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Recitative

Recitative (, also known by its Italian name recitativo is a style of delivery (much used in operas, oratorios, and cantatas) in which a singer is allowed to adopt the rhythms and delivery of ordinary speech. Recitative does not repeat lines as formally composed songs do. It resembles sung ordinary speech more than a formal musical composition.

Recitative can be distinguished on a continuum from more speech-like to more musically sung, with more sustained melodic lines. The mostly syllabic recitativo secco ("dry", accompanied only by continuo, typically cello and harpsichord) is at one end of the spectrum, through recitativo accompagnato (using orchestra), the more melismatic arioso, and finally the full-blown aria or ensemble, where the pulse is entirely governed by the music. Secco recitatives can be more improvisatory and free for the singer, since the accompaniment is so sparse; in contrast, when recitative is accompanied by orchestra, the singer must perform in a more structured way.

The term recitative (or occasionally liturgical recitative) is also applied to the simpler formulas of Gregorian chant, such as the tones used for the epistle, gospel, preface and collects; see accentus.

Origins
The first use of recitative in opera was preceded by the monodies of the Florentine Camerata in which Vincenzo Galilei, father of the astronomer Galileo Galilei, played an important role. The elder Galilei, influenced by his correspondence with Girolamo Mei on the writings of the ancient Greeks and with Erycius Puteanus on the writings of Hucbald and wishing to recreate the old manner of storytelling and drama, pioneered the use of a single melodic line to tell the story, accompanied by simple chords from a harpsichord or lute.

In the Baroque era, recitatives were commonly rehearsed on their own by the stage director, the singers frequently supplying their own favourite baggage arias which might be by a different composer (some of Mozart's so-called concert arias fall into this category). This division of labour persisted into the 19th century: Rossini's La Cenerentola (1817, recitatives by Luca Agolini ) is a famous example. Later it remained a custom to replace originally spoken dialogue with new recitatives: Carl Maria von Weber's Der Freischütz (1821, adapted 1841 with recitatives by Hector Berlioz for the Paris Opera), Georges Bizet's Carmen (1875, recitatives by Ernest Guiraud for the posthumous run in Vienna the same year), Charles Gounod's Mireille and La colombe (staged by Sergei Diaghilev with recitatives respectively by Eric Satie and Francis Poulenc ).

Secco
Secco recitatives, popularized in Florence though the proto-opera music dramas of Jacopo Peri and Giulio Caccini during the late 16th century, formed the substance of Claudio Monteverdi's operas during the 17th century, and continued to be used into the 19th century Romantic era by such composers as Gaetano Donizetti, reappearing in Stravinsky's The Rake's Progress. They also influenced areas of music outside opera.

In the early operas and cantatas of the Florentine school, secco recitatives were accompanied by a variety of instruments, mostly plucked fretted strings including the chitarrone, often with a pipe organ to provide sustained tone. Later, in the operas of Vivaldi and Händel, the accompaniment was standardised as a harpsichord and a bass viol or violoncello. When the harpsichord was gradually phased out over the late 18th century, and mostly disappeared in the early 19th century, many opera-houses did not replace it with the fortepiano, a hammered-string keyboard invented in 1700.

Instead the violoncello was left to carry on alone, or with reinforcement from a double bass. A 1919 recording of Rossini's Barber of Seville, issued by Italian HMV, gives a unique glimpse of this technique in action, as do cello methods of the period and some scores of Meyerbeer. There are examples of the revival of the harpsichord for this purpose as early as the 1890s (e.g. by Hans Richter for a production of Mozart's Don Giovanni at the London Royal Opera House, the instrument being supplied by Arnold Dolmetsch), but it was not until the 1950s that the 18th-century method was consistently observed once more. In the 2010s, the early music revival movement has led to the re-introduction of harpsichord in some Baroque performances.

Accompagnato (or obbligato)
Accompanied recitative, known as accompagnato or stromentato, employs the orchestra as an accompanying body. The composer writes an arrangement for the orchestra musicians. As a result, it is less improvisational and declamatory than recitativo secco, and more song-like. This form is often employed where the orchestra can underscore a particularly dramatic text, as in "Thus saith the Lord" from Händel's Messiah; Joseph Haydn and Wolfgang Amadeus Mozart were also fond of it. A more inward intensification calls for an arioso; the opening of "Comfort ye" from the same work is a famous example, while the ending of it ("The voice of him that crieth in the wilderness") is secco.

Sometimes a distinction is made between the more dramatic, expressive, or interjecting 'orchestral recitative' (recitativo obbligato or stromentato) and a more passive and sustained 'accompanied recitative' (recitativo accompagnato).

Post-Wagner uses
Later operas, under the influence of Richard Wagner, favored through-composition, where recitatives, arias, choruses and other elements were seamlessly interwoven into a whole. Many of Wagner's operas employ sections which are analogous to accompanied recitative.

Recitative is also occasionally used in musicals, being put to ironic use in the finale of Kurt Weill's The Threepenny Opera. It also appears in Carousel and Of Thee I Sing.

George Gershwin used it in his opera Porgy and Bess, though sometimes the recitative in that work is changed to spoken dialogue. Porgy and Bess has also been staged as a musical rather than as an opera.

Instrumental recitative
Recitative has also sometimes been used to refer to parts of purely instrumental works which resemble vocal recitatives, in terms of their musical style. In an instrumental recitative, one instrument (or group of instruments) are given the melody line (akin to the role of the singer) and another instrument (or group of instruments) are given the accompaniment role. One of the earliest examples is found in the slow movement of Vivaldi's violin concerto in D, RV 208, which is marked "Recitative". C. P. E. Bach included instrumental recitative in his "Prussian" piano sonatas of 1742, composed at Frederick the Great's court in Berlin. In 1761, Joseph Haydn took his post at Esterhazy Palace and soon after composed his Symphony No. 7 ("Le Midi") in concertante style (i.e. with soloists). In the second movement of that work, the violinist is the soloist in an instrumental recitative.

Ludwig van Beethoven used the instrumental recitative in at least three works, including Piano Sonata No. 17 (The Tempest), Piano Sonata No. 31, and in the opening section of the Finale of his Ninth Symphony. Here, Beethoven inscribed on the score (in French) "In the manner of a recitative, but in tempo." Leon Plantinga argues that the second movement of Beethoven's Fourth Piano Concerto is also an instrumental recitative, although Owen Jander interprets it as a dialogue.

Other Romantic music era composers to employ instrumental recitative include Nikolai Rimsky-Korsakov (who composed a lyrical, virtuosic recitative for solo violin with harp accompaniment to represent the title character in his orchestral Scheherazade) and Hector Berlioz (whose choral symphony Roméo et Juliette contains a trombone recitative as part of its Introduction).

Arnold Schoenberg labeled the last of his Five Pieces for Orchestra, Op. 16, as "Das obligate Rezitativ", and also composed a piece for organ, Variations on a Recitative, Op. 40. Other examples of instrumental recitative in twentieth century music include the third movement of Douglas Moore's Quintet for Clarinet and Strings (1946), the first of Richard Rodney Bennett's Five Impromptus for guitar (1968), the opening section of the last movement of Benjamin Britten's String Quartet No. 3 (1975), and the second of William Bolcom's 12 New Etudes for Piano (1977–86).

The tropes of recitative
There are certain conventions, or tropes, which standardize recitative; so that, in practice, recitative is a rigid musical form. The following are standard tropes of recitative:

 * Recitative is a dialogue between a (usually) solo voice and an instrument or instruments. Usually the voice and instrument(s) alternate, or share a chord while one continues. In this way the speech-like rhythm of the singer does not need to be coordinated and synchronized with the instrument(s).
 * Recitative cadences: The dialog ends with the instruments. Invariably the instrument(s) complete the final dominant-tonic cadence. Also, typically the voice stops on or before the dominant chord and then the instrument(s) execute a return to the tonic. Occasionally the subdominant-tonic (plagal) cadence is used instead.
 * Recitative chord progressions: The chord progressions in recitative avoid resolutions and rely heavily on dominant sevenths and diminished chords to postpone the resolution. In the extreme, the instrument(s) start the dialog with a diminished chord, moving from non-resolution to non-resolution, building up to a temporary or final cadence, as described above.
 * Trope violations: the transition between recitative and aria, and subtle violations on the above 'tropes' are what make some recitatives more creative than others. For example, Bach's use of a plagal cadence; sometimes more than one voice is used [ Haydn's Creation, 31]; and sometimes a deceptive cadence replaces the dominant-tonic cadence, as a way of appending a new section.

title: Recitative


text:
Talk:Li Ka-shing

Wealthiest
Is he the wealthiest person in Hong Kong? That would be worth mentioning. --Jiang SherlockHolmes23 (talk) 08:22, 3 January 2022 (UTC)

 * I'm pretty sure that he isn't as of 2022. That honour goes to Robin Zeng Yuqun. He imports teslas to Hong Kong, thus the money.

Two quotes
Two Quotes: Li founded Hutchison Whampoa and... and That company would eventually acquire Hutchison Whampoa Limited in.... Founded or acquired, which one is it? 213.235.195.136 06:20, 29 Apr 2004 (UTC)

Acquire, he first founded the company now known as Cheung Kong Holdings, and then he acquired Hutchison Whampoa through Cheung Kong; I think Cheung Kong is also the first Chinese firm to acquire a Foreign 'Hong' in Hong Kong. --richeyxx13:05, 31 Dec 2005 (CST)

Major cleanup
Major cleanup: tried to bring the whole article together stylistically; removed all the (extensive) poor grammar that I could find; rewrote the last section; added links to Li's two major companies. --Shannonr 05:41, 9 May 2005 (UTC)

Subjectivity
Was this written by his PR staff? The man has accomplished a lot but maybe it could be stated in a more objective manner. I won't chang it myself, as I am not well aquainted with the man, but I felt it was worth bringing up. Shouta 05:05, 17 April 2006 (UTC)

Agreed, the whole article reads like a high school students homework essay.

 * yup this article has some serious POV issues. What's with all that stuff on Jardines?  TastyCakes (talk) 16:53, 20 June 2008 (UTC)

The wealthiest man in Asia
The statement of the discussion heading is presently made in the article. However, the Forbes Magazine article which in the next sentence is refered to as recognizing Shing as the tenth wealthiest man in the world has two other Asians higher on the list: Lakshmi Mittal of India in fifth place (living in the UK though) and Prince Alwaleed of Saudi Arabia in spot number eight. I will thus remove the statement. /Dcastor 20:45, 24 October 2006 (UTC)

Naming
I tried to align the spelling of Li Ka-shing with the Naming conventions (chinese), in particular when to use Wade-Giles, and how. Merabus 23:39, 8 July 2007 (UTC)

NPOV
This article is heavily biased toward Li Ka-shing. Evidence: language like, "By 1950, his hard work, prudence and his pursuit of excellence had enabled him to start his own company, Cheung Kong Industries." So I declared it NPOV. —Preceding unsigned comment added by 202.64.169.72 (talk) 03:23, 18 January 2008 (UTC)
 * I've tried to fix some of these issues. TastyCakes (talk) 16:15, 29 January 2009 (UTC)

Date of Birth
I have notice that the date of birth of Li Ka-Shing on the text is 13 June 1928 and the boxed table on the right is 29 July 1928. Can someone help to confirm the exact date of birth. Thank you. --Josephine (talk) 21:51, 26 July 2009
 * Encyclopædia Britannica writes 13 June. The other link is dead. — Preceding unsigned comment added by 62.97.183.185 (talk) 20:17, 26 September 2011 (UTC)
 * According to the biography of Li Ka-shing (李嘉誠傳) his birthday June 13 in Lunar calendar, which is July 29 in Gregorian. Vicary (talk) 17:53, 3 June 2014 (UTC)

 * Something has become really confused about his date of birth, as sources for the article claim as above mentioned 13 June, and also some places claim July 29. Yet, the date posted in the article is now 30 January! And that without any sources. It seems this article is not enough guarded. I have no idea were 30 January came from and which date is actually the right one. Regarding this kind of person, it's not so uncommon with this kind of confusion of dates, as it may be hard to get it really confirmed from the person himself. Sometimes one can get a clue, if there is a official birthday celebration or articles about it at some special years. There may be something in some Hong-Kong news paper from 2008 i.e.--Bemland (talk) 01:09, 29 June 2015 (UTC)

 * Please note, this date is simply the date he uses in his HK papers. In fact it was a Chinese custom just to make up a DoB when they arrive from mainland China to HK. 2A00:23C5:C101:5800:9038:A7CE:AA47:8774 (talk) 21:58, 18 September 2017 (UTC)

 * I'll list the evidence below. Emir of Wikipedia (talk) 19:03, 19 September 2017 (UTC)

13 June
https://www.cnbc.com/2014/04/29/25-li-ka-shig.html https://www.britannica.com/biography/Li-Ka-shing

29 July
https://www.bloomberg.com/billionaires/profiles/kashing- https://www.bloomberg.com/news/articles/2017-06-20/li-ka-shing-said-to-plan-retirement-by-next-year-wsj-reportsli/

30 January
http://www.celebritychina.net/ka-shing-li.html not a reliable source from the looks of it, possibly copied from Wikipedia

Mandarin pronunciation
While not wanting to politicize this, I was just curious if we should add the Mandarin pronunciation and simplified character version of his name? --71.111.194.50 (talk) 08:40, 13 November 2009 (UTC)

Article title
I have no idea why the article was moved from Li Ka-shing to Ka-shing Li. The official biography of the subsect says
 * Mr. Li Ka-shing is the Chairman of Cheung Kong (Holdings) Limited and Hutchison Whampoa Limited.

Is there any reason to think that is not his proper name, in English?  Will Beback   talk    10:51, 16 May 2011 (UTC)

 * 'Given name(s)-Surname' is the proper order of writing names in English; it is independent of the origin of the name. Douglas the Comeback Kid (talk) 12:37, 16 May 2011 (UTC)
 * Not necessarily. In Malayasia, the order is also reversed, with family name first. More importantly, Wikipedia uses the most common name for any individual, whatever that is. See Naming conventions (people). Since the name of this individual is commonly given as Li Ka-shing, that's what this article should be called. The burden is on you to show that some other name is more common. Also, when a move is necessary it's best to make a request. Moving the way you did causes extra work for admins who have to undo it then fix it.    Will Beback    talk    20:57, 16 May 2011 (UTC)
 * Yes, but this is an INCORRECT way of presenting names in English. Wikipedia English should be a place to promote the correct use of English.
 * The subject is referred to in English as Li Ka-shing. I see there is a specific naming convention for Chinese subjects. Naming conventions (Chinese), which says: Personal names in Chinese, unlike Western names, present the family/clan name first. Unlike other instances where this occurs, it is standard practice in English to also present the family name first (for example, Mao Zedong, Deng Xiaoping and Bai Ling). "Mao Zedong" is correct English.   Will Beback    talk    19:03, 17 May 2011 (UTC)
 * This's probably because at the very beginning when people transliterate Chinese names into English they're unaware of the difference of the naming rules. The mistake has then turned into a common practice so it seems to people that it's 'acceptable'. But, this 'convention' doesn't follow the normal practice in English. By the way, it's a double standard to apply different naming conventions to different people; that's also unfair because it leads a labelling effect which distinguishes a particular group of people from the rest. Douglas the Comeback Kid (talk) 10:46, 19 May 2011 (UTC)
 * You're probably right about each of your points: that it's a longstanding mistake with cultural implications. However we're not here to right the world's wrongs; we're just here to write the world's encyclopedia. We follow whichever practice is most common, right or wrong.
 * The core naming convention says: Article titles should be recognizable to readers, unambiguous, and consistent with usage in reliable English-language sources. That's a bit obtuse, but basically it means that each title should reflect common usage as found in English-language sources. In the case of this subject, we have his company's website and news clippings which all call him Li Ka-shing. In the case of other Hong Kong people it may be more complicated because multiple names are used, some English, in multiple arrangements. Yet we can't impose our own views on how people should be named. We have to call articles and people using the common usage as best we can. In people who have more than one sourced variation, it's appropriate to list the other variations in the lead, and to use redirects.   Will Beback    talk    10:57, 19 May 2011 (UTC)
 * If that's the rule of Wikipedia then I've nothing to say - Wikipedia's castle, Wikipedia's rules. But I must express my profound disappointment on the existence of such rule. Douglas the Comeback Kid (talk) 16:08, 24 May 2011 (UTC)
 * I know it seems odd. But going with the most common usage has worked out generally, though there are sometimes problems, like figuring out which names is most common.   Will Beback    talk    07:26, 25 May 2011 (UTC).
 * Perhaps the most important lesson is that articles may appear under a number of possible titles all of which can be found through redirects, but what really matters is the contents of the article itself. Let's not get hung up on the name but rather work on making the best possible article.   Will Beback    talk    11:09, 25 May 2011 (UTC)

Richest Asian
Like a shing. — Preceding unsigned comment added by 62.220.162.177 (talk) 12:19, 8 March 2012 (UTC)

Canadian?
This mentions his citizenship as "Canadian" but I didn't see any reference as to why he is Canadian, how he became Canadian, why chose to become Canadian, etc. He lives in Hong Kong and was born in China. I'm curious how Canada factors in to this at all. It seems worthwhile to mention, I came here to find out his Canadian status specifically after noticing here: that he was a Canadian who was listed as one of the wealthiest people in the world. Celynn (talk) 02:43, 9 March 2012 (UTC)

 * I wasn't able to find any credible sources online that state Li Ka-shing as also being Canadian. Should we remove this from the page? Tiffdmo14 (talk) 22:27, 27 December 2017 (UTC)

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. The material was copied from: http://www.britannica.com/EBchecked/topic/711320/Li-Ka-shing. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.) For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, but not as a source of sentences or phrases. Accordingly, the material may be rewritten, but only if it does not infringe on the copyright of the original or plagiarize from that source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. MER-C 12:02, 10 June 2012 (UTC)

Nigerian 419 Advance Fee Fraud Usage of Article
On 22 January 2015, a Nigerian Advance Fee Fraud scam operation cited this article to try to lend legitimacy to their scam, using the name of this person as a reply target. — Preceding unsigned comment added by 2605:A601:500:A801:A41B:5C4D:B633:DE99 (talk) 16:43, 22 January 2015 (UTC)

On 18 June 2015, a new 419 scam spam run was sent out, referencing this article, that one was sent through Microsoft Exchange mailservers, and the sender used a nonexistent domain and the reply-to email address was on Gmail. Despite the red flags in what were excessively long headers, the Microsoft software still let the spam through. This was sighted just after 2300 GMT but was sent as much as two hours before that time. — Preceding unsigned comment added by 2605:A601:509:3801:1D3:349B:AFED:F0F0 (talk) 23:54, 18 June 2015 (UTC)

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Spam abuse warning
Currently being used to support a spammer's scam, probably a 419. Also possible the article has been vandalized to make the bait more tempting. (I still think there should be a mechanism to temporarily add such a warning to the article itself.) Shanen (talk) 10:11, 4 May 2017 (UTC)
 * How is this being used to support a spammer's scam? What vandalism has taken place? The mechanism to add warnings is Editnotice. Emir of Wikipedia (talk) 11:23, 4 May 2017 (UTC)

 * Not sure how to reply to you directly, but the spammers' send out spam with links to Wikipedia. Most of the scams are obviously 419s, but some of the details in the scam email depend on the articles. In a couple of cases, the details have seemed suspect, but it could be going in either direction. Or the entire article could be a fake. The only thing the spammers are interested in is abusing Wikipedia's credibility to make their own spam look more realistic. I don't know about the Editnotice mechanism, but over the years I have sometimes attempted to warn potential suckers, but was told not to. Shanen (talk) 11:01, 7 May 2017 (UTC)
 * What details in scam emails depend on the article though? Are you suggesting that the entire of this article is fake? Emir of Wikipedia (talk) 11:55, 7 May 2017 (UTC)

 * This is the spam's email: https://pastebin.com/dHEPs7hz . I don't know if that's actually allowed or possible, but I think it would be nice to add a temporary warning to the page (IMVHO). — Preceding unsigned comment added by 81.62.103.58 (talk) 21:16, 8 May 2017 (UTC)

 * I don't know how to assess the authenticity, but I am sure that a spammer would certainly vandalize Wikipedia if he saw a buck in doing so. My deeper suggestion would be a mechanism to pass those judgments to experts. I'd like to just paste the entire email (including headers) into a webform, and it would come back with a confirmation webform. At that point I'd just be saying something like "I'm quite sure that this is a link to Wikipedia being used to support a spam" and "Because it appears to be a 419 scam, the temporary warning message at the top of the linked article should include a link to the Wikipedia article about 419 scams." (However mostly I'm just fed up with Wikipedia's close-mindedness. Much as I hate spammers, I certainly don't like Wikipedia much. For example, I thought up another way to justify donating money to Wikipedia, but near as I can tell most of my prior suggestions have simply been disliked and deleted.) Shanen (talk) 02:01, 12 May 2017 (UTC)

 * I have requested advice at Editor assistance/Requests .Emir of Wikipedia (talk) 11:15, 12 May 2017 (UTC)

 * Again being used to support scam by spammer. Shanen (talk) 10:16, 27 June 2017 (UTC)

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Wrong info about kidnapping
Someone added info about kidnapping but when I checked the reference, it links to an article (https://www.bbc.com/news/world-asia-china-53055497) about different person, He Xiangjian. — Preceding unsigned comment added by Mad hardy (talk • contribs) 06:31, 19 October 2020 (UTC)

Is is okay if I undo or delete that part?

https://en.wikipedia.org/w/index.php?title=Li_Ka-shing&diff=982478048&oldid=980337095 — Preceding unsigned comment added by Mad hardy (talk • contribs) 06:38, 19 October 2020 (UTC)

Is Li a Sir?
Some outlets have referred to Li as a sir because of his GCMG [1 ]. Others haven't, referring to him as "Mr Li" [2 ]. I believe that Li cannot use the title 'sir', as that is reserved for citizens of the Commonwealth realms, excluding Canada. At the time of his award, I think he was probably just a Hong Konger, and his title thus did not allow him to use the title. Dawkin Verbier (talk) 03:20, 18 September 2022 (UTC)

 * Any meaningful discussion should be based on facts. Sir Ka-shing Li was substantively appointed an ordinary Knight Commander of the Order of the British Empire under the Diplomatic Service and Overseas List of the 2000 Queen's Birthday Honours for "services to British industry and to medical research".  The appointment was announced in the London Gazette and therefore, it was not an honorary appointment and he is for sure entitled to be addressed "Sir Ka-shing Li".  The UK Who's Who, which is an authoritative source for British honours and titles, has an entry of Li Ka-shing.  The concerned entry begins with "LI Ka-Shing, Sir". Furthermore, Sir Ka-shing Li is more commonly known as "Li Ka-shing", but it does not mean that he never uses the title.  The following webpages of his companies and his charity are vivid examples -
 * Press release - Hutchison Whampoa Limited (1)
 * Press release - Hutchison Whampoa Limited (2)
 * Photos - Li Ka Shing Foundation (1) (see "Prime Minister joins Sir Ka-shing Li for launch of £90m initiative in big data and drug discovery at...")
 * Photos - Li Ka Shing Foundation (2)
 * Press release - CK Hutchison Holdings Limited
 * Based on the above factual information, it is crystal clear that the lead section of the article should address Li Ka-shing as "Sir Ka-shing Li" with reference to prevailing rules and guidelines on the naming conventions of the English Wikipedia.--Clithering (talk) 09:14, 4 October 2022 (UTC)
 * I stand corrected. Thank you for the references. Dawkin Verbier (talk) 13:09, 4 October 2022 (UTC)

COI

 * is a long term SPA dedicated to this page and Hutchinson Whampoa owned by article subject Good day— RetroCosmos talk 21:28, 8 July 2024 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Li Ka-shing


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User talk:Scott Haley

Hello, welcome to Wikipedia! Most questions about the project are answered in the help files. If you need any assistance, you can leave a message at the Village pump or on my talk page (don't worry, I don't mind). Have fun! -- Notheruser 05:20, 30 Jul 2003 (UTC)
 * No problem :). Here's a tip: type three tildes to sign your name; add another one to append the date. -- Notheruser 05:40, 30 Jul 2003 (UTC)

Welcome!
Hello, Scott Haley, and welcome to Wikipedia! Thank you for your contributions, especially what you did for The Great Gatsby. I hope you like the place and decide to stay. Here are a few links to pages you might find helpful: Please remember to sign your messages on talk pages by typing four tildes ( ~ ); this will automatically insert your username and the date. If you need help, check out Questions, ask me on my talk page, or ask your question on this page and then place  before the question. Again, welcome! Jason Quinn (talk) 15:29, 29 August 2013 (UTC)
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title: User talk:Scott Haley


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Talk:Eurovision Song Contest 2004

About the scoring, swedish television said that only Sweden got the fifth place since they got more twelves.

Firstly, a tie is not broken unless it is for first place or for the last qualification spot for next year's final. Secondly, the tie break rule was changed in time for ESC 2004 - now, if a tie has to be broken, the song that more countries voted for is placed higher, irrespective of what the individual marks were. Jess Cully 00:20, 9 Apr 2005 (UTC)

---

Why is the Eurovision Song contest being held in Turkey, which is not part of Europe?

Because Turkey is a member of the EBU. Egypt if it wanted too could take take part. Morroco has entered once in 1981. - fonzy

And Israel is also a member. RickK 19:12, 2 Aug 2003 (UTC)

Indeed it is. You could go on by saying. Jordan, Libya, Tunisia, Algeria, Georgia, Lebanon, Russia (which is mostly in Asia), and a i think a couple more than i cant remember of by heart. O and as Luxembourg is no longer a member it can no longer enter. -fonzy

I think Georgia is in Europe, isn't it? I can't keep the borders straight there in the Caucasus. :) RickK 19:22, 2 Aug 2003 (UTC)

No Georgia is not in Europe. -fonzy

But technically part of Turkey is in Europe anyway. - fonzy

Istanbul, the host city, is most definitely in Europe by all definitions. Vauxhall1964 (talk) 01:12, 23 January 2009 (UTC)

According to the article at Europe:
 * Georgia, Armenia and Azerbaijan, three CIS republics in the Transcaucasus, are geographically part of continental Asia, but are frequently associated with Europe. Whether or not Armenia and Georgia are considered to be European countries usually depends on whether one defines Europe as being primarily an ethnic / linguistic entity, or primarily a political / geographic entity, and what one considers those definitions to be.
 * Note that the article also claims that Cyprus is part of Europe. RickK 19:34, 2 Aug 2003 (UTC)

FYROM,the Former Yugoslav Republic of Macedonia,as Republic of Macedonia is fabrik for folgery Greek history,Greek culture,Greek geography and Greek symbols Macedonians!See Greek Macedonian symbol "Vergina Sun",Philip II king of Macedonia and Alexander the Great king of Macedonia !!! Vergina 09:10, 22 Oct 2003 (UTC)

 * Perhaps, but it is also the internationally recognised name of the country.2toise 09:15, 22 Oct 2003 (UTC)

 * Part of Russia (to the Ural Mountains) is considered as part of Europe, the rest Asia. However, their candidate may be from any part of the country and voters may vote from anywhere - the whole country is considered as entered. --OldakQuill 10:16, 16 May 2004 (UTC)

Well, actually, Morocco participated in the Eurovision Song Contest 1981 with the song Bitaqat Khub by Samira Bensaid --Ajitirj (talk) 14:45, 3 October 2010 (UTC)
 * Morocco withdrew from the Contest before it took place. Grk1011/Stephen (talk) 15:45, 3 October 2010 (UTC)

In other news... :-/

"It was also the first contest to be broadcast in high definition format."

If that's the case it should have been available in widescreen to all member states, yet the BBC (an enthusiastic widescreen user) broadcast it in standard ratio. Why??? Lee M 00:08, 16 May 2004 (UTC)

Is it notable that the only points Ireland got were from England. Many Irish viewers could have seen the UK broadcast and voted for themselves throught that.

--

Why Wikipedia should make notice of every criticism about every year's winner? I mean, critics are just a few against the docens of thousand people who like it... Since when Terry Wogan and his "I hate them all" attitude rules Eurovision? --80.103.137.66 07:25, 23 February 2006 (UTC)

Since 2003 all ties are split, necessary or not, possibly to facilitate the new scoreboard where countries leapfrog each other as the scores come in. Cyprus ended in 5th place and Sweden in 6th, since these ties are determined by which country was voted by the larger number of countries. In the event of a tied winner, the tie will be resolved by counting 12-pointers, like in the past. Tobsonhelsinki 19:37, 2 April 2007 (UTC)

 * actually - ties are only spit if it is nessesary to. ""Should there be a tie for first place in the final, the winner shall be the song which has obtained points from the highest number of countries. If the tying songs received votes from the same number of countries, then the highest number of 12-point scores shall be decisive. If the winner cannot be determined by this procedure, then the number of times ten points have been awarded shall be the deciding factor; if necessary, this method shall continue until account has been taken of the number of times one point has been awarded. The same method shall be applied if there is a tie for position number ten in the semi-final." Now it's clearly stated that this "rule for ties" only should be used to decide the winner and to decide 10th position in the semi final when there's an ex aequo with 11th position. The rules don't say anything about ex aequo's for the other positions, so they just end up in the same position.

Source: http://www.diggiloo.net/?faq#ties Esc luver 09:45, 27 October 2007 (UTC)

Serbia and Montenegro
Since we resolved the whole Yugoslavia/Serbia and Montenegro thing, shouldn't Serbia and Montenegro be in the debuting section of the infobox and not the returning? Sims2aholic8 (talk) 13:08, 29 August 2008 (UTC)
 * Yes, especially since here it shows this as their earliest entry. Grk1011/Stephen (talk) 14:16, 29 August 2008 (UTC)
 * I've re-worded the article, but I still think it could use some work to describe the whole FR Yugoslavia conflict (I'm not that good with words so I can't really do it). Sims2aholic8 (talk) 15:04, 29 August 2008 (UTC)

Northern Cyprus
During the votes, no map of Cyprus is shown, presumably due to Turkey's recogotion of Northern Cyprus. Also, when the map zooms in on Turkey when it gives its votes, the border between Cyprus and Northern Cyprus can clearly be seen. Should it be noted under a controversies section, or something? Vuvuzela2010 (talk) 21:40, 20 May 2011 (UTC)

Missing map
All previous years pages have a map of competing countries but it's missing for 2004. Can it be re-added if it was removed? Vauxhall1964 (talk) 15:23, 8 October 2011 (UTC)

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the article is a mess
there is one line that makes no sense at all. please get it fixed.84.212.111.156 (talk) 19:49, 27 May 2018 (UTC)
 * Which line? Rhysy54 (talk) 18:53, 12 June 2018 (UTC)
 * I'm assuming they mean this line "The countries which did not qualify for the final are normally calculate like participating countries, as well semi-finals are a part of the competition." I would edit it myself but I don't know what it's trying to say. Maybe that all participating countries are able to vote in both the finals and the semi-finals? Emetzold (talk) 21:12, 17 May 2019 (UTC)

"Eurosong 2004" listed at Redirects for discussion
An editor has asked for a discussion to address the redirect Eurosong 2004. Please participate in the redirect discussion if you wish to do so. Shhhnotsoloud (talk) 13:03, 28 January 2020 (UTC)

title: Talk:Eurovision Song Contest 2004


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Talk:Eurovision (disambiguation)

Untitled
Has the Eurovision song contest ever produced a good song? One that's played with some frequency once the contest is over? It's hard to tell from the Eurovision pages. Tweak

 * Off the top of my head, "Waterloo" got plenty of radio play. "Hold Me Now" got some.  Also "Riverdance" (though that was the half-time entertainment rather than an official act).  --Robert Merkel

The Eurovison and the Song Contest
Wow, why not a page about the Eurovison? This is like the page American Football just was a redirect to Superbowl. Greswik 14:34, 14 May 2007 (UTC)

title: Talk:Eurovision (disambiguation)


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Talk:Sertab Erener

Vandalism of Turkish Music Pages
Some persons are trying to falsely promote Arabic culture by vandalising Turkish music pages, of artists such as Tarkan, Sezen Aksu, Sertab and Mustafa Sandal by trying to create a whole new category of music in Turkish when no musicologist or encyclopedia verifies this - namely the "category" Arabesque-pop music. Please check the history - I have tried to fix it but the culprit still keeps reverting. He also tries to place Turksh pop performers as part of this fake genre. Arabesque music with pop influence is called Arabsque-fantazi (Fantasy) and none of the pop musicians named above are categorised in the fanatsy genre of Arabesque music. 82.145.231.188 14:27, 19 January 2006 (UTC)

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Ibas of Edessa

Ibas (, Ihiba or Hiba; d. 28 October 457) was bishop of Edessa (c. 435–457) and was born in Syria. His name is the Syriac equivalent of "Donatus". He is frequently associated with the growth of Nestorianism, although this assertion is contentious and has been opposed.

Presbyter at Edessa
He appears first as a presbyter of the church of Edessa during the episcopate of Rabbula, warmly espousing the theological views which his bishop uncompromisingly opposed. He admired the writings of Theodore of Mopsuestia, which he translated into Syriac and diligently disseminated through the East.

The famous theological school of Edessa, of which, according to some accounts, Ibas was head, and to which the Christian youth from Persia and adjacent lands came for education, offered many opportunities for propagating Theodore's beliefs. The growing popularity of doctrines which appeared clearly heretical alarmed Rabbula, and he endeavored to get Theodore's works anathematized and burnt. However the church of Edessa was generally favorable to Theodore's teaching, and supported Ibas against their bishop.

Ibas attended the First Council of Ephesus in 431 as a presbyter, was cognizant of the autocratic conduct of Cyril of Alexandria, and wrote in 433 the letter to a man that became known as "Maris, bishop of Hardaschir (or Adashir) in Persia", a letter which later became one of the Three Chapters. The name might well be a misunderstood appellation formula for the bishop of Seleucia-Ctesiphon, a city known as Adashir during the Sassanid period, which at that point was a certain Catholicus Dadyeshu (421-56), head of the Nestorians in Persia. "Maris" had been at Edessa previous to the Nestorian controversy, and Ibas wrote to tell him what had occurred since his visit. Though evidently written under great exasperation, it shows Ibas as a man of independent judgment, and free from partisanship. In the letter, Nestorius is severely censured for refusing the title Theotokos to the Virgin Mary, and Ibas accuses Cyril of Apollinarianism, and denounces the heresy of his 12 chapters, charging him with maintaining the perfect identity of the manhood and Godhead in Christ, and denying the Catholic doctrine of the union of two Natures in One Person.

Election as bishop and accusations
When Rabbula died in 435 or 436, Ibas was elected his successor. This was distasteful to those who held the strong anti-Nestorian views of their late bishop, and they speedily planned to secure his deposition, by spreading charges against him of openly preaching heretical doctrines. The accusations soon reached the ears of Theodosius II and Archbishop Proclus of Constantinople. To Proclus the matter appeared so serious that towards the close of 437 he wrote to John I of Antioch as the leading prelate of the East, begging him to persuade Ibas, if innocent, to remove the scandal by condemning publicly certain propositions chiefly drawn from Theodore's writings against the errors of Nestorius. The same demand was made by Proclus of all the Eastern bishops; but Ibas and the other bishops generally refused to condemn Theodore's propositions.

Although blocked so far, the malcontents at Edessa continued to work against their bishop. Their leaders were four presbyters, Samuel, Cyrus, Eulogius and Maras, who acted at the instigation of one of Ibas's own suffragans, Uranius, bishop of Himeria, a pronounced Eutychian. While Domnus II, who had in 442 succeeded his uncle John I of Antioch as Patriarch of Antioch, visited Hierapolis Bambyce for the enthronization of the new bishop Stephen, Ibas' opponents chose that moment for action. Cyrus and Eulogius formally laid before Domnus the accusation against Ibas, signed by about 17 clergy of Edessa, and supported by 30. Ibas, starting his journey for Hierapolis Bambyce to pay his respects to Domnus, learned of the accusation, at once summoned his clergy, pronounced excommunication on Cyrus and Eulogius as calumniators, and threatened the same treatment to all who participated in their proceedings.

Trials at Antioch and Beirut
In 445, Ibas was summoned by Domnus to the synod held at Antioch in the matter of Athanasius of Perrha, but he excused himself by letter. Domnus supported Ibas, and he showed no readiness to entertain the charges brought against him. At last, in Lent 448, the four chief accusers presented their indictment before Domnus and the council of the East in a manner too formal to be neglected. Domnus consequently summoned Ibas to appear before him after Easter to answer the charges. The council was held at Antioch, and was attended by only nine bishops. Ibas in person answered the 18 charges, mostly of a frivolous character and destitute of proof, e.g. that he had appropriated a jewelled chalice to his own use; that the wine at the Eucharist was inferior in quality and quantity; the malversation of sums given for the ransom of captives; simoniacal ordinations and the admission of unfit persons to the ministry and episcopate, especially his nephew Daniel, whom he had made bishop of Harran. The most serious charges were that he had anathematized Cyril and charged him with heresy; that he was a Nestorian; and especially that at Easter 445, in the presence of his clergy, he had spoken the blasphemous words, "I do not envy Christ His becoming God, for I can become God no less than He." and "This is the day that Jesus Christ became God". The first charge he acknowledged, the others he indignantly repudiated as base slanders. Only two of the accusers appeared. Samuel and Cyrus had gone to Constantinople, in defiance of the terms on which the excommunication had been lifted, to lay their complaint before the emperor and the Patriarch of Constantinople, deciding that a hearing by Domnus would obviously be biased towards Ibas. Domnus and the council declined to proceed in the absence of the chief witnesses, and the case seemed to be postponed indefinitely.

Eulogius and Maras then hastened to join their companions in Constantinople, where they found a powerful party strongly hostile to the Eastern bishops, Theodoret in particular. Their faction was soon strengthened by the arrival of Uranius, and half a dozen more Edessene clergy. The emperor and Flavian, who had succeeded Proclus as archbishop, listened to their complaints, but declined to hear them officially. The case was remitted to the East, and by an imperial commission, dated 26 October 448, Uranius of Himeria, Eustathius of Beirut and Photius of Tyre, who was elected 9 September 448, on the deposition of Irenaeus, were deputed to hear it, and Damascius, the tribune and secretary of state, was dispatched as imperial commissioner. The whole proceeding was contrary to the canons that bishops should be subjected to the judgment of other bishops, two belonging to another province, on the strength of an imperial decree. No one, however, protested: imperial power was regarded as absolute. The tribunal also was grossly unfair. One of the three judges, Uranius, was ringleader of the movement against Ibas, while the other two had obtained their sees with his help.

Tyre was named as the place of trial but the hearing was moved to the episcopal residence in Beirut to avoid disturbances. In response to the indictment, Ibas laid before his judges a memorial signed by many of his clergy, denying that he had ever uttered the alleged blasphemies. Only three witnesses supported the accusation, and brought forward a copy of the controversial letter to "Maris." It was later alleged by Ibas' enemies during the Second Council of Ephesus and the Council of Chalcedon that Ibas admitted to writing the Letter to Maris and that the minutes of the Council of Beirut were not forged. Justinian's assertion that Ibas had disowned the letter to Maris at Beirut, as having been forged in his name, is disputed by Facundus. Allegations of forgeries of the Council of Beirut's minutes lay bare that Ibas either did admit he wrote the letter and then reneged by having partisans falsify the aforementioned minutes, or that he denied writing the letter, forcing his accusers to falsify the said minutes in the same section.

In any event, the commissioners, avoiding any judicial decision, brought about a friendly arrangement. His enemies agreed to withdraw their accusations on Ibas promising that he would forget the past, regard his accusers as his children, and remit any fresh difficulty for settlement to Domnus; and that, to avoid suspicion of malversation, the church revenues of Edessa should be administered, like those of Antioch, by oeconomi. Ibas gave equal satisfaction on theological points. He engaged to publicly anathematize Nestorius and all who thought with him on his return, and declared the identity of his doctrine with that agreed upon by John and Cyril, and that he accepted the decrees of Ephesus equally with those of Nicaea as due to the inspiration of the Holy Spirit. The concordat was signed, Uranius alone dissenting, 25 February 449.

Deposition at Ephesus
The truce was broken within a very few weeks. The Eutychian party was aided by the intrigues of Chrysaphius, Dioscorus of Alexandria and their partisans to obtain an edict summoning a further General Council at Ephesus for 1 August 449. Although the council was intended to rehabilitate the reputation of Eutyches, it served as a weapon against Ibas as well. Reports diligently spread in Edessa during his absence of Ibas's heterodoxy made his reception so hostile that he was obliged to leave the town and request the Magister militum for a guard to protect him. He soon discovered that all appeal to the civil power was in vain. The count Chaereas was governor of Osrhoene, but had secret instructions from Chrysaphius and Eutyches to arrest and imprison him and reopen the suit. When Chaereas entered Edessa on 12 April 449, to commence the trial, he was met by a mob of abbots and monks and their partisans, clamoring for the immediate expulsion and condemnation of Ibas and his followers. Two days later the inquiry began with Ibas absent and a mob agitating for his condemnation. All Edessa knew that Chaereas had come merely to announce a sentence of condemnation already passed.

Chaereas, however, was moving too slowly for their hatred, and on Sunday, 17 April, the excitement in church was so violent that the count was compelled to promise that the verdict of the synod of Beirut should be reviewed and a new investigation commenced. This began on the next day; all the old charges were reproduced by the same accusers, amid wild yells of "Ibas to the gallows, to the mines, to the circus, to exile" drowning every attempt at explanation or defence. Crucial in the workings of the crowd were monks from monasteries in the city and its vicinity. Chaereas, as had been predetermined, addressed a report to the imperial government, declaring the charges proved; and on 27 June the emperor, acknowledging the receipt of the document, ordered that a bishop who would command the confidence of the faithful should be substituted for Ibas. Only a legally constituted synod could depose him, but meanwhile his enemies' malice could be gratified by his maltreatment. He was forbidden to enter Edessa, apprehended and treated as the vilest of criminals, dragged about from province to province, changing his quarters 40 times and being in 20 different prisons.

The Second Council of Ephesus opened on 3 August. One of its objects was to finally get rid of Ibas, which was the work of the second session, held on 22 August. The three bishops who had conducted the investigation at Tyre and Beirut were asked for an account of their proceedings; they avoided reporting Ibas's acquittal, stating that the investigation that was later made at Edessa would be more useful. The monks of Edessa and the other parties to the indictment were admitted, and asked for their report, which condemned Ibas as expected. The motion of deposition carried without objection, Eustathius of Beirut and Photius of Tyre, who had previously acquitted him on the same evidence, voting with the majority. Ibas was not called to appear, being then in prison at Antioch. It is not clear what befell Ibas on his deposition.

Reinstatement at Chalcedon
At the beginning of 451 the bishops who were deposed and banished as a consequence of the Second Council of Ephesus were allowed to return from exile, but the question of their restoration was left for the Council of Chalcedon. At the 9th session, 26 October, the case of Ibas came before the assembled bishops. On his demand to be restored in accordance with the verdict of Photius and Eustathius at Beirut and Tyre, the Acts of that synod (as well as a previous synod in Tyre) were read, and the next day the pope's legates gave their opinion that Ibas, was unlawfully deposed, and should be at once restored. After much discussion this was carried unanimously. The legates led the way, declaring "his letter" to be orthodox, and commanded his restitution. All the prelates agreed in this verdict, on the condition that he should anathematize Nestorius and Eutyches and accept the tome of Leo. Ibas consented without hesitation. "He had anathematized Nestorius already in his writings, and would do so again ten thousand times, together with Eutyches and all who teach the One Nature, and would accept all that the council holds as truth." On this he was unanimously absolved, restored as bishop of Edessa at the subsequent sessions. Nonnus, who had been chosen bishop on Ibas' deposition, having been legitimately ordained, was allowed to retain his episcopal rank, and on Ibas's death, 28 October 457, quietly succeeded him as metropolitan. The acceptance of "his letter," the Council not being specific which letter was being referred to, would lead to later controversy and allegations that the Council of Chalcedon had approved of the contents of the Letter to Maris.

Sixth-century controversy
A controversy concerning his letter to "Maris" arose in the next century, in the notorious dispute about the "Three Chapters", when the letter was branded as heretical (together with the works of Theodore of Mopsuestia and Theodoret's writings in favour of Nestorius) in the edict of Justinian, and was formally condemned in 553 by the fifth general council, which pronounced an anathema against all who should pretend that it and the other documents impugned had been recognized as orthodox by the Council of Chalcedon. Later, the Syriac Orthodox Church anathematized Ibas as a Nestorian.

Church builder
According to the Chronicle of Edessa, Ibas erected the new church of the Apostles at Edessa, to which a senator gave a silver table of 720 lb. weight, and Anatolius, Magister militum per Orientem, a silver coffer to receive the relics of Thomas the Apostle, who was said, after preaching in Parthia, to have been buried there.

title: Ibas of Edessa


text:
Fairlight CMI

The Fairlight CMI (short for Computer Musical Instrument) is a digital synthesizer, sampler, and digital audio workstation introduced in 1979 by Fairlight. It was based on a commercial licence of the Qasar M8 developed by Tony Furse of Creative Strategies in Sydney, Australia. It was one of the earliest music workstations with an embedded sampler and is credited for coining the term sampling in music. It rose to prominence in the early 1980s and competed with the Synclavier from New England Digital.

Origins: 1971–1979
In the 1970s, Kim Ryrie, then a teenager, had an idea to develop a build-it-yourself analogue synthesizer, the ETI 4600, for the magazine he founded, Electronics Today International (ETI). Ryrie was frustrated by the limited number of sounds that the synthesizer could make. After his classmate, Peter Vogel, graduated from high school and had a brief stint at university in 1975, Ryrie asked Vogel whether he would be interested in making "the world's greatest synthesizer" based on the recently announced microprocessor. He recalled: "We had long been interested in computers – I built my first computer when I was about 12 –  and it was obvious to me that combining digital technology with music synthesis was the way to go."

In December 1975, Ryrie and Vogel formed a home business to manufacture digital synthesizers. They named the business Fairlight after the hydrofoil ferry passing before Ryrie's grandmother's home in Sydney Harbour. The two planned to design a digital synthesizer that could create sounds reminiscent of acoustic instruments (physical modelling synthesis). They initially planned to make an analogue synthesizer that was digitally controlled, as the competing Moog synthesizer was difficult to control.

QASAR series

 * QASAR M8 [Multimode 8] (1974/1975) by Tony Furse
 * After six months, the pair met the Motorola consultant Tony Furse. In association with the Canberra School of Electronic Music, Furse built a digital synthesizer using two 8-bit Motorola 6800 microprocessors, and the light pen and some of the graphics that would later become part of the Fairlight CMI. However, it was only able to create exact harmonic partials, sounding sterile and inexpressive.

 * QASAR M8 CMI [Multimode 8 Computer Musical Instrument] (1976–1978) by Kim Ryrie and Peter Vogl
 * Vogel and Ryrie licensed Furse's design, mainly for its processing power, and decided to use microprocessor technology instead of analogue synthesis. Over the next year, they built what Ryrie called a "research design", the bulky, expensive, and unmarketable eight-voice QASAR M8 CMI synthesizer, which included a 2×2×4-foot processing box and a keyboard.

Sampling
By 1978, Vogel and Ryrie were making "interesting" but unrealistic sounds. Hoping to learn how to synthesize an instrument by studying the harmonics of real instruments, Vogel recorded about a second of a piano piece from a radio broadcast. He discovered that by playing the recording back at different pitches, it sounded much more realistic than a synthesized piano sound. He recalled in 2005:

"It sounded remarkably like a piano, a real piano. This had never been done before ... By today's standards it was a pretty awful piano sound, but at the time it was a million times more like a piano than anything any synthesizer had churned out. So I rapidly realised that we didn't have to bother with all the synthesis stuff. Just take the sounds, whack them in the memory and away you go."

Vogel and Ryrie coined the term sampling to describe this process. With the Fairlight CMI, they could now produce endless sounds, but control was limited to attack, sustain, decay and vibrato. According to Ryrie, "We regarded using recorded real-life sounds as a compromise – as cheating –  and we didn't feel particularly proud of it." They continued to work on the design while creating office computers for Remington Office Machines, which Ryrie described as "a horrendous exercise, but we sold 120 of them".

Series I: 1979–1982
In addition to the keyboard, processing, computer graphics and interactive pen borrowed from Furse's synthesizer, the pair added a QWERTY keyboard, and a large 1×1.5×3-foot box stored the sampling, processing and ADC/DAC hardware and the 8-inch floppy disk. The biggest problem was largely considered to be the small 16 kB sample memory. To accommodate sample lengths from approximately a quarter of a second to an entire second, a low variable sample rate between 24 kHz and 8 kHz was used. The low sample rate introduced aliasing; however, Vogel felt that the low quality of the sounds gave them their own character.

The Music Composition Language feature was criticised as being too difficult for empirical users. Other primitive aspects included its limited amount of RAM (208 kilobytes) and its green-and-black graphics. Nonetheless, the CMI garnered significant attention from Australian distributors and consumers for being able to emulate sounds of acoustic instruments, as well as for its light pen and three-dimensional sound visualisation. Still, Vogel was unsure whether there would be enough interest in the product. The CMI's ability to emulate real instruments made some refer to it as an "orchestra-in-a-box", and each unit came with 8-inch, 500-kilobyte floppy disks that each stored 22 samples of orchestral instruments. The Fairlight CMI also garnered publicity in the science industry, being featured on the BBC science and technology series Tomorrow's World. The Musicians' Union described it as a "lethal threat" to its members.

In the summer of 1979, Vogel demonstrated the Fairlight CMI at the home of English singer-songwriter Peter Gabriel, where Gabriel was working on his third solo studio album. Gabriel, as well as many other people in the studio, was instantly engrossed, and he used strange sounds such as breaking glass bottles and bricks on the album. One of those present for the demonstration, Stephen Paine, recalled in 1996: "The idea of recording a sound into solid-state memory and having real-time pitch control over it appeared incredibly exciting. Until that time everything that captured sound had been tape-based. The Fairlight CMI was like a much more reliable and versatile digital Mellotron. Gabriel was completely thrilled, and instantly put the machine to use during the week that Peter Vogel stayed at his house."

Gabriel was also interested in selling the CMI in the United Kingdom, and he and Paine formed Syco Systems to distribute it for £12,000. The first UK customer was Led Zeppelin bassist John Paul Jones, followed by musicians including Boz Burrell, Kate Bush, Geoff Downes, Trevor Horn, Alan Parsons, Richard Wright and Thomas Dolby. The Fairlight CMI was also a commercial success in the United States, used by acts such as Stevie Wonder, Herbie Hancock, Jan Hammer, Todd Rundgren and Joni Mitchell. Musicians came to realize that the CMI could not match the expressiveness and control by acoustic instruments, and that sampling was better applied as imaginative sound than pure reproduction.

Series II: 1982–1985
The second version of the Fairlight CMI, Series II, was released at a price of £30,000 in 1982. The sampler's maximum sample rate was increased to 32 kHz, allowing a reduction of aliasing, but only for short samples, as its sample memory was not increased. The bit depth of the sampler also remained 8 bits. The CMI's popularity peaked in 1982 following its appearance on a special of the arts magazine series The South Bank Show that documented the making of Peter Gabriel's fourth self-titled studio album, where he used 64 kilobytes worth of samples of world music instruments and sequenced percussion.

The Fairlight CMI Series II became widely used in popular music recordings of the early to mid-1980s, and its most commonly used presets included an orchestra hit ("ORCH 5") and a breathy vox ("ARR 1").

Page R
The popularity of Series II was in large part due to a new feature, Page R, their first true music sequencer. As a replacement for the complicated Music Composition Language (MCL) used by Series I, Page R helped the Fairlight CMI Series II become a commercial juggernaut. Page R expanded the CMI's audience beyond that of accomplished keyboard players. Audio Media magazine described it as an echo of the punk rock era: "Page R also gave rise to a flow of quasi-socialist sounding ideology, that hailed the impending democratisation of music creation, making it available to the musically chops-challenged." Graphically depicting editable notes horizontally from left to right, the music programming profession and the concepts of quantization and cycling patterns of bars where instrument channels could be added or removed were also born out of the Page R sequencer. CMI user Roger Bolton recalled: "By definition, its sampling limitations and the Page R sequencer forced the composer to make high-quality decisions out of necessity. The CMI II was a high-level composition tool that not only shaped the sound of the 80s, but the way that music was actually written." Fairlight kept making updates to the system, such as a 1983 upgrade called the CMI Series IIx, which now allowed for MIDI, until the release of Series III in 1985.

Series III: 1985–1989
The sampler of the Series III featured many improvements on its predecessors. It was capable of 16-bit sampling, with a maximum sample rate of 44.1 kHz, across 16 channels. This was enabled by the increase in sample memory from 16 kB per channel to 14 MB across all channels, an increase by a factor of 56, even when all channels are in use. Its design, graphics, and editing tools were also improved, such as the addition of a tablet next to the QWERTY keys, using a stylus instead of the on-screen lightpen; this change was made due to complaints from users regarding arm aches from having to hold the pen on the screen.

CAPS
An enhanced version of the Page R sequencer called Composer, Arranger, Performer, Sequencer, or CAPS, as well as Eventsync, a post-production utility based on SMPTE timecode linking, were also added to the Series III computer. However, while many people were still using CMIs, sales were starting to diminish significantly due to much lower-cost, MIDI-based sequencers and samplers including the Atari ST and Akai's S612, S900 and 1000 samplers in the market. Paine stopped selling the CMI in the United Kingdom because of this. The Fairlight company was becoming more focused on post-production products, a market Paine had a hard time getting used to, and when HHB Communications Ltd took over distribution for the United Kingdom, they failed to sell any.

Adoption
Peter Gabriel was the first owner of a Fairlight Series I in the UK. Boz Burrell of Bad Company purchased the second, which Hans Zimmer hired for many recordings during the early part of his career. In the US, Bruce Jackson demonstrated the Series I sampler for a year before selling units to Herbie Hancock and Stevie Wonder in 1980 for US$27,500 each. Meat-packing heir Geordie Hormel bought two for use at The Village Recorder in Los Angeles. Other early adopters included Todd Rundgren, Nick Rhodes of Duran Duran, producer Rhett Lawrence and Ned Liben of Ebn Ozn, the owner of Sundragon Recording Studios who served as the demonstration representative for Fairlight for the U.S. east of the Mississippi.

The first commercially released studio album to incorporate the Fairlight was the third Peter Gabriel album (1980) which includes a credit for Peter Vogel as technician for the "Computer Musical Instrunment" (CMI), and was released in May 1980, and also featured Kate Bush. The second album was Kate Bush's Never for Ever (September 1980), programmed by Richard James Burgess and John L. Walters. Wonder took his Fairlight out on tour in 1980 in support of the soundtrack album Stevie Wonder's Journey Through "The Secret Life of Plants" to replace the Computer Music Melodian sampler he had used on the recording. Geoff Downes used the Fairlight on Yes' 1980 studio album Drama and its subsequent tour. Downes later used the Fairlight on the Buggles' 1981 studio album Adventures in Modern Recording, and both in the studio and live with Asia. The first classical album using the CMI was produced by Folkways Records in 1980 with composers Barton McLean and Priscilla McLean.

Peter Gabriel's 1982 studio album also featured the CMI. In 1981, Austrian musicians Hubert Bognermayr and Harald Zuschrader composed a symphony, Erdenklang – Computerakustische Klangsinfonie. This work premiered live on stage, using five music computers, during the Ars Electronica festival in Linz. In 1984, he released an album by the singer and songwriter Claudia Robot. (Phonogram) Her studio album Alarmsignal consisted of songs written by the female vocalist, with tracks produced by the Fairlight CMI.

The first commercially released single in the US made with a computer, a Fairlight CMI, was Ebn Ozn's "AEIOU Sometimes Y" (Elektra 1983) - actually recorded in 1981-82 along with their studio album "Feeling Cavalier" (Elektra Records 1984).

Devo's 1984 studio album Shout heavily featured the Fairlight CMI at the expense of analog instruments. Gerald Casale later stated that Shout was the biggest regret of his career, "because the Fairlight [synthesizer] just kind of took over everything on that record. I mean, I loved the songwriting and the ideas, but the Fairlight kind of really determined the sound." Frontman Mark Mothersbaugh later used the CMI in the soundtrack of the 1991 children's television show Rugrats. The instrument is most prominently heard as the lead instrument in the show's theme song – it is the 'Swannee' sample with a low-pass filter applied.

Australian singer John Farnham used a Fairlight CMI on his twelfth album, Whispering Jack, in 1985 and 1986.

Influence and legacy
After the success of the Fairlight CMI, other firms introduced sampling. New England Digital modified their Synclavier digital synth to perform sampling, while E-mu Systems introduced a less costly sampling keyboard, the Emulator, in 1981. In the United States, a new sampler company, Ensoniq, introduced the Ensoniq Mirage in 1985 for the price of $1,695, less than a quarter of the price of other samplers.

In America, Joan Gand of Gand Music and Sound in Northfield, Illinois was the top salesperson for Fairlight. The Gand organisation sold CMIs to Prince, James "J.Y." Young of Styx, John Lawry of Petra, Derek St. Holmes of the Ted Nugent band, Al Jourgensen of Ministry, and many private studio owners and rock personalities. Spokesperson Jan Hammer appeared at several Gand-sponsored Musictech pro audio events, to perform the "Miami Vice Theme".

The ubiquity of the Fairlight was such that Phil Collins stated on the sleeve notes of his 1985 studio album No Jacket Required that "there is no Fairlight on this record" to clarify that he had not used one to synthesize horn and string sounds.

Swedish warez and Commodore demo scene group Fairlight took its name from this device, which Jean-Michel Jarre used on some of his records.

Experimental music group Coil considered the device unique and unsurpassed, describing using the Fairlight as "An aural equivalent of William Burroughs cut-ups".

In 2015, the Fairlight CMI was inducted into the National Film and Sound Archive's Sounds of Australia collection.

title: Fairlight CMI


text:
Emicho

Emicho was a count in the Rhineland in the late 11th century. He is also commonly referred to as Emicho of Leiningen or Emich of Flonheim, and not to be confused with Bishop Emicho of Leiningen. In 1096, he was the leader of the Rhineland massacres (sometimes referred to as the "German Crusade of 1096") which were a series of mass murders of Jews that took place during the People's Crusade.

First Crusade
The original idea for the First Crusade that had been preached by Pope Urban II at the Council of Clermont in 1095 had already turned into a much different popular movement, the People's Crusade, led by Peter the Hermit. Peter's preaching of the Crusade spread much more quickly than the official versions of Urban's call. Peter's version influenced Emicho, who spread his own story that Christ had appeared to him. Infused with the teachings of the Gospel of Luke he felt chosen to fulfill the "end of times" prophecy. Emicho envisioned that he would march on Constantinople and overcome the forces there, taking over the title of "last World Emperor" in accordance with canonical prophetic tradition. All Christian armies, Latin and Greek, would then unite and march to seize Jerusalem from the Saracens thus prompting the Second Coming and denouement with the Antichrist. Inspired by such exulting promises, a few thousand Franks and Germans merged and marched east in April 1096.

Followers
Emicho's army attracted many unusual followers, including a group who worshipped a goose they believed to be filled with the Holy Spirit (see Women in the Crusades). The army included noblemen and knights such as Drogo Count of Nesle, Hartmann I, Count of Dillingen-Kyburg, Thomas, Lord of Marle and La Fère and Count of Amien, and William the Carpenter, Viscount of Milun. This contradicts the often repeated narrative that Emicho's army was mostly composed of peasants and burghers who were ignorant and instinctively prejudiced against Jews, mostly for economic reasons. Instead, there were a number of relatively educated and wealthy men, likely accompanied by clerics, in Emicho's army who would have known that forced conversions were forbidden according to the tenets of the Church. The violence of the Rhineland massacres cannot be explained away under the assumption that the army was mostly composed of ignorant and provincial peasants.

Rhineland massacres
Count Emicho's precise role in the Rhineland Massacres, the series of violent attacks and forced conversions of the Rhineland's Jews just prior to the First Crusade, has been the subject of significant debate. There were many crusading forces moving through the Rhineland, but most were interested primarily in reaching the Holy Land. For instance, when Peter the Hermit and his mob of Crusaders passed through these towns and threatened the Jewish population, they had been amenable to bribes and largely left the Jews free from harassment. Although Emicho has frequently been referenced in secondary and tertiary sources as having been present during the massacres of Jews in Cologne and Worms, there is sparse evidence in the primary accounts to support his involvement. Indeed, the only massacre in which Emicho definitively participated was that in Mainz. The Jewish writer of the account known as the Mainz Anonymous mentions Emicho as having been in the rough vicinity of Speyer during the massacre there, but clearly notes he did not participate in the violence.

Yet Emicho certainly led the forces that massacred the Jews of Mainz, one of the largest European Jewish communities at the time, in May 1096. The Jews within the city were well-aware of the earlier massacres and forced conversions in other Rhineland cities and feared the worst. They appealed to the Archbishop Ruthard and the area's lay lords to protect them from the approaching mob, offering money and valuable possessions to further encourage the lords. In an attempt to deter the approaching crusaders, Ruthard closed the city's gates and attempted to hide Jews in his palace Ultimately, however, the city gates were opened by sympathetic burghers within Mainz and the Jews were attacked despite the archbishop's best attempts to protect them.

Part of what distinguished Emicho and his army from other crusading armies that crossed the Rhineland was their unwillingness to be swayed from committing violence by bribes. Greed was clearly not their sole motivation, contrary to many cursory accounts of Emicho. While money was likely necessary to fund their pilgrimage to reach the Holy Land, the Crusaders could have easily taken the possessions and money offered to them by the Jews and continued on their way without a significant amount of violence. Yet, they chose to kill the majority of the Jews they encountered, even women and children whom they could have compelled to convert. Emicho and his men went to great lengths to hunt down and kill every refugee they could find in Mainz.; they intended to inflict maximum damage. This is exemplified by the Mainz Anonymous's description of Emicho:

"He was our chief persecutor. He had no mercy on the elderly, on young men and young women, on infants or sucklings, nor on the ill. He made the people of the Lord like dust to be trampled. Their young men he put to the sword, and their pregnant women he ripped open."

This ideologically based hatred of Jews, along with the far higher death count, is what made the massacre in Mainz distinct from previous attacks in the Rhineland. The motivations behind this hatred are yet another source of contention by historians. Certain historians have characterized these sentiments as part of the broader context of apocalyptic mythology, with the Crusaders anticipating an imminent end of the world, a "zero-sum game between good and evil. This end of days would be precipitated by Christian control of the Holy Land and mass conversions of Jews to Christianity. For the end of time to occur, Jews had to either die or abandon Judaism and embrace Christianity. Others, instead see this animosity as emerging from the crusade to the Holy Land itself. With the shrines of Christendom being discussed, and the destination being Jerusalem and the Holy Sepulchre, Christ's burial place, the role Jews played in Christ's crucifixion must have been in the forefront of many crusaders' minds. This attitude is illustrated by a crusader's supposed remark to a Jew as written by the chronicler Bar-Simson: "You are the children of those who killed the object of our veneration, hanging him on a tree. And he himself had said, 'there will yet come a day when my children will come and avenge my blood.' We are his children and it is, therefore, our duty to avenge him against you who disbelieve in him."

Beneath either motivation behind massacring the Rhineland's Jews is the reality that Jews in 1096 were alienated from their Christian neighbors. Jews and Muslims were scarcely distinguished in the eleventh century as both were seen as agents of the devil and in league with one another, plotting against Christendom. Thus, it is not surprising that a crusade ostensibly directed against one group could be seamlessly redirected against the other. Especially in the apocalyptic mindset, both Jews and Muslims had to be destroyed or converted for the Earth to reach the end of days

Disintegration of Emicho's army
The army continued down the Rhine until they reached the Danube, which they followed to Hungary. Here, after having run out of money and food, they began to pillage. Much of the army was killed by the Hungarians; the rest split up to join the other Crusader armies, and Emicho went back home to his family, where he was scorned for not fulfilling his vow to capture Jerusalem.

The legend of Emicho
Count Emicho was said to be influenced into action by a divine vision. In the vision an apostle is giving Emicho a crown in "Italian Greece" and promising him "victory over his foes". This vision is a grave reference to the "Last Roman Emperor", which is the legend of a man surrendering his "earthly power to God" and being given the power to destroy the enemies of Christians, mercilessly. In the legend the purpose of the "Last Roman Emperor" is to restore God's power in the Holy Land. To restore God's power the chosen one, the one granted the vision, is expected to kill or convert those who oppose Christianity. By having such a divine vision, those who knew of Count Emicho and believed in his vision interpreted him as the main leader of the Rhineland Massacres.

Chroniclers, such as Ekkehard, saw Count Emicho's vision as his rebirth. Ekkehard was a monk of Aura who later joined a Crusading army in 1100. Ekkehard, in his account, noted Count Emicho as a person who was once tyrannical, but was "called by a divine revelation, like another Saul". Nevertheless, in medieval political thought, Saul was a complex character that was often employed in discussions of the nature of lay authority, and its derivation from the Church. In short, medieval churchmen often evoked Saul's contest with Samuel – and used Samuel to support their position that lay authority was dependant on legitimacy granted by the Church, rather than the other way around. Considering Ekkehard's support for the reform movement, and his position regarding the Investiture Controversy, a comparison to Saul may not be an entirely positive one.

The account of Albert of Aachen places Count Emicho as the main leader of the Rhineland by using diction such as "Emicho and the rest of his band". Emicho's vision played an important role to his ability to be a leader during the Rhineland Massacre. He was qualified to lead the crusading army because his vision was interpreted as God placing him in the role of power. Even after his death, there were accounts stating the myth that Emicho's soul was guarding the gate of Rhineland.

Count Emicho has been viewed as both a person who took part in the Rhineland Massacres as a soldier as well as the person who is directly responsible for the actions committed in the Rhineland. His documented involvement in the massacres could be attributed to the legend of the Last Roman Emperor.

title: Emicho