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Altorricón

Altorricón or El Torricó  is a municipality  located in the comarca of La Litera/La Llitera in the province of Huesca, Aragon, Spain. With an extension of 32.03 km2, the municipal district of Altorricón lies on the southern part of La Llitera, limiting with El Segrià (Almacelles). The district is surrounded north and south by Tamarite de Litera. The municipality contains the town of Altorricón and the uninhabited towns of Cuquet, Montanera and Lo Tossal as well as the old church of San Bartolomé de Altorricón.

It has two official names Altorricón and El Torricó. The official name of Altorricón is considered to be incorrect by historians, although most of the population use that form of the name, in either the Spanish form of it Altorricón or the Catalan Altorricó. The name probably derived from Western Catalan "Torricó", or small tower, with Al- being a common prefix in Arab names. It's not clear what 'small tower' the name could refer to, but hypothesis point to Castle of Vallbona (Catalan Castell de Vallbona) situated north west from the town, or maybe some building that no longer exists in the center of the village.

The secondary water channel of La Mola, derived from the Canal d'Aragó i Catalunya crosses the municipal district diagonally from NW to SE, and is used to irrigate the land all across the territory. Multiple minor channels distribute the water, namely the ravine of San Bartomeu or the one of Clamorelles. A small section in the SW is drained by the torrent of Oriols and Vallbona.

Altorricón, right smack in the middle of the municipality, is crossed by the local road of Tamarite de Litera that springs out north from the national road N240 (Tarragona-San Sebastián). The locals call the portion of the road that heads south to the N240, la carretera del Butano (Catalan carretera del butà) in honor of the butane gas processing station that once existed at the intersection with the N240. The portion of the road that heads up north is simply called, carretera de Tamarite (Catalan carretera de Tamarit).

There is another road starting from the nucleus of the town that heads southwest and ends on Tamarite's railway station linking with the N240, a few kilometers west from where the road to Tamarite de Litera split up. The road also links Altorricón with the small community of La Melusa, and thus locals call the road carretera de La Melusa.

The local dialect is a variant of Catalan.

title: Altorricón


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Talk:Identity (music)

Disambig
First, the disambig at Identity is completely mistaken that "identity" is a musical term coined or exclusively used by George Perle. Secondly, I hardly think we need stub articles for terms which are nearly if not identical to the meanings of the mathematical terms from which they were borrowed. See: Musical set theory, please. Hyacinth 23:39, 5 Aug 2004 (UTC)

Incomprehensible
I know something about music theory and something about universal algebra, but I find the article basically incomprehensible. The examples given seem not to be identities but fixed points of certain transformations. Lambiam 13:59, 18 February 2006 (UTC)

 * What is incomprehensible? Hyacinth 08:57, 19 February 2006 (UTC)

First off, there is no notion of "identity" in universal algebra; there is a notion of identity in specific algebras, such as monoid algebras. It is not clear how that would apply here. The second sentence mentions identity function, which is a well-known notion in general mathematics. However, a function $$f : A \longrightarrow A$$ is an identity function (and the identity function on A) precisely when for all elements x in A we have f(x) = x. In words, this function does "nothing"; it just passes on its input without change. This does not fit the description at all.

Second, the article never states what an identity in music is. The disambiguation page at least states that it is "a transformation of pitches". So apparently in the article the reader is assumed to identify "identity" in the caption and first sentence with "identity function" in the second sentence. That is not at all an obvious thing to expect a reader to do.

Third, is it any pitch transformation? Is transposing all pitches upwards by a minor third an identity (function)? Speaking mathematically, it transforms the class of all pitches into itself. Presumably it is not a coincidence that all examples given are fixed points, as noted above. So is an identity a fixed point of a transformation? (In that case everything is an identity, since everything is a fixed point of the identity function.) Or is it a transformation together with a fixed point? It is all not quite clear to me.

Fourth, if the retrograde operation "transforms a pitch class", then why not the operation of replacing any sequence of tones by 0123... (which, when applied to 0123..., produces the same thing!)? Then it would appear that any process of "melody in – melody out" fits the description.

Finally, in the last part, I don't know what is meant by "interval-4 family" (tones that are a major third apart?), by "sum-2" family, or (in this context) "axes of symmetry" and "family of symmetrically related dyads". I see that the next two lines show chromatic ascending and descending scales starting from D, but what they have to do with anything discussed before or after escapes me. I cannot discern a relationship with any of the surmised notions of identity given above. Lambiam 19:23, 19 February 2006 (UTC)

 * So by "incomprehensible" you mean under explained, since you understood that the subject was a part of music theory and its terms if not their meanings where borrowed from some field in mathematics. Hyacinth (talk) 09:11, 26 December 2009 (UTC)
 * See Trivial (mathematics). Hyacinth (talk) 09:44, 26 December 2009 (UTC)

Universal algebra currently reads: "After the operations have been specified, the nature of the algebra is further defined by axioms, which in universal algebra often take the form of identities, or equational laws.   An example is the associative axiom for a binary operation, which is given by the equation x ∗ (y ∗ z) = (x ∗ y) ∗ z.  The axiom is intended to hold for all elements x, y, and z of the set A." If there is no concept of identity in universal algebra then the "Universal algebra" article needs to be corrected. Hyacinth (talk) 21:40, 25 October 2019 (UTC)

I can see where Lambiam is coming from. This article appears to be written largely by one person (Hyacinth) and is a reflection of their understanding of a mathematical concept, it's terminology and how it applies to music. As such, terms from mathematics are getting blurred together into a vague shadow of how they're are used by mathematicians. In mathematics, these terms refer to very specific abstractions. As an example, the current version of the article uses the word "identity" how mathematicians would use the word "symmetry": Somewhat formally, this is the property of being a fixed point of a function with usually a simple, intensional definition such as rotation about some point by 180 degrees. In contrast, "identity" could mean any of a number of specific things depending on context: 1. A specific element of an algebraic structure that acts on or combines with other elements to produce those same elements or 2. a function that maps ever element of a set to that same element or 3. an equation that holds over all possible values for it's variables. It's entirely possible that music theory has started to assimilate the language of mathematics with imperfect transcription and I share in the dismay that Lambiam seems to feel for a situation that needn't be made any more confusing than it already is.Nbrader (talk) 23:07, 19 August 2021 (UTC)

Interval vs. Sum
Judging by the quoted example, it looks like the figures are swapped - that is, the figure for Interval-4 actually depicts the Sum-4 family and vice versa. I didn't check whether the midi files are also switched. - Nonstandard (talk) 19:49, 1 April 2013 (UTC)

 * You appear to be correct. See: Talk:Common tone. Hyacinth (talk) 09:41, 16 July 2017 (UTC)

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

title: Talk:Identity (music)


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Iron Cross (American band)

Iron Cross was an American Oi! / hardcore punk band from Washington D.C. They played a rough form of Oi! and were the first band in the US to adopt the skinhead look and the Oi! musical style. Some of its members had close ties to the Washington hardcore punk subculture, due to its relationship with other hardcore bands, with Ian Mackaye, and with Dischord Records. Singer Sab Grey was one of the many roommates in the Dischord House in Arlington, Virginia. The band's name, and the fact that most of its members were skinheads, led to accusations of fascism, which Grey and others in the band and the original D.C. skins, always denied, declaring that they "hate Nazis".

Career
Iron Cross formed in 1980, when Dante Ferrando met Sab Grey. Ferrando was previously in the band Broken Cross with Mark Haggerty. When Grey and Ferrando decided to start a new band, Grey suggested the name Iron Cross. The first lineup consisted of Grey on lead vocals, Haggerty on guitar, Ferrando on drums and John Falls on bass guitar. This lineup lasted a very short time, with Falls leaving after Iron Cross's early show at American University. After Falls' departure, the band went through two more bassists before settling on Wendel Blow, the former bassist for the D.C. hardcore punk band State of Alert. The only non-skinhead in the band was Ferrando, who maintained a spiky punk hairstyle. The band's fourth lineup lasted until just after the recording of their first EP, Skinhead Glory. That EP features their signature song "Crucified", which was later covered by many Oi! and hardcore bands.

After Blow left the band, he was replaced by John Dunn. Dunn had been an original member of the D.C. skins and was close friends with the band's members. Dunn left the band just before the release of their second EP, Hated and Proud. He was replaced by Paul Cleary, who was a founding member of the D.C. bands Trenchmouth and Black Market Baby. The 1982 Dischord Records compilation Flex Your Head introduced three Iron Cross songs to an audience beyond the eastern United States.

In 1985, after further lineup changes that left Grey as the only original member of Iron Cross, the band broke up. Ferrando formed the band Gray Matter with Haggerty. Haggerty went on to play with the bands 3 and Severin. Ferrando also played in the band Ignition and is now the owner of the D.C. club The Black Cat. Falls joined the band Egypt Central.

New lineup
In 2001, Iron Cross re-released their EPs and previously-unreleased material in the form of the full-length CD Live For Now. Grey played with The Royal Americans (a rockabilly-style band).

A split release with British Oi! band Combat 84 was planned for release on GMM Records in 2002, although this recording never materialized. The mini-album Two Piece and a Biscuit, featuring four songs from Iron Cross and three from The Royal Americans, was released in 2007 on 13th State Records.

By 2009, the lineup was: Sab Grey on vocals, Scotty Powers on drums, Dimitri Medevev (d. 2012) on bass, Mark Linskey on guitar and Shadwick Wilde on guitar. This group recorded two songs for a split EP with the band Keyside Strick, which Koi Records released as Koi Records Split Vol. 5.

In 2012, Skinflint Records released the Iron Cross EP Est. 1980.

"Crucified"
In the mid 1980s, New York hardcore band Agnostic Front began covering "Crucified", a song from the Iron Cross EP Skinhead Glory. Agnostic Front included studio versions of the song on their Liberty and Justice For... and Something's Gotta Give albums. Grey's lyrics refer to being ridiculed for being different, being blamed for society's ills, being accused of violence, and to intolerance because of the actions of others. In a 1984 interview Grey described the intolerance he faced in D.C. for being white:

"I mean everybody calls you a fucking nazi and they're the ones who are racist against us. I don't hold a grudge against anyone until they start it."

The metaphor of being crucified resonated with Communist, anarchist, and apolitical skinheads who were sick of being labeled as neo-Nazis. White Power sympathizers and fascists who called themselves skinheads also identified with the song due to backlash they received for their reactionary and racist ideology. "Crucified" has become an anthem for both factions of skinheads worldwide. Live audiences have taken to adding a chant of "skinhead army!" to the chorus, a line not included in the band's original recording.

EPs

 * Skinhead Glory (1982), Dischord Records, Skinflint Records
 * Hated and Proud (1983), Skinflint Records
 * Koi Records Split Vol. 5 (2009, split with Keyside Strike), Koi Records
 * Est. 1980 (2012), Skinflint Records

Compilations

 * Crucified For Our Sins (1999), Lost And Found Records
 * Live for Now! (2001), GMM Records
 * Two Piece and a Biscuit (2007, split with Sab Grey and The Royal Americans), 13th State Records, Teenage Heart Records

title: Iron Cross (American band)


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User:Jimbowiki

Just a quick intro for now. I've been editing Wikipedia for quite a while without loging in.

At the moment I'm living in Aberystwyth and mostly working on websites for local companies etc during the summer before uni starts again. Most recently I've been designing this site in Perl for a friend of mine.

I AM SO FREAKEN COOL LOL LOL LOL I AM SO FREAKEN COOL LOL LOL LOL

title: User:Jimbowiki