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Aeolian mode

The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the piano, using only the white keys, it is the scale that starts with A and continues to the next A only striking white keys. Its ascending interval form consists of a key note, whole step, half step, whole step, whole step, half step, whole step, whole step. That means that, in A aeolian (or A minor), you would play A, move up a whole step (two piano keys) to B, move up a half step (one piano key) to C, then up a whole step to D, a whole step to E, a half step to F, a whole step to G, and a final whole step to a high A.

History
The word Aeolian, like the names for the other ancient Greek tonoi and harmoniai, is an ethnic designation: in this case, for the inhabitants of Aeolis (Αἰολίς)—the Aeolian Islands and adjacent coastal district of Asia Minor. In the music theory of ancient Greece, it was an alternative name (used by some later writers, such as Cleonides) for what Aristoxenus called the Low Lydian tonos (in the sense of a particular overall pitching of the musical system—not a scale), nine semitones higher than the lowest "position of the voice", which was called Hypodorian. In the mid-16th century, this name was given by Heinrich Glarean to his newly defined ninth mode, with the diatonic octave species of the natural notes extending one octave from A to A—corresponding to the modern natural minor scale. Up until this time, chant theory recognized eight musical modes: the relative natural scales in D, E, F and G, each with their authentic and plagal counterparts, and with the option of B♭ instead of B♮ in several modes.

In 1547, Heinrich Petri published Heinrich Glarean's Dodecachordon in Basel. His premise had as its central idea the existence of twelve diatonic modes rather than eight, including a separate pair of modes each on the finals A and C. Finals on these notes, as well as on B♮, had been recognized in chant theory at least since Hucbald in the early tenth century, but they were regarded as merely transpositions from the regular finals a fifth lower. In the eleventh century, Guido d'Arezzo, in chapter 8 of his Micrologus, designated these transposed finals A, B♮, and C as "affinals", and later still the term "confinal" was used in the same way. In 1525, Pietro Aaron was the first theorist to explain polyphonic modal usage in terms of the eightfold system, including these transpositions. As late as 1581, Illuminato Aiguino da Brescia published the most elaborate theory defending the eightfold system for polyphonic music against Glarean's innovations, in which he regarded the traditional plainchant modes 1 and 2 (Dorian and Hypodorian) at the affinal position (that is, with their finals on A instead of D) as a composite of species from two modes, which he described as "mixed modes". Glarean added Aeolian as the name of the new ninth mode: the relative natural mode in A with the perfect fifth as its dominant, reciting tone, reciting note, or tenor. The tenth mode, the plagal version of the Aeolian mode, Glarean called Hypoaeolian ("under Aeolian"), based on the same relative scale, but with the minor third as its tenor, and having a melodic range from a perfect fourth below the tonic to a perfect fifth above it.

Scholars for the past three centuries have regarded the modes added by Glarean as the basis of the minor/major division of classical European music, as homophonic music replaced Renaissance polyphony. Howard S Powers considers this to be an oversimplification, since the key of A minor is as closely related to the old transposed modes 1 and 2 (Dorian and Hypodorian) with finals on A—as well as to mode 3 (Phrygian)—as it is to Glarean's Aeolian.

In modern usage, the Aeolian mode is the sixth mode of the major scale and has the following formula:

 * 1, 2, ♭3, 4, 5, ♭6, ♭7, 8

The Aeolian mode is the sixth mode of the major scale, that is, it is formed by starting on the sixth degree (submediant) of the major scale. For example, if the Aeolian mode is used in its all-white-note pitch based on A, this would be an A-minor triad, which would be the submediant in the relative major key of C major.

Aeolian harmony

Aeolian harmony is harmony or chord progression created from chords of the Aeolian mode. Commonly known as the "natural minor" scale, it allows for the construction of the following triads (three note chords built from major or minor thirds), in popular music symbols: i, ♭III, iv, v, ♭VI, and ♭VII. The scale also produces ii, which is avoided since it is diminished. The leading-tone and major V which contains it are also not used, as they are not part of the Aeolian mode (natural minor scale). However, Aeolian harmony may be used with mode mixture.

For example, ♭VII is a major chord built on the seventh scale degree, indicated by capital Roman numerals for seven.

There are common subsets including i–♭VII–♭VI, i–iv–v and blues minor pentatonic derived chord sequences such as I–♭III–IV, I–IV, ♭VII (The verse of "I'm Your Man"). All these lack perfect cadences (V–I), and may be thought of as derived from rewrite rules using recursive fourth structures (repeated progression by perfect fourth, see circle progression). Middleton suggests of modal and fourth-oriented structures that, rather than being, "distortions or surface transformations of Schenker's favoured V–I kernel, it is more likely that both are branches of a deeper principle, that of tonic/not-tonic differentiation."

Songs that use Aeolian mode
The Aeolian mode is identical with the natural minor scale. Thus, it is ubiquitous in minor-key music. The following is a list of some examples that are distinguishable from ordinary minor tonality, which also uses the melodic minor scale and the harmonic minor scale as required.

 * Traditional – "God Rest You Merry, Gentlemen"
 * Bob Dylan – "All Along the Watchtower"
 * R.E.M. – "Losing My Religion"
 * Phil Collins – "In the Air Tonight"
 * Alter Bridge – "Blackbird"
 * Fleetwood Mac – "Isn't It Midnight"
 * Pink Floyd – "Shine on you Crazy Diamond"
 * Dido – "White Flag"
 * Radiohead – "Street Spirit"
 * Red Hot Chili Peppers – "Californication"

title: Aeolian mode


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Talk:The Big Guy and Rusty the Boy Robot

Untitled
There should probably be a link to Animated series somewhere on this page, not sure where however.

Also I think there should be a spoiler warning RE: the discussion of episode contents

I propose changing this page to "Big Guy and Rusty the Boy Robot (TV series)" and transferring the comic book information to a new page "Big Guy and Rusty the Boy Robot (comics)" If this change is to be made, I am unsure of the best way to handle the fact that numerous other pages currently link to this page Mainehaven 13:48, 27 April 2007 (UTC)

YouTube links
This article is one of thousands on Wikipedia that have a link to YouTube in it. Based on the External links policy, most of these should probably be removed. I'm putting this message here, on this talk page, to request the regular editors take a look at the link and make sure it doesn't violate policy. In short: 1. 99% of the time YouTube should not be used as a source. 2. We must not link to material that violates someones copyright. If you are not sure if the link on this article should be removed or you would like to help spread this message contact us on this page. Thanks, ---J.S (t|c) 04:54, 10 November 2006 (UTC)

WikiProject Comics B-Class Assesment required
This article needs the B-Class checklist filled in to remain a B-Class article for the Comics WikiProject. If the checklist is not filled in by 7th August this article will be re-assessed as C-Class. The checklist should be filled out referencing the guidance given at Version 1.0 Editorial Team/Assessment/B-Class criteria. For further details please contact the Comics WikiProject. Comics-awb (talk) 15:39, 31 July 2008 (UTC)

Astro Boy and Alternative Universe Mention?
I am wondering if it's worth mentioning in this entry that Rusty appears to be a nod to Osamu Tezuka's "Astro Boy", as well as the fact that the universe the robots are from is a parallel one to the one Martha Washington is from, only in Big Guy and Rusty's universe, there is a sort of "atomic steampunk" thing going on. --Radical_Mallard) 5:46 PM (EST), 13 December 2008

C-Class rated for Comics Project
As this B-Class article has yet to receive a review, it has been rated as C-Class. If you disagree and would like to request an assesment, please visit WikiProject_Comics/Assessment and list the article. Hiding T 14:53, 12 February 2009 (UTC)

Sin City?
This article claims that Big Guy and Rusty made appearance in the last Sin City book. Which book? Hell and Back? And in what context did they appear?JFP (talk) 20:42, 18 February 2011 (UTC)--JFP (talk) 20:42, 18 February 2011 (UTC)

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Phrygian mode

The Phrygian mode (pronounced ) can refer to three different musical modes: the ancient Greek tonos or harmonia, sometimes called Phrygian, formed on a particular set of octave species or scales; the medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter.

Ancient Greek Phrygian
The octave species (scale) underlying the ancient-Greek Phrygian tonos (in its diatonic genus) corresponds to the medieval and modern Dorian mode. The terminology is based on the Elements by Aristoxenos (fl. c. 335), a disciple of Aristotle. The Phrygian tonos or harmonia is named after the ancient kingdom of Phrygia in Anatolia.

In Greek music theory, the harmonia given this name was based on a tonos, in turn based on a scale or octave species built from a tetrachord which, in its diatonic genus, consisted of a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone.

In the chromatic genus, this is a minor third followed by two semitones.

In the enharmonic genus, it is a major third and two quarter tones.

A diatonic-genus octave species built upon D is roughly equivalent to playing all the white notes on a piano keyboard from D to D: This scale, combined with a set of characteristic melodic behaviours and associated ethoi, constituted the harmonia which was given the ethnic name "Phrygian", after the "unbounded, ecstatic peoples of the wild, mountainous regions of the Anatolian highlands". This ethnic name was also confusingly applied by theorists such as Cleonides to one of thirteen chromatic transposition levels, regardless of the intervallic makeup of the scale.

Since the Renaissance, music theorists have called this same sequence (on a diatonic scale) the "Dorian" mode, due to a mistake interpreting Greek (it is different from the Greek mode called "Dorian").

Medieval Phrygian mode
The early Catholic Church developed a system of eight musical modes that medieval music scholars gave names drawn from the ones used to describe the ancient Greek harmoniai. The name "Phrygian" was applied to the third of these eight church modes, the authentic mode on E, described as the diatonic octave extending from E to the E an octave higher and divided at B, therefore beginning with a semitone-tone-tone-tone pentachord, followed by a semitone-tone-tone tetrachord:

The ambitus of this mode extended one tone lower, to D. The sixth degree, C, which is the tenor of the corresponding third psalm tone, was regarded by most theorists as the most important note after the final, though the fifteenth-century theorist Johannes Tinctoris implied that the fourth degree, A, could be so regarded instead.

Placing the two tetrachords together, and the single tone at bottom of the scale produces the Hypophrygian mode (below Phrygian):

Modern Phrygian mode
In modern western music (from the 18th century onward), the Phrygian mode is related to the modern natural minor scale, also known as the Aeolian mode, but with the second scale degree lowered by a semitone, making it a minor second above the tonic, rather than a major second.

The following is the Phrygian mode starting on E, or E Phrygian, with corresponding tonal scale degrees illustrating how the modern major mode and natural minor mode can be altered to produce the Phrygian mode:
 * {| style="text-align:center" cellpadding="3em"

 * + E Phrygian
 * Mode: || E || F || G || A || B || C || D || E
 * Major: || 1 || ♭2 || ♭3 || 4 || 5 || ♭6 || ♭7 || 1
 * Minor: || 1 || ♭2 || 3 || 4 || 5 || 6 || 7 || 1
 * }
 * Minor: || 1 || ♭2 || 3 || 4 || 5 || 6 || 7 || 1
 * }

Therefore, the Phrygian mode consists of: root, minor second, minor third, perfect fourth, perfect fifth, minor sixth, minor seventh, and octave. Alternatively, it can be written as the pattern

 * half, whole, whole, whole, half, whole, whole

In contemporary jazz, the Phrygian mode is used over chords and sonorities built on the mode, such as the sus4(♭9) chord (see Suspended chord), which is sometimes called a Phrygian suspended chord. For example, a soloist might play an E Phrygian over an Esus4(♭9) chord (E–A–B–D–F).

Phrygian dominant scale
A Phrygian dominant scale is produced by raising the third scale degree of the mode:

 * {| style="text-align:center" cellpadding="3em"

 * + E Phrygian dominant
 * Mode: || E || F || G♯ || A || B || C || D || E
 * Major: || 1 || ♭2 ||3 || 4 || 5 || ♭6 || ♭7 || 1
 * Minor: || 1 || ♭2 || ♯3 || 4 || 5 || 6 || 7 || 1
 * }
 * Minor: || 1 || ♭2 || ♯3 || 4 || 5 || 6 || 7 || 1
 * }

The Phrygian dominant is also known as the Spanish gypsy scale, because it resembles the scales found in flamenco and also the Berber rhythms; it is the fifth mode of the harmonic minor scale. Flamenco music uses the Phrygian scale together with a modified scale from the Arab maqām Ḥijāzī (like the Phrygian dominant but with a major sixth scale degree), and a bimodal configuration using both major and minor second and third scale degrees.

Ancient Greek

 * The First Delphic Hymn, written in 128 BC by the Athenian composer Limenius, is in the Phrygian and Hyperphrygian tonoi, with much variation.
 * The Seikilos epitaph (1st century AD) is in the Phrygian species (diatonic genus), in the Iastian (or low Phrygian) transposition.

Medieval and Renaissance

 * Gregorian chant, Tristes erant apostoli, version in the Vesperale Romanum, originally Ambrosian chant.
 * The Roman chant variant of the Requiem introit "Rogamus te" is in the (authentic) Phrygian mode, or 3rd tone.
 * Orlando di Lasso's (d. 1594) motet In me transierunt.
 * Giovanni Pierluigi da Palestrina's (d. 1594) motet Congratulamini mihi.

Baroque

 * Johann Sebastian Bach keeps in his cantatas the Phrygian mode of some original chorale melodies, such as Luther's "Es woll uns Gott genädig sein" on a melody by Matthias Greitter, used twice in Die Himmel erzählen die Ehre Gottes, BWV 76 (1723)
 * Heinrich Schütz's Johannes-Passion (1666) is in the Phrygian mode
 * Dieterich Buxtehude's (d. 1707) Prelude in A minor, BuxWV 152, (labeled Phrygisch in the BuxWV catalog)

Romantic

 * Johannes Brahms:
 * Symphony No. 4, second movement.
 * Anton Bruckner:
 * Ave Regina caelorum, WAB 8 (1885–88).
 * Pange lingua, WAB 33 (second setting, 1868).
 * Symphony no. 3, passages in the third (scherzo) and fourth movements.
 * Symphony no. 4 (third version, 1880), Finale.
 * Symphony no. 6, first, third (scherzo), and fourth movements.
 * Symphony no. 7, first movement.
 * Symphony no. 8, first and fourth movements.
 * Tota pulchra es, WAB 46 (1878).
 * Vexilla regis, WAB 51 (1892).
 * Isaac Albéniz' Rumores de la Caleta, Op. 71, No. 6
 * Ralph Vaughan Williams' Fantasia on a Theme by Thomas Tallis, based on Thomas Tallis's 1567 setting of Psalm 2, "Why fum'th in sight".

Contemporary classical music

 * John Coolidge Adams, Phrygian Gates
 * Samuel Barber:
 * Adagio for Strings, op. 11
 * "I Hear an Army", from Three Songs, op. 10
 * Philip Glass, the final aria from Satyagraha
 * Julian Cochran, Prelude No. 14 uses the Phrygian scale throughout the work.

Film music

 * Howard Shore, "Prologue" accompanying the opening sequence of the film, though the second half of the melody contains an A natural, which in the key of the piece makes it Phrygian Dominant. The Lord of the Rings: The Fellowship of the Ring.

Jazz

 * "Solea" by Gil Evans from Sketches of Spain (1960).
 * "Infant Eyes" by Wayne Shorter from Speak No Evil (1966)
 * "After the Rain" by John Coltrane from Impressions (1963)

Rock
"In practical terms it should be said that few rock songs that use modes such as the phrygian, Lydian, or locrian actually maintain a harmony rigorously fixed on them. What usually happens is that the scale is harmonized in [chords with perfect] fifths and the riffs are then played [over] those [chords]."

 * "Symphony of Destruction" by Megadeth
 * "Remember Tomorrow" by Iron Maiden
 * "Wherever I May Roam" by Metallica
 * "War" by Joe Satriani
 * "Sails of Charon" by Scorpions

title: Phrygian mode


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Eleonora Duse

Eleonora Giulia Amalia Duse (, ; 3 October 1858 – 21 April 1924), often known simply as Duse, was an Italian actress, rated by many as the greatest of her time. She performed in many countries, notably in the plays of Gabriele D'Annunzio and Henrik Ibsen. Duse achieved a unique power of conviction and verity on the stage through intense absorption in the character, "eliminating the self" as she put it, and letting the qualities emerge from within, not imposed through artifice.

Early life
Duse was born in Vigevano, Lombardy, Austrian Empire, in 1858 to Alessandro Vincenzo Duse (1820–1892) and Angelica Cappelletto (1833–1906). Lombardy would be taken from Austrian control the year after her birth by forces under the Kingdom of Sardinia, and would form part of the new Kingdom of Italy when she was about 3. Venice and some surrounding areas would remain part of the Austrian Empire until she was about 8.

Both her father and her grandfather, Luigi, were actors from Chioggia, near Venice, and she joined the troupe at age four. Due to poverty, she initially worked continually, traveling from city to city with whichever troupe her family was currently engaged. She came to fame in Italian versions of roles made famous by Sarah Bernhardt, such as La Dame aux camélias.

Career
She gained her first major success in Europe, then toured South America, Russia and the United States in 1893; beginning the tours as a virtual unknown but leaving in her wake a general recognition of her genius. While she made her career and fame performing in the theatrical "warhorses" of her day, she is remembered for her association with the plays of Gabriele D'Annunzio and Henrik Ibsen.

In 1879, while in Naples, she met journalist Martino Cafiero, and became involved in a love affair with him. However, less than a year later, while she was in mid-pregnancy, he left her. The baby did not survive birth, and shortly thereafter Cafiero died as well. Duse then joined Cesare Rossi's theater company, and met actor Tebaldo Checchi (pseudonym of Tebaldo Marchetti). The two married in 1881. By 1882, the couple had one daughter, Enrichetta Angelica, but separated after Duse became involved with another actor, Flavio Andò. By this time, her career was in full swing and her popularity was high in 1885. She travelled on tour to South America, and upon her return a year later she formed her own company, meaning that she would assume the additional responsibilities of both manager and director.

Between 1887 and 1894, she had an affair with the Italian poet Arrigo Boito, perhaps best remembered as Verdi's librettist. Their relationship was carried out in a highly clandestine manner, presumably because of Boito's many aristocratic friends and acquaintances. (Despite this, their voluminous correspondence over the years survives.) In later years the two remained on good terms until his death in 1918.

In 1895 she met Gabriele D'Annunzio (1863–1938), who was five years her junior, and the two became involved romantically as well as collaborating professionally. Gabriele d'Annunzio wrote four plays for her. In contrast to her relations with Boito, her association with d'Annunzio was widely recognized. When d'Annunzio gave the lead for the premiere of the play La città morta to Sarah Bernhardt instead of Duse, there was a furious fight, and Duse ended her affair with him.

In contrast to Bernhardt's outgoing personality, which thrived on publicity, Duse was introverted and private, rarely giving interviews. She found public appearances to be a distraction, and once remarked to a journalist that away from the stage, "I do not exist". Bernhardt and Duse were unspoken rivals for many years. Comparisons of Duse to Bernhardt with regard to their acting talent were common, with warring factions arguing over their relative merits. Those who thought Duse the greater artist included George Bernard Shaw, who saw both actresses in London within the span of a few days, in the same play. Shaw gave his nod to Duse and defended his choice in an adamant oratory quoted by biographer Frances Winwar. Dame Ellen Terry, who knew them both, observed, "How futile it is to make comparisons! Better far to thank heaven for both these women."

In 1896, Duse completed a triumphant tour of the United States; in Washington President Grover Cleveland and his wife attended every performance. Mrs. Cleveland shocked Washington society by giving, in Duse's honor, the first-ever White House tea held for an actress. In 1909, Duse retired from acting.

Other relationships
Around the time of Duse's retirement, she met and became involved in an affair with Italian feminist Lina Poletti, a former lover of writer Sibilla Aleramo. The two lived together in Florence, Italy, for two years before ending the relationship. She is reported to have had a relationship with Russian count and painter Alexander Wolkoff and lived in his palace in Venice, now known as Palazzo Barbaro Wolkoff.

Later life
Duse suffered from ill health (largely pulmonary) throughout most of her adult life, and the many years of touring had taken their toll. She retired from acting in 1909, but returned to the stage in 1921 in a series of engagements in both Europe and America.

During this interval, in 1916, she made one film, Cenere ("Ashes"), prints of which still survive. She was very disappointed in her work in the film, and later wrote to the French singer Yvette Guilbert with the request not to see "that stupid thing, because you'll find nothing, or almost nothing, of me in that film". There was also a certain amount of professional correspondence between Duse and D. W. Griffith, though ultimately nothing came of this.

On 30 July 1923, Duse became the first woman (and Italian) to be featured on the cover of the nascent magazine Time.

Death
Duse died of pneumonia at the age of 65 in Pittsburgh in Suite 524 of the Hotel Schenley while on the eastward return leg of a tour of the United States (the Hotel Schenley is now the William Pitt Union at the University of Pittsburgh). A bronze plaque in the lobby commemorates her death. After being moved to New York City, where she lay in state for four days before her funeral service, her body was returned to Italy (where another service was performed).

She is buried in Asolo – where she had made her home for the last four years of her life – at the cemetery of Sant' Anna. Her daughter Enrichetta donated some of her mother's items to the state in 1933. These items are preserved in Asolo in the Museo Civico. In 1968 her granddaughter Eleonora Ilaria Bullough (aka Mary of St Mark as a Dominican nun) donated the last items to the Giorgio Cini Foundation in Venice.

Acting philosophy
Duse was cryptic regarding her acting style. She claimed not to have a technique of any sort, and scorned at efforts to put her art into a science. What is known is that she had a highly heterodox, almost religious philosophy of acting, seeking to "eliminate the self" and become the characters she portrayed. It is a common misconception that her acting was purely intuitive and spontaneous, in reality she labored over her craft.

Duse wore little makeup but "made herself up morally. In other words, she allowed the inner compulsions, grief and joys of her characters to use her body as their medium for expression, often to the detriment of her health."

According to the Encyclopædia Britannica, "her art depended on intense naturalness rather than stage effect, sympathetic force and poignant intellectuality rather than the theatrical emotionalism of the French tradition."

Over the course of her career, Duse became well-known and respected for her assistance to young actors and actresses during the early stages of their careers. Among diverse artistic geniuses who acknowledged being inspired by Duse are modern dance pioneer Martha Graham and Imagist poetry pioneer Amy Lowell. She was great friends with actress Eva Le Gallienne, who wrote her biography.

Recognition
Duse was the subject of the 1947 biographical film Eleonora Duse. The Teatro Duse in Bologna is named for her. On the occasion of the celebrations in Asolo for the 100th anniversary of Duse's death, an entire theatrical season was dedicated.

title: Eleonora Duse


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Granite Mountains (Wyoming)

The Granite Mountains are a short subrange of the Rocky Mountains in central Wyoming of the United States. The range runs approximately 100 mi (160 km) E-W along the south side of the Shoshone Basin, and north of the Sweetwater River, in eastern Fremont County and western Natrona County. The highest point is McIntosh Peak at 8058 ft. Independence Rock is at the east end of the range, and Split Rock was a prominent landmark on the Oregon Trail. The region is rich in uranium and other mineral deposits.

title: Granite Mountains (Wyoming)


text:
Spanish guitar

Spanish guitar may refer to:
 * Classical guitar, a six-stringed guitar with nylon strings
 * Flamenco guitar, similar to a classical guitar but commonly found in Spain and Latin America
 * "Spanish Guitar" (song), a 2000 song by Toni Braxton
 * "Spanish Guitar", a 1971 song by Gene Clark from his album White Light
 * "Spanish Guitar", a 1978 song by Gary Moore from his album Back on the Streets
 * Duets with Spanish Guitar, a 1958 album by Laurindo Almeida with Salli Terri and Martin Ruderman

title: Spanish guitar


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Fuse (Joe Henry album)

Fuse is an album by Joe Henry, released in 1999.

Production
The album was co-produced by T Bone Burnett, and partly mixed by Daniel Lanois. Henry initially attempted to have Dr. Dre produce Fuse.

Critical reception
The A.V. Club wrote that the album "continues to develop Trampoline's spooky style of bluesy Americana." The Chicago Reader wrote that "the entire album exudes a kind of sweet, danceable darkness, with sparse drum loops, moody bass lines, and delicate guitar and synthesizer washes."

Track listing
All songs written by Joe Henry except where noted
 * 1) "Monkey" – 4:01
 * 2) "Angels" – 5:42
 * 3) "Fuse" – 4:18
 * 4) "Skin and Teeth" – 3:52
 * 5) "Fat" – 3:25
 * 6) "Want Too Much" – 5:44
 * 7) "Curt Flood" – 3:49
 * 8) "Like She Was a Hammer" – 4:27
 * 9) "Great Lake" – 5:31
 * 10) "Beautiful Hat" - 3:57
 * 11) "We'll Meet Again" (Ross Parker, Hughie Charles) – 4:25

Personnel

 * Joe Henry - vocals, guitar, organ, bass
 * Jakob Dylan - vocals
 * Jean McClain - vocals
 * Jamie Muhoberac - piano, organ
 * Dave Palmer - piano
 * Randy Jacobs - bass, guitar
 * Chris Whitley - guitar (4, 8)
 * Anthony Wilson - guitar
 * Jennifer Condos - bass
 * Daniel Lanois - bass, claves
 * Greg Richling - bass
 * Freddie "Ready Freddie" Washington - bass
 * Carla Azar - drums
 * Curt Bisquera - drums
 * The Dirty Dozen Brass Band (10)
 * Revert Andrews - trombone
 * Gregory Davis - trumpet
 * Brian Swartz - trumpet
 * Efrem Towns - trumpet
 * Kevin Harris - saxophone
 * K.R. King - saxophone
 * Roger Lewis - saxophone

title: Fuse (Joe Henry album)


text:
Talk:Propeller head

Isn't the correct spelling "propeller" rather than "propellor"? heidimo 03:04, 13 Mar 2004 (UTC)

title: Talk:Propeller head


text:
Kirtan

Kirtana (कीर्तन; ), also rendered as Kirtan or Keertan, is a Sanskrit word that means "narrating, reciting, telling, describing" of an idea or story, specifically in Indian religions. It also refers to a genre of religious performance arts, connoting a musical form of narration, shared recitation, or devotional singing, particularly of spiritual or religious ideas, native to the Indian subcontinent. A person performing kirtan is known as a kirtankara (or kirtankar, कीर्तनकार).

With roots in the Vedic anukirtana tradition, a kirtan is a call-and-response or antiphonal style song or chant, set to music, wherein multiple singers recite the names of a deity, describe a legend, express loving devotion to a deity, or discuss spiritual ideas. It may include dancing or direct expression of bhavas (emotive states) by the singer. Many kirtan performances are structured to engage the audience where they either repeat the chant, or reply to the call of the singer.

A kirtan performance includes an accompaniment of regionally popular musical instruments, especially Indian instruments like the Indian harmonium, the veena, sitar, or ektara (strings), the tabla (one-sided drums), the mrdanga or pakhawaj (two-sided drum), flute (woodwinds), and karatalas or talas (cymbals). It is a major practice in Hinduism, Vaisnava devotionalism, Sikhism, the Sant traditions, and some forms of Buddhism, as well as other religious groups. Kirtan is sometimes accompanied by story-telling and acting. Texts typically cover religious, mythological or social subjects.

Etymology and nomenclature
The term kirtana (Devanagari: कीर्तन) generally means: "telling, narrating, describing, enumerating, reporting". The Sanskrit root of kirtan is kirt (कीर्त्). The term is found in the Samhitas, the Brahmanas and other Vedic literature, as well as the Vedanga and Sutras literature. Kirt, according to Monier-Williams, contextually means, "to mention, make mention of, tell, name, call, recite, repeat, relate, declare, communicate, commemorate, celebrate, praise, glorify".

The term kirtan is found as anukirtan (or anukrti, anukarana, literally "re-telling") in the context of a Yajna (Vedic ritual offering), which meant a dual recitation of Vedic hymns in a dialogue style which was part of a ritual dramatic performance.

The Sanskrit verses in the Shatapatha Brahmana (chapter 13.2, c. 800–700 BCE), for example, are written in the form of a riddle play between two actors. According to Louis Renou, in this text, "the Vedic sacrifice (yajna) is presented as a kind of drama, with its actors, its dialogues, its portion to be set to music, its interludes, and its climaxes."

Generally speaking, kirtan, sometimes referred to as sankirtana (literally, "collective performance"), is a kind of collective chanting or musical conversation. As a genre of religious performance art, it developed in the Indian bhakti movements as a devotional religious practice (i.e. bhakti yoga). However, it is a heterogeneous practice that varies regionally according to Christian Novetzke, and includes varying mixture of different musical instruments, dance, oration, theatre, audience participation and moral narration.

In Maharashtra for example, states Novetzke, a kirtan is a call-and-response style performance, ranging from devotional dancing and singing by a lead singer and audience, to an "intricate scholarly treatise, a social commentary or a philosophical/linguistic exposition", that includes narration, allegory, humor, erudition and entertainment – all an aesthetic part of ranga (beauty, color) of the kirtan.

Kirtan is locally known by various names, including: Abhang, Samaj Gayan, Haveli Sangeet, Vishnupad, Harikatha. Vaishnava temples in Assam and northeastern Indian have large worship halls named kirtan ghar – a name derived from their being used for congregational singing and performance arts. Kirtan is also sometimes called harinam (Sanskrit: harināma) in some Vaishnava traditions, which means "[chanting] the names of God (Hari)."

In regional languages, kirtan is scripted as কীর্তন; Nepali and कीर्तन; ; कीर्तन; ਕੀਰਤਨ / کیرتن; Sindhi: ڪِيرَتَنُ / कीरतनु; கீர்த்தனை; కీర్తన.

Bhajan and kirtan
Kirtans and bhajans are closely related, with both sharing common aims (devotion, faith, spiritual uplift and liberation), subjects, and musical themes. A bhajan is more free form, and can be singular melody that is performed by a single singer with or without one and more musical instruments. Kirtan, in contrast, generally differs in being a group performance, typically with a call and response or antiphonal musical structure, similar to an intimate conversation or gentle sharing of ideas. Kirtan also generally includes two or more musical instruments, and has roots in Sanskrit prosody and poetic meter.

Many kirtans are structured for more audience participation, where the singer calls a spiritual chant, a hymn or a devotional theme, the audience then responds back by repeating the chant or by chanting back a reply of their shared beliefs.

Hindu kirtan

Musical recitation of hymns, mantras and the praise of deities has ancient roots in Hinduism, and may be found in the Vedic literature. A key feature of popular Hindu kirtan is that it is mostly sung in vernacular languages like Hindi and Bengali (unlike Vedic chanting, which is done in Sanskrit), though this may include Sanskrit mantras. This style of vernacular singing became popular during the medieval era (1300–1550) and the early modern period (1550–1750).

Hindu kirtan is influenced by the practices and teachings of the various devotional Bhakti movements, who emphasized emotional loving relationship with a personal God, and also by the figures of the Sant tradition (like Kabir, Ravidas, and Namdev). Beginning with the Tamil Alvars and Nayanars in around the 6th century, bhakti spread outside Tamilakam after the 12th century. The foundations of the kirtan traditions are also found in works like the Bhagavad-gita which describes the bhakti marga (path of loving devotion to god) as a means to moksha. References to kirtan as a musical recitation are also found in the Bhagavata Purana, an important Vaishnava text. The story of Prahlada in the Avatara Katha mentions kirtan as one of nine forms of bhakti.

Bhakti poets and musicians like Jayadeva (the 12th century author of the Sanskrit Gita Govinda) were influential in the development of Indian devotional music genres like kirtan (which, though written in the vernacular, often imitated the style of Sanskrit bhakti poems). Jayadeva was a great classical composer and wrote devotional music in the dhruvapada style (which is similar to dhrupad).

There are various forms of Hindu kirtan, including northern traditions (often influenced by Hindustani music and Bengali music) and southern (Carnatic) traditions. Speaking of the Bengali kirtan tradition, Peggy Holroyde writes that "kirtans do not strictly adhere to the raga scale and they incorporate a chorus led by a leader. Much of the musical value is subordinated to the sentimental emotion expressed in the words of the song." Regarding the southern (Carnatic) traditions of kirtan, they are generally "less ornate" than northern kirtan, making less use of "grace, trills and arabesques", but they are also much more structured musical forms.

While kirtan is influenced by the practice of Indian classical music, they are much simpler than the complicated instrumental and vocal compositions of Indian classical ensembles. The focus of kirtan is on the lyrics or mantras, which deliver religious messages and stories. Guy Beck, writing on the northern kirtan tradition, states that "melody and rhythm are important, but devotional singers normally deplore musical virtuosity for its own sake, in contrast with the classical Hindustani and Karnatak traditions, which emphasize improvisation and technical mastery. A large variety of musical styles and forms exist, and no single formula has ever been mandated by custom to the exclusion of others. Musicians and religious leaders thus freely compose religious and devotional songs." However, some kirtan styles are highly refined and technical, like dhrupad and Bengali padavali kirtan, which is considered by Bengalis to be the most cultured religious music.

Regarding the arrangement, most kirtan performances are done by a group, with a choir led by a lead singer sitting on the floor, though sometimes, kirtan is done by standing group in temples, religious processions, or on the street.

Generally speaking, the performance may begin with recitations of Sanskrit mantras, like Om, names of deities, and may also include some Sanskrit prayers. Then the lead singer sings a song or a mantra while accompanying himself with a versatile instrument (like a harmonium or a sarangi), and the chorus (which may include the audience as well) repeats the lines and provides musical accompaniment and keeps the rhythm (with percussion instruments like the tabla). Sometimes the lead may have some solo lines, and the chorus can accompany them with a refrain. The performance may be punctuated by short sermons or stories. The song repertoire is generally drawn from medieval authors, but may include more recent additions. In temples, a formal worship ceremony (arati) may also follow.

Northern Vaishnava kirtan

One important promoter of Vaishnava kirtan in Bengal was Chandidas (1339–1399), who introduced Vaishnava kirtan in Bengali and was very influential on later Vaishnava northern kirtan. Chandidas was instrumental in the Bengali Vaiṣṇava Sahajiyā tradition, a form of tantric Vaishnavism focused on Radha and Krishna which flourished in Bengal, Bihar, Orissa, and Assam. The Vaiṣṇava Sahajiyā tradition produced many great Bengali language poets and singers.

The 16th century CE saw an explosion of Vaishnava kirtan in the north. During this time, Chaitanya Mahaprabhu popularized Krishna based kirtan in Bengal, promoting and teaching the singing of Vaishnava songs which celebrate the love between Radha and Krishna, understood as being the love between the soul and God. Chaitanya is also known as the father of padavali singing, a highly developed and complex musical tradition.

About the same time, Shankaradeva (1449–1568) in Assam inspired the Ekasarana Dharma bhakti movement that emphasized Advaita Vedanta philosophy within the Vaishnava framework of the Bhagavata Purana. Shankaradeva helped establish Sattras (Hindu temples and monasteries) with kirtan-ghar (also called Namghar), for Krishnaite singing and dramatic performance.

Meanwhile, in the Braj region, Vallabha acharya launched a devotional movement which focused on kirtan songs about baby Krishna and his early childhood. One ofshoot of this tradition is the Radha-centered Radha-vallabha Sampradaya, whose singing style known as Haveli Sangeet is based on Hindustani classical forms like "dhrupad" and "dhamar". Another kirtan style shared by the Braj traditions like the Vallabha, Haridasi, and Nimbarka is samaj gayan, which is a kind of collective singing.

Kirtan as a genre of religious music has been a major part of the Vaishnavism tradition, particularly starting with the Alvars of Sri Vaishnavism sub-tradition between the 7th to 10th century CE. After the 13th-century, two subgenres of kirtan emerged in Vaishnavism, namely the Nama-kirtana wherein the different names or aspects of god (a Vishnu avatar) are extolled, and the Lila- kirtana wherein the deity's life and legends are narrated.

In the modern era, north Indian styles of kirtan are widely practiced in the modernist movements of Swami Sivananda, Anandamayi Ma, Sri Aurobindo, and A. C. Bhaktivedanta Swami Prabhupada.

Carnatic traditions
In Andhra Pradesh, the compositions of the Tallapaka Annamacharya, a 14th-century Vaishnava mystic, represent the earliest known southern music called "sankirtana". He wrote in praise of Lord Venkateswara, the deity of Seven Hills in Tirumala. During his long and prolific career, he reputedly composed and sang 32,000 Sankirtanas and 12 Shatakas (sets of hundred verses) in both Telugu and Sanskrit.

Marathi kirtan
There are three main styles of Marathi kirtan, Varkari, Naradiya and Jugalbandi.

Varkari Kirtan was pioneered by Sant Namdev (1270–1350) in Maharashtra. It is usually based on the works of seven famous Maharashtri saints: Saint Nivruttinath, Sant Dnyaneshwar, Sopandev, Muktabai, saint Eknath, Saint Namdev, and Saint Tukaram. Marathi kirtan is typically performed by one or two main performers, accompanied by harmonium and tabla. It involves singing, acting, dancing, and story-telling.

The show goes for two or three hours as time permits and is not divided into parts like "Naradiya Kirtan". This form was effectively performed for years by personalities like Hari Bhakti Parayan (sincere devotee of god) Sonopant (mama) Dandekar, Dhunda maharaj Deglurkar, Babamaharaj Satarkar, Dekhanebuwa, and many others in modern times. An institute at Alandi near Pune offers training in this form of Kirtan.

Naradiya Kirtan is divided into five main parts: naman (prayer), Purvaranga (the main spiritual lesson), chanting the names of God, katha or Akhyan (a story to support the lesson), final prayer. The Naradiya Marathi Kirtan popular in Maharashtra is most often performed by a single performer, and contains the poetry of saints of Maharashtra such as Dnyaneshwar, Eknath, Namdev and Tukaram. Learned poets from 17th and 18th century such as Shridhar, Mahipati, and Moropant contributed to develop this form of kirtan. A Naradiya kirtan performance can last for period of any length, from half an hour to three hours. Attendees may wear traditional clothing and the performers use instruments like the Indian harmonium, drums, and string instruments of various types mostly "Zanz", "chipali", "Tal" or "Chimata". Naradiya kirtan performers are usually very learned in literature, music, dance, acting and comedy.

Jugalbandi Kirtan is performed by two persons, allowing question-answer, dialogue and debate. Performance requires skill in music, dance, comedy, oratory, debate, memory, general knowledge and Sanskrit literature. Training takes place at the Kirtan Kul in Sangli, the Akhil Bharatiya Kirtan Sanstha in Dadar, Mumbai, the Narad Mandir at Sadashiv Peth, Pune and the Kalidas Mahavidyalay in Ramtek, Nagpur as well as at smaller schools in Goa, Beed and Ujjain.

Sikhism

Kirtan (Gurmukhi: ਕੀਰਤਨ Kīratana) refers to devotional singing in Sikhism. It is typically performed at Gurdwaras (Sikh temples). Sikh scriptures and legends are usually recited in a song, to a certain raga and accompanied with musical instruments. The Gurus themselves created numerous musical instruments including the Taus, the Sarangi, the Saranda and a modification of the Pakhawaj (called Jori) creating an early form of the Tabla.

A Shabad Kirtan refers to the musical recitation of the Guru Granth Sahib, the primary scripture in the Sikhism tradition which is arranged according to raga. Shabad Kirtan can be listened to silently or sung along with the gathered congregation.

Kirtan in Sikh history has been the musical analog of Kathas recitation, both preferably performed by ragi jatha, or professional trained performers. A Sikh Kirtan is a religious, aesthetic and social event, usually held in a congregational setting on Sundays or over certain festivals to honor the historical Gurus, but major temples in the Sikh tradition recite Kirtan every day as a mark of daily bhakti (devotional remembrance) of God's name.

This congregational setting is called a Sangat or Satsang, a word that in ancient Indian texts means "like minded individuals, or fellow travelers on a spiritual journey".

Buddhism
Numerous Buddhist traditions use vocal music with instrumental accompaniment as part of their rituals and devotional practices. Buddhist vocal music and chanting is often part of Buddhist rituals and festivals in which they may be seen as offerings to the Buddha. Chants, songs and plays about the life of the Buddha by the Buddhists of Bengal are sometimes called Buddha-samkirtan or Buddha kirtan. Instruments like the Indian harmonium, flute, dotara, khol and kartal are used as accompaniment.

Music has been used by Buddhists since the time of early Buddhism, as attested by artistic depictions in Indian sites like Sanchi. Early Buddhist sources often have a negative attitude towards music, possibly because it was considered sensual and inconsistent with its core monastic teachings. However, Mahayana and Vajrayana sources tend to be much more positive to music, seeing it as a suitable offering to the Buddhas and as a skillful means to bring sentient beings to Buddhism. Buddhist songs and chants make use of the following genres: sutras, mantras, dharani, parittas, or verse compositions (such as gathas, stotras, and caryagitis).

Examples of Buddhist musical traditions include the Newari Buddhist Gunlā Bājan, Tibetan Buddhist music, Japanese Buddhist Shōmyō, modern Indian Buddhist bhajans, and Cambodian Smot chanting. As there are many different traditions of Buddhist music and chanting, the musical instruments used vary widely, from solely relying on the human voice, to many types of classic instruments used in Asian music (such as the ancient Indian veena) as well as modern instruments (harmonium, keyboards, guitars, etc).

There are also some Western Buddhists who have recently adopted kirtan singing. One Western Buddhist kirtan artist is Lee Mirabai Harrington.

Judaism
The Bene Israel, a Jewish community in the Indian subcontinent, adopted the devotional singing style Kirtan from their Marathi Hindu neighbors. Their main traditional musical instruments are the Indian Harmonium and the Bulbul tarang.

In the modern era, kirtan has also been adopted by several jews like Susan Deikman. These jewish kirtans replace Sanskrit Hindu lyrics with Hebrew songs and chants.

In the Western world

The famed Bengali saint Paramahansa Yogananda was an early proponent of kirtan in the West. He chanted Guru Nanak Dev's Hey Hari Sundara ("Oh God Beautiful") with 3,000 people at Carnegie Hall in 1923.

Kirtan became more common with the spread of Indian religious movements in the West in the 1960s. Movements which were influential in bringing Indian kirtan to West include the International Society for Krishna Consciousness (ISKCON), 3HO (Sikh followers of Yogi Bhajan), the Ramakrishna mission, the Divine Life Society, and Yogananda's Self-Realization Fellowship.

Western kirtan singers, some of who learned in India, have also popularized the practice. Western kirtan performers include Krishna Das, Bhagavan Das, Nina Rao, Wah!, Jai Uttal, Snatam Kaur, Lokah Music, Deva Premal, Jahnavi Harrison, Jim Gelcer, Jyoshna, Aindra Das, Gina Sala', and Gaura Vani & As Kindred Spirits. Western Yoga centers report an increase in attendance at kirtans; according to Pure Music’s Frank Goodman in conversation with Krishna Das in 2006, kirtan has taken on a wider popularity. Some Western kirtan singers have also adapted kirtan songs with influences from other styles, including rock music, new-age music, African music and latin american music. There are also Kirtan singers in the west who sing more traditional Indian style kirtan such as Kamini Natarajan and Sheela Bringi.

Kirtan singing has also become popular among Westerners who consider themselves spiritual but who are not part of any specific religious institution or movement ("spiritual but not religious"). In this case, kirtan is seen as a social, expressive and holistic experience which helps one connect with the inner self. It is also considered egalitarian and manifests as an eclectic practice which draws on multiple cultures and is tolerant to most religions. Western spiritual kirtan can be found in Western yoga centers, new age groups, spiritual communes, and neo-shamanic circles.

For some Western practitioners, kirtan is seen as a way of socializing, relaxing, achieving meditative states, expressing oneself, attaining inner peace and positive emotions, getting to know one's inner self, and cultivating love for a deity and for others.

In the United States case law, the term sankirtana has also been used to specifically refer to the promotional activities of ISKCON. ISKCON had sought the right to perform sankirtana in California airports such as in Los Angeles. The court ruled that while ISKCON has a constitutional rights of protected speech, the Los Angeles airport also has a right to forbid any form of solicitation, out of "a legitimate interest in controlling pedestrian congestion and reducing the risk of fraud and duress attendant to repetitive, in-person solicitation of funds" by all groups including ISKCON.

Given name
The male given name Kirtan or Kirtana is used in South India for females as well, particularly in Telangana, Andhra Pradesh, Karnataka, Kerala, and Tamil Nadu.

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Talk:Hebbian learning

This article is based on something I wrote at everything2 a while back--just in case anyone was wondering about the similarities! Chopchopwhitey 03:11, 13 Mar 2004 (UTC)

Hello Neil! Thanks for adding some content to this page. I am a neurobiologist with an interest in "bio-inspired computing". I can try to flesh out the biology section if you are more interested in the AI side. JWSchmidt 03:22, 13 Mar 2004 (UTC)

Hi there JW. Flesh out whichever parts you like! I'm guessing that as a neurobiologist you know a lot more than me about Hebbian learning... I'm more bio-inspired than AI, so my neural nets aren't what they should be... Chopchopwhitey 03:33, 13 Mar 2004 (UTC)

AFAIK, the following is wrong, so I removed and replaced it; please correct me if I'm wrong: "Hebb's original principle was essentially that if one neuron is stimulating some other neuron, and at the same time that receiving neuron is also firing, then the strength of the connection between the two neurons will be increased, and vice versa — if one is firing and the other isn't, then the connection strength is decreased."

title: Talk:Hebbian learning


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Windsor uniform

The Windsor uniform is a type of formal dress worn at Windsor Castle by male members of the British royal family (and some very senior courtiers).

History
The uniform was introduced by King George III in 1777. The full dress version, which had a good deal of gold braid about it, did not survive beyond 1936, but the undress version, introduced in 1798, is still worn today: a dark blue jacket with red facings. It is now worn only at Windsor Castle, and since the reign of King Edward VII, it has generally been worn only as evening dress (although King Charles III has worn a version of it as a riding coat).

The uniform currently takes the form of an evening tail coat of dark blue cloth, lapelled, with scarlet collar and cuffs. There are three buttons on each front, two at the back of the waist, two at the end of each tail, and also two on each cuff (plus one above). The gilt buttons bear a design of a Garter star within a garter, surmounted by the imperial crown.

It is worn with a white single-breasted waistcoat with three small gilt buttons of the same pattern, and with plain black evening-dress trousers. When the court is in mourning, a black waistcoat and black armband are worn. As well as the tail coat version, the late Duke of Edinburgh also wore (and King Charles III continues to wear) a dinner jacket version of the coat.

title: Windsor uniform


text: User talk:209.148.139.146

title: User talk:209.148.139.146