songs opens with a whole-tone passage both in the orchestral accompaniment and in the vocal line that enters a bar later. Berg also quotes the Bach chorale setting referred to above in his Violin Concerto. The last four notes of the 12-tone row Berg used are B, C♯, E♭ and F, which, together with the first note, G, comprise five of the six notes of the scale.)

Béla Bartók also uses whole-tone scales in his fifth string quartet. Ferruccio Busoni used the whole-tone scale in the right hand part of the "Preludietto, Fughetta ed Esercizio" of his An die Jugend, and Franz Liszt had used the technique as early as 1831, in the Grande Fantaisie sur La clochette.

Jazz
Some early instances of the use of the scale in jazz writing can be found in Bix Beiderbecke's "In a Mist" (1928) and Don Redman’s "Chant of the Weed" (1931). In 1958, Gil Evans recorded an arrangement that gives striking coloration to the "abrupt whole-tone lines" of Redman's original. Wayne Shorter's composition "JuJu" (1965), features heavy use of the whole-tone scale, and John Coltrane's "One Down, One Up" (1965), is built on two augmented chords arranged in the same simple structure as his earlier tune "Impressions".

However, these are only the most overt examples of the use of this scale in jazz. A vast number of jazz tunes, including many standards, use augmented chords and their corresponding scales as well, usually to create tension in turnarounds or as a substitute for a dominant seventh chord. For instance a G7 augmented 5th dominant chord in which G altered scale tones would work before resolving to C7, a tritone substitution chord such as D♭9 or D♭7♯11 is often used in which D♭/G whole-tone scale tones will work, the sharpened 11th degree being a G and the flattened 7th being a C♭, the enharmonic equivalent of B, the major third in the G dominant chord.

Art Tatum and Thelonious Monk are two pianists who used the whole-tone scale extensively and creatively. Monk's "Four in One" (1948) and "Trinkle-Tinkle" (1952) are fine examples of this.

A prominent example of the whole-tone scale that made its way into pop music are bars two and four of the opening of Stevie Wonder's 1972 song "You Are the Sunshine of My Life".

Non-Western music
The raga Sahera in Hindustani classical music uses the same intervals as the whole-tone scale. Ustad Mehdi Hassan has performed this rāga. Gopriya is the corresponding Carnatic rāgam.

title: Whole-tone scale


text:
Maggot Brain

Maggot Brain is the third studio album by the American funk rock band Funkadelic, released by Westbound Records in July 1971. It was produced by bandleader George Clinton and recorded at United Sound Systems in Detroit during late 1970 and early 1971. The album was the final LP recorded by the original Funkadelic lineup; after its release, founding members Tawl Ross (guitar), Billy Nelson (bass), and Tiki Fulwood (drums) left the band for various reasons.

The album charted in the R&B Top 20. Today, it is perhaps best known for its ten-minute title track, largely consisting of an improvised solo by guitarist Eddie Hazel. In 2009, Pitchfork named it the 17th best album of the 1970s. In 2020, Rolling Stone ranked Maggot Brain the 136th greatest album of all time in its updated list.

Music and lyrics
The album opens with a spoken word monologue by bandleader George Clinton, which refers to "the maggots in the mind of the universe". According to legend, the opening title track was recorded in one take when Clinton, under the influence of LSD, told lead guitarist Eddie Hazel to play as if he had just learned his mother was dead; Clinton instructed him "to picture that day, what he would feel, how he would make sense of his life, how he would take a measure of everything that was inside him and let it out through his guitar". Though several other musicians performed on the track, Clinton de-emphasized them in the final mix so that the focus would be on Hazel. Hazel utilized fuzz and wah effects, inspired by his idol Jimi Hendrix, on the track; Clinton subsequently added delay and other effects during the mixing process, saying: "I Echoplexed it back on itself three or four times. That gave the whole thing an eerie feel, both in the playing and in the sound effects." Critics have described the solo as "lengthy, mind-melting" and "an emotional apocalypse of sound."

The subsequent five tracks have been described as "sour harmony-group meditations heavy with bass, keyboard and class consciousness," with the band exploring a "psychedelic/funk fusion." "Can You Get to That" features Isaac Hayes' backing vocal group Hot Buttered Soul, and contains elements of folk blues and gospel music. "You and Your Folks, Me and My Folks" explores interracial love and features electronically distorted drums. "Super Stupid" was described by Pitchfork as a "tale of a dumbass junkie set to a tune Black Sabbath would have been proud of." The nine-minute closing track "Wars of Armageddon" has been described as a "freak-out" jam, and makes use of "paranoid, psychedelic sound effects and crowd sounds." Popular music scholar Yuval Taylor described it as "a burning hot prefiguring" of the music that Miles Davis would perform on his 1975 live album Agharta.

Title and packaging
Reportedly, "Maggot Brain" was the nickname of Hazel. Other sources say the title is a reference to band leader George Clinton finding his brother's "decomposed dead body, skull cracked, in an apartment in Newark, New Jersey."

The cover artwork depicts a screaming black woman's head coming out of the earth; it was photographed by Joel Brodsky and features model Barbara Cheeseborough. The album's liner notes are a polemic on fear provided by the Process Church of the Final Judgment. According to author Rickey Vincent, the organization's alleged association with the Manson Family, along with the album's foreboding themes and striking artwork, lent Funkadelic the image of a "death-worshipping black rock band."

Commercial performance and aftermath
Westbound Records released Maggot Brain in July 1971. It peaked at number 108 on the Billboard 200 and reached the top 20 of the Billboard R&B album charts, but did not reach the UK Albums Chart.

After the album was released, Funkadelic effectively disbanded. Drummer Tiki Fulwood was fired due to drug use; guitarist Tawl Ross reportedly had a traumatic drug experience after getting into an "acid eating contest, then snorting some raw speed, before completely flipping out", and did not perform with the group again; and bassist Billy Nelson quit over a money dispute with Clinton. Subsequently, only Clinton, Hazel, and keyboardist Bernie Worrell remained from the original Funkadelic lineup.

A 2005 reissue included three bonus tracks, among them an alternate mix of "Maggot Brain" featuring more of the full band.

Initial reviews
Reviewing for Rolling Stone in September 1971, Vince Aletti negatively described Maggot Brain as "a shattered, desolate landscape with few pleasures," competently performed but "limited." He was particularly critical of the record's second side, panning it as "dead-end stuff". Village Voice critic Robert Christgau offered qualified praise, calling the title-track "druggy, time-warped super-schlock" and describing "Can You Get to That" as featuring "a rhythm so pronounced and eccentric it could make Berry Gordy twitch to death"; he added that "the funk pervades the rest of the album, but not to the detriment of other peculiarities."

Retrospective
Writing years later for PopMatters, Taylor called the album "one of the loudest, darkest, most intense records ever made", and stated that the group "captured the odor of the age, the stench of death and corruption, the weary exhalation of America at its lowest." Dominque Leone of Pitchfork called it "an explosive record, bursting at the seams with exactly the kind of larger than life sound a band called Funkadelic should have made." Dave Segal, from the same publication, revered it as "a monument of psychedelic funk" and "a defining document of Black rock music in the early '70s". Additionally, he called its two bookending tracks "the most evocative expressions of birth and annihilation ever put on record" and suggested that the "soulful funk-rock" tracks in between represent the "hott[est] five-song streak in the Clinton canon". The Greenwood Encyclopedia of Rock History (2006) claimed that Maggot Brain and Funkadelic's previous two albums "created a whole new kind of psychedelic rock with a dance groove". Music historian Bob Gulla hailed it as an "iconoclastic funk-rock" record, featuring the best guitar playing of Hazel's career. Author Matthew Grant describes the album as marking where "the band really hit their stride.

In a retrospective review for Blender, Christgau described the title track as "indelible" and "Wars of Armageddon" as "Funkadelic's most incendiary freak-out ever", while also applauding the 2005 CD reissue's bonus tracks. Stereogum named it the second best album by the Parliament-Funkadelic collective, and called it "one of the most cathartic R&B albums ever made." John Bush of AllMusic stated that the group "hit its stride with [the] acid-rock extravaganza." Happy Mag named the album among the five best P-Funk releases, describing it as "an absolute freakout of psychedelic funk sounds", but also "perhaps Clinton’s most lyrically sparse album". Fender called the album "an eruption of psychedelic agit-funk that blended the increasingly bleak American story—urban decay, prime time body counts from an ongoing slog through Vietnam, and front page assassinations—with the sounds of Hendrix, Motown, James Brown, Cream, Sly Stone, Blue Cheer and Vanilla Fudge." The Washington Post critic Geoffrey Himes names it an exemplary release of progressive soul.

In 2003, Rolling Stone ranked Maggot Brain #486 on its list of 500 Greatest Albums of All Time, with the magazine raising its rank in 2012 to #479, calling it "the heaviest rock album the P-Funk ever created". In the 2020 reboot of the list, the album's rank increased again to #136. It was also listed in the 2005 book 1001 Albums You Must Hear Before You Die.

Influence
Maggot Brain was also influential to subsequent artists. Vernon Reid of the band Living Colour called the album "a magnum opus of rock 'n' roll." Michael Melchiondo (Dean Ween) of Ween has said: "When I heard 'Maggot Brain,' it was like, [...] there's this whole other thing, and it's even better, and there's more of it. And I can go see it live, and there's nine guitar players that are this good. So that was the hugest, hugest deal." Melchiondo paid tribute to Eddie Hazel on the track "A Tear for Eddie" from Ween's 1994 album Chocolate and Cheese. The Mars Volta's Amputechture album features a "Maggot Brain"-inspired guitar solo on the song "Vicarious Atonement". Jazz musician Angel Bat Dawid also drew influence from Funkadelic and "Maggot Brain".

The alternative rock band Sleigh Bells sampled "Can You Get To That?" in their hit song "Rill Rill". Rapper Esham, a pioneer of horrorcore, sampled "You and Your Folks, Me and My Folks" and "Super Stupid" on his 1990 song "Red Rum". Rapper Redman pays tribute to the Maggot Brain cover art in the art for his album Dare Iz a Darkside, which contains a song called "Cosmic Slop", which takes its name from the Funkadelic album of the same name. Childish Gambino's album "Awaken, My Love!" drew influence from Maggot Brain, as did D'Angelo's Black Messiah, which The New York Times said "captured American unrest through the studio murk of Sly Stone, the fervor of Funkadelic and the off-kilter grooves somewhere between J Dilla and Captain Beefheart." "

"Super Stupid" was the only cover song recorded by the alternative metal band Audioslave, who were influenced by Funkadelic. André 3000 of the hip hop group Outkast said of Maggot Brain, "That album blew my mind. It made me want to learn to play guitar, and its huge range of styles — funk, bluegrass, country, opera — helped build our sound." The singer Bilal names it among his 25 favorite albums, citing its "loose" creative direction as an influence on his own music.

Track listing

 * Sides one and two were combined as tracks 1–7 on CD reissues.

Personnel
Credits are adapted from the album's liner notes.

Funkadelic

 * Bernie Worrell – keyboards, vocals (lead vocals on track 3)
 * Eddie Hazel – lead guitar, vocals (lead vocals on track 5)
 * Tawl Ross – guitar, vocals (co-lead vocals on tracks 6 and 7)
 * Billy Nelson – bass guitar, vocals (lead vocals on track 4)
 * Tiki Fulwood – drums
 * George Clinton – vocals (spoken word on track 1, lead vocals on tracks 6 and 7)
 * Raymond Davis – vocals (lead vocals on track 2)
 * Fuzzy Haskins, Calvin Simon, Grady Thomas, Garry Shider – backing vocals
 * Hot Buttered Soul (Pat Lewis, Diane Lewis, Rose Williams) – backing vocals (track 2)

Production

 * Produced by George Clinton
 * Executive producer – Armen Boladian
 * Bernie Mendelson in charge of The Eegangas
 * Cover photography by Joel Brodsky
 * Inside cover photography by Ron Scribner
 * Artwork design – The Graffiteria/Paula Bisacca
 * Art direction – David Krieger
 * Album supervision – Bob Scerbo
 * Album co-ordination – Dorothy Schwartz
 * Model on album cover- Barbara Cheeseborough

title: Maggot Brain


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Luc Ferrari

Luc Ferrari (5 February 1929 – 22 August 2005) was a French composer of Italian heritage and a pioneer in musique concrète and electroacoustic music. He was a founding member of RTF's Groupe de Recherches Musicales (GRMC), working alongside composers such as Pierre Schaeffer and Pierre Henry.

Biography
Ferrari was born in Paris, and was trained in music at a very young age. He studied the piano under Alfred Cortot, musical analysis under Olivier Messiaen, and composition under Arthur Honegger. His first works were freely atonal. A case of tuberculosis in his youth interrupted his career as a pianist. From then on he mostly concentrated on musical composition. During this illness he had the opportunity to become acquainted with the radio receiver, and with pioneers such as Schönberg, Berg, and Webern.

In 1954, Ferrari went to the United States to meet Edgard Varèse, whose Déserts he had heard on the radio, and had impressed him. This seems to have had a great effect on him, with the tape part in Déserts serving as inspiration for Ferrari to use magnetic tape in his own music. In 1958 he co-founded the Groupe de Recherches Musicales with Pierre Schaeffer and François-Bernard Mâche. He taught in institutions around the world, and worked for film, theatre and radio. By the early 1960, Ferrari had begun work on his Hétérozygote, a piece for magnetic tape which uses ambient environmental sounds to suggest a dramatic narrative. The use of ambient recordings was to become a distinctive part of Ferrari's musical language.

Ferrari's Presque rien No. 1 'Le Lever du jour au bord de la mer (1970) is regarded as a classic of its kind. In it, Ferrari takes a day-long recording of environmental sounds at a Yugoslavian beach and, through editing, makes a piece that lasts just twenty-one minutes. It has been seen as an affirmation of John Cage's idea that music is always going on all around us, and if only we were to stop to listen to it, we would realise this. Ferrari continued to write purely instrumental music as well as his tape pieces. He also made a number of documentary films on contemporary composers in rehearsal, including Olivier Messiaen and Karlheinz Stockhausen.

Ferrari died in Arezzo, Italy on 22 August 2005, at age 76.

Discography

 * Acousmatrix
 * Petite symphonie intuitive pour un paysage de printemps (1973–74)
 * Strathoven (1985)
 * Presque rien avec filles (1989)
 * Hétérozygote (1963–64)
 * BVHAAST 9009 Acousmatrix 3 – 1990

 * Unheimlich schön
 * Unheimlich schön (1971)
 * Coll. Cinéma pour l'oreille
 * Metamkine MKCD008 1993

 * L'Escalier des aveugles
 * Patajaslotcha (1984)
 * L'Escalier des aveugles (1991)
 * Xavier Legasa / Donatienne Michel-Dansac / Michel Musseau (song)
 * Ensemble Le Banquet, Dir. Olivier Dejours
 * Ina-grm ina c 2008/Musidisc 201302 – 1993

 * Presque rien
 * Music promenade (1964–69)
 * Presque rien No.1 – le lever du jour au bord de la mer (1967–70)
 * Presque rien No.2 – ainsi continue la nuit dans ma tête multiple (1977)
 * Presque rien avec filles (1989)
 * Ina-grm 245172 – 1995

 * Piano-piano
 * Suite pour piano (1952)
 * Antisonate (1953)
 * Suite hétéroclite (1955)
 * Visage I (1956)
 * Fragments du journal intime (1980–82)
 * Comme une fantaisie dite des réminiscences (1989–91)
 * Christine Lagniel / Michel Maurer (Piano)
 * Auvidis Montaigne MO 782110 – 1997

 * Cellule 75
 * Cellule 75 (1975)
 * Place des Abbesses (1977)
 * Chris Brown (Piano), William Winant (Perc.)
 * Tzadik USA – TZ 7033 – 1997

 * Interrupteur / Tautologos III
 * Interrupteur (1967)
 * Tautologos III (1970)
 * Ensemble de musique vontemporaine de Paris, Dir. Konstantin Simonovitch
 * Blue Chopsticks USA BC1, distrib. France : Chronowax – 1999

 * Chansons pour le corps – Et si tout entière maintenant
 * Chansons pour le corps
 * Elise Caron (Song), Carol Mundinger / Sylvain Frydman (Clar.), Christine Lagniel (Perc.), Michel Maurer (Piano.), Michel Musseau (Synthesizer)
 * Et si tout entière maintenant (1986–87)
 * Symphonic story. (Prix Italia 1987) – Text by Colette Fellous
 * Anne Sée (Voice), Nouvel Orchestre Philharmonique, Dir. Yves Prin.
 * Mode Records USA MODE 81 – 1999

 * Danses Organiques cinéma pour l'oreille
 * Danses organiques (1971–73)
 * Elica mpo-3340 – 1999
 * vinyle LP Elica 4VL 3704 – 2003

 * Far-West news
 * Far-West news episode No.1 (1998–99)
 * Histoire du plaisir et de la désolation (1979–81)
 * Nouvel orchestre de France, Dir. Michael Luig.
 * Signature, France ASIN : B00005Q4KU – distribution Harmonia Mundi – 1999

 * Cycle des souvenirs – Exploitation des concepts No.2
 * Cycle des souvenirs – Exploitation des concepts No.2 (1995–2000)
 * Blue Chopsticks USA BC8, distrib. France : Chronowax – 2002

 * Tautologos and other early electronic works
 * Étude aux accidents (1958)
 * Étude aux sons tendus (1958)
 * Visage V (1958/59)
 * Tête et queue du dragon (1959–60)
 * Tautologos I (1961)
 * Tautologos II (1961)
 * Und so weiter for piano and tape (1965–66)
 * (works from 1959 to 1966) EMF and GRM
 * Gérard Frémy (piano)
 * EMF CD 037 – 2003

 * Comedia dell'amore 224 (1992)
 * Performers and composers : Jean-Jacques Birgé, Francis Gorgé, Bernard Vitet and Luc Ferrari
 * Un Drame musical instantané "Opération Blow up" GRRR 2020 – distrib. France : Orkhêstra / Les Allumés du Jazz – 1992

 * Impro-micro-acoustique (2001)
 * Performers and composers : Noël Akchoté, Roland Auzet and Luc Ferrari
 * Blue Chopsticks, USA BC12 – distrib. France : Chronowax  – 2004

 * Collection
 * Collection de petites pièces ou 36 Enfilades pour piano et magnétophone (1985)
 * Jeu du hasard et de la détermination (1999)
 * Michel Maurer (Piano.), Françoise Rivalland (Perc.).
 * Les empreintes digitales, France – distribution Abeille Musique (Nocturne) ED13171 – 2004

 * Les Anecdotiques
 * Les Anecdotiques – Exploitation des Concepts No.6 (2002)
 * SUB ROSA SR 207 – 2004
 * Grand Prix 2005 Charles Cros in Memoriam

 * Archives sauvées des eaux
 * Archives sauvées des eaux – Exploitation des concepts No.1 (2000)
 * Version for plastic, Milan 2004. By Luc Ferrari and Erikm
 * Angle Records, Italie CD 0008 – 2004
 * Grand Prix 2005 Charles Cros in memoriam

 * Son mémorisé
 * Presque Rien No.4 (1990–98)
 * Promenade symphonique dans un paysage musical ou Un jour de fête à El Oued en 1976 : (1976–78)
 * Saliceburry cocktail (2002)
 * Sub Rosa, SR252 – 2006

 * Far-West news episodes 2 and 3
 * Far-West news episodes 2 (May 1999)
 * Far-West news episodes 3 (June 1999)
 * Blue Chopsticks BC16 CD September 2006

 * Et tournent les sons
 * Et tournent les Sons dans la Garrigue – Réflexion sur l'écriture No.1 (1977)
 * Archives sauvées des eaux – Exploitation des concepts No.3 (2000)
 * By the Ensemble Laborintus and Erikm
 * Césaré 06/03/4/2/1 France septembre 2006. Distr. Metamkine

 * Les ProtoRythmiques
 * Les ProtoRythmiques (2007)
 * EriKm (Luc Ferrari) and Thomas Lehn
 * Room40 RM417/ May 2007

 * Didascalies
 * Rencontres fortuites (2003) for viola, piano and memorized sounds.
 * Didascalies (2004) for viola and piano
 * Tautologos III (1969)
 * By Vincent Royer and Jean-Philippe Collard-Neven
 * Luc Ferrari facing his tautology – 2 days before the end,
 * a film by Guy Marc Hinant and Dominique Lohlé
 * Sub Rosa SR261 luc ferrari "didascalies" / cd+ dvd  / May 2007

 * Sonopsys
 * Passage pour mimes (1959)
 * J'ai été coupé (1960–69)
 * Selbstportrait oder Peinture de sons ou bien Tonmalerei (1996–97)
 * Sonopsys 4 – Cahiers musique concrète/acousmatique. May 2007

 * in OHM: The Early Gurus of Electronic Music / 1943 – 1980
 * Music Promenade (1969)
 * Ellipsis arts...... EA500-4 USA

 * in Asia – Trio d'argent
 * Madame de Shanghaï (1996)
 * Michel Boizot / François Daudin Clavaud / Xavier Saint-Bonnet (Flutes)
 * Musique d'Aujourd'hui 9701 MDA M7 847 – 1997

 * in An anthology of noise & electronic music / vol. #2
 * Visage V (1958–59)
 * Sub Rosa SR200 – 2003

 * in Early modulations : vintage volts
 * Tête et queue du dragon (1959–60)
 * Caipirinha CP219 USA – 2000

 * in Archives GRM – CD 2/5
 * Étude aux sons tendus (1958)
 * Étude floue (1958)
 * Étude aux accidents (1958)
 * Ina c 1032(2004) ADD – 750 – 276522

 * Chantal, or the portrait of a villager (1977–78)
 * stereo tape.
 * in collaboration with Brunhild Meyer.
 * Digital on-line edition 2008
 * Room 40

 * Archives Génétiquement Modifiées (2000) – mémorized sound
 * Société II (1967)
 * for four soloists and sixteen instruments (flute, oboe, clarinet, bassoon, horn, trumpet, trombone, 4 violins, 2 violas, 2 violoncellos, 1 contrabass. Soloists: 1 piano, 3 percussions.) recording from 1968 by the EIMCP dir. Konstantin Simonovich.
 * Robot Records, USA

 * À la recherche du rythme perdu
 * for piano and memorized sound. by Wilhem Latchoumia
 * In Wilhem Latchoumia – piano & electronic sounds
 * Sisyphe 013

 * Madame de Shanghaï (1996)
 * for 3 flutes and memorized sound
 * In Manuel Zurria repeat !
 * Die Schachtel, Zeit C01

 * Archives sauvées des eaux – Luc Ferrari with Otomo Yoshihide.
 * Bonus-track (CD extra) for the first 2000 copies : « Slow landing » Luc Ferrari with Otomo Yoshihide, Camera: Miyaoka Hideyuki and Nishihara Tazz Miyaoka
 * Disc Callithump CPCD-001

 * Labyrinthe de violence
 * Danse
 * LP Alga Marghen
 * Disque vinyle PLANA-F alga027 – 2009

 * Sexolidad (1982–83)
 * Dialogue Ordinaire avec la Machine (1984)
 * Elica mpo-4301 – 2009

 * INA-GRM Box (2009)
 * in partnership with La Muse en circuit,
 * contains 10 CD Luc Ferrari’s works for memorized sound as well as film music.

 * Chantal (2009)
 * stereo tape (1977–78)
 * in collaboration with Brunhild Meyer.
 * Ohm/Avatar – ohm 051

 * DIDASCALIES 2 ou Trois personnages en quête de notes (2005)
 * For two pianos and a third very strong instrument capable to uphold a very strong note.
 * Claude Berset and Jean-Philippe Collard-Neven, piano – Vincent Royer, viola
 * Recorded at La Chaux-de-Fonds, Switzerland
 * Vinyl disc Sub rosa SRV 305- April 2010

 * TRANQUILLES IMPATIENCES (2010)
 * by Brunhild Ferrari recomposing tapes from Luc Ferrari called "Exercices d'Improvisation”
 * vinyle disc ALGA MARGHEN – 2010 – plana-MF alga028

 * EPHÉMÈRE I & II (1974)
 * for tape and undetermined instrumentation
 * éphémère I – L'ordinateur ça sert à quoi ? Nov ; 1974
 * éphémère II – Lyon 75 Nov. 1975
 * ALGA MARGHEN plana f. 33 NMN 081 – 2010

 * EXERCICES D'IMPROVISATION (1977)
 * Suite of exercices (5 to 7 min. each) – can be individual or collective improvisation for any instrument or instrument group (maximum 8). They are intended for amateurs, professionals or students and may take place in concerts.
 * By Gol and Brunhild Ferrari
 * Vinyl disc ALGA MARGHEN planam 5 (it) – 2010

 * PIANO & PERCUSSION WORKS
 * Satoko Inoue piano & Toshiyuki Matsukura percussion
 * CONVERSATION INTIME (October 1987 – March 1988) 19:33

for piano and percussion
 * VISAGE I (1956) 7:21 for piano
 * SONATINE ELYB POUR PIANO (1953–54) – 7 :44 for piano
 * CELLULE 75 – FORCE DU RYTHME ET CADENCE FORCEE (May – November 1975) 32:45
 * for piano, percussions and tape
 * Recorded in 2004 – Hat(now)ART 165 – Jan. 2011 – harmonia mundi

 * LUC FERRARI " Madame de Shanghai " – " Après Presque Rien " – " Visage 2 "
 * VISAGE 2 (1955–56) – 10'02
 * APRES PRESQUE RIEN (2004) – 31'47 (commissioned by Art Zoyd, Musiques Nouvelles and CCMIX)
 * MADAME DE SHANGHAI (1996) – 15'22
 * By the Scottish Flute Trio and Ensemble Musiques Nouvelles, cond. Jean-Paul Dessy
 * Mode 228 – Feb. 2011

 * VISITATION (1 avril 2011) – 25'23
 * eRikm & Luc Ferrari – The night bird, Cap 15 and night bird, Tuchan, in Presque Rien N0 2
 * Vinyle disc Alga Marghen Planam 18 (it) – 2011

 * Souvenir, Souvenir
 * SUITE (1952)
 * SUITE HÉTÉROCLITE
 * SONATINE ELYB
 * VISAGE I
 * COLLECTION DE PETITES PIÈCES OU 36 ENFILADES POUR PIANO ET MAGNÉTOPHONE
 * piano : Elmar Schrammel – WERGO 67372

 * JETZT ou PROBABLEMENT MON QUOTIDIEN IL EST LA, DANS LA CONFUSION DES LIEUX ET DES MOMENTS – Hörspiel 1982 – 1 h. 45'
 * Radio composition for Hessischer Rundfunk.	.

 * Ferrari (r)écouté
 * new compositions with sound material of Ferrari's JETZT tapes from:
 * Tiziana Bertoncini – Antje Vowinckel – Frank Niehusmann – David Fenech – Neele Hülcker

 * COMPOSER LA RADIO – DAS RADIO KOMPONIEREN
 * excerpts from a radio conférence with Luc Ferrari (2000)
 * produced by ZKM, Karlsruhe and WERGO. – WERGO ZKM milestones 2066.2 – 2011

 * PROGRAMME COMMUN Luc + Brunhild Ferrari
 * Double CD

 * Luc Ferrari:
 * MUSIQUE SOCIALISTE, or PROGRAMME COMMUN POUR CLAVECIN ET BANDE MAGNETIQUE – (1972)
 * harpsichord: Elisabeth Chojnacka

 * DIDASCALIES 2 – (2005)
 * for 2 pianos and a third very powerful instrument that can hold a very loud note : viola
 * Jean-Philippe Collard-Neven et Claude Berset : piano. Vincent Royer : viola

 * LES EMOIS D’APHRODITE – (1986) Version 1998
 * for clarinet, piano, percussion, 2 samplers and memorized sound
 * by the ensemble MC BAND, dir. Mary Chun, San Francisco

 * Brunhild Ferrari –  electroacoustic, with sounds from Luc Ferrari :
 * DERIVATIF – (2008)
 * BRUMES DU REVEIL – (2009)
 * TRANQUILLES IMPATIENCES – (2010)
 * Sub Rosa SR363 AB – www.SUBROSA.NET

 * LUC FERRARI « PRESQUE RIEN »
 * double vinyl discs
 * PRESQUE RIEN No.1
 * PRESQUE RIEN No. 2
 * PRESQUE RIEN AVEC FILLES
 * PRESQUE RIEN No. 4 – La remontée du Village
 * Recollectio GRM 2012 – REGRM 005 et éditions MEGO – INA GRM

 * L. FERRARI
 * UND SO WEITER for electric piano and tape
 * Gérard Frémy, Piano
 * MUSIC PROMENADE original mix
 * re-issue of the vinyl disc by WERGO from 1969 – WER 67752 – 2012

CD and DVD releases

 * Didascalies
 * Rencontres Fortuites (2003) pour alto, piano et SM.
 * Didascalies (2004) pour alto et piano
 * Tautologos 3 (1969)
 * by Vincent Royer, viola and Jean-Philippe Collard-Neven, piano
 * + DVD
 * Luc Ferrari face à sa tautologie – 2 jours avant la fin
 * Film by Guy-Marc Hinant and Dominique Lohlé
 * French version, with English sub-titles, recorded while the rehearsal of Tautologos III.
 * "that would be Luc’s last one in this beginning of July 2005.
 * Sub Rosa SR261 luc ferrari "didascalies" / cd+ dvd  / mai 2007

 * This Box was rewarded with the « Coup de Coeur Charles Cros – musique contemporaine printemps 2008 » and the Grand Prix from the festival "Filmer à tout prix", Brussels in 2008

 * Presque rien avec Luc Ferrari
 * Film by Jacqueline Caux and Olivier Pascal – with Elise Caron – eRikm – Christof 	Schläger .  2004.
 * ELICA VPO-4290
 * Robot Records 2008
 * Forced Exposure; Métamkine, Fr.; Die Schachtel, It.; Mimaroglu Music Sales; 	Die Stadt, Germ.; A-Musik, Cologne, Germ.; Empreintes Digitales, Montreal 	Can.; Disk Union, Tokyo, Jap.

 * Les Archives sauvées des Eaux
 * Luc Ferrari with Otomo Yoshihide.
 * « Slow Landing » Luc Ferrari with Otomo Yoshihide, Camera: Miyaoka Hideyuki and Nishihara Tazz Miyaoka
 * Disc Callithump CPCD-001

Recent book releases

 * Collective book, edited by Brunhild Ferrari : Luc Ferrari complete works, London May 2019, 457 p. (ISBN 9781787601536 ). Published par Ecstatic peace library (UK).
 * Presque Rien avec Luc Ferrari
 * book by Jacqueline Caux. Discussion with Luc Ferrari.
 * Editions Main d’œuvre, Nice – January 2001

 * translation into Japanese by Ryosuke Shiina (Tokyo, 2006)
 * Luc Ferrari to hotondo nanimo nai.
 * Editions Gendaishichô-shinsha (2006), Tokyo, Japan.

 * translation into English by Jérôme Hansen.
 * Almost Nothing with Luc Ferrari. Editions Errant Bodies (2013)

 * Sonopsys No. 4 Luc Ferrari
 * Cahiers Musique Concrète / Acousmatique, published by Licences (French – English) – 2007
 * by Alexandre Yterce and Florence Gonot

 * Luc Ferrari Portraits Polychromes
 * supplemented edition by GRM / INA – 2007 – grm@ina.fr

 * The Politics of Presque Rien by Eric Drott
 * in Sound Commitments (Oxford University Press, 2009).
 * P. 145-166. Pdf to download on the website on “bibliography” 2009 page 9

 * Luc Ferrari in: In the Blink of an Ear:
 * Toward a Non-Cochlear Sonic Art
 * by Seth Kim- Cohen. (Continuum, 2009). "Sound-Out-Of-Itself" p. 175-185.
 * Pdf to download on the website on “bibliography” 2009 page 9

 * Luc Ferrari in : Silence, les couleurs du prisme & la mécanique du temps qui passe. Les Presque Rien – Et Tournent les sons Dans la Garrique by Daniel Caux
 * Editions de l’Eclat, Paris. Pages 333–337 (2009)

 * Syntone News and Critique of the Radio-Art
 * the Radio of Luc (and his listeners)
 * Chantal Dumas – François Parra – Irvic Oliver – José Iges – Götz Naleppa – Lucien Bertolina.
 * Contributions collected and conducted by Etienne Noiseau. Edited by Etienne Noiseau

 * The Bells Angels No. 2
 * Magazine TBA No 2 July 2010-07-03 containing the score of
 * Monologos (for solo voice and électroacoustic device) – 1970 – as well as
 * Concepts (3 excerpts of Jacqueline Caux’ book: Presque Rien avec Luc Ferrari
 * éditions nuitdencre galerie 64 rue jean-pierre timbaud – 75011 paris

 * The Bells Angels
 * Magazine TBA No 3 – 2011
 * 10 photoengraving-works by Luc Ferrari

title: Luc Ferrari


text:
Talk:Achduart

Untitled
Does this place merit an encyclopedia entry? Are we going to list EVERY wide spot in the road? -- Zoe

Well, it's in the Gazetteer for Scotland:

 * The settlement of Achduart lies in the Ross and Cromarty district of Highland Council Area, ½ miles (1 km) east of the headland of Rubha Dubh Ard and overlooking Loch Broom. Achduart lies nearly 4 miles (6½ km) southeast of Achiltibuie.

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 * Added archive https://web.archive.org/web/20101225005529/http://scottish.parliament.uk/vli/language/gaelic/vl-trans.htm to http://www.scottish.parliament.uk/vli/language/gaelic/vl-trans.htm

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title: Talk:Achduart