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Jacksonville State University

Jacksonville State University is a public university in Jacksonville, Alabama. Founded in 1883, Jacksonville State offers programs of study in six academic schools leading to bachelor's, master's, education specialist, and doctorate degrees in addition to certificate programs and continuing education opportunities.

The university was founded as Jacksonville State Normal School, and in 1930, the name changed to Jacksonville State Teachers College, and again in 1957, to Jacksonville State College. The university began operating under its current name in 1966.

JSU currently has an enrollment of more than 9,000 students, with nearly 500 faculty members (more than 300 of whom are full-time). It is accredited by the Southern Association of Colleges and Schools (SACS).

Jacksonville State Normal School
The university was founded as Jacksonville State Normal School, a "class A" normal school, it was chartered by the state of Alabama and Gov. Edward A. O'Neal on February 22, 1883, in order to prepare teachers for work in public school. It was established within campus of the former Calhoun College in Jacksonville. The first board of directors for the normal school included S. K. McSpadden, John M. Caldwell, James Crook, W. P. Howell, William M. Hames, D. A. Alderholt, H.L. Stevenson, W. J. Alexander, J. Y. Nisbet, L. W. Grant, and John D. Hammond, who served as the state superintendent of education.

The board of directors nominated James G. Ryals Jr. as the school's first president when it opened in the fall of 1883, and when Ryals died unexpectedly of pneumonia in 1885, faculty member Joseph Harris Chappell held the presidency for a year. Chappell departed for Milledgeville, Georgia where he served as the first president of a new normal school that eventually became Georgia College & State University. The first graduating class of Jacksonville State Normal School was in 1886. It was one of the first educational institutions in Alabama to have a library on campus.

Name changes
In 1930, the name changed to Jacksonville State Teachers College. In 1957, the school name changed once again, to Jacksonville State College after the creation of the first graduate program, a master's degree in elementary education. In August 1966, the Alabama State Board of Education elevated the college to university status, which prompted a school name change to Jacksonville State University.

2018 tornado
On the evening of March 19, 2018, an EF3 tornado struck the campus, causing minor to severe damage to every building. It was the first day of spring break for both the university and the Jacksonville City School System.

Classes resumed at the university on April 9, 2018, and the spring commencement ceremony was held on May 4, 2018, as scheduled, but moved to JSU Stadium from Pete Mathews Coliseum (which was also closed due to tornado damage). There were four injuries among city residents and no fatalities. More than $100 million in property damage was inflicted on the university and on April 27, 2018, President Donald Trump declared the event a federal disaster. The university continued its summer semester as planned, and President John Beehler stated all subsequent semesters will continue as normal.

Presidents
• James G. Ryals Jr. (1883 to 1885)

• J. Harris Chappell (1885 to 1886)

• Carleton Bartlett Gibson (1886 to 1892)

• J.B. Jarrett (1892 to 1893)

• Jacob Forney IV (1893 to 1899)

• Clarence William Daugette (1899 to 1942)

• Houston Cole (1942 to 1971)

• Ernest Stone (1971 to 1981)

• Theron E. Montgomery (1981 to 1986)

• Harold J. McGee (1986 to 1999)

• William A. Meehan (1999 to 2015)

• John M. Beehler (2015 to 2019)

• Don C. Killingsworth, Jr. (2019 to present)

Administration and organization
Since 2019, Jacksonville State is administered by President Don Killlingsworth, and the Jacksonville State Board of Trustees. Members of the board are appointed by the Governor of Alabama to set the policies of the university and select senior management personnel. Under the doctrine of collective responsibility, the entire board is liable for the financial and other consequences of the organization's activities. The President oversees his or her Presidential Cabinet, composed of the university's vice presidents and other senior personnel.

Academic organization
Through Jacksonville State's six academic colleges, the university offers career-centered programs where students can prepare for the workforce.
 * College of Arts, Humanities and Sciences
 * College of Business and Industry
 * College of Education and Professional Studies
 * College of Health Professions and Wellness
 * College of Social and Behavioral Sciences
 * College of Criminal Justice and Forensic Investigations

Main campus
The JSU main campus has a 459 acre campus with 59 buildings in the Appalachian foothills of northeast Alabama. With this campus being the flagship campus for Jacksonville State, it offers large educational facilities, university housing and residence, on-campus dining, student centers, Greek housing, athletic facilities, student health and wellness facilities, administration offices, study centers, an international housing program, and an on-campus bookstore. The majority of students who study at Jacksonville State attend courses here.

Little River Canyon Center campus
The Little River Canyon Center campus opened to the public in 2009, and is a Jacksonville State University building located in Fort Payne, Alabama that adjoins the Little River Canyon National Preserve. A portion is leased to the National Park Service and the staff of the Little River Canyon National Preserve with a facility that features a Grand Hall, HD movie theater, gift shop, natural history library, exhibits, classrooms, back deck, outdoor amphitheater and trails for both education and adventure.

McClellan campus
The Jacksonville State University Higher Education Consortium was established in 2003, and it houses two state schools: Jacksonville State University–McClellan Center, and Gadsden State Community College–McClellan Campus. Since 2005, the McClellan Center Building 3181 has been home to the Institute of Emergency Preparedness, In-Service, and the Northeast Alabama Police Academy. GSCC houses the traditional college students. Their EMS and 911 programs, in addition to the core classes of English, math, etc., are also housed in the building.

Enrollment
The university recorded is highest all-time enrollment in Fall 2023 with an overall headcount of 9,672 students.

Campus events
On January 1, 2012, the university's marching band and dance team, The Southerners and the Marching Ballerinas, led the New Year's Day Parade in London, England, which also kicked off the year-long celebration of both Her Majesty Queen Elizabeth II's Diamond Jubilee and the 2012 London Summer Olympics. The invitation to lead the parade came in September 2010, just as the Southerners learned that they had been awarded the nationally recognized George Washington Honor Medal for their patriotic 2009 show, "Of Thee I Sing."

In February 2006, Jacksonville State University was named the "winner" of the Foundation for Individual Rights in Education (FIRE) Speech Code of the Month. At the time, FIRE called the University Code of Conduct "illegally overbroad." They considered the code to be in violation of the First Amendment of the Constitution which protects offensive speech. The policy has since been changed.

Athletics
Jacksonville State's athletics teams are nicknamed the Gamecocks. Jax State is a member of the Conference USA in Division I FBS (Football Bowl Subdivision) in football, formerly I-A, of the NCAA. The university's football team gained national attention in 2001 when junior (3rd-year) placekicker Ashley Martin became the first female football player to score a point in a Division I game tallying 3 points against Cumberland University.

On July 1, 2021, Jax State moved to the ASUN Conference, a league in which it had been a member from 1995 to 2003. The ASUN does not currently sponsor football, but has announced plans to launch a football league in the near future. Until that time, Jax State was a de facto associate member of the Western Athletic Conference, competing in a football partnership between the two leagues officially branded as the ASUN–WAC Challenge.

The school fields varsity teams in 14 sports: baseball, men's and women's basketball, cross country, football, men's and women's golf, rifle, women's soccer, softball, men's and women's tennis, women's track and field, and volleyball. The football team plays in 25,000-seat Burgess-Snow Field. The men's and women's basketball and volleyball teams play in Pete Mathews Coliseum. Prior to the 1993–94 academic year, Jacksonville State competed in NCAA Division II athletics, winning national championships in men's basketball (1985), baseball (1990 and 1991), football (1992) and gymnastics (1984 and 1985).

Teams
Jacksonville State University sponsors one co-ed rifle team, six men's, and ten women's teams in NCAA sanctioned sports:

Men's Teams
 * Baseball
 * Basketball
 * Cross Country
 * Football
 * Golf
 * Tennis

Women's Teams
 * Basketball
 * Beach volleyball
 * Bowling
 * Cross Country
 * Golf
 * Soccer
 * Softball
 * Tennis
 * Track & Field (Indoor & Outdoor)
 * Volleyball

Football
The Jacksonville State Gamecocks football program is the intercollegiate American football team for Jacksonville State University. The team competes in the NCAA Division I Football Bowl Subdivision (FBS) as a member of Conference USA. Jacksonville State's first football team was fielded in 1904, nicknamed at the time as the "Eagle Owls." The team plays its home games at the 24,000 seat Burgess-Snow Field at JSU Stadium in Jacksonville, Alabama. The Gamecocks hire former Division I football coach Rich "RichRod" Rodriguez for the 2022 season. Rodriguez was previously head coach at football power Michigan (2008–10), as well as West Virginia (2001–07) and Arizona (2012–17). His luster has dulled in recent years, and he seeks his return to the head coaching circle here at Jax State. He comes from Louisiana Monroe, where he served as the offensive coordinator under head coach Terry Bowden. "RichRod" replaces former Gamecocks head coach John Grass, who resigned after the 2021 season. Glass had a 72–26 record during his tenure as head coach which included 6 Ohio Valley Conference championships. In 2021, the Gamecocks upset the Florida State Seminoles in Tallahassee, Florida on a 59-yard touchdown pass at the end of the game.

Baseball
The Jacksonville State Gamecocks baseball team is a varsity intercollegiate athletic team of Jacksonville State University. The team is a member of Conference USA, which is part of the National Collegiate Athletic Association's Division I.

Basketball
The Jacksonville State Gamecocks men's basketball team is the men's basketball team that represents Jacksonville State University. The school's team currently competes in Conference USA. Their head coach is Ray Harper.

Women's basketball
The Jacksonville State Gamecocks women's basketball team is the women's basketball team that represents Jacksonville State University. The team currently competes in Conference USA.

Softball
The Jacksonville State Gamecocks softball team represents Jacksonville State University in NCAA Division I college softball. The team participates in the Conference USA.

The Marching Southerners
Jacksonville State University's marching band, The Marching Southerners, was founded in 1956 by John Finley. He also conceived the band's precision dance line, The Marching Ballerinas. David L. Walters, for whom JSU's music department is named, served as band director from 1961 to 1991 and is credited with bringing the Marching Southerners to national prominence. The Marching Southerners feature the Marching Ballerinas and the famous 20J's, named for the C.G. Conn 20J tuba that the Southerners proudly feature in its halftime shows. The Southerners were the 2021 recipients of the Sudler Trophy, the highest award for collegiate marching bands.

Greek life
Over ten percent of the undergraduate student body is said to be involved in Greek life. There are approximately 17 social and 22 other Greek-letter organizations.

A total of 16 students were arrested in 2013 in connection with allegations of hazing; news reports stated that Alpha Phi Alpha had been involved. In 2015, JSU's chapter of Sigma Phi Epsilon was closed down following another set of hazing allegations.

title: Jacksonville State University


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Gherasim Luca

Gherasim Luca (23 July 1913 – 9 February 1994) was a Romanian surrealist theorist and poet. Born Salman Locker in Romania and also known as Costea Sar, and Petre Malcoci, he became an apatrid after leaving Romania in 1952.

Biography
Born in Bucharest the son of Jewish tailor Berl Locker (died 1914), he spoke Yiddish, Romanian, German, and French. During 1938, he traveled frequently to Paris where he was introduced to surrealists. World War II and the official antisemitism in Romania forced him into local exile. During the pre-Communist period of Romanian independence, he founded a surrealist artists group with Gellu Naum, Paul Păun, Virgil Teodorescu and Dolfi Trost.

His first publications, including poems in French followed. He was the inventor of cubomania and, in 1945 with Dolfi Trost, authored "Dialectic of Dialectic", a manifesto of the surrealist movement Surautomatism. Harassed in Romania and caught while trying to flee the country, he left Romania in 1952, and moved to Paris through Israel.

There he worked among others with Jean Arp, Paul Celan, François Di Dio and Max Ernst, producing numerous collages, drawings, objects, and text-installations. From 1967, his reading sessions took him to Stockholm, Oslo, Geneva, New York City, and San Francisco. The 1988 TV-portrait by Raoul Sanglas, Comment s'en sortir sans sortir, made him famous for a larger readership.

At the end of the 1980s, Luca's residence building in Montmartre was deemed insalubrious by the French authorities. In order to be relocated to another building, he had to justify his citizenship. As he had been without one ever since leaving Romania, he acquired French citizenship by marrying his long time partner.

On 9 February 1994, at the age of 80, he committed suicide by jumping into the Seine.

Selected works
Luca initially wrote most of his poetic works in his native Romanian. Two collections of these, Inventatorul Iubirii and Un lup văzut printr-o lupă, published in Bucharest in 1945, were translated into English (The Inventor of Love and Other Works) by Julian and Laura Semilian and published by Black Widow Press in 2009.

With the authorisation of éditions Corti, a forthcoming chapbook of his poems translated by Fiona Sze-Lorrain will be featured in "Poetry International", Issue no. 15, Spring 2010.
 * Un loup à travers une loupe, Bucharest, 1942. Poems in prose, initially published in Romanian. Later translated into French by Gherasim Luca. Apart from Ce Château Pressenti, they remained unpublished in French until 1998, Éditions José Corti
 * Quantitativement aimée, Éditions de l'Oubli, Bucharest, 1944
 * Le Vampire passif, Éditions de l'Oubli, Bucharest 1945
 * Dialectique de la dialectique, together with Dolfi Trost, Éditions surréalistes, Bucharest, 1945
 * Les Orgies des Quanta, Éditions de l'Oubli, Bucharest 1946
 * Amphitrite, Éditions de l’Infra-noir, Bucharest 1945
 * Le Secret du vide et du plein, Éditions de l'Oubli, Bucharest 1947
 * Héros-Limite, Le Soleil Noir, Paris 1953 with an engraving and three drawings
 * Ce Château Pressenti, Méconnaissance, Paris 1958, with frontispiece and engraving by Victor Brauner. This poem is part of Un loup à travers une loupe
 * La Clef, Poème-Tract, 1960, Paris
 * L'Extrême-Occidentale, Éditions Mayer, Lausanne 1961 with 7 engravings by Jean Arp, Brauner, Max Ernst, Jacques Hérold, Wifredo Lam, Roberto Matta, Dorothea Tanning
 * La Lettre, no editor mentioned, Paris, 1960
 * Le Sorcier noir, with Jacques Hérold, Paris 1996
 * Sept slogans ontophoniques, Brunidor, Paris 1963 with engravings by Augustin Fernandez, Enrique Zanartu, Gisèle Celan-Lestrange, Jacques Hérold.
 * Poésie élémentaire, Éditions Brunidor, Vaduz, Liechtenstein, 1966
 * Apostroph'Apocalypse, Éditions Upiglio, Milan 1967 with fourteen engravings by Wifredo Lam
 * Sisyphe Géomètre, Éditions Givaudan, Paris, 1967 Book-sculpture designed by Piotr Kowalski
 * Droit de regard sur les idées, Brunidor, Paris, 1967
 * Déférés devant un tribunal d'exception, no editor mentioned, Paris, 1968.
 * Dé-Monologue, Brunidor, Paris, 1969 with two engravings by Micheline Catty
 * La Fin du monde, Éditions Petitthory, Paris 1969 with frontispiece by Micheline Catty and five drawings by Ghérasim Luca
 * Le Tourbillon qui repose, Critique et Histoire, 1973
 * Le Chant de la carpe, Le Soleil Noir, Paris, 1973 with sonogram and sculpture by Kowalski
 * Présence de l'imperceptible, Franz Jacob, Châtelet; with no date of publication
 * Paralipomènes, Le Soleil Noir, Paris 1976 with a cubomania by Luca
 * Théâtre de Bouche, Criapl'e, Paris, 1984 with an engraving and nine drawings by Micheline Catty.
 * Satyres et Satrape, Éditions de la Crem, Barlfeur, 1987
 * Le Cri, Éditions Au fil de l'encre, Paris, 1995

Others:
 * La proie s'ombre
 * La voici la voie silanxieuse
 * Levée d'écrou, Éditions José Corti, 2003

In English translation:
 * The Passive Vampire, Twisted Spoon, 2009. Tr. by Krzysztof Fijalkowski.
 * The Inventor of Love & Other Works, Black Widow Press, 2009. Tr. by Laura and Julian Semilian.
 * Self-Shadowing Prey, New York: Contra Mundum Press, 2012. Translation and introduction by Mary Ann Caws.
 * Something is Still Present and Isn't, of What's Gone. A bilingual anthology of avant-garde and avant-garde inspired Rumanian poetry, Aracne editrice, 2018. Edited and translated by Victor Pambuccian.

In Spanish translation:
 * La zozobra de la lengua, El Desvelo Ediciones, Santander, 2018, 368 p. ISBN 978-84-948306-3-1 (translation in Spanish of French and Romanian poems by Catalina Iliescu, Vicente Gutiérrez Escudero, Jesús García Rodríguez y Eugenio Castro; introductory study by Vicente Gutiérrez Escudero).
 * Héroe límite, añosluz editora, Buenos Aires, 2022. Tr. by Mariano Fiszman.

Filmography

 * Comment s'en sortir sans sortir (1988), directed by Raoul Sangla, in which Gherasim Luca recites eight of his poems in a very sober setting.

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

title: Gherasim Luca


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Stone duality

In mathematics, there is an ample supply of categorical dualities between certain categories of topological spaces and categories of partially ordered sets. Today, these dualities are usually collected under the label Stone duality, since they form a natural generalization of Stone's representation theorem for Boolean algebras. These concepts are named in honor of Marshall Stone. Stone-type dualities also provide the foundation for pointless topology and are exploited in theoretical computer science for the study of formal semantics.

This article gives pointers to special cases of Stone duality and explains a very general instance thereof in detail.

Overview of Stone-type dualities
Probably the most general duality that is classically referred to as "Stone duality" is the duality between the category Sob of sober spaces with continuous functions and the category SFrm of spatial frames with appropriate frame homomorphisms. The dual category of SFrm is the category of spatial locales denoted by SLoc. The categorical equivalence of Sob and SLoc is the basis for the mathematical area of pointless topology, which is devoted to the study of Loc—the category of all locales, of which SLoc is a full subcategory. The involved constructions are characteristic for this kind of duality, and are detailed below.

Now one can easily obtain a number of other dualities by restricting to certain special classes of sober spaces:
 * The category CohSp of coherent spaces (and coherent maps) is equivalent to the category CohLoc of coherent (or spectral) locales (and coherent maps), on the assumption of the Boolean prime ideal theorem (in fact, this statement is equivalent to that assumption). The significance of this result stems from the fact that CohLoc in turn is dual to the category DLat01 of bounded distributive lattices. Hence, DLat01 is dual to CohSp—one obtains Stone's representation theorem for distributive lattices.
 * When restricting further to coherent spaces that are Hausdorff, one obtains the category Stone of so-called Stone spaces. On the side of DLat01, the restriction yields the subcategory Bool of Boolean algebras. Thus one obtains Stone's representation theorem for Boolean algebras.
 * Stone's representation for distributive lattices can be extended via an equivalence of coherent spaces and Priestley spaces (ordered topological spaces, that are compact and totally order-disconnected). One obtains a representation of distributive lattices via ordered topologies: Priestley's representation theorem for distributive lattices.

Many other Stone-type dualities could be added to these basic dualities.

The lattice of open sets
The starting point for the theory is the fact that every topological space is characterized by a set of points X and a system Ω(X) of open sets of elements from X, i.e. a subset of the powerset of X. It is known that Ω(X) has certain special properties: it is a complete lattice within which suprema and finite infima are given by set unions and finite set intersections, respectively. Furthermore, it contains both X and the empty set. Since the embedding of Ω(X) into the powerset lattice of X preserves finite infima and arbitrary suprema, Ω(X) inherits the following distributivity law:

 * $$x \wedge \bigvee S = \bigvee \{\, x \wedge s : s \in S \,\}, $$

for every element (open set) x and every subset S of Ω(X). Hence Ω(X) is not an arbitrary complete lattice but a complete Heyting algebra (also called frame or locale – the various names are primarily used to distinguish several categories that have the same class of objects but different morphisms: frame morphisms, locale morphisms and homomorphisms of complete Heyting algebras). Now an obvious question is: To what extent is a topological space characterized by its locale of open sets?

As already hinted at above, one can go even further. The category Top of topological spaces has as morphisms the continuous functions, where a function f is continuous if the inverse image f−1(O) of any open set in the codomain of f is open in the domain of f. Thus any continuous function f from a space X to a space Y defines an inverse mapping f−1 from Ω(Y) to Ω(X). Furthermore, it is easy to check that f−1 (like any inverse image map) preserves finite intersections and arbitrary unions and therefore is a morphism of frames. If we define Ω(f) = f−1 then Ω becomes a contravariant functor from the category Top to the category Frm of frames and frame morphisms. Using the tools of category theory, the task of finding a characterization of topological spaces in terms of their open set lattices is equivalent to finding a functor from Frm to Top which is adjoint to Ω.

Points of a locale
The goal of this section is to define a functor pt from Frm to Top that in a certain sense "inverts" the operation of Ω by assigning to each locale L a set of points pt(L) (hence the notation pt) with a suitable topology. But how can we recover the set of points just from the locale, though it is not given as a lattice of sets? It is certain that one cannot expect in general that pt can reproduce all of the original elements of a topological space just from its lattice of open sets – for example all sets with the indiscrete topology yield (up to isomorphism) the same locale, such that the information on the specific set is no longer present. However, there is still a reasonable technique for obtaining "points" from a locale, which indeed gives an example of a central construction for Stone-type duality theorems.

Let us first look at the points of a topological space X. One is usually tempted to consider a point of X as an element x of the set X, but there is in fact a more useful description for our current investigation. Any point x gives rise to a continuous function px from the one element topological space 1 (all subsets of which are open) to the space X by defining px(1) = x. Conversely, any function from 1 to X clearly determines one point: the element that it "points" to. Therefore, the set of points of a topological space is equivalently characterized as the set of functions from 1 to X.

When using the functor Ω to pass from Top to Frm, all set-theoretic elements of a space are lost, but – using a fundamental idea of category theory – one can as well work on the function spaces. Indeed, any "point" px: 1 → X in Top is mapped to a morphism Ω(px): Ω(X) → Ω(1). The open set lattice of the one-element topological space Ω(1) is just (isomorphic to) the two-element locale 2 = { 0, 1 } with 0 < 1. After these observations it appears reasonable to define the set of points of a locale L to be the set of frame morphisms from L to 2. Yet, there is no guarantee that every point of the locale Ω(X) is in one-to-one correspondence to a point of the topological space X (consider again the indiscrete topology, for which the open set lattice has only one "point").

Before defining the required topology on pt(X), it is worthwhile to clarify the concept of a point of a locale further. The perspective motivated above suggests to consider a point of a locale L as a frame morphism p from L to 2. But these morphisms are characterized equivalently by the inverse images of the two elements of 2. From the properties of frame morphisms, one can derive that p−1(0) is a lower set (since p is monotone), which contains a greatest element ap = V p−1(0) (since p preserves arbitrary suprema). In addition, the principal ideal p−1(0) is a prime ideal since p preserves finite infima and thus the principal ap is a meet-prime element. Now the set-inverse of p−1(0) given by p−1(1) is a completely prime filter because p−1(0) is a principal prime ideal. It turns out that all of these descriptions uniquely determine the initial frame morphism. We sum up:

 * A point of a locale L is equivalently described as:
 * a frame morphism from L to 2
 * a principal prime ideal of L
 * a meet-prime element of L
 * a completely prime filter of L.

All of these descriptions have their place within the theory and it is convenient to switch between them as needed.

The functor pt
Now that a set of points is available for any locale, it remains to equip this set with an appropriate topology in order to define the object part of the functor pt. This is done by defining the open sets of pt(L) as

 * φ(a) = { p ∈ pt(L) | p(a) = 1 },

for every element a of L. Here we viewed the points of L as morphisms, but one can of course state a similar definition for all of the other equivalent characterizations. It can be shown that setting Ω(pt(L)) = {φ(a) | a ∈ L} does really yield a topological space (pt(L), Ω(pt(L))). It is common to abbreviate this space as pt(L).

Finally pt can be defined on morphisms of Frm rather canonically by defining, for a frame morphism g from L to M, pt(g): pt(M) → pt(L) as pt(g)(p) = p o g. In words, we obtain a morphism from L to 2 (a point of L) by applying the morphism g to get from L to M before applying the morphism p that maps from M to 2. Again, this can be formalized using the other descriptions of points of a locale as well – for example just calculate (p o g)−1(0).

The adjunction of Top and Loc
As noted several times before, pt and Ω usually are not inverses. In general neither is X homeomorphic to pt(Ω(X)) nor is L order-isomorphic to Ω(pt(L)). However, when introducing the topology of pt(L) above, a mapping φ from L to Ω(pt(L)) was applied. This mapping is indeed a frame morphism. Conversely, we can define a continuous function ψ from X to pt(Ω(X)) by setting ψ(x) = Ω(px), where px is just the characteristic function for the point x from 1 to X as described above. Another convenient description is given by viewing points of a locale as meet-prime elements. In this case we have ψ(x) = X \ Cl{x}, where Cl{x} denotes the topological closure of the set {x} and \ is just set-difference.

At this point we already have more than enough data to obtain the desired result: the functors Ω and pt define an adjunction between the categories Top and Loc = Frmop, where pt is right adjoint to Ω and the natural transformations ψ and φop provide the required unit and counit, respectively.

The duality theorem
The above adjunction is not an equivalence of the categories Top and Loc (or, equivalently, a duality of Top and Frm). For this it is necessary that both ψ and φ are isomorphisms in their respective categories.

For a space X, ψ: X → pt(Ω(X)) is a homeomorphism if and only if it is bijective. Using the characterization via meet-prime elements of the open set lattice, one sees that this is the case if and only if every meet-prime open set is of the form X \ Cl{x} for a unique x. Alternatively, every join-prime closed set is the closure of a unique point, where "join-prime" can be replaced by (join-) irreducible since we are in a distributive lattice. Spaces with this property are called sober.

Conversely, for a locale L, φ: L → Ω(pt(L)) is always surjective. It is additionally injective if and only if any two elements a and b of L for which a is not less-or-equal to b can be separated by points of the locale, formally:

 * if not a ≤ b, then there is a point p in pt(L) such that p(a) = 1 and p(b) = 0.

If this condition is satisfied for all elements of the locale, then the locale is spatial, or said to have enough points. (See also well-pointed category for a similar condition in more general categories.)

Finally, one can verify that for every space X, Ω(X) is spatial and for every locale L, pt(L) is sober. Hence, it follows that the above adjunction of Top and Loc restricts to an equivalence of the full subcategories Sob of sober spaces and SLoc of spatial locales. This main result is completed by the observation that for the functor pt o Ω, sending each space to the points of its open set lattice is left adjoint to the inclusion functor from Sob to Top. For a space X, pt(Ω(X)) is called its soberification. The case of the functor Ω o pt is symmetric but a special name for this operation is not commonly used.

title: Stone duality


text:
Richard S. Ewell

Richard Stoddert Ewell (February 8, 1817 – January 25, 1872) was an American military officer and a Confederate general during the American Civil War. He achieved fame as a senior commander under Stonewall Jackson and Robert E. Lee and fought effectively through much of the war. Still, his legacy was clouded by controversies over his actions at the Battle of Gettysburg and the Battle of Spotsylvania Court House.

Early life and career
Ewell was born in Georgetown, Washington, D.C. He was raised in Prince William County, Virginia, from the age of 3, at an estate near Manassas known as "Stony Lonesome." He was the third son of Dr. Thomas and Elizabeth Stoddert Ewell; the grandson of Benjamin Stoddert, the first United States Secretary of the Navy; the grandson of Revolutionary War Colonel Jesse Ewell; and the brother of Benjamin Stoddert Ewell. He graduated from the United States Military Academy in 1840, thirteenth in his class of 43 cadets. His friends called him "Old Bald Head" or "Baldy." He was commissioned a second lieutenant in the 1st U.S. Dragoons and was promoted to first lieutenant in 1845. From 1843 to 1845, he served with Philip St. George Cooke and Stephen Watts Kearny on escort duty along the Santa Fe and Oregon Trails. In the Mexican–American War, serving under Winfield Scott, he was recognized and promoted to captain for his courage at the Battle of Contreras and the Battle of Churubusco. At Contreras, he conducted a nighttime reconnaissance with engineer Captain Robert E. Lee, his future commander.

Ewell served in the New Mexico Territory for some time, exploring the newly acquired Gadsden Purchase with Colonel Benjamin Bonneville. He was wounded in a skirmish with Apaches under Cochise in 1859. In 1860, while in command of Fort Buchanan, Arizona, illness compelled him to leave the West for Virginia to recuperate. He described his condition as "very ill with vertigo, nausea, etc., and now am excessively debilitated[,] having occasional attacks of the ague." Illnesses and injuries would cause difficulties for him throughout the upcoming Civil War.

Civil War
As the nation moved towards war, Ewell had generally pro-Union sentiments. Nevertheless, when his home state of Virginia declared secession, Ewell resigned from the U.S. Army on May 7, 1861, to join the Provisional Army of Virginia. He was appointed a colonel of cavalry on May 9 and was the first officer of field grade wounded in the war at a May 31 skirmish at Fairfax Court House where he was hit in the shoulder. He was promoted to brigadier general in the Confederate States Army on June 17. He commanded a brigade in the (Confederate) Army of the Potomac at the First Battle of Bull Run (First Manassas). Still, his brigade was guarding fords downstream and did not get into the action at all.

Hours after the battle, Ewell proposed to President of the Confederate States of America Jefferson Davis that for the Confederacy to win the war, enslaved people must be freed and join the ranks of the army; he was also willing to lead black soldiers into battle. But Davis considered that "impossible", and that topic never came up between him and Ewell again. Nevertheless, like Patrick Cleburne, Ewell was one of those few Confederate generals who believed the Confederacy needed all the soldiers it could get, regardless of race.

In late July, Ewell was furious when he heard that his commanding officer, P. G. T. Beauregard, blamed him for not following orders at Bull Run (Manassas) when the orders did not reach him in time.

Ewell inspired his men despite, not because of, his appearance. Historian Larry Tagg using General Richard Taylor's description, described him:

"Rather short at 5 feet 8 inches, he had just a fringe of brown hair on an otherwise bald, bomb-shaped head. Bright, bulging eyes protruded above a prominent nose, creating an effect which many likened to a bird—an eagle, some said, or a woodcock—especially when he let his head droop toward one shoulder, as he often did, and uttered strange speeches in his shrill, twittering lisp. He had a habit of muttering odd remarks in the middle of normal conversation, such as 'Now why do you suppose President Davis made me a major general anyway?' He could be spectacularly, blisteringly profane. He was so nervous and fidgety he could not sleep in a normal position, and spent nights curled around a camp stool. He had convinced himself that he had some mysterious internal 'disease,' and so subsisted almost entirely on frumenty, a dish of hulled wheat boiled in milk and sweetened with sugar. A 'compound of anomalies' was how one friend summed him up. He was the reigning eccentric of the Army of Northern Virginia, and his men, who knew at first hand his bravery and generosity of spirit, loved him all the more for it."

With Stonewall Jackson
Ewell was promoted to major general and division command on January 24, 1862. When Joe Johnson's army pulled out of the Manassas area in March and went down to Richmond, Ewell's division was stationed around Culpeper. In May, he was ordered to the Shenandoah Valley to reinforce "Stonewall" Jackson. Ewell moved west, crossing the Blue Ridge, and managed to locate Jackson's command after some difficulty. Although the two generals worked together well and were noted for their quixotic personal behavior, they had many stylistic differences. Jackson was stern and pious, whereas Ewell was witty and extremely profane. Jackson was flexible and intuitive on the battlefield, while Ewell, although brave and effective, required precise instructions to function effectively. Ewell was initially resentful about Jackson's tendency to keep his subordinates uninformed about his tactical plans, but he eventually adjusted to Jackson's methods.

Ewell superbly commanded a division in Jackson's small army during the Valley Campaign, personally winning quite a few battles against the larger U.S. armies of Maj. Gens. Nathaniel P. Banks, John C. Frémont, and James Shields at the Battle of Front Royal and First Battle of Winchester, Battle of Cross Keys, and Battle of Port Republic, respectively. Jackson's army was then recalled to Richmond to join Robert E. Lee in protecting the city against Maj. Gen. George B. McClellan's Army of the Potomac in the Peninsula Campaign. Ewell fought conspicuously at Gaines' Mill and saw relatively light action at Malvern Hill. After Lee repelled the U.S. army in the Seven Days Battles, U.S. Maj. Gen. John Pope's Army of Virginia threatened to attack from the north, so Jackson was sent to intercept him. Ewell defeated Banks again at the Battle of Cedar Mountain on August 9, and, returning to the old Manassas battlefield, he led his division into action at Brawner's Farm on August 28. A Minie ball shattered Ewell's left leg, and he lay on the ground for several hours before being found and taken away. Ewell's leg was amputated, and was administered chloroform as an anesthetic. Ewell faced a painful recovery lasting months. Although he received a wooden leg, the irregular shape of the leg stump made it difficult to fit it. Ewell slipped and fell in Richmond on Christmas Day, aggravating his injury further.

While recovering from his injury, Ewell was nursed by his first cousin, Lizinka Campbell Brown, a wealthy widow from the Nashville area. Ewell had been attracted to Lizinka since his teenage years, and they had flirted with romance in 1861 and during the Valley Campaign, but now the close contact resulted in their wedding in Richmond on May 26, 1863.

Ewell returned to Lee's Army of Northern Virginia after the Battle of Chancellorsville. After the mortal wounding of Jackson at that battle, on May 23, Ewell was promoted to lieutenant general and command of the Second Corps (now slightly smaller than Jackson's because units were detached to create a new Third Corps, under Lt. Gen. A. P. Hill, also one of Jackson's division commanders). Ewell was given a date of rank one day earlier than Hill's, so he became the third-highest-ranking general in the Army of Northern Virginia, after Lee and James Longstreet.

Gettysburg and controversy
Ewell continued to have difficulty walking and needed crutches when not mounted on horseback. In the opening days of the Gettysburg Campaign, at the Second Battle of Winchester, Ewell performed superbly, capturing the U.S. garrison of 4,000 men and 23 cannons. He escaped severe injury there when he was hit in the chest with a spent bullet (the second such incident in his career, after Gaines' Mill). His corps took the lead in the invasion of Pennsylvania and almost reached the state capital of Harrisburg before being recalled by Lee to concentrate at Gettysburg. These successes led to favorable comparisons with Jackson.

But at the Battle of Gettysburg, Ewell's military reputation started a long decline. On July 1, 1863, Ewell's corps approached Gettysburg from the north and smashed the U.S. XI Corps and part of the I Corps, driving them back through the town and forcing them to take up defensive positions on Cemetery Hill south of town. Lee had just arrived on the field and saw the importance of this position. He sent discretionary orders to Ewell that Cemetery Hill be taken "if practicable." Historian James M. McPherson wrote, "Had Jackson still lived, he undoubtedly would have found it practicable. But Ewell was not Jackson." Ewell chose not to attempt the assault.

Ewell had several possible reasons for not attacking. The orders from Lee contained an innate contradiction. He was "to carry the hill occupied by the enemy, if he found it practicable, but to avoid a general engagement until the arrival of the other divisions of the army." Lee also refused to provide assistance that Ewell requested from the corps of A. P. Hill. Ewell's men were fatigued from their lengthy marching and strenuous battle in the hot July afternoon. It would be difficult to reassemble them into battle formation and assault the hill through the narrow corridors afforded by the streets of Gettysburg. The fresh division under Maj. Gen. Edward "Allegheny" Johnson was arriving. Still, Ewell also received intelligence that heavy U.S. reinforcements were approaching from the east on the York Pike, potentially threatening his flank. Ewell's normally aggressive subordinate, Maj. Gen. Jubal A. Early, concurred with his decision.

Lee's order has been criticized because it left too much discretion to Ewell. Historians such as McPherson have speculated on how the more aggressive Stonewall Jackson would have acted on this order if he had lived to command this wing of Lee's army and how differently the second day of battle would have proceeded with Confederate possession of Culp's Hill or Cemetery Hill. Discretionary orders were customary for General Lee because Jackson and James Longstreet, his other principal subordinate, usually reacted to them very well and could use their initiative to respond to conditions and achieve the desired results. Ewell's critics have noted that this failure of action on his part, whether justified or not, ultimately cost the Confederates the battle. Other historians have noted that Lee, as the overall commanding general who issued discretionary orders to Ewell and then continued the battle for another two days, bears the final responsibility for the Confederate defeat at Gettysburg.

When Ewell's corps attacked these positions on July 2 and 3, the U.S. army had had time to fully occupy the heights and build impregnable defenses, resulting in heavy Confederate losses. Postwar proponents of the Lost Cause movement, particularly Jubal Early, but also Maj. Gen. Isaac R. Trimble, assigned to Ewell's staff during the battle, criticized him bitterly to deflect any blame for losing the battle on Robert E. Lee. Part of their argument was that the U.S. soldiers were demoralized by their defeat earlier in the day. Still, Ewell's men were also disorganized, and their decisions were far simpler to make in hindsight than in the heat of battle and fog of war.

On July 3, Ewell was again wounded, but only in his wooden leg. He led his corps on an orderly retreat back to Virginia. By late November, Ewell took a leave of absence due to fever and continued problems with his leg. Within a month, he returned to command but struggled with his health and mobility. He was bruised in a fall from his horse in January 1864.

Overland Campaign and Richmond
Ewell led his corps in the May 1864 Battle of the Wilderness and performed well, enjoying a slight numerical superiority over the U.S. corps that attacked him. In the Battle of Spotsylvania Court House, Lee felt compelled to lead the defense of the "Mule Shoe" on May 12 personally because of Ewell's indecision and inaction. At one point, Ewell began hysterically berating some of his fleeing soldiers and beating them over the back with his sword. Lee reined him in, saying sharply, "General Ewell, you must restrain yourself; how can you expect to control these men when you have lost control of yourself? If you cannot repress your excitement, you had better retire." Ewell's behavior on this occasion undoubtedly was the source of a statement made by Lee to his secretary, William Allan, after the war that on May 12, he "found Ewell perfectly prostrated by the misfortune of the morning, and too much overwhelmed to be efficient." In the final combat at Spotsylvania, on May 19, 1864, Ewell ordered an attack on the U.S. left flank at the Harris Farm, which had little effect beyond delaying Grant for a day, at the cost of 900 casualties, about one-sixth of his remaining force.

Lee felt that Ewell was not in any shape for field command and decided to reassign him to the Richmond defenses. In April 1865, as Ewell and his troops were retreating, many fires in Richmond were started, although it is unclear by whose orders the fires were started. Ewell blamed the plundering mobs of civilians for burning a tobacco warehouse, which was a significant source of the fire, but Nelson Lankford, the author of Richmond Burning, wrote that "Ewell convinced few people that the great fire had nothing to do with his men or their deliberate demolition of the warehouses and bridges through military orders passed down the chain of command." These fires created The Great Conflagration of Richmond, which left a third of the city destroyed, including all of the business district. Ewell and his troops were then surrounded and captured at Sailor's Creek. This was a few days before Lee's surrender at Appomattox Court House. Ewell told his captors that he had no idea what Lee was planning to do next, but the Confederacy was clearly doomed, and he hoped he would have the sense to surrender. He was held as a prisoner of war at Fort Warren in Boston Harbor until July.

While imprisoned, Ewell organized a group of sixteen former generals also at Fort Warren, including Edward "Allegheny" Johnson and Joseph B. Kershaw, and sent a letter to Ulysses S. Grant about the assassination of Abraham Lincoln, for which they said no Southern man could feel anything other than "unqualified abhorrence and indignation" and insisting that the crime should not be connected to the southern states.

Postbellum life
After his parole, Ewell retired to work as a "gentleman farmer" on his wife's farm near Spring Hill, Tennessee, which he helped to become profitable, and also leased a successful cotton plantation in Mississippi. His leg stump had largely healed by the war's end and no longer seriously bothered him, but he continued to suffer from neuralgia and other ailments. He doted on Lizinka's children and grandchildren. He was president of the Columbia Female Academy's board of trustees, a communicant at St. Peter's Episcopal Church in Columbia, and president of the Maury County Agricultural Society. Ewell and his wife came down with pneumonia in January 1872 and died within a few days of each other. They were buried in Old City Cemetery in Nashville, Tennessee. He is the author of The Making of a Soldier, published posthumously in 1935.

In popular media
Tim Scott portrayed Ewell in the 1993 film Gettysburg, based on Michael Shaara's novel, The Killer Angels. In that movie, Maj. Gen. Isaac R. Trimble meets with Robert E. Lee and tells him that Ewell had refused to take Cemetery Hill, giving the U.S. army a massive advantage, and that many men would die in the coming days because of that failure.

Ewell is the main character in the 1963 gospel film Red Runs the River and is portrayed by Bob Jones Jr. The film, directed by Katherine Stenholm, details Ewell's relationship with Stonewall Jackson and Ewell's conversion to Christ following his wound at the Second Battle of Bull Run (Manassas). It is an Unusual Films production from the Cinema Department of Bob Jones University in Greenville, South Carolina. Red Runs the River was the film the University Film Producers Association selected to represent the United States at the International Congress of Motion-Picture and Television Schools in Budapest, Hungary.

title: Richard S. Ewell


text:
Heinrich von Breymann

Oberstleutnant Heinrich von Breymann (c. 1725 - 7 October 1777) was a German military officer from the Principality of Brunswick-Wolfenbüttel who fought in the Seven Years' War and the American Revolutionary War. During the American Revolutionary War, he served as the commander of Von Breyman's Grenadier Battalion, a battalion of grenadiers who fought in British service against the American rebels.

Under the command of British Army officer General John Burgoyne, von Breymann fought in the Battle of Bennington and the Battles of Saratoga. On 7 October 1777 during the Battle of Bemis Heights, von Breymann's unit was driven behind a redoubt by American troops; he grew frustrated with his own men and began attacking four soldiers with his sabre before von Breymann was shot and killed by one of them.

title: Heinrich von Breymann


text:
Talk:Musical form

musical form interchangeable with musical genre?
Does anybody really use the phrase "musical form" interchangably with "musical genre"? I can't recall ever coming across an instance of that use. However, I think that people do mean two different things by "musical form":

 * 1) The structure of a movement as determined by arrangement of thematic material and key centres (binary form, sonata form, rondo and so on)
 * 2) A classification determined by overall multi-movement structure, instrumentation and/or function (opera, ballet, sonata, concerto, symphonic poem and so on)

I think this would be a more sensible way of dividing up the article than is done at present. Does anybody agree, or am I being silly? --Camembert

 * Well, Encyclopaedia Britannica does; see its entry for "Musical form".

 * mikkalai 25 Nov 2003

 * I don't have the EB to hand, and I'm not really sure what you're saying it "does", but anyway, I was probably a bit too simplistic with my above post. I'm going to fiddle with the article a bit. --Camembert

 * Just google for "musical form", it will pop up. Anyway, I am just a layman; the article was missing, so I created a stub. Feel free to do anything with, but leave references to ballet and dance, necessary to my subwikiweb of articles Mikkalai 20:28, 26 Nov 2003 (UTC)

 * Ah right, found the EB thing. I think it agrees both with what you and I said originally, actually - we were just using words to mean slightly different things. Anyway, I've edited the article somewhat, and it seems better to me now, but it's a tricky thing, and I'm sure it can take further improvement. --Camembert

Proposed outline

 * 1) Intro
 * 2) Single-movement forms: sectional vs developmental, developmental vs variational, extensional vs intentional
 * 3) Sectional forms, the larger unit (form) is built from various smaller clear-cut units (sections), combinational, sort of like stacking legos.
 * 4) Developmental forms, larger unit (form) is built from small bits of material given different presentations and combinations, usually progressive.
 * 5) Variational forms, larger unit (form) is built from sections treated to one type of presentation at a time, but varying succesively.
 * 6) Multi-movement "forms"

Hyacinth 20:27, 4 Jun 2004 (UTC), User:Hyacinth/Outlines.

Hi! If you want to expand that outline you could explain to us what each of those "vs." things are. I am a musical layman. Jaberwocky6669 18:05, Aug 5, 2004 (UTC)

Ta-da. Hyacinth 05:47, 8 Aug 2004 (UTC)

Ta-da as in, "Duh, you're really dumb." or "Hey! That's a really great idea!" Lol Jaberwocky6669 16:30, Aug 8, 2004 (UTC)

The second one, like I Dream of Genie, see article and outline above. Hyacinth 21:36, 8 Aug 2004 (UTC)

Definition

 * An open invitation to participate in Talk:String_quartet. Cheers. --bleh fu 07:06, Jan 14, 2005 (UTC)
 * To quote from Talk:String quartet:
 * Is the string quartet a form or a group? Should it be in one, the other, or both categories? The article currently states:
 * "A piece of music for four players of stringed instruments may be in any form, but if it is simply a String Quartet (with or without a subtitle) it is usually in four movements, with a large-scale structure similar to that of a symphony. The outer movements are typically fast, the inner movements in classical quartet form are a slow movement and a dance movement of some sort (e.g., minuet, scherzo, furiant), in either order."
 * Musical form states that form is also:
 * "a generic type of composition such as the symphony or concerto."
 * And later
 * "Forms of chamber music are defined by instrumentation (string quartet, piano quintet and so on). The structure of a chamber work is typically similar to a sonata."
 * all of which implies that string quartet may be legitimately categorized as a Category:Musical form. Hyacinth 02:36, 14 Jan 2005 (UTC)
 * See also: Category talk:Musical forms. Hyacinth 02:52, 14 Jan 2005 (UTC)
 * Form should be defined as the organizing principle in music, or how musical ideas/notes/etc. are organized within a whole. I must admit fault here for not actually checking the article Musical form before making changes; this was something I assumed. Something like a string quartet is an entity that exhibits form, not one that exists as form. The above example should be rephrased: "String quartets in the Classical and Romantic as well as symphonies and concertos, usually belonged in the sonata genre consisting of four movements....." String quartets, symphonies, concertos in any time period, especially within the last hundred years, certainly have no obligation to follow sonata form, much less any specific form; for example, a theoretical string quartet consisting entirely of fugues. The statment defining form as "a generic type of composition such as the symphony or concerto" is misleading; string quartets, symphonies, and concertos are more accurately described as a type of instrumentation, orchestration, or arrangement, something not at all related to form except in loose correlations.

 * This statement "Forms of chamber music are defined by instrumentation (string quartet, piano quintet and so on). The structure of a chamber work is typically similar to a sonata" is confusing in that its language is not clearly differentiating between a form or structure of music or a form of chamber music, i.e., a form of instrumentation, or way of organizing instruments within an ensemble. The statement that "chamber music is typically similar to a sonata", again, is vague; it is describing a specific phenomena found in Classical and Romantic chamber music. --bleh fu 06:59, Jan 14, 2005 (UTC)

 * There is a distinction between "should be" and "currently is". Since one goal of Wikipedia is to accurately describe reality, since people do describe instrumentation using the word form, then Wikipedia should describe this practice as it currently is. If you have a source that argues that things should be different, feel free to add that POV (point of view).
 * Regarding the categorization, what are the best alternatives to "Category:Musical forms" for instrumentations? "Category:Types of ensembles"? Hyacinth 23:18, 14 Jan 2005 (UTC)

To quote String quartet: Also, to quote Musical ensemble:
 * A string quartet is a musical ensemble of four string instruments or a piece written to be performed by such a group.
 * A musical ensemble is, by definition, a group of three or more musicians who gather to perform music.

 * There are several denominations of ensembles according with their size and composition.

 * The terms duet, trio, quartet, quintet, sextet, septet, octet, and nonet are used to describe groups of two, three, four, five, six, seven, eight, and nine musicians, respectively. In classical music, these arrangements are commonly referred to as chamber music. A common quartet is the string quartet, composed of two violins, a viola and a violoncello. The most usual string quintet is similar to the string quartet, but with the viola duplicated. In some cases, though, it is the violoncello that is duplicated. See: String trio, String sextet, string . A piano quintet is usually a string quartet plus a piano. Another fairly common grouping in classical music is the wind quintet, usually consisting of flute, oboe, clarinet, bassoon and horn.

This however is a bit confusing: an ensemble is at least three musicians, but yet duet is mentioned here as a form of chamber music, a music, which I assume is played by an ensemble. The question is then, where does something like a string quartet, symphony, concerto, or in reference to the above quote, a cello sonata, fall under: Musical form, or otherwise? I apologize if this is all very pedantic. I would like to hear other people's POV. Thanks, --bleh fu 03:14, Jan 15, 2005 (UTC)

 * I spoke to a friend of mine who is far more in the know than I, and he related the following to me:
 * Musical form: sonata-allegro form, ternary form, rondo, through-composed versus strophic, fugue
 * Musical genre: cello sonata, symphony, concerto, string quartet
 * Musical ensemble: piano and cello duet, orchestra, orchestra with soloist, string quartet
 * Obviously there is some ambiguity with terms that can fall under more than one category, but there is none with each of the terms within these contexts. i.e., string quartet can refer to a piece of music with an instrumentation of 2 vln, vla, and vc, or can refer to the ensemble itself, but there should not be any ambiguity between these definitions. --bleh fu 08:00, Jan 15, 2005 (UTC)

This article is hard to understand
I'd like to "de-mystify" this article so it's more friendly to the person who wants to know what musical form is. Begining the first section with the sentence "Forms and formal detail may be described as sectional or developmental, developmental or variational, syntactical or processual (Keil 1966), embodied or engendered, extensional or intensional (Chester 1970), and associational or hierarchical (Lerdahl 1983)", and you've lost most musicians, let alone non-musicians who come to the encyclopedia wanting to learn something about musical form.J Lorraine 05:02, 11 October 2006 (UTC)

 * If the article can't use the terms such as development, variation, syntax, process, embody, engender, extension/intension, association, and hierarchy; a lot more of this article is going to have to be rewritten. Hyacinth (talk) 23:56, 14 September 2017 (UTC)

 * Of course that was eleven years ago. Surely by now all that gobbledy-gookhas been replaced with plain, understandable English?—Jerome Kohl (talk) 06:00, 15 September 2017 (UTC)

Fundamental definition and problematisation
Musical form needs first relating to the general concept of FORM, "a shape; an arrangement of parts" (Concise Oxford Dictionary, 1995) or "the shape and structure of something as distinguished from its material" (Merriam-Webster, online 07 October 2012). Then the conventional wisdom about MUSICAL FORM needs to be problematised: why does musical "form" seem only to denote the episodic arrangement or shape of constituent elements over time and neglect the arrangement or shape of constituent elements in the extended present? Distinctions are in other words required between the episodic, extensional, diachronic or "horizontal" and the intensional, synchronic or "vertical" aspects of musical form. To exclude the latter and focus solely on the former is illogical since episodic form cannot exist if there is no variation or repetition of synchronic form on which it can be based. Calling one main aspect of musical form "form" and the other something else, as if it were not also form, is misleading and inaccurate. "Texture", a term sometimes used to refer to synchronic musical form, covers only one of its features. Synchronic form also involves movement, space, depth and volume, as well as the inclusion of musemes that are not all necessarily anaphonic. Tagg (2012: 383-385) suggests renaming the conventional episodic aspect of form "diataxis" and calling its synchronic aspect "syncrisis". That way neither type of form has a misleading monopoly on the term and unequivocal reference can be made to these essential aspects of musical form. [Tagg, Philip: Music's Meanings. New York & Huddersfield: Mass Media Music Scholars' Press, 2012]. — Preceding unsigned comment added by Etymophony (talk • contribs) 14:50, 5 October 2012 (UTC)

apodigm
To give a specific example of the incomprehensible jargon in this article, I must ask, what is the meaning of "apodigm"? This word is used in section 4, titled "More recent developments". I can't find apodigm in any dictionary or reference book. Perhaps someone with musical expertise could add apodigm to the wiktionary? 71.207.203.133 (talk) 12:14, 18 May 2011 (UTC)
 * I couldn't find it in any dictionary I have either. A google search turned up only a web hosting company named Apodigm and pages which had this same quote from Chester (including translations into French and Italian which left "apodigm" untraslated). I suspect he made the word up, and either we aren't clever enough or we don't know enough greek to know what he meant by it. 76.20.12.54 (talk) 22:32, 1 November 2011 (UTC)

citing "The Retreat of Reason"
While I haven't read the book which is being cited, it appears (from reviews) to be about politically correct language in Britain, which seems rather incongruous as a source for this article. If no one objects, I am going to remove both the sentence and the citation. (The current sentence with citation reads: "In fact, pop music is much more complex in terms of musical form than all types of classical music (Browne, A. The Retreat of reason, 2006).") J Lorraine 07:31, 27 October 2006 (UTC)

Musical forms in various avantgarde/popular music works
A broad perspective: several works by various avantgarde artists (also notable in the mainstream popular music) usually regarded as ambient, cosmic, new age, electronic music, such as Brian Eno, Tangerine Dream.... can't be cathegorized as "songs" or simply "instrumentals", becouse such music features complex structures and patterns that can be referred to as musical forms; examples: Eno's (Discreet music or the long cosmic compositions by TD. Dr. Who 03:11, 17 February 2007 (UTC)

How to consolidate all these Form links into one solid index
This is regarding Categories related to Form in Music.

I'd like to see everything together, but also a separate subcategory for Form in the compositional sense (period, transition, cell, cadence...etc.). These subjects might get lost in the myriad "Dance Forms" (tarantella, sarabande...etc.).

Any ideas on how to do this efficiently? There's so much material scattered everywhere!

Can someone combine the "Musical form" and "Musical forms" categories automatically?

--Roivas 18:39, 10 April 2007 (UTC)

Popular music
The numerous and repeatedly wikilinked references to Popular music give the appearance of an attempt to confer some merit on a genre which lacks it. This is bad stylistically and also (in some cases anyway) unfair, and the statements are poorly referenced. I'd suggest that the subsection on popular music currently near the lead - which section essentially says that pop music is too trivial to merit formal assignment - should be moved to the bottom to avoid distracting from the discussion of what is at root a method of classification of classical music. Discussion of contemporary popular music is of tangential relevance only to the subject o musical form, and most of the early music forms, and a good deal of the classical repertoire, were popular music in their day. So it's an arbitrary, poorly supported, poorly referenced and apparently gratuitous intrusion. —Preceding unsigned comment added by 82.132.136.214 (talk) 16:11, 25 June 2008 (UTC)

Additional citations
Why and where does this article need additional citations for verification? What references does it need and how should they be added? Hyacinth (talk) 04:07, 9 February 2012 (UTC)

Focus is too narrow
This article is entirely about the Western European historical tradition. It would be greatly enhanced by adding information about musical forms of other cultures on other continents. In short, a little ethnomusicological influence... Esn (talk) 14:33, 21 August 2012 (UTC)

 * There's nothing stopping you from adding it. 108.60.216.202 (talk) 17:39, 2 May 2015 (UTC)
 * True, though not everyone has the time or expertise or access to sources to do so. Flagging problems for other interested editors is often helpful. -- Beland (talk) 18:38, 19 July 2024 (UTC)

Cyclic and cyclical
There's nothing on Cyclic form in this article.

As to the term cyclical as used in this article, is it common or is it some editor's idea? The so called cyclical forms mentioned in this article (mass, ballet, opera, suite, etc.) are not really "musical forms" (as in sonata form, binary form, etc.). You might as well then include concerto and symphony among "musical forms". Contact Basemetal   here  06:44, 21 February 2014 (UTC)

Just plain wrong
Twinkle Little Star. What's provided is AABB, but in general each couplet is a unit, not two units of form. So AB would be more correct. The second phrase of the first couplet is NOT the same as the first, at any rate -- so AA would be impossible even if one wished to be so granular as to deem each couplet two units of form. The song is usually considered ABA, including the repeat of the first couplet. Yes, B consists of two identical lines. But you don't let that determine that you're going to be phrase-granular, and then be just dead wrong about A. rasqual (talk) 16:59, 1 March 2014 (UTC)

 * The example is given of a "verse". In other words, we're only supposed to look at the words and see which lines rhyme to determine the form, and only four lines are included. Strictly speaking, within the bounds of that setup, the example given is actually AABB. However, it's a poor example, because 1) this is an article on musical form, not prose form, 2) most people when reading the four lines will probably sing along in their head using a melody that is actually in the form ABCC, and 3) most people in real life probably finish the song with a repetition of the first two lines (not included in this article, but you can hear it in the Twinkle, Twinkle, Little Star article), making the rhyming form AABBAA, and the melodic form ABCCAB. That's confusing.

 * Can anyone supply a better example of AABB, since this one is confusing and potentially misleading? 38.86.48.38 (talk) 17:25, 2 May 2015 (UTC)

Picture in lead
The "thought-form" artwork is pretty, but it seems to have nothing to do with the subject matter of the article. Does this picture belong here? 130.226.142.243 (talk) 10:04, 20 November 2014 (UTC)

 * Agreed. Yank it. A though form is not a musical form, even if it's a thought form about music. 38.86.48.38 (talk) 17:27, 2 May 2015 (UTC)

What does "Escaping the formalist trap" Do for this article?
I would like to suggest that this section be removed, or completely retooled. For one, there's nothing at all that connects the title of the section to its content. What "The formalist trap" is is never explained, nor is it at all clear what the content of the section has to do with "escaping" it. It seems to me that the basic thrust of the section is "you can just like develop things instead of relying on a predetermined form." But it uses unnecessarily convoluted language to make that point, and frames it in terms of a strange and, it seems to me, largely irrelevant polemic. — Preceding unsigned comment added by 2601:44:C500:88A0:3453:5C42:CA36:80B8 (talk) 06:15, 23 January 2018 (UTC)

 * Reviewing the edit history of this article, it appears that at some point seven or more years ago someone tried to reshape this article around the cited source by Middleton (which is specifically focussed on form in popular music). It was at some point long afterward that the present section heading was concocted. I don't have the patience to follow all of the editorial meandering, but it does seem clear that it gradually drifted into the morass that you so accurately describe. Personally, I am all for removing the section, though I am willing to listen to other opinions, if anyone can come up with an argument for reshaping it.—Jerome Kohl (talk) 07:11, 23 January 2018 (UTC)

 * I'm in a group that's working on this page as a class project, and we're thinking the same thing. Unless there are any objections, we'll remove it, potentially replacing it with a discussion of evolving formal practices, or the subversion thereof, or something.Ekkobekko (talk) 14:00, 23 September 2018 (UTC)

External links modified (February 2018)
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Unrelated Source
Hi, everyone! Newbie on a wiki-ed project here... Noticed that there is a book called "The Ninth Juror" in the further reading section. It is, um, not about music. Shall I go ahead and remove it? Ekkobekko (talk) 01:30, 15 September 2018 (UTC)
 * Absolutely! You do not have to ask in cases such as this (See: WP:BOLD). I would remove it myself, but I don't want to deny you the pleasure! Oh, one thing: When adding a new topic to a talk page, it is customary to place it at the bottom of the page, to preserve chronological order. Welcome to Wikipedia!—Jerome Kohl (talk) 01:37, 15 September 2018 (UTC)

Ketawang structure and musical form
It does not seem to me that the ketawang structure illustrated in the lead of the article describes a musical form. As the complete description of the image says, this is a "ketawang colotomic structure", and a colotomy is "a description of the rhythmic and metric patterns of gamelan music." Following the circumference of the circle indeed describes a repeating rhythmic pattern, forming a kind of ostinato played by four instruments. (The letters along the circumference denote instrument names.) Such an ostinato pattern cannot really be considered a "musical form", IMO. — Hucbald.SaintAmand (talk) 09:20, 1 October 2018 (UTC)

Levels of Organization
The "Levels of Organization" section is perplexing. It is mostly unsourced, and the terms "passage," "piece" and "cycle" -- where is this from? Is there a music theory source that uses these terms in this way? I can't find a source that does. It reads as if the author means "phrase" "movement" and "full work," but that is both Eurocentric, and leaves out other levels. Above the phrase, there should be the level of section, before we get to a full piece. This should be edited in brought in line with standard sources in music theory and maybe ethnomusicology. Caper2112 (talk) 16:01, 21 November 2018 (UTC)

Popular Music
According to section headings, popular music is largely unrepresented. The heading "Common forms in Western classical music" is the only section describing the different sectional forms. It also omits to mention many of the common popular forms. — Preceding unsigned comment added by Musomox (talk • contribs) 18:28, 3 July 2019 (UTC)

Gong?
I don't understand the purpose of the gong diagram at the top of the page... Adamilo (talk) 06:48, 2 January 2020 (UTC)

 * Well, I don't either... See above, Talk:Musical form. — Hucbald.SaintAmand (talk) 07:56, 2 January 2020 (UTC)

MAPEH
it refers to the structure of a musical composition 103.161.60.87 (talk) 13:08, 5 June 2023 (UTC)

Merge from Song structure
I'm agnostic as to what the resulting article title is, but it seems these articles overlap 90%-100% and are more or less synonyms or at the very least slightly different terms that could be explained in a single article on the topic. -- Beland (talk) 18:41, 19 July 2024 (UTC)

title: Talk:Musical form


text:
Tragic Kingdom

Tragic Kingdom is the third studio album by American rock band No Doubt, released on October 10, 1995, by Trauma Records and Interscope Records. It was the final album to feature original keyboardist Eric Stefani, who left the band in 1994. The album was produced by Matthew Wilder and recorded in 11 studios in the Greater Los Angeles area between March 1993 and October 1995. Between 1995 and 1998, seven singles were released from it, including "Just a Girl", which charted on the Billboard Hot 100 and the UK Singles Chart; and "Don't Speak", which topped the Billboard Hot 100 Airplay and reached the top five of many international charts.

The album received mostly positive reviews from music critics and became the band's most commercially successful album, reaching number one on the Billboard 200 as well as topping the charts in Canada and New Zealand. At the 39th Annual Grammy Awards, No Doubt earned nominations for Best New Artist and Best Rock Album. It has sold over 16 million copies worldwide, and was certified Diamond by the Recording Industry Association of America (RIAA) in the United States and Canada, platinum in the United Kingdom, and triple platinum in Australia. Tragic Kingdom helped to initiate the ska revival of the 1990s, persuading record labels to sign more ska bands and helping them to attract more mainstream attention. The album was ranked number 441 on Rolling Stone magazine's list of the 500 greatest albums of all time.

No Doubt embarked on a tour to promote the album. It was designed by Project X and lasted two and a half years. An early 1997 performance at the Arrowhead Pond of Anaheim was filmed and released as Live in the Tragic Kingdom on VHS and later DVD.

Background
No Doubt released their self-titled debut album in 1992, a year after being signed to Interscope. The album's pop-oriented sound sharply contrasted with grunge music, a genre which was very popular at the time in the United States. The album sold 30,000 copies; in the words of the program director of KROQ, a Los Angeles radio station on which it was one of the band's driving ambitions to be played, "it would take an act of God for this band to get on the radio." The band began work on their second album in 1993, but Interscope rejected most of the material, and paired the band with producer Matthew Wilder. Keyboardist Eric Stefani did not want to relinquish creative control to someone outside the band and eventually stopped recording and rehearsing. He encouraged other members of the band to write songs, but sometimes felt threatened when they did. Eric became increasingly depressed, and in September 1994, he stopped attending rehearsals, though they were usually held at his house. He soon left the band to pursue an animation career on the animated sitcom The Simpsons. Bassist Tony Kanal then ended his seven-year relationship with Gwen Stefani.

The band decided to produce their next album independently and recorded their second album, The Beacon Street Collection, in a homemade studio. No Doubt's first two singles were released for The Beacon Street Collection: "Squeal" and "Doghouse", under their own record label, Beacon Street Records. Despite limited availability, the album sold 100,000 copies in the year of its release. Their independence attracted Interscope's attention and ensured that the label would fund a third album.

Production
Tragic Kingdom was recorded in 11 studios in Los Angeles, starting in March 1993 and released in October 1995. During one of these recording sessions, the band was introduced to Paul Palmer, who had previously worked with Bush and was interested in working on No Doubt's new album. After mixing the first single with David J. Holman, "Just a Girl", Palmer and Holman went on to do the same to the rest of the record. He wanted to release the album on his own label, Trauma Records, which was already associated with Interscope, and succeeded in getting the contract.

The album is named after the nickname Dumont's seventh-grade teacher had for Disneyland, which is in Anaheim, California, where the band members grew up. The album photography and portraits were taken by photographer fine artist Daniel Arsenault. Gwen is featured in the foreground while the rest of the band members are standing in an orange grove in the background. Gwen pushed for Eric to be included on the album cover—a source of tension for the band—reasoning that although he had left the band, he had still contributed substantially to the album. Eric is seen near the back of the picture, looking away from the camera. The pictures on the cover and in the liner notes were taken on city streets in their native Orange County (namely Anaheim and City of Orange) and in orange groves. The red dress Gwen wears on the cover was loaned to the Hard Rock Cafe and was later displayed at the Fullerton Museum Center in an exhibit titled "The Orange Groove: Orange County's Rock n' Roll History". The dress, appraised as high as US$5,000, was stolen from the exhibit in January 2005.

Music and lyrics
Tragic Kingdom has been described as pop rock, alternative rock, ska punk, new wave, and pop punk. The album also uses elements of pop, funk,  punk,  dancehall, disco, third-wave ska, post-grunge, ska,  reggae, flamenco, and Tejano, among others.

Many of the lyrics on Tragic Kingdom were written by lead vocalist Gwen Stefani, and were about her experiences in life. Those from No Doubt and The Beacon Street Collection were written mainly by Eric Stefani, who left the band after Tragic Kingdom was finished. Therefore, the style of music changed from what the band had previously produced. Guitarist Tom Dumont explained the change in sound in an interview for Backstage Online:

Well, there is a reason that the sound of our music has changed, and it's not because we've sold out — easy for me to say. Eric, our keyboard player, used to write most of our songs. He was the main creative force in the band for many years. And at a certain point after that first album came out, he had this personal thing, like he didn't like touring, he didn't like all that stuff. He just liked to sit down and write songs. That's him. He's the artistic side, the total Mr. Creative. We have a simpler style. We're not quite genius like him, I think. This album was our first attempt. It was Gwen's first time really writing all the lyrics herself, so to me, it went the opposite from selling out — we have done something that is even more personal. In the past, Eric was writing songs about his life and having Gwen sing them. Now we have Gwen singing and writing about her own experiences. It makes it more natural. She's a singer, she should sing about herself or sing what she wants to sing. I think that is the main reason why our musical style has changed.

Singles
The first single released from Tragic Kingdom was "Just a Girl", which details Gwen Stefani's exasperation with female stereotypes and her father's concerned reaction to her driving home late from her boyfriend's house. It peaked at number 23 on the Billboard Hot 100 chart and number 10 on the Modern Rock Tracks chart. The song also charted on the UK Singles Chart, where its original release peaked at number 38 and its reissue at number three. The second single was "Spiderwebs", written about an uninterested woman who is trying to avoid the constant phone calls of a persistent man. It reached number five on the Billboard Modern Rock Tracks chart, number 11 on the Billboard Top 40 Mainstream chart, and number 16 on the UK Singles Chart.

The third single was "Don't Speak", a ballad about the breakup of Stefani and Kanal's relationship. It peaked at number one on the Billboard Hot 100 Airplay, and maintained that position for 16 consecutive weeks, a record at the time, although it was broken in 1998 by the Goo Goo Dolls' "Iris" with 18 weeks. The song was not eligible to chart on the Billboard Hot 100 because no commercial single was released, which was a requirement at the time. The song also peaked at number two on the Modern Rock Tracks chart, at number six on the Adult Contemporary chart, at number one on the Adult Top 40 chart, and at number nine on the Rhythmic Top 40 chart. The song also appeared on several international charts, reaching number one in Australia, Belgium, the Netherlands, New Zealand, Norway, Sweden, Switzerland, and the United Kingdom, number two in Austria and Germany, and number four in Finland and France.

"Excuse Me Mr." and "Sunday Morning" were released as the album's fourth and fifth singles, respectively. "Excuse Me Mr." reached number 17 on the Billboard Modern Rock Tracks chart and number 11 in New Zealand. "Sunday Morning" peaked at number 35 on the Billboard Top 40 Mainstream chart, number 21 in Australia, number 42 in New Zealand, and number 55 in Sweden. Composing the song began when Kanal was having a fight with Stefani, then his girlfriend, through the bathroom door of his parents' house in Yorba Linda, California. Stefani later changed the lyrics to discuss dealing with her breakup with Kanal. "Happy Now?" was released as the album's sixth single on September 23, 1997, but failed to chart anywhere. "Hey You!" was released as the seventh and final single from Tragic Kingdom; it peaked at number 51 on the Dutch Single Top 100. Despite being a Dutch-only single, a Sophie Muller-directed music video was filmed to promote the single.

Release and promotion
Tragic Kingdom was first released by Trauma and Interscope on October 10, 1995. To promote the album, Trauma launched a street campaign that targeted high school students and the skateboarding community. No Doubt performed on the Warped Tour, which was sponsored by several skateboarding companies, and at several skateboarding festivals. The album remained low on the Billboard 200 and did not enter the top 100 until February 1996, when it jumped 27 positions to number 89. Palmer attributed the jump to a Channel One News program that Stefani hosted in January 1996, which was broadcast in 12,000 classrooms, and the band's subsequent performance at a Blockbuster store in Fresno, California.

In May 1996, the band worked with HMV, MuchMusic, and the Universal Music Group to put on a global in-store promotion. The band performed and answered questions in MuchMusic's studios in Toronto, Ontario. The session was broadcast live to HMV stores worldwide and on a webcast so that fans could watch and ask the band questions through MuchMusic's VJs. Sales of Tragic Kingdom doubled the week after the event. The event's sponsors lobbied Guinness World Records to create a category for the largest virtual in-store promotion to recognize the event.

No Doubt embarked on the Tragic Kingdom Tour after the release of the album. It chose Project X, headed by Luc Lafortune and Michael Keeling, to design the stage. No Doubt suggested decorating the stage as a clearing in a forest. Project X created three anthropomorphic trees with glowing oranges. The show included clear and mylar confetti designed to look like rain. Lighting design was difficult because there were only four rehearsals, so the show was arranged to be flexible to allow for what Lafortune referred to as "a very kinetic performance". The band expected to tour for two months, but the tour ended up lasting two and a half years.

An early 1997 performance at the Arrowhead Pond of Anaheim was filmed and was released as Live in the Tragic Kingdom on VHS on November 11, 1997. It was re-released on November 25, 2003, on DVD as part of the box set Boom Box, which also contained The Singles 1992–2003, Everything in Time, and The Videos 1992–2003; and again on June 13, 2006, as a stand-alone DVD, containing bonus material of extra songs, a photo gallery, and an alternative version of "Don't Speak".

Critical reception
The album received mostly positive reviews from critics. David Fricke of Rolling Stone magazine gave a mostly positive review, describing Tragic Kingdom as "ear candy with good beats, not just bludgeon-by-numbers guitars" and its music as "a spry, white-suburban take on ska and Blondieesque pop". Fricke however described "Don't Speak" as "irritating swill" with "high-pitched rippling" from Gwen Stefani. In 2003, the album was ranked number 441 on Rolling Stone magazine's list of the 500 greatest albums of all time. Entertainment Weekly's David Browne attributed the album's sales to Gwen Stefani's "leggy, bleached-blond calling card" and concluded that "sex still sells". Browne, however, described the music as "a hefty chunk of new-wave party bounce and Chili Peppers-style white-boy funk, with dashes of reggae, squealing hair-metal guitar, disco, ska-band horns" and the band as sounding like "savvy, lounge-bred pros". Individual songs were singled out and commented on: "Just a Girl" was described as "a chirpy, ska-tinged bopper", "Don't Speak" as "an old-fangled power ballad", "Sixteen" as a "song of solidarity with misunderstood teenage girls", and "Spiderwebs" and "End It on This" as "[Stefani] acknowledg[ing] obsessions with losers and tr[ying] to break free."

Calling the album a marked improvement over "the diffuse, rambling songwriting of [No Doubt's] two previous CDs", Mike Boehm of the Los Angeles Times felt that on the album, "The band is bright, hard-hitting and kinetic, as sharp production captures the core, four-man instrumental team and adjunct horn section at their best". In a favorable review for The Village Voice, critic Chuck Eddy felt that although "[the album] turns pretentious ... No Doubt resurrects the exuberance new-wave guys lost when '80s indie labels and college radio conned them into settling for slam-pit fits and wallflower wallpaper". AllMusic called it "pure fun" and described the music as something "between '90s punk, third-wave ska, and pop sensibility" and a mix of "new wave melodicism, post-grunge rock, and West Coast sunshine", indicating the songs "Spiderwebs", "Just a Girl", and "Don't Speak" as "positively [ruling] the airwaves". Yahoo! Music reviewer Bill Holdship called the album a "phenomenon" containing "hit after hit", and describing "Spiderwebs" as "a terrific opener". Reviewer Robert Christgau called Stefani "hebephrenic" and the album "hyped up" and not "as songful as its fun-besotted partisans [claim]". At the 1997 Grammy Awards, No Doubt were nominated for Best New Artist and Best Rock Album.

In 2000, it was voted number 436 in Colin Larkin's All Time Top 1000 Albums, while in 2020, NME included it on its list of "The best new wave albums ever".

Commercial performance
After entering the Billboard 200 at number 175 in January 1996, Tragic Kingdom eventually reached number one in December 1996, with 229,000 copies sold, spending nine non-consecutive weeks atop the chart. It was listed second on the 1997 Billboard 200 year-end chart, behind the Spice Girls' Spice. On February 5, 1999, the Recording Industry Association of America (RIAA) certified the album diamond, and as of July 2012, it had sold 8,167,000 copies in the United States; it sold an additional 1.32 million copies through BMG Music Club. Tragic Kingdom topped the Canadian Albums Chart in December 1996, and it was certified diamond by the Canadian Recording Industry Association (CRIA) in August 1997. In Europe, the album topped the chart in Belgium, Finland, and Norway, while reaching the top five in Austria, Germany, the Netherlands, Sweden, Switzerland, and the United Kingdom, and the top 20 in France. By April 2004, the album had sold 16 million copies worldwide.

The commercial success of Tragic Kingdom prompted record labels to sign ska bands, and more independent labels released ska records and compilations. Save Ferris's guitarist and vocalist Brian Mashburn stated that No Doubt helped allow bands like his receive attention from the mainstream.

Track listing
All tracks produced by Matthew Wilder.

Personnel
Credits adapted from the liner notes of Tragic Kingdom.

No Doubt

 * Gwen Stefani – vocals
 * Tom Dumont – guitar
 * Tony Kanal – bass
 * Adrian Young – drums, percussion
 * Eric Stefani – piano, keyboards

Additional musicians

 * Phil Jordan – trumpet and flugelhorn
 * Gabrial McNair – trombone, additional percussion
 * Gerard Boisse – saxophone (tracks 5, 7, 14)
 * Stephen Perkins – steel drum (track 1)
 * Aloke Dasgupta – sitar (track 6)
 * Melissa Hasin – cello (tracks 8, 10)
 * Bill Bergman – saxophone (tracks 11, 12)
 * Les Lovitt – trumpet (tracks 11, 12)
 * Greg Smith – baritone saxophone (tracks 11, 12)
 * Nick Lane – trombone (tracks 11, 12)
 * Matthew Wilder – additional keyboards (tracks 3, 6)
 * Albhy Galuten – director of paradigm (track 5)

Technical

 * Matthew Wilder – production
 * Phil Kaffel – recording (tracks 3–10, 14)
 * George Landress – recording (tracks 3, 6, 7)
 * Matt Hyde – recording (tracks 1, 2, 13)
 * John "Tokes" Potoker – recording (tracks 11–13)
 * Ray Blair – recording (track 5)
 * David J. Holman – mixing at Cactus Studios (Hollywood)
 * Paul Palmer – mixing at Cactus Studios (Hollywood)
 * Robert Vosgien – mastering at CMS Digital (Pasadena)

Artwork

 * Morbido / Bizarrio – creative direction, design, digital imaging
 * Dan Arsenault – photography
 * Shelly Robertson – photography
 * Patrick Miller – photography

title: Tragic Kingdom


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title: User talk:Faxfox-321


text:
Don't Speak

"Don't Speak" is a song by American rock band No Doubt from their third studio album, Tragic Kingdom (1995). It was released in 1996 as the third single from Tragic Kingdom in the United States by Interscope Records. Lead singer Gwen Stefani and her brother Eric Stefani, former No Doubt member, wrote the song originally as a love song. The song went through several rewrites and new versions. Gwen modified it into a breakup song about her bandmate and ex-boyfriend Tony Kanal, shortly after he ended their seven-year relationship.

Despite the song's popularity and substantial airplay, "Don't Speak" did not chart on the US Billboard Hot 100 (as rules of the times required commercial singles for charting and one was not issued for the song), but it did reach number one on the Hot 100 Airplay chart for 16 weeks. Outside the United States, it topped the charts in Australia, Canada, Iceland, the Netherlands, New Zealand, the Republic of Ireland and the United Kingdom, becoming No Doubt's most successful international single. "Don't Speak" was nominated for Song of the Year and Best Pop Performance by a Duo or Group with Vocals at the 40th Grammy Awards.

"Don't Speak" was ranked at number 495 on Blender magazine's "The 500 Greatest Songs Since You Were Born". The song is a playable track in the 2009 video game Band Hero, and is also included as a downloadable song in 2008's Rock Band 2, as well as part of the No Doubt Track Pack for Guitar Hero III. The song has been sampled by multiple hip hop artists, including in Rakim's song "Dedicated" and Ice Cube's "War & Peace".

Background and composition
"Don't Speak" is an alternative rock   power ballad written by lead singer Gwen Stefani and her brother Eric Stefani, and produced by Matthew Wilder. It was originally a love song, but Stefani rewrote the lyrics almost completely after her breakup with the band's bass player Tony Kanal. According to her, "It used to be more upbeat, more of a Seventies rock-type thing. [When] Tony and I broke up... it turned into a sad song." A live version that exists from April 1994 shows off a bouncy tune that has the same skeleton as the released version, but not the same urgency. The band performed part of the original song on VH1 Storytellers on August 10, 2000.

The band's lead guitarist Tom Dumont said about the song's composition: "There's a lot of stories about that song, because that one unfolded over a longer period of time. Originally, Gwen's brother wrote most of that song, and then after we got at it as a band, Gwen changed the lyrics around to fit her life. Musically, we brought it to another level, but near the end we reworded it. There's an earlier version of the song where the verses are totally different, which is a really beautiful version and it's awesome but it's way more jazzy and really different. That song had a long incubation process."

Sheet music for "Don't Speak" shows the key of E ♭ major. A demo version also appeared on a demo CD, which was presented to Interscope Records prior to the release of Tragic Kingdom.

Critical reception
British magazine Music Week rated the song three out of five, writing that "this Californian quartet sound more like Swedish Eurovision hopefuls on this debut UK offering but, if radio bites, it could be a smash."

Chart performance
Upon release, "Don't Speak" immediately began to receive extensive airplay and it eventually became the most widely played song on American radio in 1996. It reached number one on Billboard's Hot 100 Airplay chart and maintained that position for 16 non-consecutive weeks, a record at the time. Despite its copious airplay, "Don't Speak" was not allowed to chart on the Billboard Hot 100 since no commercial single was released for it in the United States (a requirement for charting purposes at the time). Slate magazine music critic Chris Molanphy has stated that if the song had been eligible to chart, it almost certainly would have claimed the number one spot. An import CD did sell in the US, but this format was not allowed to chart either.

On other Billboard charts, "Don't Speak" stayed at number two on Modern Rock Tracks chart for five consecutive weeks. The song also proved to be a crossover hit, reaching number one on the Adult Top 40 chart for 15 consecutive weeks as well as numbers six and nine on the Adult Contemporary and Rhythmic charts, respectively. It was ultimately placed at number one on the Hot 100 Airplay year-end chart of 1997. Internationally, "Don't Speak" was also very successful. In February 1997, it peaked at number one in both the United Kingdom and Ireland for three weeks. Elsewhere in Europe, "Don't Speak" reached the top position in Belgium, the Netherlands, Norway, Sweden and Switzerland. Australia was another major music market where the song received widespread airplay, debuting at number one and maintaining the peak position for eight weeks.

Music video
The video was directed by Sophie Muller and it is the first of the long-time collaboration between the band and the director. Before the music starts, at the beginning of the music video, there is a scene of Kanal picking a rotten orange from a tree (these scenes are usually cut out when VH1 airs this video). The majority of the video for "Don't Speak" takes place on Stage 2 at Mack Sennett Studios in Silver Lake as the band plays. Other scenes tell the story of how the media mainly focused on Stefani while the band was always in the background. The second half of the video features snippets of live footage filmed during the band's performance with Dog Eat Dog and Goldfinger at the Roseland Ballroom in New York City on August 21, 1996. The video also features a short footage showing Dumont playing together with Foo Fighters's guitarist Pat Smear. The video ends with Kanal replacing the orange in the tree, which is actually footage of Kanal in reverse pulling the orange off.

Tensions in the band had been running high and they reportedly were on the verge of breaking up the day before they were scheduled to film the video. They decided to go ahead and film it as a form of "therapy".

The video won the award for Best Group Video and was nominated for Video of the Year at the 1997 MTV Video Music Awards. It has one billion views on YouTube as of May 2023, and 700 million of the views come from 2016, 2017, 2018 and 2019 alone. The video, now remastered in 4K, was uploaded on October 7, 2009.

There is an alternate version of the video showing just the live performance part. Both versions of the video are included on the DVD release The Videos 1992–2003 (2004).

Track listings
Australian, Japanese, and UK CD single
 * 1) "Don't Speak" – 4:23
 * 2) "Don't Speak" (alternate version) – 4:23 (*)
 * 3) "Hey You" (acoustic version) – 3:27 (*)
 * 4) "Greener Pastures" (from The Beacon Street Collection album) – 5:05

European CD single; UK 7-inch and cassette single
 * 1) "Don't Speak" – 4:23
 * 2) "Greener Pastures" (from The Beacon Street Collection album) – 5:05

(*) Recorded at York Street Studios, Auckland, New Zealand, in September 1996.

Cover versions

 * Niamh Perry covered the song during her time on I'd Do Anything in 2008.
 * In 2012, it was covered by various members of the Glee cast for the episode "The Break Up" before subsequently being released as a single.
 * Leela James covered "Don't Speak" on her album A Change Is Gonna Come.
 * In 2013, Jiordan Tolli performed the song on the fifth season of The X Factor Australia during week six. Her performance gained positive feedback from the judges.
 * Carly Rae Jepsen released a cover of the song recorded live at Electric Lady Studios in New York City as one of her Spotify Singles.
 * New Years Day released a cover of the song as a part of their 2018 EP "Diary Of A Creep"
 * In October 2020, Stefani performed a "countrified version" of Don't Speak as part of a skit on The Tonight Show Starring Jimmy Fallon where Fallon portrayed the character Buck Pinto promoting a fictitious album Gwen's Gone Country.
 * In 2022, Japanese rock band Coldrain released a cover of "Don't Speak" on their seventh studio album Nonnegative.
 * Indoor percussion ensemble Rhythm X performed an arrangement of “Don’t Speak” as part of their 2023 bronze medal show The Unspoken.

title: Don't Speak