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FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Origins Available: German, Italian, Swiss Where did the Italian Leopold family come from? What is the Italian Leopold family crest and coat of arms? When did the Leopold family first arrive in the United States? Where did the various branches of the family go? What is the Leopold family history? Spelling variations of this family name include: Lippi, Lipamano, Lipoldi, Lippa, Lippo, Leopoldi, Leopoldo and many more. First found in Florence (Italian: Firenze), originally the capital of Tuscany, then capital of the kingdom of Italy. On the River Arno there are numerous Florentine Churches, Museums, Galleries. It dates back to 313 A.D. The history is complex and turbulent. The de' Medici family are the notables. They were expelled in 1494 but they returned in 1512, out in 1527 and then returned. In those ancient times only persons of rank, the podesta, clergy, city officials, army officers, artists, landowners were entered into the records. To be recorded at this time, at the beginning of recorded history, was of itself a great distinction and indicative of noble ancestry. This web page shows only a small excerpt of our Leopold research. Another 213 words(15 lines of text) covering the years 1384, 1457, 1504, 1606 and 1665 are included under the topic Early Leopold History in all our PDF Extended History products. Another 61 words(4 lines of text) are included under the topic Early Leopold Notables in all our PDF Extended History products. Some of the first settlers of this family name were: Leopold Settlers in United States in the 18th Century Leopold Settlers in United States in the 19th Century The Leopold Family Crest was acquired from the Houseofnames.com archives. The Leopold Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 1 December 2014 at 23:03.	0
on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the Scottish Drysdale family come from? What is the Scottish Drysdale family crest and coat of arms? When did the Drysdale family first arrive in the United States? Where did the various branches of the family go? What is the Drysdale family history?The roots of the name Drysdale are found among the Strathclyde-Briton people of the ancient Scottish/English Borderlands. Drysdale was originally found in Dumfries. In the era before dictionaries, there were no rules governing the spelling or translation of names or any other words. Consequently, there are an enormous number of spelling variations in Medieval Scottish names. Drysdale has appeared as Drysdale, Drisedale and others. First found in Dumfriesshire (Gaelic: Siorrachd Dhùn Phris), a Southern area, bordering on England that today forms part of the Dumfries and Galloway Council Area, where they held a family seat from early times. This web page shows only a small excerpt of our Drysdale research. Another 279 words(20 lines of text) covering the year 1499 is included under the topic Early Drysdale History in all our PDF Extended History products. More information is included under the topic Early Drysdale Notables in all our PDF Extended History products. Some of the Drysdale family moved to Ireland, but this topic is not covered in this excerpt. Another 227 words(16 lines of text) about their life in Ireland is included in all our PDF Extended History products. The freedom, opportunity, and land of the North American colonies beckoned. There, Scots found a place where they were generally free from persecution and where they could go on to become important players in the birth of new nations. Some fought in the American War of Independence, while others went north to Canada as United Empire Loyalists. The ancestors of all of these Scottish settlers have been able to recover their lost national heritage in the last century through highland games and Clan societies in North America. Among them: Drysdale Settlers in United States in the 18th Century - James Drysdale who landed in Massachusetts in 1764 - Ellen Drysdale, who landed in Baltimore, Maryland in 1784 Drysdale Settlers in United States in the 19th Century - John Drysdale, who landed in Savanna(h), Georgia in 1808 - Janet Drysdale, who arrived in New York in 1809 - William Drysdale, who landed in America in 1850 - A R L Drysdale, who arrived in St Clair County, Illinois in 1870 Drysdale Settlers in Canada in the 19th Century - James Drysdale, who landed in Canada in 1815 - James Drysdale, aged 52, a farmer, arrived in Quebec aboard the ship "Dorothy" in 1815 - Christian Drysdale, aged 50, arrived in Quebec aboard the ship "Dorothy" in 1815 - Jas Drysdale, who arrived in Canada in 1820 - Robt Drysdale, who arrived in Canada in 1820 Drysdale Settlers in New Zealand in the 19th Century - James Drysdale, aged 23, a brickmaker, arrived in Wellington, New Zealand aboard the ship "Rakaia" in 1879 - Ellen Drysdale, aged 19, a domestic servant, arrived in Wellington, New Zealand aboard the ship "Rakaia" in 1879 - Donald Scott "Don" Drysdale (1936-1993), American right-handed pitcher in Major League Baseball, member of the Baseball Hall of Fame - Neil Drysdale (b. 1947), born in Haslemere, Surrey, England is an American based thoroughbred race horse trainer - Robert Drysdale (b. 1981), American-born, Brazilian Jiu-Jitsu black belt and professional mixed martial artist - Eric Drysdale (b. 1969), American five-time Emmy Award winning writer for The Colbert Report and The Daily Show on Comedy Central - Rebecca Drysdale (b. 1978), American comedian, former member of the Second City Chicago E.T.C. cast - Taylor Drysdale (1914-1997), American competitive swimmer and swimming coach, inducted into the International Swimming Hall of Fame (1994) - Mary Douglas Drysdale, American Interior Designer, founder of Drysdale Design Associates in 1980 - David Drysdale (b. 1975), Scottish professional golfer - Daniel "Dan" Drysdale (1901-1987), Scottish international rugby union player - Cliff Drysdale (b. 1941), South African tennis champion, who held five singles titles and six doubles titles including winning the 1972 U.S. Open doubles crown - Innes, Thomas and Learney. Scots Heraldry A Practical Handbook on the Historical Principles and Mordern Application of the Art and Science. London: Oliver and Boyd, 1934. Print. - Samuelsen, W. David. New York City Passenger List Manifests Index 1820 - 1824. North Salt Lake, Utah: Accelerated Indexing Systems International, 1986. Print. - Burke, Sir Bernard. Genealogical and Heraldic History of the Peerage and Baronetage, The Privy Council, Knightage and Compainonage. London: Burke Publishing, 1921. Print. - Barrow, G.W.S Ed. Acts of Malcom IV 1153-65 Volume I Regesta Regum Scottorum 1153-1424. Edinburgh: Edinburgh University Press, 1960. Print. - Le Patourel, John. The Norman Empire. New York: Oxford University Press, 1976. Print. (ISBN 0-19-822525-3). - Leyburn, James Graham. The Scotch-Irish A Social History. Chapel Hill: UNC Press, 1962. Print. (ISBN 0807842591). - Bolton, Charles Knowles. Bolton's American Armory. Baltimore: Heraldic Book Company, 1964. Print. - Bloxham, Ben. Key to Parochial Registers of Scotland From Earliest Times Through 1854 2nd edition. Provo, UT: Stevenson's Genealogical Center, 1979. Print. - Moody David. Scottish Family History. Baltimore: Genealogical Publishing, 1994. Print. (ISBN 0806312688). - Donaldson, Gordon and Robert S. Morpeth. Who's Who In Scotish History. Wales: Welsh Academic Press, 1996. Print. (ISBN 186057-0054). The Drysdale Family Crest was acquired from the Houseofnames.com archives. The Drysdale Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 22 December 2014 at 11:10. on orders of $85 or more	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Origins Available: Dutch, English Where did the Dutch Ghent family come from? What is the Dutch Ghent family crest and coat of arms? When did the Ghent family first arrive in the United States? Where did the various branches of the family go? What is the Ghent family history? Spelling variations of this family name include: Gent, Gente, Gents, Gentt, Gentte, Gentts, Geent, Gennt, Genntt, Genttes, Geents, Gennts and many more. First found in Holland, where the name became noted for its many branches in the region, each house acquiring a status and influence which was envied by the princes of the region. The name was first recorded in North Holland, a province of the Netherlands. The principal cities are Amsterdam, Haarlem and Hilversum. It was the seat of the old Counts of Holland. Seat of one of the oldest families is Brederode Castle near Haarlem. There are many old and quaint towns in the province. including Medemblik, Enkhuizen, Hoorn, Edam, and Monnikendam. In their later history the surname became a power unto themselves and were elevated to the ranks of nobility as they grew into this most influential family. This web page shows only a small excerpt of our Ghent research. Another 163 words(12 lines of text) are included under the topic Early Ghent History in all our PDF Extended History products. More information is included under the topic Early Ghent Notables in all our PDF Extended History products. Some of the first settlers of this family name were: Ghent Settlers in United States in the 17th Century Ghent Settlers in United States in the 19th Century Ghent Settlers in United States in the 20th Century The Ghent Family Crest was acquired from the Houseofnames.com archives. The Ghent Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 27 October 2010 at 13:35.	0
on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Origins Available: English, Italian Where did the English Lucas family come from? What is the English Lucas family crest and coat of arms? When did the Lucas family first arrive in the United States? Where did the various branches of the family go? What is the Lucas family history?The Lucas family name is linked to the ancient Anglo-Saxon culture of Britain. Their name comes from the baptismal name Luke. This surname followed the religious naming tradition, where surnames were bestowed in honor of religious figures or church officials. In Europe, the Christian Church was one of the most powerful influences on the formation of given names. Personal names derived from the names of saints, apostles, biblical figures, and missionaries are widespread in most European countries. In the Middle Ages, they became increasingly popular because people believed that the souls of the deceased continued to be involved in this world. They named their children after saints in the hope that the child would be blessed or protected by the saint. In this case the surname Lucas was taken from St. Luke the Evangelist. Until the dictionary, an invention of only the last few hundred years, the English language lacked any comprehensive system of spelling rules. Consequently, spelling variations in names are frequently found in early Anglo-Saxon and later Anglo-Norman documents. One person's name was often spelled several different ways over a lifetime. The recorded variations of Lucas include Lucas, Lucass, Lukas and others. First found in Hertfordshire where they held a family seat from early times and their first records appeared on the census rolls taken by the ancient Kings of Britain to determine the rate of taxation of their subjects. This web page shows only a small excerpt of our Lucas research. Another 201 words(14 lines of text) covering the years 1598, 1649, 1613, 1648, 1606, 1671, 1631, 1688, 1649, 1705, 1702, 1705, 1648, 1649, 1715, 1610, 1663, 1639, 1640 and are included under the topic Early Lucas History in all our PDF Extended History products. Another 179 words(13 lines of text) are included under the topic Early Lucas Notables in all our PDF Extended History products. Some of the Lucas family moved to Ireland, but this topic is not covered in this excerpt. Another 129 words(9 lines of text) about their life in Ireland is included in all our PDF Extended History products. Thousands of English families boarded ships sailing to the New World in the hope of escaping the unrest found in England at this time. Although the search for opportunity and freedom from persecution abroad took the lives of many because of the cramped conditions and unsanitary nature of the vessels, the opportunity perceived in the growing colonies of North America beckoned. Many of the settlers who survived the journey went on to make important contributions to the transplanted cultures of their adopted countries. The Lucas were among these contributors, for they have been located in early North American records: Lucas Settlers in United States in the 17th Century - Lucas Lucas, who landed in Philadelphia, Pennsylvania in 1627 - Samll Lucas, who arrived in Virginia in 1635 - Roger Lucas, who landed in Virginia in 1636 - Rich Lucas, who arrived in Virginia in 1637 - Jone Lucas, who arrived in Virginia in 1637 Lucas Settlers in United States in the 18th Century - Edmd Lucas, who arrived in Virginia in 1701 - Isaac Lucas, who arrived in Virginia in 1704 - Frantz Lucas, who landed in New Jersey in 1709 - Francis Lucas and his wife and eight children settled in New England in 1709 - Anna Catharina Lucas, aged 4, landed in New York in 1710 Lucas Settlers in United States in the 19th Century - Juan Francisco Lucas, who landed in Puerto Rico in 1800 - Jonathan Lucas, who landed in Charleston, South Carolina in 1804 - Betsy Lucas, who arrived in New York, NY in 1811 - Archibald Lucas, aged 30, arrived in New York, NY in 1812 - Samuel Lucas, aged 26, arrived in New York, NY in 1812 Lucas Settlers in Canada in the 18th Century - Jean Lucas, who landed in Montreal in 1714 Lucas Settlers in Canada in the 19th Century - Francis Lucas was a planter in Catalina, Newfoundland in 1833 - William Lucas, aged 36, arrived in Saint John aboard the ship "Highlander" in 1834 - Margaret Lucas, aged 20, arrived in Saint John aboard the ship "Highlander" in 1834 - James Lucas, aged 3, arrived in Saint John aboard the ship "Highlander" in 1834 - William Lucas, aged 2, arrived in Saint John aboard the ship "Highlander" in 1834 Lucas Settlers in Australia in the 19th Century - George Lucas, Welsh convict from Glamorgan, who was transported aboard the "Andromeda" on October 16, 1826, settling in Van Diemen's Land, Australia - James Lucas, English convict from Middlesex, who was transported aboard the "Argyle" on March 5th, 1831, settling in Van Diemen's Land, Austraila - John Lucas, English convict from Devon, who was transported aboard the "Argyle" on March 5th, 1831, settling in Van Diemen's Land, Austraila - J. Lucas arrived in Adelaide, Australia aboard the ship "City Of Adelaide" in 1839 - M. Lucas arrived in Adelaide, Australia aboard the ship "Orleana" in 1839 Lucas Settlers in New Zealand in the 19th Century - Robert Lucas landed in Wellington, New Zealand in 1840 - Mr Lucas landed in Nelson, New Zealand in 1842 - Charles Lucas, aged 22, a shoemaker, arrived in Nelson aboard the ship "Olympus" in 1842 - Elizabeth Lucas, aged 23, arrived in Nelson aboard the ship "Olympus" in 1842 - Lucy Jane Lucas, aged 1, arrived in Nelson aboard the ship "Olympus" in 1842 - George Lucas (b. 1944), American film maker, best known for his Star Wars series, recipient of Life Achievement Award in 2005 from the American Film Institute - George W. Lucas (1845-1921), American soldier, Medal of Honor recipient - Private First Class Jacklyn Harold Lucas (1928-2008), United States Marine awarded the Medal of Honor for his heroic actions during the Iwo Jima campaign - Major-General John Porter Lucas (1890-1949), American Chief of the Army Advisory Group to China (1946-1948) - Mr. Francis John Lucas, American 2nd Class passenger from Pittsburgh, Pennsylvania, USA, who sailed aboard the RMS Lusitania and survived the sinking - Edward Verrall Lucas (1868-1938), English essayist - Frank Lawrence Lucas (1894-1967), English critic and poet - Thomas Geoffry Lucas (1872-1947), English architect - Geoffry Lucas (1872-1947), English architect - Mr. William A. Lucas, aged 25, English Able Seaman from Southampton, Hampshire who worked aboard the RMS Titanic and survived the sinking escaping on collapsible D The motto was originally a war cry or slogan. Mottoes first began to be shown with arms in the 14th and 15th centuries, but were not in general use until the 17th century. Thus the oldest coats of arms generally do not include a motto. Mottoes seldom form part of the grant of arms: Under most heraldic authorities, a motto is an optional component of the coat of arms, and can be added to or changed at will; many families have chosen not to display a motto. Motto: Respice finem Motto Translation: Regard the end. - Hanks, Hodges, Mills and Room. The Oxford Names Companion. Oxford: Oxford University Press, 2002. Print. (ISBN 0-19-860561-7). - Hanks, Patricia and Flavia Hodges. A Dictionary of Surnames. Oxford: Oxford University Press, 1988. Print. (ISBN 0-19-211592-8). - Weis, Frederick Lewis, Walter Lee Sheppard and David Faris. Ancestral Roots of Sixty Colonists Who Came to New England Between 1623 and 1650 7th Edition. Baltimore: Genealogical Publishing, 1992. Print. (ISBN 0806313676). - Sanders, Joanne McRee Edition. English Settlers in Barbados 1637-1800. Baltimore: Genealogical Publishing. Print. - Bolton, Charles Knowles. Bolton's American Armory. Baltimore: Heraldic Book Company, 1964. Print. - Innes, Thomas and Learney. The Tartans of the Clans and Families of Scotland 1st Edition. Edinburgh: W & A. K. Johnston Limited, 1938. Print. - Shaw, William A. Knights of England A Complete Record from the Earliest Time to the Present Day of the Knights of all the Orders of Chivalry in England, Scotland, Ireland and Knights Bachelors 2 Volumes. Baltimore: Genealogical Publishing. Print. (ISBN 080630443X). - Magnusson, Magnus. Chambers Biographical Dictionary 5th edition. Edinburgh: W & R Chambers, 1990. Print. - Crozier, William Armstrong Edition. Crozier's General Armory A Registry of American Families Entitled to Coat Armor. New York: Fox, Duffield, 1904. Print. - Samuelsen, W. David. New York City Passenger List Manifests Index 1820 - 1824. North Salt Lake, Utah: Accelerated Indexing Systems International, 1986. Print. The Lucas Family Crest was acquired from the Houseofnames.com archives. The Lucas Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 20 February 2015 at 19:07. on orders of $85 or more	0
on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the English Grigsby family come from? What is the English Grigsby family crest and coat of arms? When did the Grigsby family first arrive in the United States? Where did the various branches of the family go? What is the Grigsby family history? Spelling variations of this family name include: Grigsby, Grigby, Grigsbie and others. First found in Lincolnshire where they held a family seat as Lords of the Manor. The Saxon influence of English history diminished after the Battle of Hastings in 1066. The language of the courts was French for the next three centuries and the Norman ambience prevailed. But Saxon surnames survived and the family name was first referenced in the 12th century when William Grig held estates in that shire. This web page shows only a small excerpt of our Grigsby research. Another 145 words(10 lines of text) covering the years 1455 and 1487 are included under the topic Early Grigsby History in all our PDF Extended History products. More information is included under the topic Early Grigsby Notables in all our PDF Extended History products. Some of the first settlers of this family name were: Grigsby Settlers in United States in the 19th Century - E Grigsby, who arrived in Texas in 1835 - Enoch Grigsby, who landed in Texas in 1835 - Emily Grigsby, aged 18, who settled in America, in 1896 Grigsby Settlers in United States in the 20th Century - Carrie A. Grigsby, aged 40, who emigrated to America, in 1908 - Emilie Grigsby, aged 32, who landed in America, in 1908 - Iza A. Grigsby, aged 43, who emigrated to the United States, in 1910 - Bertram Jas Grigsby, aged 32, who landed in America, in 1916 - Francis Herbert Grigsby, aged 31, who landed in America from Mickleham, England, in 1918 Grigsby Settlers in Australia in the 19th Century - Thomas Grigsby, aged 36, a labourer, arrived in South Australia in 1849 aboard the ship "Ascendant" - Thomas Grigsby arrived in Adelaide, Australia aboard the ship "Ascendant" in 1849 Grigsby Settlers in New Zealand in the 19th Century - Henry Grigsby, aged 39, a labourer, arrived in Hawkes Bay aboard the ship "Countess of Kintore" in 1875 - Charlotte Grigsby, aged 35, arrived in Hawkes Bay aboard the ship "Countess of Kintore" in 1875 - James Grigsby, aged 10, arrived in Hawkes Bay aboard the ship "Countess of Kintore" in 1875 - William Grigsby, aged 7, arrived in Hawkes Bay aboard the ship "Countess of Kintore" in 1875 - Charlotte Grigsby, aged 4, arrived in Hawkes Bay aboard the ship "Countess of Kintore" in 1875 - Hugh Blair Grigsby (1806-1881), American historical scholar - James Harvey "Boomer" Grigsby (b. 1981), American football linebacker - Tamara D. Grigsby (b. 1974), American Democratic Party member of the Wisconsin State Assembly - John Grigsby (b. 1971), English author of books on myth and the Grail legends and the Old English poem "Beowulf" - Grigsby X Leonard: Bicentennial 1776-1976 Genealogy: Paternal Great Grand Fathers of Carroll Mendenhall Leonard by Carroll Mendenhall Leonard. - Memorabilia, the Grigsby Family Reunion Book, 1779-1979 by Elizabeth M. Nicholson. - Virkus, Frederick A. Ed. Immigrant Ancestors A List of 2,500 Immigrants to America Before 1750. Baltimore: Genealogical Publishing, 1964. Print. - Weis, Frederick Lewis, Walter Lee Sheppard and David Faris. Ancestral Roots of Sixty Colonists Who Came to New England Between 1623 and 1650 7th Edition. Baltimore: Genealogical Publishing, 1992. Print. (ISBN 0806313676). - Williams, Dr Ann. And G.H. Martin . Domesday Book A Complete Translation. London: Penguin, 1992. Print. (ISBN 0-141-00523-8). - Robb H. Amanda and Andrew Chesler. Encyclopedia of American Family Names. New York: Haper Collins, 1995. Print. (ISBN 0-06-270075-8). - Foster, Joseph. Dictionary of Heraldry Feudal Coats of Arms and Pedigrees. London: Bracken Books, 1989. Print. (ISBN 1-85170-309-8). - Marcharn, Frederick George. A Constitutional History of Modern England 1485 to the Present. London: Harper and Brothers, 1960. Print. - Crozier, William Armstrong Edition. Crozier's General Armory A Registry of American Families Entitled to Coat Armor. New York: Fox, Duffield, 1904. Print. - Bowman, George Ernest. The Mayflower Reader A Selection of Articales from The Mayflower Descendent. Baltimore: Genealogical Publishing. Print. - Hanks, Hodges, Mills and Room. The Oxford Names Companion. Oxford: Oxford University Press, 2002. Print. (ISBN 0-19-860561-7). - Cook, Chris. English Historical Facts 1603-1688. London: MacMillan, 1980. Print. The Grigsby Family Crest was acquired from the Houseofnames.com archives. The Grigsby Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 7 December 2014 at 20:41. on orders of $85 or more	0
First name origin & meaning: English: Light; A variation of Helen First name variations: Ellyn, Elen, Elyn, Ellin, Elin, Ellan, Ellene, Ellynn, Ellynne Last name origins & meanings: - English: from the usual medieval vernacular form of the female personal name Helen (Greek Helenē). This was the name of the mother of Constantine the Great, a devout Christian who was credited with finding the True Cross. It was a popular name in Britain, due to the legend (which has no historical basis) that she was born in Britain. - English: variant of Hillian. - Dutch: from a short form of any of several Germanic personal names beginning with the element Ellen-, as, for example, Famous people with this first name: Comments for Ellen	0
on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the English Askew family come from? What is the English Askew family crest and coat of arms? When did the Askew family first arrive in the United States? Where did the various branches of the family go? What is the Askew family history? The name, Askew, occurred in many references, and from time to time, it was spelt Askey, Aske, Askew, Aiscough, Ayscoghe, Asker, Ayscough, Aiskey and many more. First found in the county of Cumberland, where they held a family seat from very ancient times before the Norman Conquest of England in 1066. This web page shows only a small excerpt of our Askew research. Another 281 words(20 lines of text) covering the years 1350, 1590, 1911, 1521, 1546, 1550, 1616, 1616, 1671, 1618, 1668, 1659, 1619, 1689, 1650, 1699, 1685, 1699, 1699 and 1774 are included under the topic Early Askew History in all our PDF Extended History products. Another 261 words(19 lines of text) are included under the topic Early Askew Notables in all our PDF Extended History products. The New World beckoned settlers from the Scottish-English borders. They sailed aboard the armada of sailing ships known as the "White Sails" which plied the stormy Atlantic. Some called them, less romantically, the "coffin ships." Among the early settlers bearing the Askew surname who came to North America were: Askew Settlers in United States in the 17th Century - John Askew settled in Cambridge, Massachusetts about the time of the "Mayflower," 1620 - William Askew who settled in Virginia in 1623 - Thomas Askew in Virginia in 1635 - Tho Askew, aged 21, landed in Virginia in 1635 - John Askew, who landed in Maryland in 1641 Askew Settlers in United States in the 18th Century - William Askew, who arrived in Pennsylvania in 1728 - Catherine and Charles Askew were late arrivals in 1730 Askew Settlers in Canada in the 20th Century - In Newfoundland, one family named Askew, from Wandsworth, Surrey, England, settled in St. John's in 1920 Askew Settlers in Australia in the 19th Century - William Askew, English convict from Middlesex, who was transported aboard the "Ann" on August 1809, settling in New South Wales, Australia Askew Settlers in New Zealand in the 19th Century - Eliza Askew arrived in Wellington, New Zealand aboard the ship "Brougham" in 1842 - William Askew, aged 43, a wheelwright, arrived in Nelson aboard the ship "Indus" in 1843 - Elizabeth Askew, aged 38, arrived in Nelson aboard the ship "Indus" in 1843 - John Askew, aged 19, a wheelwright, arrived in Nelson aboard the ship "Indus" in 1843 - Thomas Askew, aged 16, a farm servant, arrived in Nelson aboard the ship "Indus" in 1843 - Bobby DeAngelo Askew Jr. (b. 1980), American former NFL football fullback who played from 2003 to 2009 - Vincent Jerome Askew (b. 1966), retired American professional basketball player - Reubin O'Donovan Askew (1928-2014), American politician, 37th Governor of the U.S. state of Florida - Luke Askew (1932-2012), American actor best known for his role in the 1969 film Easy Rider - John "Sonny" Askew (b. 1957), retired American soccer forward - Matthias Askew (b. 1982), American NFL and CFL football defensive tackle who played from 2004 to 2011 - Rayshawn Askew (b. 1979), American football player - Dave Askew (b. 1963), English darts player, twice semi-finalist in the PDC World Championship (2001 and 2002) - Desmond Askew (b. 1972), English actor of film and television - Lynsey Riann Frances Askew (b. 1986), English cricketer The motto was originally a war cry or slogan. Mottoes first began to be shown with arms in the 14th and 15th centuries, but were not in general use until the 17th century. Thus the oldest coats of arms generally do not include a motto. Mottoes seldom form part of the grant of arms: Under most heraldic authorities, a motto is an optional component of the coat of arms, and can be added to or changed at will; many families have chosen not to display a motto. Motto: Fac et spera Motto Translation: Do and hope. - Weis, Frederick Lewis, Walter Lee Sheppard and David Faris. Ancestral Roots of Sixty Colonists Who Came to New England Between 1623 and 1650 7th Edition. Baltimore: Genealogical Publishing, 1992. Print. (ISBN 0806313676). - Samuelsen, W. David. New York City Passenger List Manifests Index 1820 - 1824. North Salt Lake, Utah: Accelerated Indexing Systems International, 1986. Print. - Bradford, William. History of Plymouth Plantation 1620-1647 Edited by Samuel Eliot Morrison 2 Volumes. New York: Russell and Russell, 1968. Print. - Burke, Sir Bernard. Genealogical and Heraldic History of the Peerage and Baronetage, The Privy Council, Knightage and Compainonage. London: Burke Publishing, 1921. Print. - Ingram, Rev. James. Translator Anglo-Saxon Chronicle 1823. Print. - Markale, J. Celtic Civilization. London: Gordon & Cremonesi, 1976. Print. - Skordas, Guest. Ed. The Early Settlers of Maryland an Index to Names or Immigrants Complied from Records of Land Patents 1633-1680 in the Hall of Records Annapolis, Maryland. Baltimore: Genealogical Publishing, 1968. Print. - Zieber, Eugene. Heraldry in America. Philadelphia: Genealogical Publishing Co. Print. - Egle, William Henry. Pennsylvania Genealogies Scotch-Irish and German. Harrisburg: L.S. Hart, 1886. Print. - The Norman People and Their Existing Descendants in the British Dominions and the United States Of America. Baltimore: Genealogical Publishing, 1975. Print. (ISBN 0-8063-0636-X). The Askew Family Crest was acquired from the Houseofnames.com archives. The Askew Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 6 January 2015 at 08:18. on orders of $85 or more	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the French Dufau family come from? What is the French Dufau family crest and coat of arms? When did the Dufau family first arrive in the United States? Where did the various branches of the family go? What is the Dufau family history? Spelling variations of this family name include: Chaulnes, Chaulne, Cholnes, De Chaulne, Les Chaulnes, Des Chaulnes, Le Chaulne, Les Cholnes, Des Cholnes, Chaunes, Chounes, Choulnes, Chaullnes, Chauln, Chollens, Choullens, Choullnes, Chaulens, Chaullins, Cholines, Cholens, de Fages, Fages, Fage, Fauges and many more. First found in Périgord, where this renowned family held a family seat since ancient times. This web page shows only a small excerpt of our Dufau research. Another 617 words(44 lines of text) covering the years 1484, 1622, 1646, 1800, 1712, 1712, 1831, 1816, 1904, 1827, 1799, 1872, 1397, 1474, 1656 and 1684 are included under the topic Early Dufau History in all our PDF Extended History products. Another 75 words(5 lines of text) are included under the topic Early Dufau Notables in all our PDF Extended History products. Some of the first settlers of this family name were: Dufau Settlers in United States in the 19th Century The Dufau Family Crest was acquired from the Houseofnames.com archives. The Dufau Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 23 June 2014 at 07:54.	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the English Werle family come from? What is the English Werle family crest and coat of arms? When did the Werle family first arrive in the United States? Where did the various branches of the family go? What is the Werle family history?Today there are three villages and towns in Essex by the name Warley: Great Warley in the Brentwood borough; Little Warley, a hamlet in south Essex; and Warley, a suburb of Brentwood. It is from this area that this surname was derived. In West Yorkshire, Warley Town can be found, near Halifax and in the West Midlands, Warley is a place in the metropolitan borough of Sandwell. Spelling variations of this family name include: Warley, Warly, Warleigh, Warlea, Werley and others. First found in Essex where they held a family seat as Lords of the Manor. After the Battle of Hastings in 1066, William, Duke of Normandy, having prevailed over King Harold, granted most of Britain to his many victorious Barons. It was not uncommon to find a Baron, or a Bishop, with 60 or more Lordships scattered throughout the country. These he gave to his sons, nephews and other junior lines of his family and they became known as under-tenants. They adopted the Norman system of surnames which identified the under-tenant with his holdings so as to distinguish him from the senior stem of the family. After many rebellious wars between his Barons, Duke William, commissioned a census of all England to determine in 1086, settling once and for all, who held which land. He called the census the Domesday Book, indicating that those holders registered would hold the land until the end of time. Hence, conjecturally, the surname is descended from the tenant of the lands of Warley, held by the Norman noble Humphrey from the Bishop of London who was recorded in the Domesday Book census of 1086. This web page shows only a small excerpt of our Werle research. Another 248 words(18 lines of text) covering the years 1066, 1201, and 1475 are included under the topic Early Werle History in all our PDF Extended History products. More information is included under the topic Early Werle Notables in all our PDF Extended History products. Some of the first settlers of this family name were: Werle Settlers in United States in the 18th Century Werle Settlers in United States in the 19th Century The Werle Family Crest was acquired from the Houseofnames.com archives. The Werle Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 10 January 2013 at 09:26.	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Origins Available: Dutch-Alt, Dutch, German Where did the German Frickel family come from? What is the German Frickel family crest and coat of arms? When did the Frickel family first arrive in the United States? Where did the various branches of the family go? What is the Frickel family history? Spelling variations of this family name include: Frick, Fricke, Fricker, Frickel, Frickes, Fricks and others. First found in Germany, where the name Frickel came from humble beginnings but gained a significant reputation for its contribution to the emerging mediaeval society. It later became more prominent as numerous branches of the same house acquired distant estates, some of which were located in other countries. Through the acquisition of these estates as well as their important contributions to society, the family successfully elevated their social status. Like many surnames, the name Frickel is taken from a personal name which was very common at the time. Frick is a shortened form of Frederick, which is composed of the Germanic elements "fred," meaning "peace" and "ric," meaning "power." Like many personal names of the time, it owed its popularity to the fact that there was a saint by that name; Saint Frederick was the Bishop of Utrecht (in modern-day Holland) and worked to end paganism and idolatry. This web page shows only a small excerpt of our Frickel research. Another 156 words(11 lines of text) are included under the topic Early Frickel History in all our PDF Extended History products. More information is included under the topic Early Frickel Notables in all our PDF Extended History products. Some of the first settlers of this family name or some of its variants were: Conrad Frick, who arrived in Pennsylvania in 1739 and Johann Fricke, who settled on Long Island in 1781. The Frickel Family Crest was acquired from the Houseofnames.com archives. The Frickel Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 25 November 2014 at 13:04.	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Origins Available: German, Jewish Where did the German Hoffer family come from? What is the German Hoffer family crest and coat of arms? When did the Hoffer family first arrive in the United States? Where did the various branches of the family go? What is the Hoffer family history?Hoffer is a local name from the German region of Westphalia. Local names came to Germany with other types of hereditary surnames after the 12th century. They were derived from the name of the place where the original bearer of the name lived. Sometimes local names bear the prefix "von", meaning "of" or "from". It was an indication of land-ownership, and was sometimes taken as a mark of aristocracy. The family originally lived on a farmstead. The name Hoffer is derived from the Old German and German word hof, which means settlement, farm or court. Many cultural groups lived in the German states in medieval times. Each had its own dialect and traditions, and unique variations of popular names. Low German, which is similar to contemporary Dutch, was spoken in Westphalia. German names are characterized by additions such as regional suffixes and phrases that tell something about the origin or background of its original bearer. Further contributing to the variation in German names was the fact that there were no spelling rules in medieval times: scribes recorded names according to their sound. The recorded spelling variations of Hoffer include Hof, Hoff, Hoffe, Hofer, Hoefer, Hoeffer, Hoffer, Hofle, Hoefe, Hofler, Hoefler, Hofner and many more. First found in Westphalia, where the family contributed greatly to the development of an emerging nation.The name probably stems from the German word "Hof" meaning "court." This web page shows only a small excerpt of our Hoffer research. Another 717 words(51 lines of text) covering the years 1440, 1829, 1378, 1662, 1773, 1629 and 1684 are included under the topic Early Hoffer History in all our PDF Extended History products. Another 35 words(2 lines of text) are included under the topic Early Hoffer Notables in all our PDF Extended History products. After 1650, thousands of German settlers came to North America to escape the religious persecution and poverty that wracked Europe and to make the most of the opportunity to own their own land in a new country. They settled across the United States in Pennsylvania, Texas, New York, Illinois, and California, and in Canada in Ontario and on the fertile plains of the prairie provinces. Among them: Hoffer Settlers in United States in the 18th Century Hoffer Settlers in United States in the 19th Century The Hoffer Family Crest was acquired from the Houseofnames.com archives. The Hoffer Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 24 November 2013 at 22:32.	0
Nunez Surname Origin (Spanish) patronymic from the personal name Nuņo - son of Nuno. Source: American Surnames. ; Smith, Elsdon C; Genealogical Publishing Company, 1997. \| For a more detailed definition for Nunez or other surnames, search the FREE Ancestry.com Name Dictionary. Nunez Last Name Meaning There is more to Nunez family history than your surname origin: Nunez Family Tree and discover things you never knew about your own family. Construct a free family tree to trace your own genealogy and learn about your personal family history. Start by entering what you know about yourself and your family. You can invite your parents, grandparents, siblings, cousins and other family members to contribute what they know to add to your online tree - fill in names and dates, tell stories and upload photos. Ancestry.com will use what you enter to try and find more about your family in the world's largest online collection of historical records and family trees. Next Steps in building the Nunez family tree: Use these genealogy databases to fill in the blanks of your Nunez heritage. Nunez in Ancestry.com Records Start a family tree and receive Free Access to find more about your family in the world's largest online collection of historical records and family trees. Nunez at the Mormon LDS Database Trace your Nunez family in the vast resources of the Mormon LDS genealogy online databases which includes the Ancestral File, transcribed census records, extracted church records from around the world, family trees, and the International Genealogical Index. Nunez at RootsWeb databases Search for your Nunez ancestors in multiple RootsWeb genealogy databases including the Social Security Death Index (SSDI), RootsWeb Surname List, World Connect, vital records, cemetery listings, census records, church records. The oldest and largest free genealogy site on the internet. Communicate with others researching the Nunez surname: It is possible as you build your own family tree to connect with distant cousins and unknown relatives via the internet. Data sharing among genealogical researchers is common, and many family trees have been published online. Learn what others know about your family tree. Nunez in RootsWeb surname mailing lists Join others on the Nunez genealogy mailing list for discussion and sharing of information regarding family histories of Nunez surname and its variations. Note: Not all surnames have a mailing list. If you get the "Page is Not Available" message, no mailing list is available. Instead, check the index of mailing lists for a sound-alike name. Nunez in Ancestry Message Boards Browse or post a query about your genealogy, surname origin, or family history in the Nunez surname forum. Look for unknown cousins or relatives with whom you may have lost touch. A Family History Thought: 'Everyone has ancestors and it is only a question of going back far enough to find a good one.' --Howard Kenneth Nixon Choose the first letter of surname for history of family name: Use DNA Free Shipping Coupon FREESHIPDNA	0
Cooper - Meaning of Cooper [ 2 syll. coo-per, co-op-er ] The baby boy name Cooper is also used as a girl name, but it is much more common for boys. It is pronounced as KUW-P-er †. Cooper is an English name of Old English origin. The name is of the meaning cooper, barrel maker, barrel fixer. It is from the element 'cupa' which means barrel, tub. The first name is derived from the surname, which is itself from the job title for someone who makes or fixes barrels. Cooper has 12 variants that are used in English and other languages. Variants used in English include Coopar, Coopersmith, Coopir, Coopor, Coopur, Coopyr, Couper, Cupere, Kooper, and Kuepper. The contraction Coop is another English variant. A variant of Cooper in other languages is Keifer (German). See also the related form, Kiefer (Hebrew and English). Cooper is popular as a baby name for boys, and it is also viewed as trendy. The name's popularity has been growing since the 1980s. Its usage peaked modestly in 2012 with 0.257% of baby boys being given the name Cooper. Its ranking then was #83. Among all boy names in its group, Cooper was the most frequently used in 2012. Cooper has in the past century been predominantly given to baby boys. Baby names that sound like Cooper include Coopor, Coopur, Kooper, Cabrere, Caffar, Caspar, Casper, Coopar, Coopyr, Kabar, Kabear, Kabeer, Kabeir, Kabir, Kahper, Kapar, Kaper, Kaspar, Kasper, and Kaspor. † Pronunciation for Cooper: K as in "key (K.IY)" ; UW as in "two (T.UW)" ; P as in "pea (P.IY)" ; ER as in "hurt (HH.ER.T)"	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Origins Available: English-Alt, English Where did the English Garlington family come from? What is the English Garlington family crest and coat of arms? When did the Garlington family first arrive in the United States? Where did the various branches of the family go? What is the Garlington family history?The Garlington surname is thought to be a habitational name taken on from a now lost or unidentified place name in England. Spelling variations of this family name include: Girling, Girlyn, Girlington, Gerlinston, Garlington, Gerling, Gerlin, Girlin, Gerlyn, Gerlinge, Gylinge and many more. First found in Norfolk where they were they held a family seat as Lords of the Manor. The Saxon influence of English history diminished after the Battle of Hastings in 1066. The language of the courts was French for the next three centuries and the Norman ambience prevailed. But Saxon surnames survived and the family name was first referenced in the year 1296 when William Girlyn held estates in that shire. This web page shows only a small excerpt of our Garlington research. Another 322 words(23 lines of text) covering the years 1177, 1455, 1487, and 1642 are included under the topic Early Garlington History in all our PDF Extended History products. More information is included under the topic Early Garlington Notables in all our PDF Extended History products. Some of the first settlers of this family name were: Garlington Settlers in United States in the 17th Century Garlington Settlers in United States in the 20th Century The Garlington Family Crest was acquired from the Houseofnames.com archives. The Garlington Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 14 November 2012 at 09:25.	0
Ready to discover your family story? Simply start with yourself and we'll do the searching for you. Surname meaning for "Glynn" Welsh and Cornish: topographic name for someone who lived in a valley, Welsh glyn, Cornish glin, or a habitational name from a place named with this word. Morgan proposes Glynllifon in Caernarfon as a probably source of the Welsh surname.	0
on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Origins Available: English, German Where did the English Fisher family come from? What is the English Fisher family crest and coat of arms? When did the Fisher family first arrive in the United States? Where did the various branches of the family go? What is the Fisher family history?When the ancestors of the Fisher family arrived in England following the Norman Conquest of 1066, they brought their name with them. It is a name for a person who worked as a fisherman. Looking back even further, we found the name was originally derived from the Old English word fischer. Endless spelling variations are a prevailing characteristic of Norman surnames. Old and Middle English lacked any definite spelling rules, and the introduction of Norman French added an unfamiliar ingredient to the English linguistic stew. French and Latin, the languages of the court, also influenced spellings. Finally, Medieval scribes generally spelled words according to how they sounded, so one person was often referred to by different spellings in different documents. The name has been spelled Fisher, Fischer and others. First found in Warwickshire where they held a family seat from very early times and were granted lands by Duke William of Normandy, their liege Lord, for their distinguished assistance at the Battle of Hastings in 1066 A.D. This web page shows only a small excerpt of our Fisher research. Another 217 words(16 lines of text) covering the years 1613, 1683, 1661, 1605, 1665, 1616, 1693, 1655, 1705, 1702, 1623, 1698 and are included under the topic Early Fisher History in all our PDF Extended History products. Another 195 words(14 lines of text) are included under the topic Early Fisher Notables in all our PDF Extended History products. Some of the Fisher family moved to Ireland, but this topic is not covered in this excerpt. Another 101 words(7 lines of text) about their life in Ireland is included in all our PDF Extended History products. To escape the political and religious persecution within England at the time, many English families left for the various British colonies abroad. The voyage was extremely difficult, though, and the cramped, dank ships caused many to arrive in the New World diseased and starving. But for those who made it, the trip was most often worth it. Many of the families who arrived went on to make valuable contributions to the emerging nations of Canada and the United States. An inquiry into the early roots of North American families reveals a number of immigrants bearing the name Fisher or a variant listed above: Fisher Settlers in United States in the 17th Century - Henry Fisher settled in Virginia in 1623 with his wife and children - Edward Fisher settled in Virginia in 1623 - Gabriel Fisher settled in Virginia in 1635 - Gabriell Fisher, aged 36, arrived in Virginia in 1635 - Gabriel Fisher, aged 36, landed in Virginia in 1635 Fisher Settlers in United States in the 18th Century - Dann Fisher, who landed in Virginia in 1701 - Simon Fisher arrived in New England in 1709 with his wife - Edward Fisher, who landed in Boston, Massachusetts in 1712 - Caleb Fisher, who arrived in New England in 1716 - Fleny Fisher, who arrived in Pennsylvania in 1731 Fisher Settlers in United States in the 19th Century - Alexander Fisher, aged 27, arrived in New York in 1800 - Eliz Fisher, who landed in Philadelphia, Pennsylvania in 1801 - C Fisher, who arrived in Philadelphia, Pennsylvania in 1804 - Fredk Fisher, who landed in Philadelphia, Pennsylvania in 1806 - Alexander Duff Fisher, aged 36, landed in New York in 1812 Fisher Settlers in United States in the 20th Century - Frangika Fisher, aged 49, arrived in New York, NY in 1900 Fisher Settlers in Canada in the 19th Century - Donald Fisher, who arrived in Canada in 1817 - Alex Fisher, who landed in Canada in 1817 - Duncan Fisher, who arrived in Canada in 1829 - Sarah Fisher, aged 20, arrived in Saint John, NB in 1833 aboard the brig "Silestria" from Belfast - Lillyl Fisher, aged 50, arrived in Saint John aboard the ship "Susan" in 1838 Fisher Settlers in Australia in the 19th Century - Richard Fisher, English convict from Lancaster, who was transported aboard the "Asia" on April 1st, 1822, settling in New South Wales, Austraila - William Fisher, English convict from Warwick, who was transported aboard the "Asia" on April 1st, 1822, settling in New South Wales, Austraila - John Fisher, English convict from Gloucester, who was transported aboard the "Asia" on July 29th, 1823, settling in Van Diemen's Land, Australia - John Fisher, Scottish convict from Aberdeen, who was transported aboard the "America" on April 4, 1829, settling in New South Wales, Australia - Daniel Fisher, English convict from Wiltshire, who was transported aboard the "Argyle" on March 5th, 1831, settling in Van Diemen's Land, Austraila Fisher Settlers in New Zealand in the 19th Century - Francis Fisher landed in Auckland, New Zealand in 1840 - Isaac Fisher landed in Wellington, New Zealand in 1840 - James Fisher landed in Wellington, New Zealand in 1840 - William Fisher, aged 22, a plasterer, arrived in Wellington, New Zealand aboard the ship "Catherine Stewart Forbes" in 1841 - Eliza Fisher, aged 26, arrived in Wellington, New Zealand aboard the ship "Catherine Stewart Forbes" in 1841 - Doris Fisher (1915-2003), American singer and songwriter - Fred Fisher (1875-1942), American composer - Bud Fisher (1885-1954), American strip cartoonist - Gary Christopher Fisher (b. 1950), considered one of the inventors of the modern mountain bike - Eddie Fisher (1928-2010), American singer and entertainer, who was one of the world's most famous and successful singers in the 1950s - Second Lieutenant Almond Edward Fisher (1913-1982), United States Army officer awarded the Congressional Medal of Honor in 1944 - Zachary Fisher (1910-1999), American philanthropist and recipient of the Presidential Medal of Freedom - Anna L. Fisher M.D. (b. 1949), NASA Astronaut with 192 hours in space - William Frederick Fisher M.D. (b. 1946), American physician and a former NASA astronaut with over 170 hours in space - Carrie Frances Fisher (b. 1956), American novelist, screenwriter, actress and lecturer most famous for her portrayal of Princess Leia in the original Star Wars trilogy - Blue Ridge Mountain Kinfolks: A Record of Ancestors, Descendants, and Relative of the Author and Wife, Including Fisher-Gilbert-HAll-Harley-Hill-King-Kirby-Lawson Families by Larry King. - The Descendants of Nathan Cramer-Alazana Fisher, Including Allied Families and Genealogical Notes: Applegate, Ball, Bean, Cheney, Cox, Crammer, Fessenden, Hensley, Lyon, Mourning, Stookey, Wright by Dolores Cramer Wolf. The motto was originally a war cry or slogan. Mottoes first began to be shown with arms in the 14th and 15th centuries, but were not in general use until the 17th century. Thus the oldest coats of arms generally do not include a motto. Mottoes seldom form part of the grant of arms: Under most heraldic authorities, a motto is an optional component of the coat of arms, and can be added to or changed at will; many families have chosen not to display a motto. Motto: Respice finem Motto Translation: Regard the end. - Virkus, Frederick A. Ed. Immigrant Ancestors A List of 2,500 Immigrants to America Before 1750. Baltimore: Genealogical Publishing, 1964. Print. - Ingram, Rev. James. Translator Anglo-Saxon Chronicle 1823. Print. - Bowman, George Ernest. The Mayflower Reader A Selection of Articales from The Mayflower Descendent. Baltimore: Genealogical Publishing. Print. - Bradford, William. History of Plymouth Plantation 1620-1647 Edited by Samuel Eliot Morrison 2 Volumes. New York: Russell and Russell, 1968. Print. - Burke, John Bernard Ed. The Roll of Battle Abbey. Baltimore: Genealogical Publishing. Print. - Shaw, William A. Knights of England A Complete Record from the Earliest Time to the Present Day of the Knights of all the Orders of Chivalry in England, Scotland, Ireland and Knights Bachelors 2 Volumes. Baltimore: Genealogical Publishing. Print. (ISBN 080630443X). - Browning, Charles H. Americans of Royal Descent. Baltimore: Genealogical Publishing. Print. - Hitching, F.K and S. Hitching. References to English Surnames in 1601-1602. Walton On Thames: 1910. Print. (ISBN 0-8063-0181-3). - Hinde, Thomas Ed. The Domesday Book England's Heritage Then and Now. Surrey: Colour Library Books, 1995. Print. (ISBN 1-85833-440-3). - Filby, P. William and Mary K Meyer. Passenger and Immigration Lists Index in Four Volumes. Detroit: Gale Research, 1985. Print. (ISBN 0-8103-1795-8). The Fisher Family Crest was acquired from the Houseofnames.com archives. The Fisher Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 15 February 2015 at 15:26. on orders of $85 or more	0
on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the German Schaefer family come from? What is the German Schaefer family crest and coat of arms? When did the Schaefer family first arrive in the United States? Where did the various branches of the family go? What is the Schaefer family history?The distinguished surname Schaefer is German in origin. It is derived from the Middle High German term "schaffaere," which referred to the manager or steward of a household. Spelling variations of this family name include: Schaeffers, Schaefer, Scheaffer, Schaefers, Schaffer, Schafer, Shaeffer, Schefer, Shaefer and many more. First found in Hessen, where the name was closely identified in early medieval times with the feudal society which would become prominent throughout European history. The name would later emerge as a noble family with great influence, having many distinguished branches, and become noted for its involvement in social, economic and political affairs. This web page shows only a small excerpt of our Schaefer research. Another 269 words(19 lines of text) covering the years 1569, 1813, 1787, 1425, 1503, 1451, 1624 and 1677 are included under the topic Early Schaefer History in all our PDF Extended History products. Another 101 words(7 lines of text) are included under the topic Early Schaefer Notables in all our PDF Extended History products. Some of the first settlers of this family name were: Schaefer Settlers in United States in the 18th Century - Enners Schaefer, who arrived in America in 1709-1711 - Hs Schaefer, who arrived in America in 1709-1711 - Hs Georg Schaefer, who landed in America in 1709-1711 - Joh Henr Schaefer, who arrived in America in 1709-1711 - Agnes Schaefer, who arrived in America in 1730 Schaefer Settlers in United States in the 19th Century - Christine Schaefer, who landed in Pennsylvania in 1806 - Katharine Schaefer, who arrived in Pennsylvania in 1806 - Kath Schaefer, who arrived in North America in 1832-1849 - Syriacus Schaefer, who landed in North America in 1832-1849 - W Schaefer, who arrived in North America in 1832-1849 Schaefer Settlers in Canada in the 19th Century - Dorothea Schaefer, aged 65, arrived in Quebec in 1893 - Staff Sergeant Joseph E Schaefer (1918-1987), American Army soldier awarded the Congressional Medal of Honor in 1944 - Frederick Schaefer (b. 1842), German revolutionary and Union Army colonel during the American Civil War who co-founded F. & M. Schaefer Brewing Company with his brother Maximilian - Herman H. Schaefer (1919-1980), American professional basketball player and coach - Milner Baily "Benny" Schaefer (1912-1970), American biologist who specialized in the fisheries, eponym of the Schaefer short-term catch equation - William Donald Schaefer (1921-2011), American politician, 58th Governor of Maryland (1987 to 1995) - Herman A. "Germany" Schaefer (1876-1919), American Major League Baseball second baseman - Carl Fellman Schaefer (b. 1903), artist and educator - George Louis Schaefer (1920-1997), Emmy Award-winning producer and director - Peter Schaefer (b. 1977), Canadian professional NHL ice hockey player - Nolan Schaefer (b. 1980), Canadian professional NHL ice hockey goaltender - Jones, George F. The Germans of Colonial Georgia 1733-1783 Revised edition. Baltimore: Genealogical Publishing, 1986. Print. (ISBN 0806311614). - Götze, Alfred. Familiennamen im badischen Oberland. Heidelberg: C. Winter, 1918. Print. - Nied, Edmund. Fraenkische Familiennamen urkundlich gesammelt und sprachlich gedeutet. Heidelberg: C. Winter, 1933. Print. - Zieber, Eugene. Heraldry in America. Philadelphia: Genealogical Publishing Co. Print. - Kneschke, Dr. Ernest Heinrich. Neues allgemeines Deutsches Adels-Lexicon 9 Volumes New General German Aristocracy Lexicon. Leipzig: Friedrich Voigt, 1859. Print. - Kapff, Rudolf. Schwäbische Geschlechtsnamen. Stuttgart: Verlag Silberburg, 1927. Print. - Matthews, John. Matthews' American Armoury and Blue Book. London: John Matthews, 1911. Print. - Egle, William Henry. Pennsylvania Genealogies Scotch-Irish and German. Harrisburg: L.S. Hart, 1886. Print. - Bahlow, Hans. Abhandlungen zur Namenforschung und Buchgeschichte. 1980. Print. (ISBN 978-3768690522). - Rupp, Daniel L. A Collection of Upwards of Thirty Thousand Names of German, Swiss, Dutch, French and Other Immigrants to Pennsylvania from 1727 to 1776. Baltimore: Genealogical Publishing, 2000. Print. (ISBN 978-0806303024). The Schaefer Family Crest was acquired from the Houseofnames.com archives. The Schaefer Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 16 December 2014 at 17:22. on orders of $85 or more	0
on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the French latour family come from? What is the French latour family crest and coat of arms? When did the latour family first arrive in the United States? Where did the various branches of the family go? What is the latour family history? Spelling variations of this family name include: Latour, Tour, Latourre, Tours, Toure, Tors, La Tour, De Latour, de la Toure, de Tour and many more. First found in Languedoc, where this acclaimed family held a family seat since ancient times. This web page shows only a small excerpt of our latour research. Another 312 words(22 lines of text) covering the years 1259, 1365, 1600, 1610, 1618, 1629, 1688, 1743, and 1789 are included under the topic Early latour History in all our PDF Extended History products. More information is included under the topic Early latour Notables in all our PDF Extended History products. Some of the first settlers of this family name were: latour Settlers in United States in the 18th Century - Susanne Latour who settled in New York in 1700 - Herman Latour, who landed in Pennsylvania in 1749 - Herman LaTour, who arrived in Pennsylvania in 1749 - Jacob Latour, who arrived in Pennsylvania in 1749 - Jacob LaTour, who landed in Pennsylvania in 1749 latour Settlers in United States in the 19th Century - Elizabeth Latour, who landed in Louisiana in 1805-1809 - John Latour, aged 24, landed in New Orleans, La in 1829 - Casimir Latour, who landed in Allegany (Allegheny) County, Pennsylvania in 1876 - Charles Thomas Latour who settled in Philadelphia in 1880 latour Settlers in Canada in the 17th Century - Sieur De LaTour, who landed in Canada in 1636 - Francois Latour, aged 28, landed in Canada in 1643 - Jean LaTour, aged 20, arrived in Quebec in 1658 - Crespin LaTour, who arrived in Quebec in 1671 - Crespin Latour, who landed in Quebec in 1671 latour Settlers in Canada in the 18th Century - Charlotte Latour, aged 29, arrived in St Pierre and Miquelon in 1767 - Charlotte LaTour, aged 29, landed in St Pierre and Miquelon in 1767 - Louis Latour, French Wine Producer and negociant, founded the business in the 1700's - Bertrand Latour (b. 1963), French writer - Bruno Latour (b. 1947), French sociologist of science, anthropologist - Théodore Latour (1766-1837), French composer - de la Porte, A. Tresor Heraldique. Paris: F. Casterman, 1864. Print. - De Ville, Winston. Gulf Coast Colonials, A Compendium of French Families in Early Eighteenth Century Louisiana. Baltimore, MD: Clearfield, 1999. Print. - Rolland, and H.V. Rolland. Illustrations to the Armorial general by J. B. Rietstap 6 volumes in 3. Baltimore: Heraldic Book Company, 1976. Print. - Hanks, Patricia and Flavia Hodges. A Dictionary of Surnames. Oxford: Oxford University Press, 1988. Print. (ISBN 0-19-211592-8). - Browning, Charles H. Americans of Royal Descent. Baltimore: Genealogical Publishing. Print. - Rasmussen, Louis J. . San Francisco Ship Passenger Lists 4 Volumes Colma, California 1965 Reprint. Baltimore: Genealogical Publishing Co., 1978. Print. - Bentley, Elizabeth P. Passenger Arrivals at the Port of New York 1820-1829. Baltimore, Maryland: Genealogical Publishing Co., 1999. Print. - Best, Hugh. Debrett's Texas Peerage. New York: Coward-McCann, 1983. Print. (ISBN 069811244X). - Bolton, Charles Knowles. Bolton's American Armory. Baltimore: Heraldic Book Company, 1964. Print. - Annuaire Général Héraldique Universel. Paris: Institut Héraldique, 1901. Print. The latour Family Crest was acquired from the Houseofnames.com archives. The latour Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 4 December 2014 at 12:14. on orders of $85 or more	0
I've taken the "Sarah Montour's Creek" reference as a lead for at least one of John Dockstader's wives and focused on New York. The Montour family originated in New France ( Quebec ) and are descended from Pierre Couc called La Fleur of Cognac, France, a fur trapper of Trois-Rivières who married a widowed Algonquin woman named Marie in 1657. Pierre's son Louis Couc called La Fleur was the first in this family to adopt the name Montour ( reasons why he did so are unclear; Montour is a French name but does not seem to occur on the Continent ), and Louis' siblings – five sisters and one brother – followed suit in adopting the surname. Normally it would not be difficult to track one century of Montour descendants on through to John Dockstader's generation, but the Montour surname travelled both patrilinearly and matrilinearly, so that all of the first generation Cuoc lines became Montours. Fortunately only two Montour lines went to what is now the U.S. while the others remained in Quebec, and this helps narrow down the search. All of the early Montours worked as interpreters in one capacity or another. Among the more famous of the U.S. branch personages are the interpreter Andrew3 Montour ( probably synonymous with a Henry3 Montour ), Andrew's son John4 Montour who was a Patriot during the Revolution, and a number of Iroquois Madames or "Queens", most of them viewed as malevolent in the eyes of U.S. history – Queen Esther4 Montour, Queen Catharine4 Montour, and of course Madame2 Montour. The latter three are often confused as the same person in historical sources. Here is how the Montours got to the U.S. Louis2 Montour, eldest son of Pierre Couc and Marie, was an interpreter and Indian Agent for the French. He was assassinated in New York by an Agent called Joncaire in 1709. This act of treachery so angered Louis's sister Isabelle-Elizabeth2 Montour ( "Madame Montour" ) that she abandoned the French cause and allied herself with the English. Her surviving brother John2 ( Jean-Baptiste ) also moved, to Pennsylvania, though his line is less well-documented. Madame Montour was by this time the widow of a Frenchman called Germaneau, and she ( third? ) married an Oneida chief named Carandawana ( Karontowá:nen, "Big Tree" ) in New York State c. 1710. Madame Montour had at least two more children following the death of Germaneau, Andrew3 Montour the interpreter, probably born c. 1710, and Louis3 Montour, who was also an interpreter. Her husband Carandawana apparently took the name "Robert Hunter" out of respect for the governor and this makes it look as if she married the governor. Carandawana was killed in battle with the Catawbas about 1730. Andrew3 Montour married Sarah Ainse as his second wife ( his first wife being the granddaughter of Allummapees ), and this woman "Sally Montour" appears to have been mistaken for the wife of Hanyery Doxtator in early sources, perhaps owing to her presence at Fort Stanwix and to her residency among the Oneida following the breakup of her marriage to Montour. Madame2 Montour had a niece named French Margaret3, but whose daughter she was is unclear. Consequently Margaret3 is usually taken to be a daughter of Madame Montour even though several sources state she was a niece. French Margaret3 had daughters named Catharine4 and Esther4 Montour, these being the Montour women depicted as "witches" in later U.S. narratives owing to their alleged brutality during the Wyoming Massacre in which they are said to have taken part. Catharine4 was "Queen of the Seneca" after the death of her husband, whose name is given as Chief Telenemut ( not an Iroquois name ) on a NY State plaque. According to the same source Catharine4 was officially born 1710, which confounds her placement as Madame Montour's granddaughter – in all likelihood she was born nearer 1730 since she died in 1804. The branch of the Montour family that John Dochstader most probably married into is that of Roland and John Montour who served in Butler's Rangers and the Indian Department. Cruikshanks "Butler's Rangers" contains numerous references to these brothers. A critical piece of information for the placement of this branch comes from a 1779 letter from Francis Goring to Edward Pollard which gives Roland, John and Belle Montour as children of Edward Pollard. Pollard was head trader at Fort Niagara following the end of the French and Indian Wars and married Telenemut's widow Catharine4 Montour, from whom his children inherited their surname. Pollard apparently also fathered Captain Pollard, head chief of the Seneca at Buffalo Creek, by another Seneca woman, but had returned to London by 1780. In the letter of 1779 given below, Goring, who was at this time employed as Pollard's clerk, mentions that the widower of Pollard's daughter Belle Montour has been killed on the Ohio River, and oddly enough the person who has reported this incident to him is none other than a Lt. Docksteder. Francis Goring to Edward Pollard on Newton battle Niagara, Sept. 12th, 1779 Your favor of the 26th July I received per Mr. Forsyth of the 26th ultimo; also a letter from Lieut. Harrow which I took care to forward. Prior to the receipt of yours, I had already credited you for the 170 lbs. oatmeal at 6d per pound. You have also another credit for 2,000 lb. flour, which is charged to Wm. Lyons, the baker, at 40s per cwt; that quantity, he informs me, you paid him for, the morning you left this. I have waited on Mr. Bliss several times, in order to settle the butter account, but have been always put off by his saying he has not time at present to weigh it, nor will not take it by invoice. Indeed, he is a very litigious, troublesome gentleman to deal with, but hope in a few days to bring him to a settlement. - I have been very busy drawing up another Indian account for L5, 808. There is like to be a very great change in our house in a short time, having once more taken an account of stock, etc. but everything is kept entirely secret from me. Yesterday came in Captain Powell from Canawagoris, where he left Col. Butler two days before in perfect health and spirits. He informs me their first attack with the Rebels was about fifteen miles from Shimango, where Col. Butler made a breast-work, which the Rebels observed, and with two six and four three pounders and small mortars, in half an hour, obliged Col. Butler to retreat. On the same day, a few miles from this, Col. Butler attempted again to stop them, but in vain. In this attack, the Colonel lost four rangers killed, two taken prisoners and seven wounded; – three Senecas and one Cyugo (Cayuga) killed. Your son John Montour, (not Roland) was shot in the back, and the ball lodges in him; however, he is likely to do well, for in a few days after, he, with twenty Indians, stopped the pass of the advanced guard of the Rebels, which was upwards of one thousand, and obliged them to retreat. In this action Col.. Butler and all his people was surrounded, and was very near being taken prisoners. The Indians here all run away, being struck with a panic, and has not been able to gather till very lately. The Colonel retreated to Canadasagoe, but since that is now come to the last village which is Canawagoras. The number of the rebels is not known for certain. Young Clement, from the top of a tree on a hill, counted upwards of 500 tents and seven pieces of cannon, and a great quantity of live cattle which they drive with them, and keep such close order that a prisoner cannot be taken, though the Indians are often very close to them, which they no sooner see when a whole Regiment fires, even at one man. The Rebels has since been joined by 2,800, three large parties from Crokin's lake slope-house and the whole of their army is thought to be about six thousand, under the command of three Generals – Sullivan, Markfield and Hands. The Indians are determined, to a man, to dye with Col. Butler, and have requested of Col.. Boulton to send all the men he can, which a few days ago, he sent sixty men, mostly the light infantry, with Lieuts.. Coote and Pepyat, and two grass-hoppers, and by the next vessels expects one hundred from Carleton Island and as many more from Detroit, which are to go immediately to join Col. Butler, as they mean once more to try their fait. Live or die – is the word all through their Camp. Lieuts.. ST. Magin and Harkimer are expected in every day from the Colonel's with ninety Rangers, who are all sick, which is a great loss to Col. Butler at this critical juncture. Lieut.. Docksteder writes from the Ohio that a party of Rebels has destroyed several Indian villages, with all the corn. He also informs me that a party of Indians going on a scout in three canoes, was fired on by a scout of Rebels from the shore, which killed three, among which was a son of yours, the eldest and handsomest of the white boys, that was formerly married to your daughter, Belle Montour. Published source: "The History of Buffalo", p. 346 (incomplete citation) Kindly submitted [ to http://www.nyhistory.net/~drums/goring_to_pollard_newtown_091279.htmhttp://www.nyhistory.net/~drums/goring_to_pollard_newtown_091279.htm ] by Maggie Parnall This reference together with those in Cruikshank leads me to suspect that the branch of the Montour family known to John Dochstader was this one, and at first I wondered if Roland and John Montour did not also have a sister or daughter Sarah Montour to whom John Dochstader was married. A second reference, in Watson's Annals of Philadelphia and Pennsylvania Volume II (1857), under "The Captivity of Benjamin Gilbert and His Family, 1780", helped clarify things, however. The background of the Montour brothers is given as follows: "The names of these Indians, with their respective tribes, are as follows: Rowland Monteur, 1st captain; John Monteur, second in command, who was also styled captain. These two were Mohawks, descended of a French woman. Samuel Harris, John Huston, and his son, John Huston, Jr., were Cayugas; John Fox of the Delaware nation; the other five were Senecas." The Gilbert family, who were taken prisoner by Montour's company, were ultimately led back to Fort Niagara to run the gauntlet and then be adopted by families ( including Roland Montour's ) who had lost family members. Mention is made of Roland's Cayuga wife, the daughter of a Seneca Chief Siangorochti, alias Grahta or Old Smoke: "Not long after parting with these the captain's [ Roland's ] wife came to them.She was a daughter of Siangorochti, king of the Senecas, but her mother being a Cayuga, she was ranked among that nation, the children generally reckoning their descent from the mother's side.This princess was attended by the captain's brother John, one other Indian, and a white prisoner who had been taken at Wyoming by Rowland Monteur.She was dressed altogether in the Indian manner, shining with gold lace and silver baubles. They brought with them from the fort a supply of provisions.The captain being at a distance behind when his wife came, the company waited for him.After the customary salutations he addressed himself to his wife, telling her that Rebecca was her daughter, and that she must not be induced by any consideration to part with her, whereupon she took a silver ring off her finger and put it upon Rebecca, by which she was adopted as her daughter." If I were to take a guess, I would say that Captain John's third wife "Sarah Montour" was the widow of Roland Montour who died September 1779 a week after being shot in the arm ( Cruikshank p. 82 ). John Dochstader's daughter Mary was born c. 1780-1782 and this fits, as does the nation ( Cayuga ) and the name "Montour", which is common among the Six Nations but mainly among the Mohawks of Quebec rather than of the Grand River, and which is under other circumstances a surname not at all associated with the early Cayugas ( this is the reason I doubted "Sarah Montour" would have been John's Cayuga Wife, which is I believe where David K. Faux placed her in his research notes, but here is a perfect connection ). If this is so, John's Dochstader's wives are: 1. Unknown (Mohawk) 2. Unknown (Seneca) 3. Sarah Montour (Cayuga) 4. Unknown (Onondaga) 5. Sarah Burns alias Sally Ann Van Gorder Sarah Montour ( nee Smoke? )'s father was the Seneca Chief Guyanguahta. In Mohawk the name is Kaien'kwà:ton ( "Disappearing Smoke" ) but more often Shakoien'kwarà:ton ( "He makes them disappear in the smoke", also the name of John "Smoke" Johnson ); "Siangrochti" is Shaien'kwarà:tih ( "Him characterized by Disappearing Smoke" ) with Seneca -ih suffix; Grahta ( "sah-yunh-GWUH-RAH-HTUH" ) preserves the Mohawk. "Old Smoke" was of the Turtle Clan and was reknowned for his military prowess. Along with John Butler and Cornplanter he co-ordinated the assault on the Wyoming Valley and ultimately settled with his family at Buffalo Creek in 1780. Old Smoke is mentioned in Chapter XI of Campbell's Annals of Tryon County, but his Cayuga wife and extended family are unfortunately not well documented in colonial sources. Roland Montour's line from Pierre Couc called La Fleur is as follows: 1 Pierre Couc called Lafleur ( French ) b. Abt 1624 Cognac, France, d. APR 1690 Saint-François du Lac. Interpreter, Fur Trader. . . . + Marie Mitewamegoukwe ( Algonquin ) 16 APR 1657 Trois-Rivières, d. 1699 Trois-Rivières. . . . . . . 2 Jeanne Couc called Lafleur ( Métis ), b. 14 JUL 1657 Trois-Rivières, d. 23 OCT 1679 Trois-Rivières, no issue. . . . . . . 2 Louis Couc called Lafleur called Montour ( Métis ) chr. 27 NOV 1659 Trois-Rivières, d. 1709 NY. Interpreter, Fur Trader. . . . . . . 2 Marie-Angélique Couc called Montour ( Métis ) b. Abt 1661 Trois-Rivières. . . . . . . 2 Marguerite Couc called Montour ( Métis ) b. 01 JUN 1664, chr. 05 JUN 1664 Trois-Rivières. . . . . . . 2 Isabelle-Élizabeth Couc called Montour ( Métis ), b. Abt 1667 Trois-Rivières, d. 1749 PA. . . . . . . . . . + Joachim Germaneau ( French ) called Germano 30 APR 1684 Sorel. Fur Trader, d. Abt 1695. . . . . . . . . . . . . 3 Jacques Montour chr. 01 MAY 1684 Trois-Rivières. . . . . . . . . . . . . 3 Marie-Anne Germaneau called Montour b. Abt 1695, d. 22 APR 1730 Quebec. . . . . . . . . . . . . 3 Michel Germaneau b. Abt 1695, d. 15 MAY 1734 Montreal. . . . . . . . . . + Pierre Tichenet ( French ) Abt 1704, d. 1706. . . . . . . . . . + Robert Hunter Karontowá:nen ( Oneida ) Abt 1707, d. Abt 1728. . . . . . . . . . . . . 3 Margaret Montour a.k.a. French Margaret ( Iroquois ) [ a niece? ] . . . . . . . . . . . . . . . + Peter Quebec Katarioniecha ( Mohawk ) . . . . . . . . . . . . . . . . . . 4 Catharine Montour ( Iroquois ) . . . . . . . . . . . . . . . . . . . . . + Telenemut Huston ( Seneca? ) . . . . . . . . . . . . . . . . . . . . . + Edward Pollard ( English ) d. 1794. . . . . . . . . . . . . . . . . . . . . . . . . 5 Roland Montour ( Mohawk or Seneca ) . . . . . . . . . . . . . . . . . . . . . . . . . . . + Daughter of Siangorochti alias Old Smoke ( Cayuga ) . . . . . . . . . . . . . . . . . . . . . . . . 5 John Montour ( Mohawk or Seneca ) . . . . . . . . . . . . . . . . . . . . . . . . 5 Belle Montour ( Mohawk or Seneca ) . . . . . . . . . . . . . . . . . . 4 Esther Montour ( Iroquois ) . . . . . . . . . . . . . . . . . . . . . + Mahagohund or Egnohow ( ? ) . . . . . . . . . . . . . . . . . . 4 Mary or Molly Montour ( Iroquois ) . . . . . . . . . . . . . . . . . . . . . + White Mingo or John Canigaatt or Kanaghoragait ( Seneca ) . . . . . . . . . . . . 3 Andrew Montour Sha'teríhon or Shaterí:io ( Iroquois ) b. Abt 1710, d. 1772. Interpreter. . . . . . . . . . . . . . . . + Unknown ( Delaware ) Granddaughter of Allummapees. . . . . . . . . . . . . . . . . . . 4 John Montour ( Delaware ) b. Abt 1744. . . . . . . . . . . . . . . . + Sarah Ainse ( Oneida ) Abt 1745 . . . . . . . . . . . . . . . . . . 4 Nicholas Montour ( Oneida ) chr. 31 OCT 1756 Albany, d. 06 AUG 1808 Pointe-du-Lac, Quebec. . . . . . . . . . . . . 3 Lewis Montour ( Iroquois ) . . . . . . 2 Marie Madeleine Couc called Montour ( Métis ) b. Abt 1669 Trois-Rivières. . . . . . . 2 Jean-Baptiste Couc called Montour ( Métis ) b. Abt 1673 Trois-Rivières. One reason this Montour tree might still be of relevance is that there is no longer a gap between the end of the Revolution and John Dochstader's marriage to a Cayuga wife, and consequently there is now only a four year period 1776-1780 during which John can have married a Seneca woman. Since the Hustons and Montours seem both to have ties to the Senecas ( Catharine4 Montour was a Seneca "Queen" ) I wonder if John did not marry a Seneca Montour or Huston relation who died before 1780. Roland Montour's family's adoption of Rebecca Gilbert as ( apparently their only? ) daughter is indicative of loss in the family, and epidemics coupled with war and the winter months may have taken a large toll on the population. Since Adam Dochstader's mother was Seneca I would now place his birth at about 1778, making him about 23 years old when Captain John died and about 48 years old when he signed the 1826 treaty at Buffalo Creek. Chances are that while Captain John apparently supported his son ( or at least mentions him in his will ), Adam was raised entirely by his mother's family, i.e. by her brothers and sisters, at Buffalo Creek from the 1780s forward. John, Joseph and Wari Dochstader apparently came to Canada with the Mohawks, their mother's people. 1 Captain John Dochstader b. Abt 1750 New York. . . . + Unknown ( Mohawk ) Abt 1768 New York. . . . . . . 2 John Dochstader ( Mohawk ) b. Abt 1768 New York. . . . . . . 2 Joseph Dochstader ( Mohawk ) b. Abt 1771 New York. . . . . . . 2 Wari Dochstader ( Mohawk ) b. Abt 1774 New York. . . . + Unknown ( Seneca ) Abt 1777 New York. . . . . . . 2 Adam Dochstader ( Seneca ) b. Abt 1778 New York. . . . + Sarah Montour nee Smoke ( Cayuga ) Abt 1780 New York. . . . . . . 2 Mary Dochstader ( Cayuga ) b. Abt 1781 New York. . . . + Unknown ( Onondaga ) Abt 1785 Grand River? . . . . . . 2 Catherine Dochstader ( Onondaga ) b. Abt 1786 Grand River. . . . + Sarah Burns alias Sally Ann Van Gorder Abt 1790 Grand River.	0
on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Origins Available: English, French Where did the English Crisp family come from? What is the English Crisp family crest and coat of arms? When did the Crisp family first arrive in the United States? Where did the various branches of the family go? What is the Crisp family history?The name Crisp was brought to England by the Normans when they conquered the country in 1066. It comes from the Old English given name Crispin, which derives from a Latin nickname which means curly-haired. Much of the popularity of the name in the early Middle Ages is a result of the popularity of St. Crispin, who was martyred at Soissons in 285 AD Before the advent of the printing press and the first dictionaries, the English language was not standardized. Sound was what guided spelling in the Middle Ages, so one person's name was often recorded under several variations during a single lifetime. Spelling variations were common, even among the names of the most literate people. Known variations of the Crisp family name include Crisp, Cripps, Crispin, Crispe, Crisppin, Crispp and many more. First found in Oxfordshire where they had been granted the lands of Cowley by William the Conqueror for their assistance at the Battle of Hastings in 1066. This web page shows only a small excerpt of our Crisp research. Another 253 words(18 lines of text) covering the years 1066, 1273, 111., 1749, 1625, 1600, 1643, 1st , 1599, 1666 and 1630 are included under the topic Early Crisp History in all our PDF Extended History products. Another 79 words(6 lines of text) are included under the topic Early Crisp Notables in all our PDF Extended History products. Some of the Crisp family moved to Ireland, but this topic is not covered in this excerpt. Another 33 words(2 lines of text) about their life in Ireland is included in all our PDF Extended History products. To escape the political and religious chaos of this era, thousands of English families began to migrate to the New World in search of land and freedom from religious and political persecution. The passage was expensive and the ships were dark, crowded, and unsafe; however, those who made the voyage safely were encountered opportunities that were not available to them in their homeland. Many of the families that reached the New World at this time went on to make important contributions to the emerging nations of the United States and Canada. Research into various historical records has revealed some of first members of the Crisp family to immigrate North America: Crisp Settlers in United States in the 17th Century - Benjamin Crisp, who arrived at Waterdown, Massachusetts in 1630 - Benjamin Crisp, who landed in Watertown, Massachusetts in 1639 - Francis Crisp, a servant sent to Virginia in 1659 - Anth Crisp, who arrived in Virginia in 1663 - Christopher Crisp, who arrived in Virginia in 1677 Crisp Settlers in United States in the 18th Century - Edward Crisp, who arrived in Rappahannock, VA in 1727 Crisp Settlers in United States in the 19th Century - Downing Crisp, who came to Galveston, TX in 1836 - George Crisp, aged 35, arrived in New York, NY in 1855 Crisp Settlers in Australia in the 19th Century - Benjamin Crisp, English convict from Middlesex, who was transported aboard the "Arab" on July 3, 1822, settling in Van Diemen's Land, Austraila - Emma Crisp, English convict from Warwick, who was transported aboard the "America" on December 30, 1830, settling in Van Diemen's Land, Australia - Richard Crisp arrived in Adelaide, Australia aboard the ship "Canton" in 1846 - G. Crisp arrived in Adelaide, Australia aboard the ship "John Woodall" in 1849 - Thomas Crisp arrived in Adelaide, Australia aboard the ship "Posthumous" in 1850 Crisp Settlers in New Zealand in the 19th Century - Thomas Crisp arrived in Auckland, New Zealand aboard the ship "Nimroud" in 1860 - Mary Crisp arrived in Auckland, New Zealand aboard the ship "Nimroud" in 1860 - W. S. Crisp arrived in Auckland, New Zealand aboard the ship "Nimroud" in 1860 - Elizabeth Crisp arrived in Auckland, New Zealand aboard the ship "Nimroud" in 1860 - Walter Crisp, aged 23, a carpenter, arrived in Auckland, New Zealand aboard the ship "Maori" in 1864 - Charles Frederick Crisp (1845-1896), American Democratic politician, Representative from Georgia (1883-1896) and Speaker of the House (1891-1895) - Covelli Loyce "Coco" Crisp (b. 1979), American Major League baseball center fielder - Frank Crisp (1843-1919), English lawyer and microscopist - George William "Donald" Crisp (1882-1974), English Academy Award winning film actor for his supporting role in How Green Was My Valley (1941) - Quentin Crisp (1908-1999), born Denis Charles Pratt, an English writer and raconteur - Mr. Albert Hector Crisp (d. 1912), aged 35, English Saloon Steward from Southampton, Hampshire who worked aboard the RMS Titanic and died in the sinking - Bob Crisp (1911-1994), South African cricketer - Ruth Crisp (d. 1960), New Zealand poet, philanthropist - Terry Crisp (b. 1943), Canadian NHL ice hockey center, member of two Stanley Cup championship teams - Thomas Crisp (1876-1917), recipient of the Victoria Cross - Ancestors and Descendants of James Milton Crisp (1834-1925) and Wife, Sarah Catherine (James) Crisp (1841-1911). - Ingram, Rev. James. Translator Anglo-Saxon Chronicle 1823. Print. - Filby, P. William and Mary K Meyer. Passenger and Immigration Lists Index in Four Volumes. Detroit: Gale Research, 1985. Print. (ISBN 0-8103-1795-8). - Burke, Sir Bernard. Burke's Genealogical and Heraldic History of the Landed Gentry: Including American Families with British Ancestry. (2 Volumes). London: Burke Publishing, 1939. Print. - Colletta, John P. They Came In Ships. Salt Lake City: Ancestry, 1993. Print. - Burke, Sir Bernard. General Armory Of England, Scotland, Ireland and Wales. Ramsbury: Heraldry Today. Print. - Innes, Thomas and Learney. The Tartans of the Clans and Families of Scotland 1st Edition. Edinburgh: W & A. K. Johnston Limited, 1938. Print. - Markale, J. Celtic Civilization. London: Gordon & Cremonesi, 1976. Print. - Library of Congress. American and English Genealogies in the Library of Congress. Baltimore: Genealogical Publishing, 1967. Print. - The Norman People and Their Existing Descendants in the British Dominions and the United States Of America. Baltimore: Genealogical Publishing, 1975. Print. (ISBN 0-8063-0636-X). - Hitching, F.K and S. Hitching. References to English Surnames in 1601-1602. Walton On Thames: 1910. Print. (ISBN 0-8063-0181-3). The Crisp Family Crest was acquired from the Houseofnames.com archives. The Crisp Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 8 January 2015 at 12:49. on orders of $85 or more	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the Scottish Mcfeeley family come from? When did the Mcfeeley family first arrive in the United States? Where did the various branches of the family go? What is the Mcfeeley family history?The ancient Dalriadan-Scottish name Mcfeeley is a nickname for a dark-featured, peaceful person. The Gaelic name of the Clan is Mac Dubhshithe, which translates as black one of peace. One branch of the Clan on the island of North Uist was known as Dubh-sidh, meaning 'black fairy,' due to their whimsical association with the faerie folk. In the Middle Ages, the translation between Gaelic and English was not a highly developed process. Spelling was not yet standardized, and so, an enormous number of spelling variations appear in records of early Scottish names. Mcfeeley has appeared as MacFie, McFey, MacFee, MacDuffie, MacPhee, MacGuffie, MacCuffie, MacPhie, Maffie, Maffey, MacDubh-shithe (Gaelic) and many more. First found in on the Isle of Colonsay, where the eponymous ancestor of the Clan may be Dubhshith, also called Dubside, who was lector at the Cathedral on the sacred isle of Iona in 1164. As the name MacFee is one of the oldest of all Dalriadan surnames it appears in records as early as the reign of Alexander II, when Johannes Macdufthi was witness to a charter in Dumfriesshire. In 1296, Thomas Macdoffy swore an oath of allegiance to the king. This web page shows only a small excerpt of our Mcfeeley research. Another 361 words(26 lines of text) covering the year 1838 is included under the topic Early Mcfeeley History in all our PDF Extended History products. More information is included under the topic Early Mcfeeley Notables in all our PDF Extended History products. Some of the Mcfeeley family moved to Ireland, but this topic is not covered in this excerpt. Another 187 words(13 lines of text) about their life in Ireland is included in all our PDF Extended History products. The descendants of the Dalriadan families who made the great crossing of the Atlantic still dot communities along the east coast of the United States and Canada. In the American War of Independence, many of the settlers traveled north to Canada as United Empire Loyalists. Clan societies and highland games have allowed Canadian and American families of Scottish descent to recover much of their lost heritage. Investigation of the origins of family names on the North American continent has revealed that early immigrants bearing the name Mcfeeley or a variant listed above include: Mcfeeley Settlers in United States in the 19th Century This page was last modified on 27 October 2010 at 13:47.	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the Irish Scanlon family come from? What is the Irish Scanlon family crest and coat of arms? When did the Scanlon family first arrive in the United States? Where did the various branches of the family go? What is the Scanlon family history?Today's Irish surnames are underpinned by a multitude of rich histories. The name Scanlon originally appeared in Gaelic as O Scannlain or Mac Scannlain, which are both derived from the word "scannal," which means "contention." Before widespread literacy came to Ireland, a name was often recorded under several different variations during the life of its bearer. Accordingly, numerous spelling variations were revealed in the search for the origin of the name Scanlon family name. Variations found include Scanlan, O'Scannell, O'Scanlan, O'Scanlon, MacScanlan, Scanlin and many more. First found in County Louth (Irish: Lú) the smallest county in Ireland, located on the East coast, in the Province of Leinster. This web page shows only a small excerpt of our Scanlon research. Another 394 words(28 lines of text) covering the year 1272 is included under the topic Early Scanlon History in all our PDF Extended History products. More information is included under the topic Early Scanlon Notables in all our PDF Extended History products. To escape the religious and political discrimination they experienced primarily at the hands of the English, thousands of Irish left their homeland in the 19th century. These migrants typically settled in communities throughout the East Coast of North America, but also joined the wagon trains moving out to the Midwest. Ironically, when the American War of Independence began, many Irish settlers took the side of England, and at the war's conclusion moved north to Canada. These United Empire Loyalists, were granted land along the St. Lawrence River and the Niagara Peninsula. Other Irish immigrants settled in Newfoundland, the Ottawa Valley, New Brunswick and Nova Scotia. The greatest influx of Irish immigrants, however, came to North America during the Great Potato Famine of the late 1840s. Thousands left Ireland at this time for North America and Australia. Many of those numbers, however, did not live through the long sea passage. These Irish settlers to North America were immediately put to work building railroads, coal mines, bridges, and canals. Irish settlers made an inestimable contribution to the building of the New World. Early North American immigration records have revealed a number of people bearing the Irish name Scanlon or a variant listed above, including: Scanlon Settlers in United States in the 19th Century Scanlon Settlers in United States in the 20th Century Scanlon Settlers in Canada in the 19th Century Scanlon Settlers in Australia in the 19th Century Scanlon Settlers in New Zealand in the 19th Century The Scanlon Family Crest was acquired from the Houseofnames.com archives. The Scanlon Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 18 March 2015 at 16:39.	0
\|Click here to go straight to our clan section!\| Or read on for our introduction... It is helpful to understand how the clans and families came into being, where we came from, how they were organised and the influence they played in society as a whole. It is thought that all clans and families in Scotland and Ireland are as a result of just 5 tribes of the Gael. So if you are hunting up your clan associations it would be useful to read C Thomas Cairney's book on the Clans and Families of Ireland and Scotland which he has kindly let us publish on the site. In particular, Part I of his book, explains how they all came into being. Part II goes on to discuss individual clans and families and if you go to the Index page of his book you can quickly locate your own family or clan name and from there go right to the appropriate page. As an alternative, or perhaps in addition, we'd recommend a read of the Explantion of Clanship which will give you an extremely detailed guide to how clans were formed and how they operated. Having read that you might move to our section on Kings of the Isles as this shows the influence of the Irish as well as the Danes and Norwegians. The information on these two pages come from sources researched around 1830. When it comes to Scottish clans we have individual pages for Official Clans recognised by the Lord Lyon Court which you can see on our Scottish Clan Menu Index. We do also have information on "unofficial" clans and other family names in our Other It is important to note we at Electric Scotland are not experts in Clan histories and merely continue to seek accounts of individual clans from many sources. We are not adverse to adding additional accounts as we come across them simply because out of each account a little more is learned. It should also be noted that Clan Chief's themselves were not adverse to "improving" on their own official histories to make themselves look a little more important or to minimise a particularly sorry part in their clan history. You should also look out for "Clan Members Web Sites" on individual clan pages as there we list any clan members with their own web sites. These often contain useful additional information. We also provide links from the clan pages to any official clan society web site. Clans and Families of Ireland and Scotland Part II will also give you additional information and in particular covers the Irish and Scots-Irish families. We have also recently embarked on a Scots-Irish section where we will be providing some history on significant Irish Families. It is important to note that Official Clan Society web sites should be your main source for information on your clan so do check them out. From each of our clan pages we do list any official clan site where we know of them. We are also in the process of adding the Great Historic Families of Scotland to the site. We'd also recommend a read of the MacDonalds, Campbells and MacGregors to give you a flavour of just three of the major Scottish clans. Note however that most clan pages contain information on other clans as there were many battles with each other and so many references and additional information can be included in other clan pages. On this subject our General History of the Highlands contains many accounts of clan battles. Researching your Clan Should you be trying to find out which clan you belong to then try our Septs page where we explain all about what Septs are and also list most of the known septs under the major clans and then our Alphabetical clan name listings if you still can't find your name. There is also a listing of Surnames under the Clans and Families of Ireland and Scotland. I'd just add here that many spellings have changed over the years and especially due to emigration to the US where many names were spelled as they sounded. That being the case if you can't find your actual spelling try saying your name out loud and try an alternative spelling from that and also remember that many Scots that emigrated to the US were Gaelic speakers and hence the accent would be different. If a name is not found look under other possible spelling variations such as "Lezly" as "Leslie". "Gil" may have been "il" or "el" " Mc " and " M' " are simple abbreviations for "Mac" and do not denote Scots or Irish heritage. A name that once began with "n" may now begin with "r" and the final "c" of "Mac" may have been duplicated into a second "c" or a "k" (MacOmber-MacComber; Since Gaelic requires sound changes when "Mac" is prefixed, try pronouncing the new name aloud substituting a new first letter on the second part of the name, and you may hear the original... "b" or "m" for a "v" MacVean to MacBean, MacVickle to MacMichael. "p" for an "f" MacFall to MacPaul "d" for "g" or "t" MacGonell to MacDonell, MacLout to MacLeod Gaelic "f" becomes silent after "Mac"; try reinserting it - MacLetcher to MacFletcher. Note that the most populous two-thirds of Scotland was under the Anglo-Norman feudal, not the clan, system. The majority of Scots were not "Highlanders" nor Gaelic speakers and did not historically wear tartan. The next most asked question we get is where is my clan shield and the answer to that is really that there isn't one as it's owned only by the chief of the clan and can't be used by clan members. But this page will tell you all about it and as it comes direct from the Lord Lyons office you can be assured of its accuracy. Clans and Families of Ireland and Scotland does include an Appendix on Coats of Arms. For general advice on genealogy research we have included our ScotRoot page where we tell you what we can and can't do to help. We also provide pointers to other sites that might be able to help. Should you be looking for your clan tartan then check out our page where you can use the Scottish Tartans Society database. Having done all that you might consider joining one of our webboard systems as 91% of our visitors come from a Scottish ethnic background and so you'll be able to message with fellow Scots in either our main webboard or webboard. It's all free and if this is your first time in such a system then you just need to register the once and we'd recommend you just have a wee read of the various messages to get a hang of how it all works then post your own messages when you are ready. (Note: You do require to have cookies and java enabled to use the service). This does give you many more people to talk with and as most will come from a Scottish or Irish background there is a reasonable chance someone in there can help. I'd recommend that you make use of our Site Search Engine as through using that you may well find various documents that refer to your clan. For example I did a search for Killiecrankie, the famous battle, and that gave me a number of links to other clan pages where the clan had participated in the battle. So the Site Search Engine will help you do some cross reference work. We also have a genealogy section where you can post your own family information and any mini bios on clan members as well as read information sent in by other Electric Scotland Visitors. The section is called Mini Biographies of Scots and Scots Descendants. In addition, tucked away in our history section, you can read about Scots and Scots-Irish descendants at our Scots Descendants page and do also check out our Page on Burke's Peerage & Gentry. For general advice on what tartan to wear you might visit our Wearing the Tartan page. On a final note I'd also just remind you that we have loads of historical information in our History section and I'd recommend a read of the History section's introduction page for an overview. Our General History of Scotland contains masses of information on Scottish clans and their battles with one another and indeed our Highland Regiments page will also give additional information. I hope this short introduction is useful and hope you enjoy reading through our histories and other information.	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the English Kellam family come from? What is the English Kellam family crest and coat of arms? When did the Kellam family first arrive in the United States? Where did the various branches of the family go? What is the Kellam family history?Kellam is a name of ancient Norman origin. It arrived in England with the Norman Conquest of 1066. The Kellam family lived at Kelham in Nottinghamshire, a parish northwest of Newark. The name Kellam is derived from the Old Norse expression for at the ridges. It is most commonly found in Northamptonshire and Nottinghamshire. Multitudes of spelling variations are a hallmark of Anglo Norman names. Most of these names evolved in the 11th and 12th century, in the time after the Normans introduced their own Norman French language into a country where Old and Middle English had no spelling rules and the languages of the court were French and Latin. To make matters worse, medieval scribes spelled words according to sound, so names frequently appeared differently in the various documents in which they were recorded. The name was spelled Kellam, Kelham and others. First found in Nottinghamshire where they held a family seat from very early times and were granted lands by Duke William of Normandy, their liege Lord, for their distinguished assistance at the Battle of Hastings in 1066 A.D. This web page shows only a small excerpt of our Kellam research. Another 189 words(14 lines of text) are included under the topic Early Kellam History in all our PDF Extended History products. More information is included under the topic Early Kellam Notables in all our PDF Extended History products. Because of this political and religious unrest within English society, many people decided to immigrate to the colonies. Families left for Ireland, North America, and Australia in enormous numbers, travelling at high cost in extremely inhospitable conditions. The New World in particular was a desirable destination, but the long voyage caused many to arrive sick and starving. Those who made it, though, were welcomed by opportunities far greater than they had known at home in England. Many of these families went on to make important contributions to the emerging nations of Canada and the United States. Analysis of immigration records indicates that some of the first North American immigrants bore the name Kellam or a variant listed above: Kellam Settlers in United States in the 17th Century Kellam Settlers in United States in the 19th Century The motto was originally a war cry or slogan. Mottoes first began to be shown with arms in the 14th and 15th centuries, but were not in general use until the 17th century. Thus the oldest coats of arms generally do not include a motto. Mottoes seldom form part of the grant of arms: Under most heraldic authorities, a motto is an optional component of the coat of arms, and can be added to or changed at will; many families have chosen not to display a motto. Motto: Beneficiorum memor Motto Translation: Mindful of benefits. The Kellam Family Crest was acquired from the Houseofnames.com archives. The Kellam Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 4 November 2013 at 07:22.	0
how did the surname and family name of Dufton start, and who were the first Duftons? We cannot be sure. This page records some of the research carried out so far. It is hoped that this information will be of interest to others in the future who may want to take the research further. A list of the documents used in this research are recorded on the Documents page. It seems probable that the Robert de Dufton recorded in the Pipe Rolls of 1176, was one of the very first people to bear the name Dufton. History would indicate that perhaps his father was in fact the first Dufton. The tradition of using 'place' surnames to indicate hereditary land ownership was a Norman invention. First, the land was acquired, then a son inherited it and began using the prefix 'de', as in de Dufton. Finally when the land and title passed to his son the surname became a family name. Robert de Dufton recorded in1176 Due to the remoteness of Cumbria very little of the area was settled by the Normans until well after 1100. Hence, the name Dufton was probably first taken at some time between 1100 and 1176. The name does not appear on the surviving pieces of 1130 Pipe Rolls for Westmorland, which narrows the period to when the name Dufton was first used to between 1130 and 1176. An important event in English, and especially Cumbrian history, was the sinking of the White Ship. On the night of the 25th November 1120, off the coast of France, the White Ship sank drowning not only Prince William, the future king, but many of the royal household, including the Earl of Chester. Ranulph de Mechines, the Lord of Cumbria, became the new Earl of Chester. King Henry took back control of Cumbria from Ranulph for himself. King Henry had been greatly concerned by the power exerted by the warlord Ranulph in Cumbria, and by the local unrest that had plagued his time there. The Scots were no longer a problem as Henry had a good relationship with his brother-in law the King of Scotland. The king divided Cumbria in to various smaller baronies, he tended to favour local Anglo-Saxon or Norse families as the new land owners in Cumbria. He thought this would ensure loyalty from the local population, and in those troubled times he could not afford unrest in the distant north. Records indicate that Cumbria was not functioning as a proper shire, and was in need of King Henry travelled to Cumbria in 1130, and much of his reorganising was completed around this time, the counties of Cumberland and Westmorland came into being during this period. Various writ charters of around this time indicate that much of the land and manors around the village of Dufton had been recently granted to local Anglo-Saxon and Norse families. Culgaith, just north of Dufton was the property of Adam FitzSweyne a Saxon lord. Edenhall, Brougham, Kirby Stephen and Greystoke are all recorded as being in the hands of local lords. King Henry died in 1135, and Cumbria came under the rule of Scotland. So, history suggests that the name Dufton may have originated at some time between 1130 and 1135. Dufton crest of 1174 But who were Robert de Dufton's ancestors? As yet this still remains rather unclear, but there are various possibilities, and two of these are worth serious consideration. some detailed and very impressive research by Professor Richard Dufton suggests that Robert de Dufton was a descendant of Eldred, the second Baron of Kendal, and of his son, Ketel FitzEldred the third Baron of Kendal. William FitzKetel was Ketel's youngest son, his name and his father's name appear on a grant of land between 1120 and 1130. It is suggested that around this time William is given the manor of Dufton. William's son Nicholas inherits the manor of Dufton and takes the name Nicholas de Dufton, to establish and demonstrate his possession. Nicholas's son, Ranulph de Dufton inherits the manor, and is followed by his son Robert de Dufton born about 1150. This is the Robert de Dufton that appears on the 1176 Pipe Roll of Westmorland. chart showing the first Duftons and the start of the House of Robert de Dufton was fined in 1174 by King HenryII for not defending Appleby castle. another possibility is that the Dufton family are in fact a branch of the Greystoke family. The family of the fictional character Tarzan. Various documents indicate that the fortunes and misfortunes of the Dufton family are linked to the Greystokes. that Lyulf, a Norse chief, was the most visible man among the Cumbrian lords during the early Anglo-Norman period. He held land in Cumberland, Yorkshire, Northumberland and Westmorland, and was granted the lordship of Greystoke by Ranulph de Meschines. His eldest son Phorne was his successor, he became the second baron of Greystoke, and had all the lands he inherited confirmed by King Henry in about 1130. Phorne’s successor was his eldest son Ivo, the third baron of Greystoke, born about 1093. And, it was a William de Greystoke, the ninth baron of Greystoke, who in about 1235 holds the various manors once held by the Duftons. Records show that the Westmorland manor of Brampton, the manor next to the manor of Dufton, was held in the late 1100s by 'fief of Greystoke' by Ranulph de Brampton a younger son of Ranulph of Greystoke, the grandson of Ivo de Greystoke. This is the same period when the manor of Dufton is held by Robert de Dufton. So is the situation at Dufton similar to that at Brampton where the manor is held by a younger Greystoke son who has taken the name of his estate? And are Ranulph de Brampton and Robert de Dufton brothers or cousins, the sons of Greystoke fathers? Although ownership of most of the land in Anglo-Norman Westmorland is well documented, it remains unclear exactly what land the Greystokes held in the county. But, records do show that Ivo de Greystoke's son did own Knock, Yanwath and Brampton manors all very near Dufton, and which a few years later would belong to John de Dufton. Also, records do indicate that at this time Brampton, Dufton, Bolton and Yanwath are not held separately by the barony of Westmorland but held as tenure by the family of Greystoke, and that at one time Dufton village was part of Brampton Manor. In conclusion, the suggestion being made is that the Dufton family may stem from a younger son of Ivo de Greystoke, the third baron. Ivo had four sons, Walter (the forth baron), Robert, Adam and William. The younger sons would have been given land and manors, one of which may have been the manor of Dufton. Or, perhaps more intriguingly from a Greystoke daughter as there are records of them being given land as a marriage portion. We also know that Edith de Greystoke, Ivo's daughter, was the mistress of King Henry and the mother of at least one of his sons! Greystoke tower of Lyulf still stands above Gowbarrow fell, next to Aira force overlooking Ullswater, and in the shadow of Helvellyn. There is a legend, and a poem by William Wordsworth called The Somnambulist, that tells the story of Emma of Greystoke and her beloved Sir Eglamore, one of King Arthur's knights. The poem tells of the events that happened at Lyulf's tower. The Barons in Cumbria held their lands and baronies from the king, to whom they were expected to provide Knight's Service. If the king demanded 4 knights's service from the baron, then four knights would need to be given land, and allowed to collect taxes as payment for their service to the baron. It often occurred that younger males of a baron's family would serve as his knights, thus the baron's lands would remain within It seems certain that the Dufton family are a branch of one of the younger members of an ancient Cumbrian family. But which one we do not know as yet, it could be the family of Lyulf of Greystoke, Ketel of Kentdale, Sweyne or even the Morvilles. My own best guess.......... for what it's worth, After many, many hours reading through the various documents and manuscripts in the National Archive at Kew, Carlisle Castle record office and Carlisle and Kendal reference libraries is that the Dufton family stem from the Greystoke family. Possibly, from one of the younger sons of Ivo de Greystoke. There are two pieces of significant information that indicate that during the earliest of times the manor of Brampton was a fief of the Barony of Greystoke, and that Dufton was originally part of the manor of Brampton, hence linking the Duftons to the Greystoke family. (ref...CWAA 1922) This Medieval Dufton chart records the early known Duftons. However, the chart is just a first attempt, and has been drawn with only a little confidence. section of the Family tree of Lady Clifford of Westmorland, recording the marriage of Thomas de Greystoke and the daughter of Robert de Thomas held the manor of Dufton after the death of John de Dufton Research suggests that the Dufton family may descend from the Ranulph baron of Greystoke shown on the chart. Mediaeval documents record William de Dufton applying for a writ in a dispute over land in Appleby in 1198. Also, Robert de Dufton being summoned for court service in 1199. His son John de Dufton held in capite, from the crown, the barony of Dufton which included the manors of Dufton, Knock, Keisley, Brampton, Bolton and Yanwath all in Westmorland. There is apparently, a state document of 1173 that describes the arms granted to William de Dufton son of Ranulph de Dufton. However, the accuracy of the document still needs to be confirmed. But it does allow us to draw a possible family tree for these early Duftons. de Dufton, born about 1130 Robert de Dufton, born about 1150... William de Dufton, born about 1160 John de Dufton, born about 1180 Rolls, Curiae Regis, Close Rolls, Feets of Fines. references to possible early Duftons. \|1198 Curiae Regis \|\|William de Dufton William de Dufton applied for a writ against William.....sum Regarding Appleby. \|\|Robert de Dufton \|\|Called for jury service \|1199 Curiae Regis \|\|Robert de Dufton \|\|Robert de Dufton, spelt Davefton, versus Thomas de Aresci and Peter de Nevill. \|1206 Curiae Regis \|\|Peter de Duveton \|\|Isabella widow of Peter de Duveton regards land in Duviston. Plea made in \|1232 Curiae Regis \|\|Henry de Dufton \|\|Henry de Dufton son of Agnes, wife of William, son of Guy de Dufton. Plea made in Warwick. \|1254 Close Rolls \|\|Nicholas de Dufton \|\|Nicholas, son of Walter or John, son of Adam de Dufton. beware, as some are recorded as Duston, there is often confusion as the long version of the letter s and the letter f appear very similar in old documents. There were several Duston families living at Duston in Northamptonshire. But it would be fascinating to learn a little more about these first Duftons, especially about 'Baron' John de Dufton. Perhaps events at the start of the 1200s could be used to draw some In 1204 King John of England granted the Barony of Westmorland to Robert de Veteripont, a descendant of the Morville family, the past barons of Westmorland and landowners in the Eden valley. In an attempt to raise funds for a war against France to recover his lost lands, King John had overtaxed his subjects, he also demanded his barons joined him in France to do battle. In events that lead to the Magna Carta, the so called 'Northerner' barons rebelled against the king's demands, and civil war followed. By all accounts Robert de Veteripont was a ruffian, plunderer and murderer, at a time when the king's hold over England was being threatened by the rebellious barons, Robert had remained loyal to his monarch and fought alongside him, and had been well rewarded. But Robert had a rival claimant to the barony, one with a much stronger claim, he was Alan, Lord of Galloway the Constable of Scotland, also a descendant of the Morvilles. In preparation for the inevitable attack from the Scottish Lord, Robert de Veteripont began to take defensive measures and spent much of his fortune in the process. Just a few miles north of Dufton village he built Brougham castle, where the main road from Scotland crossed the river Eamont and river Lowther. South of the river the road divides, one branch leads to Kendal and on to Lancashire, the other along the Eden valley and over Stainmoor to Yorkshire. John de Dufton held the manor of Yanwath which is next to Brougham castle and through which runs the Kendal road, he also held the manors of Bolton and Brampton which straddled the road over Stainmore. So, what qualities would the fierce, ruthless warlord Baron of Westmorland demand from the person responsible for protecting the rear of his castle from attack by the Scots or the rebellious barons? We can only surmise. Brougham castle, north of Dufton, defended by John de Dufton in 1216 Records show that the most important of the early Duftons was John de Dufton. In 1202 he held, in capite, of the crown the barony of Dufton. This means he held the barony directly from the king, as the tenant in chief, and suggests that King John had rewarded him for his services. In February 1201 King John visited Cumbria to drum up support and collect money for his war against the French, He stopped at Kirkoswald and stayed overnight at Merton (Murton) a village next to the village of Dufton. Later that year he fought the French at the battle of Mirebeau. One of the barons with him at Mirebeau was Robert de Veteripoint. Records show that Robert helped the king remount after he had fallen from his horse during the battle. One of Robert's knights was John de Dufton, so it seems probable that John was also fighting for the king at Mirebeau, and was thus rewarded with the barony of Dufton. Rolls in the Tower of London record that Symon of Pategal, has the names of seventeen 'drengi of Westmorland' who paid fifty marks each to 'remain and not cross the seas, at the passage of our Lord the King'. This was in response to the command by King John for knights to sail with him to fight. These rolls may indicate if John de Dufton sailed with the king, and was thus favourably rewarded by the king after the battle with the Barony of Dufton. The attack came in 1216, Alan of Galloway was victorious, he overran the Eden Valley, and became the Baron of Westmorland and Governor of Cumbria for King Alexander of Scotland. The Scottish king, encouraged by the rebel barons, had at last brought Cumbria and Northumbria under Scottish control. And Dufton village was back under the control of Scotland. Support from the local Cumbrian barons was equally divided between Alan of Galloway, the new baron of Westmorland and Robert de Veterpoint, the replaced baron. But King Alexander was eventually bought off with an earldom and marriage to the English King's sister. Cumbria and Dufton were finally returned to English control, and Robert de Veteripont returned to reclaim the Barony of Westmorland. John de Dufton died before 1235, and the good fortunes of the Dufton family he left behind were about to decline. At this time the Barony of Dufton and the various manors once held by John de Dufton are given to the daughter of Robert de Veteripont, the wife of Thomas de Greystoke. We are not sure why, but it may well be that John de Dufton's barony was not hereditary and thus died with him. Records also show that Robert de Veteripont was always eager to increase his power, and bought up most of the manors and their demesnes around Appleby. The Westmorland Eyres, which include the Appleby Assizes of 1253, record an inquest that occurred regarding a dispute over 200 acres of pastureland near the village of Dufton. Alan de Dufton and Bernard de Dufton, probably John's sons, along with William de Greystoke, all landowners, are accused of taking the land for their own use whilst it belonged to various other villagers. The court records that the manor of Dufton was held by William de Greystoke's mother. Another inquest in 1289 confirms that the manor of Dufton belonged to William de Greystoke, and he had inherited the estate from Lady Leyburn, the daughter and heir of Robert de Veterpoint the Baron of Westmorland. This implies that after John de Dufton's death before 1235 the manor and barony of Dufton were no longer held by the Dufton family, but had been taken by the Veteripont and Greystoke families. Although, the Duftons own land in the village that bears their name they no longer enjoy the benefits of holding the manor. John appears to have left a large family behind on his death, possibly five sons and a daughter. The eldest of John's sons was Robert de Dufton, undoubtedly the 'black sheep' of the family, which may well be another reason that he did not inherit the manor from his father. The names of John de Dufton and his son Robert appear on the Appleby assizes of 1279. The Appleby Assizes of 1279 record several serious incidents concerning Robert and the Duftons. It records that John of Knock killed with a sword Robin Bule in Dufton, and that as William de Dufton did not attend the inquest as required he was thus suspected of being involved in the crime. The responsibility of bringing William to the court fell upon Thomas son of Hugh de Dufton, who was fined 50 pence for William's disappearance. At the same inquest, Robert son of John de Dufton was accused of stabbing with a knife and killing Marjery de Brampton, daughter of Beatrice de Brampton in the village of Brampton. Robert fled and was declared an outlaw in the county of Westmorland, and his goods seized. Robert was recorded as living in Cumberland in 1281. The Closed Rolls of 1283 record that on 22 March, King Edward declared that the sheriff of Westmorland was to take two bovates of land from Robert, the son of John de Dufton, who had been an outlaw for felony for more than a year and a day. Records suggest that Robert may have crossed the border into Scotland and assisted in the fight against King Edward, 'the Hammer of the Scots'. Robert's son Humphrey de Dufton was hanged, a court document of 1292 records the proceedings in which Humphrey, and other felons who had been hanged or beheaded, were to have their possessions disposed of. John, the tenth baron of Greystoke, claimed all of Humphrey's goods. History records that when King Edward returned from his crusade in the Holy Land, he discovered tenants in capita and others had considerably diminished his revenue. He appears to have been extremely severe with his Cumbrian subjects, who displayed little loyalty to their distant king who was often abroad, of Norman descent, and spoke French as his first language. The people of Westmorland had far more in common with their Scottish neighbours, and family links formed endless chains. In fact many of the Scottish royal family were descendants of English and French families from the midlands of England who had acquired land in Scotland and the borders from the Scottish King David. However, the manor of Keisley was to remain in the hands of John's daughter Eleanor de Dufton, she was to marry into the influential D'Aubeny family, when she wed Robert D'Aubeny, she died in 1311. Their daughter also an Eleanor, married Nicholas Veteripont, and remained at Keisley until her death in 1367. Nicholas was the wealthy lord of Alston Manor and owned all the mines in that region. Their two daughters, Elizabeth born 1346 and Joan born 1349 both remained The outlawed Robert de Dufton had other sons, besides Humphrey, there was a son Nicholas de Dufton who remained at Dufton as a farmer. Archbishop of York William de Melton was Archbishop of York between 1316 and 1340, he was also Lord High Treasurer of England. The archives for York Minster record that during this time a Master Robert de Dufton was employed by Archbishop Melton. The records list an entry, dated 2nd February 1326, that Robert de Dufton advocate for the court at York, was given 40 shillings expenses for travelling to Scotland on the Archbishop's business. This was at a time in history when York and the north of England were being plundered by Scottish raiders, and the Archbishop had been tasked by the King Edward to solve the problem. So it would appear that the Robert de Dufton's mission to Scotland was of The archives also record that in 1328 Robert de Dufton was the Archbishop's official at Richmond in north Yorkshire. A section of the records state..... Case of the church of Kirkham. During the vacancy of the archdeaconry of Richmond, in the year of Our Lord 1328, William de Melton, then archbishop of York, caused a peremptory edict to be published by his official, Master Robert de Dufton, and by the dean of Amounderness in the church aforesaid, the tenor whereof follows: refer to various letters regarding the tax matters of Kirkham Richmond is only a day's walk or ride from the village of Dufton. It would seem possible that Master Robert de Dufton may well be a grandson of John de Dufton whose family were still living in the village of Dufton. The records from York Minster, beside listing Master Robert de Dufton in the 1320s, also list a Thomas de Dufton who was a freeman of the city of York in the years between 1340 and 1350. It seems probable that these Duftons are the ancestor of those many members of the Dufton family that have their origins in The word barony in Norman times normally means a land owner, rather than referring to nobility. The Testa de Neville of 1235 which listed all the barons and nobles of that time made no record of the name Dufton. This suggests that even though at one time the Duftons held the barony of Dufton and various other manors, the family were of a minor status than the ruling nobles, very much towards the bottom of the nobility league table. The Lay Subsidy Rolls of 1332, which records those required to pay a tax, levied by Edward III to boost his war chest, lists two Duftons. Both are living in the Eden valley, Thomas de Dufton living in the village of Ousby and another Thomas living The 1324 Rolls also record that much of Dufton was set ablaze when it was attacked by the Scots, the manor house and other capital messauges were destroyed. There are various Inquisitiones Post Mortems between 1362 and 1377 that give details of the Dufton family farming in Dufton village at this time. An inquest at Appleby in 1363 dealt with the issue of rent from the village of Dufton. One of the issues was that of John de Dufton, son of Adam de Dufton, son of Nicholas de Dufton, who had a farm of 24 acres in the village of Dufton. Research indicates that this Nicholas is probably the son of the outlawed Robert de Dufton. The will of the rector of Dufton proved 6th November 1366 names Andrew de Dufton and his brother Adam de Dufton, Andrew is left 4 shillings by the rector. One of the last records of a mediaeval Cumbrian Dufton found so far is that of John de Dufton who has moved from Dufton, and in 1381 holds the manor of Clifton and is in possession of neighbouring land, just a few miles from Dufton village. A 1381 deed of land recording John de Dufton dwelling at Clifton Of interest is the fact that Clifton is the site of the last battle to be fought on English soil when Bonnie Prince Charles skirmished with the Duke of Cumberland here in 1745, before they met at the 'massacre' of Culloden. On their retreat from Clifton the rebels took many of the local land records and manuscripts, which were then lost forever. Perhaps some of the documents that recorded Dufton family history were among those taken at the Battle of Clifton. The National Archive hold an ancient 15th century deed for dwellings at Belfeld and Butterwicke, both are locations in Westmorland. The dwellings had been granted to John the son of Nigel de Dufton. Butterwick is 'deep' in the middle of 'Dufton territory' between Helton and Bampton, less than 2 miles from Askham, about 3 miles from Clifton where John Dufton was living in 1381, and 3 miles from Melkinthorpe where William Dufton lived in the early 1500s. Link to a chart drawn by Robert Dufton The chart records a Dufton family living in Appleby- in-Westmorland. However, although the chart is of great interest the information still needs to be confirmed. There are no further records found as yet of the Dufton family living in Westmorland or Cumberland until a William Dufton, in the early 1500s, is recorded living at Melkinthorpe which is very close to both Butterwick and Clifton. All the Dufton families with links to Cumberland, Westmorland, Northumberland and Durham can trace their family back to this William Dufton in the early part of There is an intriguing question that now needs to be asked. Was this William Dufton of Melkinthorpe a descendant of the earlier If he was it enables us to trace the Duftons back from the present day to the time of Lyulf, Phorne or Eldred who were mentioned in the Doomsday Book of 1086. Or, perhaps this William was a farmer whose family had moved to Melkingthorpe from the nearby village of Dufton, which can be seen from Melkingthorpe. And, was he therefore referred to as William from Dufton to distinguish him from other Williams in the village, this at a time when the ordinary man was starting to use surnames. The manorial records for Melkingthorpe and the various land inquests for Westmorland may well hold the answer. Dufton Family Website	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the Welsh Jones family come from? What is the Welsh Jones family crest and coat of arms? When did the Jones family first arrive in the United States? Where did the various branches of the family go? What is the Jones family history?While the ancestors of the bearers of Jones came from ancient Welsh-Celtic origins, the name itself has its roots in Christianity. This surname comes from the personal name John, which is derived from the Latin Johannes, meaning "Yahweh is gracious." This name has always been common in Britain, rivaling William in popularity by the beginning of the 14th century. The feminine form Joan, or Johanna in Latin, was also popular, and the surname Jones may be derived from either the male or female name. Welsh surnames are relatively few in number, but they have an inordinately large number of spelling variations. There are many factors that explain the preponderance of Welsh variants, but the earliest is found during the Middle Ages when Welsh surnames came into use. Scribes and church officials recorded names as they sounded, which often resulted in a single person's name being inconsistently recorded over his lifetime. The transliteration of Welsh names into English also accounts for many of the spelling variations: the unique Brythonic Celtic language of the Welsh had many sounds the English language was incapable of accurately reproducing. It was also common for members of a same surname to change their names slightly, in order to signify a branch loyalty within the family, a religious adherence, or even patriotic affiliations. For all of these reasons, the many spelling variations of particular Welsh names are very important. The surname Jones has occasionally been spelled Jones, Jonas, Jone, Joness and others. First found in Denbighshire (Welsh: Sir Ddinbych), a historic county, created in 1536 at the Act of Union with England, and located in Northeast Wales, where their ancient family seat was at Llanerchrugog. The name Jones, currently one of the most prolific in the world, descends from three main sources: from Gwaithvoed, Lord Cardigan, Chief of one of the 15 noble tribes of North Wales in 921; from Bleddyn Ap Cynfyn, King of Powys; and from Dyffryn Clwyd, a Chieftain of Denbighland. All three lines merged in Denbighshire about the 11th century and it is not known which of the three can be considered the main branch of the family. This web page shows only a small excerpt of our Jones research. Another 115 words(8 lines of text) covering the years 1578, 1658, 1638, 1712, 1610, 1673, 1656, 1660, 1618, 1674, 1650, 1656, 1605, 1681, 1645, 1637, 1649, 1628 and 1697 are included under the topic Early Jones History in all our PDF Extended History products. Another 275 words(20 lines of text) are included under the topic Early Jones Notables in all our PDF Extended History products. Some of the Jones family moved to Ireland, but this topic is not covered in this excerpt. Another 273 words(20 lines of text) about their life in Ireland is included in all our PDF Extended History products. In the 1800s and 1900s, many Welsh families left for North America, in search of land, work, and freedom. Those who made the trip successfully helped contribute to the growth of industry, commerce, and the cultural heritage of both Canada and the United States. In the immigration and passenger lists were a number of people bearing the name Jones Jones Settlers in United States in the 17th Century Jones Settlers in United States in the 18th Century Jones Settlers in United States in the 19th Century Jones Settlers in Canada in the 19th Century Jones Settlers in Australia in the 19th Century Jones Settlers in New Zealand in the 19th Century Jones Settlers in New Zealand in the 20th Century The motto was originally a war cry or slogan. Mottoes first began to be shown with arms in the 14th and 15th centuries, but were not in general use until the 17th century. Thus the oldest coats of arms generally do not include a motto. Mottoes seldom form part of the grant of arms: Under most heraldic authorities, a motto is an optional component of the coat of arms, and can be added to or changed at will; many families have chosen not to display a motto. Motto: Heb dduw, heb ddim Motto Translation: Without God, without anything. The Jones Family Crest was acquired from the Houseofnames.com archives. The Jones Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 23 March 2015 at 11:22.	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the English Gwyse family come from? What is the English Gwyse family crest and coat of arms? When did the Gwyse family first arrive in the United States? Where did the various branches of the family go? What is the Gwyse family history?The name Gwyse was brought to England by the Normans when they conquered the country in 1066. The ancestors of the Gwyse family lived in Gloucestershire. The name, however, refers to the district of Guise in France, where the family was resident prior to the Norman Conquest of England in 1066. Aspley Guise is a village and civil parish located in central Bedfordshire. It is only in the last few hundred years that the English language has been standardized. For that reason, Anglo-Norman surnames like Gwyse are characterized by many spelling variations. Scribes and monks in the Middle Ages spelled names they sounded, so it is common to find several variations that refer to a single person. As the English language changed and incorporated elements of other European languages such as Norman French and Latin, even literate people regularly changed the spelling of their names. The variations of the name Gwyse include Gyse, Guise, Guys, Guy, Gysse, Gyss, Gise, Gwyse and many more. First found in Gloucestershire where they held a family seat as Lords of the Manor of Elmore in that shire, and were descended from Sir William Gyse who attended Duke William in his Conquest of England at the Battle of Hastings in 1066 A.D. It is believed that Sir William first held the manor of Highnam from Gloucester Abbey but by the later marriage of Anselm Gyse to Magotta de Burgh (Burke,) daughter of the Earl of Kent, he acquired the Lordship of both Highnam and Elmore in Gloucestershire. This web page shows only a small excerpt of our Gwyse research. Another 253 words(18 lines of text) covering the years 1450, 1632, 1705, 1731, 1629, 1621, 1624, 1644, 1724, 1653, 1683, 1617, 1670, 1654, 1695, 1678, 1732, 1701, 1769 and are included under the topic Early Gwyse History in all our PDF Extended History products. Another 171 words(12 lines of text) are included under the topic Early Gwyse Notables in all our PDF Extended History products. Some of the Gwyse family moved to Ireland, but this topic is not covered in this excerpt. Another 107 words(8 lines of text) about their life in Ireland is included in all our PDF Extended History products. Faced with the chaos present in England at that time, many English families looked towards the open frontiers of the New World with its opportunities to escape oppression and starvation. People migrated to North America, as well as Australia and Ireland in droves, paying exorbitant rates for passages in cramped, unsafe ships. Many of the settlers did not make the long passage alive, but those who did see the shores of North America were welcomed with great opportunity. Many of the families that came from England went on to make essential contributions to the emerging nations of Canada and the United States. Some of the first immigrants to cross the Atlantic and come to North America carried the name Gwyse, or a variant listed above: Nicholas, Jane and daughter Mary Guy who settled in New England in 1638; Robert Guy settled in Virginia in 1619; a year before the "Mayflower"; Alice Guy settled in Barbados in 1635. The Gwyse Family Crest was acquired from the Houseofnames.com archives. The Gwyse Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 17 September 2013 at 11:53.	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the English Odum family come from? What is the English Odum family crest and coat of arms? When did the Odum family first arrive in the United States? Where did the various branches of the family go? What is the Odum family history?In ancient Anglo-Saxon England, the ancestors of the Odum surname lived in Oldham, in Lancashire. This was a town near the city of Manchester; it has since been absorbed by that city. The place-name Oldham is derived from the Old English elements old, which means old, and ham, which means farm. The place-name therefore translates as "the old farm." Alternatively, it would appear that the place-name also appeared as a personal name; the surname could be derived from this personal name, making it a patronymic name. However, the etymology of the name remains the same regardless of the actual process by which this surname arose. It is only in the last few hundred years that the English language has been standardized. For that reason, early Anglo-Saxon surnames like Odum are characterized by many spelling variations. As the English language changed and incorporated elements of other European languages, even literate people changed the spelling of their names. The variations of the name Odum include: Oldham, Oldum, Oldan, Oldhams and others. First found in Lancashire where they held a family seat from early times and their first records appeared on the early census rolls taken by the early Kings of Britain to determine the rate of taxation of their subjects. This web page shows only a small excerpt of our Odum research. Another 207 words(15 lines of text) covering the years 1486, 1480, 1505, 1486, 1480, 1452, 1519, 1653 and 1683 are included under the topic Early Odum History in all our PDF Extended History products. Another 77 words(6 lines of text) are included under the topic Early Odum Notables in all our PDF Extended History products. Many English families tired of political and religious strife left Britain for the new colonies in North America. Although the trip itself offered no relief - conditions on the ships were extremely cramped, and many travelers arrived diseased, starving, and destitute - these immigrants believed the opportunities that awaited them were worth the risks. Once in the colonies, many of the families did indeed prosper and, in turn, made significant contributions to the culture and economies of the growing colonies. An inquiry into the early roots of North American families has revealed a number of immigrants bearing the name Odum or a variant listed above: John Oldham (c.1600-1636) who emigrated to Plymouth in 1623, was involved in establishing the unsuccessful settlement on Cape Ann (1626), and was murdered by the Pequot in an event leading to the Pequot War (1637). Thomas Oldham settled in New England in 1635. The Odum Family Crest was acquired from the Houseofnames.com archives. The Odum Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 1 December 2014 at 17:27.	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the German Bronner family come from? When did the Bronner family first arrive in the United States? Where did the various branches of the family go? What is the Bronner family history?The German surname Bronner emerged in the lands that formed the modern state of Lower Saxony, which is presently bordered by the North Sea, the Hartz mountains and the Elbe and Ems Rivers. Lower Saxony was previously a medieval Saxon dukedom. In the Middle Ages, many of the Saxon lands were a part of the Holy Roman Empire, which was characterized by the feudal system. Spelling variations of this family name include: Braun, Braunn, Braune, Braunne, Bronn, Bronne and others. First found in Baden, where the name contributed greatly to the development of an emerging nation which would later play a large role in the tribal and national conflicts of the area. In later years the name branched into many houses, each playing a significant role in the local social and political affairs. This web page shows only a small excerpt of our Bronner research. Another 154 words(11 lines of text) covering the years 1684, 1738, 1770, and 1801 are included under the topic Early Bronner History in all our PDF Extended History products. Another 46 words(3 lines of text) are included under the topic Early Bronner Notables in all our PDF Extended History products. Some of the first settlers of this family name were: Bronner Settlers in United States in the 18th Century Bronner Settlers in United States in the 19th Century This page was last modified on 23 September 2010 at 15:39.	0
FREE SHIPPING on orders of $85 or more An excerpt from www.HouseOfNames.com archives copyright © 2000 - 2015 Where did the English Tappenden family come from? What is the English Tappenden family crest and coat of arms? When did the Tappenden family first arrive in the United States? Where did the various branches of the family go? What is the Tappenden family history? Spelling variations in names were a common occurrence before English spelling was standardized a few hundred years ago. In the Middle Ages, even the literate spelled their names differently as the English language incorporated elements of French, Latin, and other European languages. Many variations of the name Tappenden have been found, including Tandenen, Tandenan, Tendenden and others. First found in Kent where they held a family seat as Lords of the Manor. The Saxon influence of English history diminished after the Battle of Hastings in 1066. The language of the courts was French for the next three centuries and the Norman ambience prevailed. But Saxon surnames survived and the family name was first referenced in the 13th century at Faversham in Kent. This web page shows only a small excerpt of our Tappenden research. Another 139 words(10 lines of text) covering the years 1455 and 1487 are included under the topic Early Tappenden History in all our PDF Extended History products. More information is included under the topic Early Tappenden Notables in all our PDF Extended History products. Families began migrating abroad in enormous numbers because of the political and religious discontent in England. Often faced with persecution and starvation in England, the possibilities of the New World attracted many English people. Although the ocean trips took many lives, those who did get to North America were instrumental in building the necessary groundwork for what would become for new powerful nations. Some of the first immigrants to cross the Atlantic and come to North America bore the name Tappenden, or a variant listed above: the name represented in many forms and recorded from the mid 17th century in the great migration from Europe. Migrants settled in the eastern seaboard from Newfoundland, to Maine, to Virginia, the Carolinas, and to the islands.. The Tappenden Family Crest was acquired from the Houseofnames.com archives. The Tappenden Family Crest was drawn according to heraldic standards based on published blazons. We generally include the oldest published family crest once associated with each surname. This page was last modified on 22 July 2014 at 15:49.	0
This text was copied from Wikipedia on 25 March 2015 at 5:59PM. \|This article needs additional citations for verification. (June 2011)\| The claviorganum (also known as the claviorgan, or organised piano) is a combination of a harpsichord and an organ. Its origin is uncertain. A number of "virgynalls with regals" are mentioned in the inventories of Henry VIII in 1542/3 and 1547 and Wilson Barry cites references to the claviorganum in England dating back to the 1530s. The term claviorganum in its strictest sense refers to the combination of a harpsichord (or other harpsichord type instrument) and an organ, although later could also be used to refer to a combination of a piano and organ. Michael Praetorius describes the claviorganum in his Syntagma Musicum of 1619 as " ... a clavicymbal, or some other symphony, in which a number of pipes is combined with the strings. Externally it looks exactly like a clavicymbal or symphony, apart from the bellows, which are sometimes set at the rear and sometimes placed inside the body" The spinet-regals are usually quite compact, especially compared to their larger harpsichord cousins. The spinet is often of the smaller Italian style in a square case, as opposed to the perhaps more familiar Bentside shape popular in Britain. The organ is usually a small regal, with the bellows perpendicular to the keyboard, and pipes with tiny resonators. The larger harpsichord instruments seem to have been quite popular in Britain in the eighteenth century. Out of twenty-four instruments found so far, eleven were either made in the UK or spent the greater portion of their playing life in Britain. These instruments mostly have a harpsichord-shaped organ case which sits neatly below the harpsichord and can be coupled to the lower of two harpsichord keyboards or played separately. The most complete British instrument is the owned by the Earl of Wemyss. The harpsichord is typical of the early and ornate work of Jacob Kirckman, with an organ case that matches the marquetry and elaborate figured veneer of the harpsichord. The harpsichord stop levers are laid out in the conventional fashion on either side of the name-board, with the organ stops being placed at either side of the keyboards with a coupling mechanism to the organ at the front of the harpsichord. The organ case is also fitted with four foot-levers; three at the front of the organ and one at the side of the case. Two of these are for operating the bellows (one main and one auxiliary), the third shuts off the sliders of the two metal ranks achieving a woody sound, and the final lever operated a kind of swell mechanism opening a sprung panel in the side of the instrument. This allows for quite a lot of variation in timbre between the organ and the harpsichord. How typical the arrangement is of instruments across Europe and the ages is difficult to quantify, as little is still known about this instrument. Some of the earliest references to claviorgans are to be found in an inventory of the possessions of Henry VIII taken in 1547 which includes four instruments being combinations of ‘virgynalles’ and ‘regals’. In this early terminology ‘virgynall’ does not refer to a specific instrument but to any plucked string keyboard. In 1590 Phillip III of Spain was given a claviorgan by a German monarch, which also appears in an 1602 inventory of the court instruments. Other Royal instruments include a Willenbrock claviorgan made for Prince Georg of Hanover, and a number of instruments which appear to have been made for Frederick Prince of Wales and now in the Royal Collection. It was primarily used by the aristocracy since the claviorgan was considerably more expensive than any other keyboard instrument barring a full-sized church organ. One English instrument which has been in the possession of the Earl of Wemyss since its purchase in the middle of the eighteenth century still retains the receipts for the organ part alone recording two payments to ‘John Snetzler, Organ Builder’ totalling £86. There are a couple of known claviorgans that were ‘show’ instruments. One surviving example is an automatic claviorgan by Matteus Rungell which is now in a museum in Dresden combining an organ and a spinet. However, a more famous example is the ‘Galleria armonico’ assembled by Michelle Todini in Rome in the seventeenth century, and which ended its days in the palace of the Verospi marquises, now the Palazzo del Credito Italiano. This consisted of two rooms, one of which contained seven keyboard instruments all of which were said to be controlled from the keyboard of a harpsichord. This included an organ, three types of spinets, a violin, and another bowed string instrument. There are also several illustrations of the instrument, although it is not known how accurate any of them are. The harpsichord and its accompanying statues may now be found in the collection of the Metropolitan Museum of Art in New York as well as a clay model surviving from its inception. No part of the composite instrument is known to survive. Another example of a claviorgan playing stringed instruments is described in a letter from Henry Oldenburg in 1664. The instrument given to Philip III of Spain mentioned briefly above is one of very few surviving claviorgans known to have had pedals. Another earlier instrument from Linz, Austria is also described as having a pedalboard which couples to the keyboard. Little information is available as yet on either instrument, so this leads one to speculate how the pedals would have operated. With other harpsichord/clavichord type instruments, there are two normal ways of adding pedals; either with pedal pull-downs (usually only in the bass), or with a separate instrument, with a separate soundboard, below the main keyboard. In the latter case the pedal-instruments allowed for a much greater compass than with pull-downs. However, with an organ chest to account for as well as the harpsichord or clavichord, may also be possible that the organ was operated from the pedal board, leaving the harpsichord/clavichord completely separate, although still allowing the two to be coupled together when desired. This would be similar to having one of the keyboards of a virginal claviorgan completely separate. This style of instrument is seen in a lid painting of a virginal from 1619, which depicts a claviorgan as part of an ensemble. The continuo player has his right hand on the virginal keyboard and his left playing the organ. The claviorgan as a remote console The instrument described by the musician and historian Charles Burney is a more unusual type of claviorgan. Used in Westminster Abbey for one of the Handel commemoration services in 1784; the instrument consisting of a harpsichord at the front of the orchestra which was connected to an organ mounted on a screen behind the performers. Burney describes in brief the way the two instruments were connected; “The keys of communication with the harpsichord, at which Mr. Bates, the conductor, was seated, extended nineteen feet from the body of the organ, and twenty feet seven inches below the perpendicular of the set of keys by which it is usually played … to convey them to so great a distance from the instrument, without rendering the touch impractically heavy, required uncommon ingenuity and mechanical resources.” It was made by Samuel Green of Islington for Canterbury Cathedral. After the instrument was removed to Canterbury it was erected on the choir screen, and remained at Canterbury for over a century before it was replaced by the current Willis instrument. Given the large specification of the Green organ, and the size of the orchestra that was employed for the performances at Westminster Abbey, it may be logical to suggest that the harpsichord’s only real use in the ensemble was as a remote console for the organ rather than as a timbre in its own right. Charles Burney does suggest that Handel had used a similar device before. - Wilson Barry (1990: 38) - Michael Praetorius (1619) Chapter 42 (translated David Crookes) - New Grove Dictionary of Music, online edition [available (with subscription) at <http://www.grovemusic.com>] - Wilson Barry (1990) ‘The Lodewyk Theewes Claviorganum and its Position in the History of Keyboard Instruments’, Journal of the American Musical Instrument Society, xvi (1990), pp. 5–41. \|Wikimedia Commons has media related to Claviorganum.\|	1
Five Ways To Get The Most Out Of Music Lessons By Ernie Mansfield These guidelines will help you have a successful, rewarding experience learning an instrument. These are practical tips that have been discovered from years of teaching—both from my experiences, and those of other teachers. 1. How Young Is Too Young? How Old Is Too Old? For children, starting at the right age is a key element to the success of their lessons. Some people will tell you “the sooner the better” but this attitude can actually backfire. If a child is put into lessons too soon they may feel overwhelmed and frustrated and want to quit. The last thing you want to do is turn a child off music just because they had one unpleasant experience which could have been prevented. Sometimes if the child waits a year to start lessons their progress can be much faster. Children who are older than the suggested earliest starting age usually do very well. (For a set of guidelines to determine how young a child can start taking music lessons, please email me and I will send you more information.) On the other hand, adults can start any instrument at any time. Their success is based on how willing they are to commit to practicing. The big problem for adults is that they can assimilate intellectual information much faster than “actuating” this information into their fingers and bodies. Another hurdle is that adults may already have an “ideal” of what they would like to sound like; it can be crushing to realize that you will not sound like Stan Getz on saxophone after five lessons—or even after five years! So what is the solution for this? The solution is to set realistic goals for yourself, and to realize that there are values in musical study that go beyond simply being “the best” or impressing your friends! 2. Insist On Private Lessons When Learning A Specific Instrument Group classes work well for ensemble programs and theory lessons. However, when actually learning how to play an instrument, private lessons are far superior. In private lessons it is hard to miss anything, and each student can learn at their own pace. This means the teacher does not have to teach a class at a middle-of-the-road level, but has the time and focus to work on the individual students’ strengths and weaknesses. For that lesson period, the student is the primary focus of the teacher. The teaches also enjoys this as they do not have to divide their attention between many students and can help the student be “the best they can be.” 3. Take Lessons In A Professional Teaching Environment Learning music is not just a matter of having a qualified teacher, but also having an environment that is focused on music education. In a professional environment a student cannot be distracted by TV, pets, ringing phones, siblings or anything else. With only 1/2 to one hour of lesson time per week, a professional environment can produce better results since the only focus at that time is learning music. 4. Making Practicing Easier As with anything, improving in music takes practice. One of the main problems with music lessons is the drudgery of practicing and the fight between parents and students to practice every day. Or, in the case of adults, finding time in one’s busy schedule—and not offending one’s mates and neighbors. Here are some ways to make practicing easier: a) Time—Set the same time every day to practice so it becomes part of a routine of habit. This works particularly well for children. Generally the earlier in the day the practicing can occur, the less reminding is required by parents to get the child to practice. Also, it is better to practice only 15 minutes per day, than to practice sporadically throughout the week. Consistency is the key. In fact, even 5 minutes is better than no time at all! b) Repetition—This method works quite often when setting practice schedules for beginners. For a young child, 20 or 30 minutes seems like an eternity! Instead of setting a time frame, use repetition. For example, “practice this piece 4 times a day, and this scale 5 times a day.” The child then does not pay attention to the amount of time they are practicing their instrument, but knows if they are on repetition number 3 they are almost finished! c) Rewards—This works very well for both children and adult students. Some adults reward themselves with a cappuccino after a successful week of practicing. Parents can encourage children to practice by granting them occasional rewards for successful practicing. Praise tends to be the most coveted award–there just is no substitute for a pat on the back for a job well done. Sometimes we all have a week with little practicing, in that case there is always next week! 5. Use Recognized Teaching Materials There are excellent materials developed by professional music educators that are made for students in a variety of situations. For example, in piano, there are books for very young beginners, and books for adult students that have never played before. There are books that can start you at a level you are comfortable with. These materials have been researched and are continually upgraded and improved to make learning easier. These materials ensure that no important part of learning the instrument can inadvertently be left out. If you ever have to move to a different part of the country, qualified teachers and institutions will recognize the materials and be able to smoothly continue from where the previous teacher left off. A Word about Classical, Jazz, Folk, and Popular Music A lot has been said about the differences between classical, jazz, and other styles of music. But the bottom line is that a good musical foundation of scales, long tones, and rudimentary exercises will train a student for a lifetime of playing and appreciating any style of music. Focusing on the basic elements of music will help with learning any and every style of music. In addition, a student can select from a wide range of music books to include his/her particular interests; whether classical, folk, or anything else. Music should be something that you enjoy for a lifetime. So, try not to put unrealistic expectations on yourself or your children to learn too quickly. Everyone learns at a different pace and the key is to be able to enjoy the journey!! Thinking about contacting Ernie? Read some of the recommendations given by others.	1
Guillaume Dufay (French: [dyfɛ]; also Du Fay, Du Fayt; August 5, c. 1397 – November 27, 1474) was a Franco-Flemish composer of the early Renaissance. As the central figure in the Burgundian School, he was the most famous and influential composer in Europe in the mid-15th century. - 1 Life - 2 Music and influence - 3 Sound samples - 4 Notes - 5 References - 6 External links From the evidence of his will, he was probably born in Beersel, in the vicinity of Brussels. He was the illegitimate child of an unknown priest and a woman named Marie Du Fayt. Marie moved with her son to Cambrai early in his life, staying with a relative who was a canon of the cathedral there. Soon Dufay's musical gifts were noticed by the cathedral authorities, who evidently gave him a thorough training in music; he studied with Rogier de Hesdin during the summer of 1409, and he was listed as a choirboy in the cathedral from 1409 to 1412. During those years he studied with Nicolas Malin, and the authorities must have been impressed with the boy's gifts because they gave him his own copy of Villedieu’s Doctrinale in 1411, a highly unusual event for one so young. In June 1414, at the age of only 16, he had already been given a benefice as chaplain at St. Géry, immediately adjacent to Cambrai. Later that year he probably went to the Council of Konstanz, staying possibly until 1418, at which time he returned to Cambrai. From Cambrai to Italy and Savoy From November 1418 to 1420 he was a subdeacon at Cambrai Cathedral. In 1420 he left Cambrai again, this time going to Rimini, and possibly Pesaro, where he worked for the Malatesta family. Although no records survive of his employment there, several compositions of his can be dated to this period; they contain references that make a residence in Italy reasonably certain. It was there that he met the composers Hugo and Arnold de Lantins, who were among the musicians of the Malatesta household. In 1424 Dufay again returned to Cambrai, this time because of the illness and subsequent death of the relative with whom his mother was staying. By 1426, however, he had gone back to Italy, this time to Bologna, where he entered the service of Cardinal Louis Aleman, the papal legate. While in Bologna he became a deacon, and by 1428 he was a priest. Cardinal Aleman was driven from Bologna by the rival Canedoli family in 1428, and Dufay also left at this time, going to Rome. He became a member of the Papal Choir, serving first Pope Martin V, and then after the death of Pope Martin in 1431, Pope Eugene IV. In 1434 he was appointed maistre de chappelle in Savoy, where he served Duke Amédée VIII; evidently he left Rome because of a crisis in the finances of the papal choir, and to escape the turbulence and uncertainty during the struggle between the papacy and the Council of Basel. Yet in 1435 he was again in the service of the papal chapel, but this time it was in Florence—Pope Eugene having been driven from Rome in 1434 by the establishment of an insurrectionary republic there, sympathetic to the Council of Basel and the Conciliar movement. In 1436 Dufay composed the festive motet Nuper rosarum flores, one of his most famous compositions, which was sung at the consecration of the cathedral in Florence, while Eugene lived in exile in the city at the nearby church of Santa Maria Novella. During this period Dufay also began his long association with the Este family in Ferrara, some of the most important musical patrons of the Renaissance, and with which he probably had become acquainted during the days of his association with the Malatesta family; Rimini and Ferrara are not only geographically close, but the two families were related by marriage, and Dufay composed at least one ballade for Niccolò III, Marquis of Ferrara. In 1437 Dufay visited the town. When Niccolò died in 1441, the next Marquis maintained the contact with Dufay, and not only continued financial support for the composer but copied and distributed some of his music. Return to Cambrai The struggle between the papacy and the Council of Basel continued through the 1430s, and evidently Dufay realised that his own position might be threatened by the spreading conflict, especially since Pope Eugene was deposed in 1439 by the Council and replaced by Duke Amédée of Savoy himself, as Pope (Antipope) Felix V. At this time Dufay returned to his homeland, arriving in Cambrai by December of that year. In order to be a canon at Cambrai, he needed a law degree, which he obtained in 1437; he may have studied at University of Turin in 1436. One of the first documents mentioning him in Cambrai is dated December 27, 1440, when he received a delivery of 36 lots of wine for the feast of St. John the Evangelist. Dufay was to remain in Cambrai through the 1440s, and during this time he was also in the service of the Duke of Burgundy. While in Cambrai he collaborated with Nicolas Grenon on a complete revision of the liturgical musical collection of the cathedral, which included writing an extensive collection of polyphonic music for services. In addition to his musical work, he was active in the general administration of the cathedral. In 1444 his mother Marie died, and was buried in the cathedral; and in 1445 Dufay moved into the house of the previous canon, which was to remain his primary residence for the rest of his life. Travels to Savoy and Italy After the abdication of the last antipope (Felix V) in 1449, his own former employer Duke Amédée VIII of Savoy, the struggle between different factions within the Church began to heal, and Dufay once again left Cambrai for points south. He went to Turin in 1450, shortly before the death of Duke Amédée, but returned to Cambrai later that year; and in 1452 he went back to Savoy yet again. This time he did not return to Cambrai for six years, and during that time he attempted to find either a benefice or an employment which would allow him to stay in Italy. Numerous compositions, including one of the four Lamentationes that he composed on the Fall of Constantinople in 1453, his famous mass based on Se la face ay pale, as well as a letter to Lorenzo de' Medici, survive from this period: but as he was unable to find a satisfactory position for his retirement, he returned north in 1458. While in Savoy he served more-or-less officially as choirmaster for Louis, Duke of Savoy, but he was more likely in a ceremonial role, since the records of the chapel never mention him. Final years in Cambrai When he returned to Cambrai for his final years, he was appointed canon of the cathedral. He was now the most renowned composer in Europe. Once again he established close ties to the court of Burgundy, and continued to compose music for them; in addition he received many visitors, including Busnois, Ockeghem, Tinctoris, and Loyset Compère, all of whom were decisive in the development of the polyphonic style of the next generation. During this period he probably wrote his mass based on L'homme armé, as well as the chanson on the same song; the latter composition may have been inspired by Philip the Good's call for a new crusade against the Turks, who had recently captured Constantinople. He also wrote a Requiem mass around 1460, which is lost. After an illness of several weeks, Dufay died on November 27, 1474. He had requested that his motet Ave regina celorum be sung for him as he died, with pleas for mercy interpolated between verses of the antiphon, but time was insufficient for this to be arranged. Dufay was buried in the chapel of St. Étienne in the cathedral of Cambrai; his portrait was carved onto his tombstone. After the destruction of the cathedral the tombstone was lost, but it was found in 1859 (it was being used to cover a well), and is now in the Palais des Beaux Arts museum in Lille. Music and influence Dufay was the most influential composer of the 15th century, and his music was copied, distributed and sung everywhere that polyphony had taken root. Almost all composers of the succeeding generations absorbed some elements of his style. The wide distribution of his music is all the more impressive considering that he died decades before the availability of music printing. He composed in most of the common forms of the day, including masses, motets, Magnificats, hymns, simple chant settings in fauxbourdon, and antiphons within the area of sacred music, and rondeaux, ballades, virelais and a few other chanson types within the realm of secular music. None of his surviving music is specifically instrumental, although instruments were certainly used for some of his secular music, especially for the lower parts; all of his sacred music is vocal. Instruments may have been used to reinforce the voices in actual performance for almost any of his works. Seven complete Masses, 28 individual Mass movements, 15 settings of chant used in Mass propers, three Magnificats, two Benedicamus Domino settings, 15 antiphon settings (six of them Marian antiphons), 27 hymns, 22 motets (13 of these isorhythmic in the more angular, austere 14th-century style which gave way to more melodic, sensuous treble-dominated part-writing with phrases ending in the "under-third" cadence in Dufay's youth) and 87 chansons definitely by him have survived. Chant settings and fauxbourdon Many of Dufay's compositions were simple settings of chant, obviously designed for liturgical use, probably as substitutes for the unadorned chant, and can be seen as chant harmonizations. Often the harmonization used a technique of parallel writing known as fauxbourdon, as in the following example, a setting of the Marian antiphon Ave maris stella: Dufay may have been the first composer to use the term "fauxbourdon" for this simpler compositional style, prominent in 15th century liturgical music in general and that of the Burgundian school in particular. Most of Dufay's secular songs follow the formes fixes (rondeau, ballade, and virelai), which dominated secular European music of the 14th and 15th centuries. He also wrote a handful of Italian ballate, almost certainly while he was in Italy. As is the case with his motets, many of the songs were written for specific occasions, and many are datable, thus supplying useful biographical information. Most of his songs are for three voices, using a texture dominated by the highest voice; the other two voices, unsupplied with text, were probably played by instruments. Occasionally Dufay used four voices, but in a number of these songs the fourth voice was supplied by a later, usually anonymous, composer. Typically he used the rondeau form when writing love songs. His latest secular songs show influence from Busnois and Ockeghem, and the rhythmic and melodic differentiation between the voices is less; as in the work of other composers of the mid-15th century, he was beginning to tend towards the smooth polyphony which was to become the predominant style fifty years later. A typical ballade is Resvellies vous et faites chiere lye, which was written in 1423 for the marriage of Carlo Malatesta and Vittoria di Lorenzo Colonna (Carlo was a son of Malatesta dei Sonetti, Lord of Pesaro. Vittoria was the niece of Pope Martin V). The musical form is aabC for each stanza, with C being the refrain. The musical setting emphasizes passages in the text which specifically refer to the couple being married. Writings on music theory Two written works by Dufay have been documented, but neither has survived. A note in the margin in a manuscript held in the Biblioteca Nazionale Palatina in Parma refers to a Musica which he wrote; no copy of the work itself has been found. Nineteenth-century musicologist François-Joseph Fétis claimed to have seen a sixteenth-century copy of a Tractatus de musica mensurata et de proportionibus by Dufay, last seen in a bookshop in London in 1824. The contents of neither work are known. Dufay was one of the last composers to make use of late-medieval polyphonic structural techniques such as isorhythm, and one of the first to employ the more mellifluous harmonies, phrasing and melodies characteristic of the early Renaissance. His compositions within the larger genres (masses, motets and chansons) are mostly similar to each other; his renown is largely due to what was perceived as his perfect control of the forms in which he worked, as well as his gift for memorable and singable melody. During the 15th century he was universally regarded as the greatest composer of his time, an opinion that has largely survived to the present day. The early music ensemble Dufay Collective is named after him. Hear a performance of Dufay's celebrated ballade Se la face ay pale performed by ASTERIA \|Problems playing this file? See media help.\| - Ecclesie Militantis performed by Blue Heron Renaissance Choir - Rite Majorem performed by Blue Heron Renaissance Choir - Alejandro Enrique Planchart. "Du Fay, Guillaume." In Grove Music Online. Oxford Music Online, http://www.oxfordmusiconline.com/subscriber/article/grove/music/08268 (accessed August 23, 2009). - Planchart, Grove - Planchart, Grove Online. - Newberry Consort programme note - Programme note, with historical content by Dufay scholar Alejandro Planchart - Planchart, Grove online - David Munrow's notes for the recording of the early Mass 'Se la Face ay Pale' with the Early Music Consort (1974)[full citation needed] - Pryer A, 'Dufay' in New Oxford Companion to Music, ed. Arnold (1983) - David Fallows, Dufay, revised edition. The Master Musicians Series. London and Melbourne: J. M. Dent & Sons, Ltd., 1987. ISBN 0-460-02493-0 - Massimo Mila: "Guillaume Dufay", ed. Simone Monge, Turin: Einaudi Editore, 1997. ISBN 88-06-14672-6 - Massimo Mila: "Guillaume Dufay", Turin: Giappichelli, 1972–73. 2 vol. - Charles Hamm, "Guillaume Dufay", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. 20 vol. London: Macmillan, 1980. ISBN 1-56159-174-2 - Mark Lindley and Graeme Boone, "Euphony in Dufay. Harmonic 3rds and 6ths with explicit sharps in the early songs", in the 2004 Jahrbuch des Staatlichen Instituts für Musikforschung, Berlin:[full citation needed] - Gustave Reese, Music in the Renaissance. New York: W. W. Norton & Company, 1954. ISBN 0-393-09530-4 - Alejandro Planchart: "Du Fay [Dufay; Du Fayt], Guillaume", Grove Music Online ed. Deane Root (Accessed July 24, 2014), (subscription access) - Harold Gleason and Warren Becker, Music in the Middle Ages and Renaissance (Music Literature Outlines Series I). Bloomington, Indiana: Frangipani Press, 1986. ISBN 0-89917-034-X - Guillaume Dufay, Opera omnia (collected works in six volumes), ed. Heinrich Besseler with revisions by David Fallows. Corpus mensurabilis musicae CMM 1, [Rome:]: American Institute of Musicology, 1951–1995. Further info and sample pages - Craig Wright, "Dufay at Cambrai: Discoveries and Revisions". Journal of the American Musicological Society 28 (I975):[page needed] - F. Alberto Gallo (tr. Karen Eales), Music of the Middle Ages (II). Cambridge: Cambridge University Press, 1977 (original Italian edition) and 1985 (English). ISBN 0-521-28483-X.[vague] - E. Dartus, Un grand musicien cambrésien: Guillaume Du Fay. Préface de Norbert Dufourcq. Extrait du tome XCIV des Mémoires de la Société d'Émulation de Cambrai. Cambrai, 1974.[full citation needed] - Van den Borren (I), "Guillaume Du Fay, son importance ....". Mémoires de l'Académie royale de Belgique 2, no. 2 (1926):[page needed] - Van den Borren (II), "Guillaume Du Fay, centre de rayonnement...". Bulletin de l'Institut historique belge de Rome, no. 20. Bruxelles, Rome:[full citation needed] 1939. - J. Chailley, Histoire musicale du Moyen Age. Paris, Paris: P. U. F., 1950 - S. Baldi, Introduction to Il Conto dell'esecuzione del testamento e l'Inventario dei beni di Guillaume Dufay, Miscellanea di Studi 6, a cura di Alberto Basso, Torino, Centro Studi Piemontesi: Istituto per i Beni Musicali in Piemonte, 2006, 47–134. - S. Baldi, "Guillaume Du Fay a Pinerolo", Bollettino della Società Storica Pinerolese 25 (2008), 15–31 [with abstract in English]. - E. Gasparini, "Tra musica e architettura. Il Nuper rosarum flores di Dufay e la brunelleschiana cupola di Santa Maria del Fiore". Musica Realtà 88 (2009). \|Wikimedia Commons has media related to Guillaume Dufay.\| - Hear The Hilliard Ensemble perform Dufay's Moribus et genere; Vergene bella and Lamentatio sanctae matris ecclesiae Constantinopolitanae in London, 25 September 2010 - Free scores by Guillaume Dufay in the Choral Public Domain Library (ChoralWiki) - Free access to high-resolution images of manuscripts containing works by du Fay from Digital Image Archive of Medieval Music - Free pdfs of new Du Fay edition by Alejandro Planchart downloadble from Digital Image Archive of Medieval Music - Ave Regina Caelorum, the score at the classicaland.com - Free scores by Guillaume Dufay at the International Music Score Library Project	1
Developed for the classroom teacher, particularly the non-specialist, the Threshold to Music popular program instructs teacher and student alike in the reading and appreciation of music, emphasizing the Kodaly approach to learning music through the use of simple, familiar everyday songs, nursery rhymes and children's chants. This set includes 48 charts and no other instructional material. Grades 4-7. Format: Other Vendor: Alfred Publishing Co., Inc. UPC: 1100000000534 Availability: Expected to ship on or about 04/28/15. You may order this item now and we will ship it to you when it arrives. If you are charging this purchase to a credit card, you will not be charged for this item and its portion of your shipping charges until it is shipped.	1
Viewers: in countries Watching now: Sibelius 7 is the complete software for writing, playing, printing, and publishing music notation, and can be used by every kind of musician, from students and teachers to professional composers. In Sibelius 7 Essential Training, author Jenny Amaya shows how to create professional-looking scores, beginning with the basics of note entry and playback. The course explains how to interface with a MIDI keyboard; edit note durations and pitches; and incorporate lyrics, tempo markings, and other text elements. Features specific to version 7, such as 64-bit support, improved sound library, and text and typography enhancements are also covered in detail. Prerequisite: A basic understanding of music notation and theory will yield the best results from this course. After entering and editing the notes in your score, you'll probably want to add some lines to the score. Lines in Sibelius include everything from slurs and hairpins, to trills, glissandi, arpeggios, and tempo changes. You can access all of the lines from their group in the Notations tab. So let's go ahead and click on Notations and here are the lines here and you can use the Arrow buttons here to scroll through them, or an even easier way is by pressing the letter L on your QWERTY keyboard; L for Lines. So let's take a look at this Line's dropdown menu. The Lines Menu is organized into categories, from some of the most common lines that you'll see in your score, like slurs and hairpins, to some more uncommon lines and graphics, if we scroll down, like arrows and dashed lines. Let's go ahead and escape out of the Lines Menu, and just like entering anything on the page, there are two ways to input your lines; you can either load them in your mouse and then click them onto the Score page or you can make a selection first and then select your line and have Sibelius put the line near your selection. So let's go ahead and load a line in our mouse. Let's load up a trill line. So we've escaped out, let's go ahead and hit L for the Lines Menu. Let's select the Trill with our mouse up here by clicking, and Sibelius has loaded that trill into our mouse for us and now all we have to do is click above a note in the score. So let's go down into the Clarinet part and above this half note here, go ahead and click, and Sibelius connects the line to the note and extends the line for the duration of that note. And most of the lines also do playback. So if we select the Clarinet part here and hit the letter P to play-- (music playing) --and Escape to stop, you can hear that trill. Now, another way to input a line is to make a selection first. Let's scroll down to the bottom of this score, I'll use Page Down, and let's go ahead and add a first ending here in the second to last bar. So let's make that selection first. I'm going to select this bar, then let's go L for Lines Menu, and we can select the first ending here and Sibelius puts that in above that bar. Now if you're new to Sibelius, you'll discover that there are actually two categories of lines; there are Staff lines and System lines. You can actually see this division if you visit the Dialog Launcher button for the Edit Lines Menu. So back up into the Ribbon, this Dialog Launcher here, click on that, and you'll see the arrangement of Staff lines versus System lines. Staff lines are lines that attach to an object or a note in a single staff or instrument and they only show up in that particular part. The trill that we inputted into the clarinet part is a good example of a Staff line. It'll only show up in the clarinet part and it will not affect any other parts in our score. System lines also attach to an object or a note in a bar, but System lines, while they may only appear to be connected to one staff in the score, they'll end up showing up in all of the parts. So the first ending line that we inputted into the score is a good example of a System line. It would be extremely important for that line to show up in all of the parts and not just in the Clarinet part. Let's go ahead and escape out of this dialog and let's take a look at the parts. So to the right-hand side of your score, this little Plus (+) button here, click on that, and let's click on the Clarinet part, and you'll see that the Clarinet has its trill or its Staff line and it also has the System line for the first ending. Let's go back to that little Plus (+) button and let's pull up the Trumpet, and you'll notice there's no trill in the Trumpet part, but we do have that System line, that first ending. Let's go ahead and go back to our score now, click on Full Score. Now let's go ahead and add one more line into the score, and I'll show you an easy way to adjust the lines after they've been inputted. Let's go ahead and add a Tempo line like an accelerando. So I'm going to Esc, and let's go ahead and select a passage for this. So down at the bottom of the screen here, Bar 15, I'm going to select Bar 15. Hold down Shift and select all the way to the first ending, L for Lines Menu, and let's go ahead and select the accelerando line, and Sibelius inserts that line across my entire selection for me. Now, you may notice immediately after entering a line that you can see a little small purple box, or what Sibelius calls a handle, attached to the line. You can actually grab that handle and retract and expand the line if you'd like to. Now, if you Esc, you won't be able to see those handles, and even though you can click and kind of guess where they're at, sometimes you might be lucky enough to find them, but there's a little better way if you'd like to get those handles back. You can either use Ctrl+A or Command+A to select all in the score, which shows the handles and then you can grab them and move them around, or you can go up to the View tab, in Invisibles, and you can tell Sibelius to show the Handles, and now I can grab like the first ending, I can drag it and reposition it, and my accelerando line as well. And the length of the line does affect the playback of the line. So the accelerando is going to begin here, where it's attached to this bar, and it will continue increasing tempo all the way through to the end of the line here before the first ending. So go ahead and spend some time experimenting with all of the different lines that Sibelius has to offer you. Enter them, play them back, and have a little fun with them. And in the next two videos, we'll focus on working specifically with two of the most commonly used staff lines: slurs and hairpins. There are currently no FAQs about Sibelius 7 Essential Training. Access exercise files from a button right under the course name. Search within course videos and transcripts, and jump right to the results. Remove icons showing you already watched videos if you want to start over. Make the video wide, narrow, full-screen, or pop the player out of the page into its own window. Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.	1
The form developed in the late seventeenth century, although the name was not used at first. Alessandro Stradella seems to have written the first music in which two groups of different sizes are combined in the characteristic way. The first major composer to use the term concerto grosso was Arcangelo Corelli. After Corelli's death, a collection of twelve of his concerti grossi was published; not long after, composers such as Francesco Geminiani and Giuseppe Torelli wrote concertos in the style of Corelli. He also had a strong influence on Antonio Vivaldi. Two distinct forms of the concerto grosso exist: the concerto da chiesa (church concert) and the concerto da camera (chamber concert). (See also Sonata for a discussion about sonatas da camera and da chiesa.) The concerto da chiesa alternated slow and fast movements; the concerto da camera had the character of a suite, being introduced by a prelude and incorporating popular dance forms. These distinctions blurred over time. Corelli's concertino group was invariably two violins and a cello, with a string section as ripieno group. Both were accompanied by a basso continuo with some combination of harpsichord, organ, lute or theorbo. Handel wrote several collections of concerti grossi, and several of the Brandenburg Concertos by Bach also loosely follow the concerto grosso form. The concerto grosso form was superseded by the solo concerto and the sinfonia concertante in the late eighteenth century, and new examples of the form did not appear for more than a century. In the twentieth century, the concerto grosso has been used by composers such as Ernest Bloch, Ralph Vaughan Williams, Bohuslav Martinů, Malcolm Williamson, Alfred Schnittke, and Philip Glass. While Edward Elgar may not be considered a modern composer, his romantic Introduction and Allegro strongly resembled the instrumentation set up of a concerto grosso. Bennett, R. (1995). Investigating Musical Styles. Cambridge: Cambridge University Press.	1
Bedřich Diviš Weber Bedřich Diviš Weber (9 October 1766, Velichov, nr. Karlovy Vary – 25 December 1842, Prague), also known by the German form of his name, Friedrich Dionys (or Dionysius) Weber, was a Bohemian composer and musicologist primarily remembered as the first Director of the Prague Conservatory, in whose foundation he played a leading role. Weber studied philosophy and law in Prague before turning his attention definitively to music, studying under Abbe Vogler. He became an advocate for the music of Mozart after meeting him in Prague, and his compositions bear evidence of this influence, being firmly rooted in that stylistic period. He was antagonistic towards the work of Beethoven and Carl Maria von Weber (no relation), although an enthusiast for the work of Richard Wagner. In 1832 he conducted the first performance of Wagner's Symphony in C major, a student performance at the Prague Conservatory. As Director of both the Conservatory and the Prague Organ School he effectively controlled higher musical education in the region so was arguably the most influential figure in the music of Prague at that time. He also wrote several music theory textbooks considered important in their time. Despite his conservative style he was happy to explore the possibilities of new instruments, such as his Variationen für das neu erfundene Klappenhorn (Variations for the newly invented keyed bugle). He was a skilled writer for brass instruments and had a particular interest in new developments; he was himself responsible for a form of chromatic French horn. His best known surviving work is probably the cantata Bohmens Erretung. He also composed an opera, König der Genien, in 1800, and his Variations for Trumpet and Orchestra followed his own experiments with keyed instruments, particularly his keyed horn. One of his students, Joseph Kail, introduced the keyed horn to Vienna and went on to develop the double piston Vienna valve horn. It is reported that in 1828 a certain Herr Chlum played the Variations for Trumpet and Orchestra on a chromatic trumpet of Kail's invention, presumably the valve trumpet, making this work the earliest surviving example of such music.	1
, 1926-97, American poet, b. Paterson, N.J., grad. Columbia, 1949. An outspoken member of the beat generation , Ginsberg is best known for Howl (1956), a long poem attacking American values in the 1950s. The prose of Jack Kerouac , the insights of Zen Buddhism , and the free verse of Walt Whitman were some of the sources for Ginsberg's quest to glorify everyday experience, embrace the ecstatic moment, and promote sponteneity and freedom of expression. His volumes of poetry include Kaddish and Other Poems, 1958-60 (1961), Collected Poems, 1947-1980 (1984), and White Shroud: Poems 1980-85 (1986). His Collected Poems: 1947-1997 was published in 2006. Allen Verbatim (1974) is a collection of lectures, and Deliberate Prose (2000) a selection of essays. See his journals (5 vol., 1971-96); collected correspondence (5 vol., 1976-2001), M. Schumacher, ed., Family Business: Selected Letters between a Father and Son (2001), and B. Morgan, ed., The Letters of Allen Ginsberg and The Selected Letters of Allen Ginsberg and Gary Snyder (both: 2008); D. Carter, ed., Spontaneous Mind: Selected Interviews, 1958-1996 (2001); biographies by B. Miles (1989), M. Schumacher (1992), and B. Morgan (2006); studies by L. Hyde, ed. (1984), T. F. Merrill (1988), and B. Miles (1993); bibliographies ed. by G. Dowden (1971), M. P. Kraus (1980), and B. Morgan (1995). The Columbia Electronic Encyclopedia Copyright © 2004. Licensed from Columbia University Press	1
Salammbô is an opera in five acts composed by Ernest Reyer to a French libretto by Camille du Locle. It is based on the novel Salammbô by Gustave Flaubert (1862). The opera was first performed at the Théâtre Royal de la Monnaie in Brussels on 10 February 1890. The American premiere was at the French Opera House in New Orleans on 25 January 1900 with Lina Pacary in the title role. This rarely nowadays performed opera received the last performance in Paris Opera in 1943, and the most recent one in Marseilles on 27 September 2008, in commemoration of 100th anniversary of Reyer's death. \|Role\|\|Voice type\|\|Premiere Cast, \|Hamilcar, Carthaginian leader\|\|baritone\|\|Maurice Renaud\| \|Salammbô, a priestess, Hamilcar's daughter\|\|soprano\|\|Rose Caron\| \|Taanach, Salammbo's servant\|\|mezzo-soprano\| \|Shahabarim, high priest of Tanit\|\|tenor\|\|Edmond Vergnet\| \|Narr'Havas, King of Numidia\|\|bass\|\|Sentein\| \|Giscon, Carthaginian general\|\|bass\|\|Peeters\| \|Mathô, chief Libyan mercenary\|\|tenor\|\|Henri Sellier\| \|Spendius, Greek slave\|\|baritone\|\|Max Bouvet\| \|Autharite, Gaulish mercenary\|\|bass\|\|Challet\| - Place: Carthage - Time: 240 BC Other opera adaptations In 1863, Modeste Mussorgsky also started writing text and music for an opera based on Flaubert's novel, but he never managed to complete the work. Other versions were written by V. Fornari (1881), Niccolò Massa (1886), Eugeniusz Morawski-Dąbrowa, Josef Matthias Hauer (1930), Alfredo Cuscinà (1931), Veselin Stoyanov (1940) and Franco Casavola (1948). Contemporary French composer Philippe Fénélon's Salammbô was first performed in the Opéra Bastille in 1998.	1
Horn is a straight pipe with five holes above and one below. Horn is produced from birch, maple and juniper. Its s ound is strong, but gentle, rang ering a little more than an octave. The first written evidence of the h o r n appear ed in II half of XVIII century in the descriptions of musical instruments by Tuchkov, Staehelin and Ghasr. A n ew horn was investigated in detail by N. Privalov. At the end of XIX century t here was a successful horn choir run by Kondratieva in Vladimir region. Currently the horns are introduced into the orchestra s of Russian folk instruments.	1
Jim covers basic music concepts such as the staff, time signatures, clefs, measures, note duration, and note representation. Taught by Jim Deeming in Music Reading seriesLength: 16:25Difficulty: 1.0 of 5 Reading music and rhythm is the foundation for anyone serious about music. In order to understand the theory necessary to progress as a player, a basic understanding of how to read music and how to read rhythms is necessary. Understanding notes, intervals, and scales is key to music reading. Jim proves a beginner crash course on these subjects.Length: 18:53 Difficulty: 1.0 Members Only Jim covers basic music concepts such as the staff, time signatures, clefs, measures, note duration, and note representation.Length: 16:25 Difficulty: 1.0 Members Only Jim covers the first two strings in this lesson. He explains where the natural notes are located on the fretboard and how they appear on the staff.Length: 17:12 Difficulty: 1.0 Members Only Jim covers the third and fourth strings. He explains where the natural notes are located on the fretboard and how they appear on the staff.Length: 11:43 Difficulty: 1.5 Members Only Jim covers the fifth and sixth strings. He explains where the natural notes are located on the fretboard and how they appear on the staff.Length: 11:34 Difficulty: 1.5 Members Only Jim Deeming explains more music symbols in this lesson. He also introduces 3/4 time and eighth notes.Length: 10:25 Difficulty: 1.5 Members Only In this lesson Jim Deeming uses the classic song "Twinkle, Twinkle Little Star" as a music reading exercise.Length: 11:06 Difficulty: 2.0 Members Only In this lesson Jim takes the song "Twinkle, Twinkle Little Star" and plays it on the lower strings. This is an excellent exercise for reading and memorizing these notes.Length: 5:39 Difficulty: 2.0 Members Only Jim Deeming teaches a music reading exercise entitled "Echo." This fun, play-along lesson is a perfect way to hone your reading and counting skills.Length: 18:03 Difficulty: 3.0 Members Only About Jim Deeming View Full Biography Jim Deeming got his first guitar when he was only six years old. His Dad was taking fingerpicking lessons, and Jim wanted to be just like him. The Mel Bay books didn't last very long before he strapped on a thumb pick and added the Chet part to Red River Valley so it sounded better. Most of Jim's early learning was by ear. With unlimited access to his Dad's collection of Chet Atkins albums, he spent countless hours decoding his favorite songs. They were never "right" until they sounded just like Chet. Around the age of 12, Jim heard Jerry Reed for the first time and just knew he had to be able to make that "Alabama Wild Man" sound. The styles of Chet & Jerry always have been a big influence on his playing. More recently he has pursued arrangements by Tommy Emmanuel and Doyle Dykes, in addition to creating some of his own and writing originals. Jim has performed in front of a variety of audiences, including concerts, competitions, weddings and the like, but playing at church has always been a mainstay. Whether playing in worship bands or guitar solos, gospel music is deep in his roots and is also the driving theme behind his debut CD release, titled "First Fruits". Jim has been playing for about 38 years. He also has taught private lessons in the past but believes JamPlay.com is an exciting and better venue with many advantages over the traditional method of weekly 30 minute sessions. Jim lives in Berthoud, Colorado with his wife, Linda, and their four children. Although he still has a "day job", he is actively performing and is already back in the studio working on the next CD. If you wonder how he finds time, look no further than the back seat of his truck where he keeps a "travel guitar" to take advantage of any practice or song-writing opportunities he can get. The opening song you hear in Jim's introductory JamPlay video is called, "A Pick In My Pocket". It's an original tune, written in memory of Jim's father who told him early on he should always keep a pick in his pocket in case he ever met Chet Atkins and got the chance to play for him. That song is slated to be the title track for his next CD, which will feature several more originals plus some of his favorite covers of Chet and Jerry arrangements. Our acoustic guitar lessons are taught by qualified instructors with various backgrounds with the instrument. Pamela brings a cap to her first 13 JamPlay lessons with another original etude inspired by the great Leo Brouwer. This is...Free LessonSeries Details Marcelo teaches the eight basic right hand moves for the Rumba Flamenca strum pattern. He then shows you how to apply it...Free LessonSeries Details Jessica kindly introduces herself, her background, and her approach to this series.Free LessonSeries Details Orville Johnson introduces turnarounds and provides great ideas and techniques.Free LessonSeries Details In this lesson Justin introduces his series on playing with a capo and dishes out some basic tips, including how to properly...Free LessonSeries Details Mitch teaches his interpretation of the classic "Cannonball Rag." This song provides beginning and intermediate guitarists...Free LessonSeries Details Lesson 40 takes a deeper look at slash chords. Mark discusses why they're called slash chords, and how they are formed.Free LessonSeries Details In this lesson Randall introduces the partial capo (using a short-cut capo by Kyser) and talks about how it can make the...Free LessonSeries Details Steve Eulberg does a quick review of this lesson series and talks about moving on.Free LessonSeries Details Our electric guitar lessons are taught by instructors with an incredible amount of teaching experience. Lauren Passarelli offers up her wisdom on purchasing a guitar. She also includes information regarding proper setup and care....Free LessonSeries Details In this lesson Eric talks about playing basic lead in the Memphis Blues style.Free LessonSeries Details Learn a variety of essential techniques commonly used in the metal genre, including palm muting, string slides, and chord...Free LessonSeries Details JamPlay is proud to welcome senior professor and Coordinator of Guitar Studies at the University of Colorado at Denver,...Free LessonSeries Details Matt Brown shows off some ways to add some creativity and originality to your rock chord voicings.Free LessonSeries Details Allen shows you the 24 rudiments crucial to developing finger dexterity. This is a short lesson but the exercises here can...Free LessonSeries Details Brendan demonstrates the tiny triad shapes derived from the form 1 barre chord.Free LessonSeries Details Tosin explains some of the intricacies of the 8 string guitar such as his personal setup and approach to playing.Free LessonSeries Details JamPlay introduces Nashville session player Guthrie Trapp! In this first segment, Guthrie talks a little about his influences,...Free LessonSeries Details Stuart delves into all the different aspects of how R&B guitar has had an impact within reggae music.Free LessonSeries Details Take a minute to compare JamPlay to other traditional and new methods of learning guitar. Our estimates for "In-Person" lessons below are based on a weekly face-to-face lesson for $40 per hour. \|Price Per Lesson\|\|< $0.01\|\|$4 - $5\|\|$30 - $50\|\|Free\| \|Money Back Guarantee\|\|Sometimes\|\|n/a\| \|Number of Instructors\|\|79\|\|1 – 3\|\|1\|\|Zillions\| \|Interaction with Instructors\|\|Daily Webcam Sessions\|\|Weekly\| \|Professional Instructors\|\|Luck of the Draw\|\|Luck of the Draw\| \|Learn Any Style\|\|Sorta\| \|Multiple Camera Angles\|\|Sometimes\|\|-\|\|Sometimes\| \|Learn in Sweatpants\|\|Socially Unacceptable\| \|Gasoline Needed\|\|$0.00\|\|$0.00\|\|~$4 / gallon!\|\|$0.00\| Mike H."I feel like a 12 year old kid with a new guitar!" I am 66 years young and I still got it! I would have never known this if it had not been for Jamplay! I feel like a 12 year old kid with a new guitar! Ha! I cannot express enough how great you're website is! It is for beginners and advanced pickers! 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\|Middle East\|\|ATLAS of Plucked Instruments\| • guitars early • guitars modern • Europe West • Europe East • Europe South • Middle East • Central Asia • Far East • S.E. Asia • America N • America C • America S Here I regard the Middle East as the area of the Arabs, the Turks and the Iranians, which coincidently is more or less the area where the oud is one of the main plucked instruments. So roughly it is North Africa (Morocco, Algiers, Tunesia, Libya, Egypt and Sudan), and then across the Nile in Asia : Yemen, Syria, Iraq and Iran (Israel does not have typical plucked instruments). The oud (or ud) is the classical lute of the Arabs. It can also be found all over the world where you find muslims; so also in many countries of Africa and South East Asia (see The back of the body of the oud is made of (10-25) quite thin ribs of wood, glued together, often in highly decorative patterns. The soundboard is made of soft wood and has one or (often) three rosettes. It has a short neck, with a fingerboard flush with the soundboard and without frets. The violin-style friction pegs are inserted from both sides of the open pegbox, which is slightly bended and fixed to the neck under an angle to the back. It has nylon strings (original gut strings) in 6 double courses, which are fixed to a bridge glued on the soundboard. The tuning of the Arabian style oud could be : D GG AA dd gg c'c'. The oud is played with a long thin (plastic) plectrum. The music (if written) is in western notation. The classical music is the taqsim : a kind of basic melodies/ scales on which the player improvises. The most famous oud player of recent times was the Iraqi : Munir Bashir (see under). \| oud Bashir Besides the often used Egyptian-style oud, nowadays you can also find different models. In Iraq the famous (late) oud player Munir Bashir developed a special type of oud, which is now often named after him : the oud Bashir (or oud Bachir or Iraqi oud). It can be recognized by the loose bridge and the lack of decoration. The most visual difference is that the soundholes do not have decorative rosettes in them (or around them), and usually are oval-shaped. However this type of open soundhole can also be found on a normal oud. Although the back is made from separate ribs (like all ouds/lutes) the outside is sanded down to an almost round smooth surface. There is a thick strip around the edge, which serves also to fix the strings to. The fingerboard is slightly raised above the soundboard. The entire instrument is highly varnished. / pear-shaped oud Nowadays some ouds are made in different shapes, like with a flat back or an electric one with only the body shape. Also another shaped oud is getting popular, with the body shaped like a pear. So it is sometimes called : pear-shaped oud, or (in Arabic) oud kumethra or even : "pregnant oud". The main difference with the standard Egyptian oud is the back of the body, which has curves in two directions. This must be very difficult to make. It is played like the standard oud. The qanbus is the lost lute of the Yemen. It is very difficult to find nowadays, as it is completely taken over by the Arabian oud. It may also be called qambus or turbi. It is similar to other small lute-like instruments in East Africa, with similar names like gabusi on the Comoros, kibangala (on the Swahili coast - see East-Africa), qabus in Saudi Arabia, and gabbus in Oman. It is replaced now almost everywhere by the much larger Arabian Oud. It may have been the eldest of the ouds. The body and neck of the qanbus are made from one piece of wood, hollowed out. The lower part of the body is covered with hide, and the top half with a thin piece of wood. There is usually some kind of soundhole made in the wood. See for much more information about this Qanbus and related lutes : Portfolio. The buzok (or bozok) is the long-neck lute of the Middle East. It is mainly played in Syria, Libanon and Jordan. A similar looking instrument can be found in North Africa (but with a flat back): the mondol (see Africa-North) and in Turkey/Greece : the lavta (see under). The body of a buzok (much smaller than an oud) is made from separate ribs, glued together in a lute-shape. The neck is guitar-like, and has tied-on nylon frets. It has some 1/4 notes. The flat pegbox slopes slightly backwards, and has two slits for the tuning pegs, which are wooden T-shaped friction pegs; 3 on both sides. The fingerboard is sometimes made of white plastic. There is some wood inlay on the soundboard, and a carved wooden rosette inserted in the soundhole. The buzok has 3x2 metal strings, which run over a small loose wooden bridge to a piece of wood on the edge of the body. Tuning could be cc gg c'c'. It is played with a plectrum. Although usually an instrument for folk music, it is also used to play classical taqsim on it. The saz is the most well-known Turkish plucked instrument. It comes in several different sizes : the small cura, the baglama, the bigger divan saz and the biggest : the meydan saz. Nowadays you can also find an electric saz. The baglama (pronounce : bah-lahma) is the most popular. In Iran and Azerbaijan this instrument may be called chogur, choghur or çogur. The body of the saz is traditionally carved from a block of wood, hollowed out with a round soundhole on the bottom side. However nowadays the body is often made from separate ribs glued together. It has a thin wooden soundboard, with usually several strips of different coloured wood on both sides. The saz is played with a plectrum and mainly only the first course. Some players manage to tap with the ringfinger on the soundboard while strumming (like flamenco players), to give a special extra rhythm effect. Others use a kind of tapping. See for more information about the Turkish saz : allaboutturkey. The cümbüs (pronounced "dzjoom-boos", and there should be a small cédille under the s) is a banjo-like instrument from Turkey. The name comes from the name of the factory in Istanbul. The body is made from a metal bowl, that looks like a cooking-pan. The (plastic) banjo skin can be tuned by screws around the rim, which also join the bowl to the front. The wooden neck and the peghead is made from one piece of wood, and fixed with a large screw to the side of the bowl. By turning the screw the angle of the neck can be adjusted. There is a veneer layer as fingerboard, and the cümbüs is fretless. The cümbüs has 6x2 metal strings, and is tuned like an oud. The tuning machines are in two rows of 6 on both sides of the open peghead. The bridge has 3 round pieces glued to the feet, to avoid the high pressure of 12 metal strings damaging the skin. The strings are fixed to a metal stringholder at the edge of the rim. The cümbüs is played like an oud. There used to be a similar instrument called the ahenk, with a wooden bowl, and a wooden front, but with the bridge resting on a small separate piece of skin. It had two small soundholes in the front. There seems to be a recent revival of the ahenk. The oud (or ud) in Turkey resembles much the Egyptian (Arabian) oud, but usually the body is more slender and a bit smaller. In general the instrument is quite plain (there is not much decoration). The tuning of the Turkish oud with 11 nylon strings (in 6 courses), is two notes higher than the Arabian oud : E AA BB ee aa d'd'. The Lavta is an instrument that was popular in the early 20th century, particularly amongst Greeks and Armenians, with a famous player like Tanburi Cemil Bey. Then it was gradually replaced by the oud and around 1930 they were vanished. From the 1980’s there has been a revival of this instrument, and now you can find them again both in Turkey and in Greece. The lavta is a kind of hybrid oud : the body looks much like a small (Turkish) oud (with a body made of many ribs), with a guitar-like neck. The bridge usually has mustache-like ends. The fingerboard is flush with the soundboard, which is often unvarnished, and has a carved and inlayed rosette. Notice the very peculiar fretting distances (with wound nylon frets), resembling the Turkish tanbur. The Turkish tanbur (also tambur) is a classical Turkish lute with a very long thin neck. The name is also used for other long neck lutes in Iran and Central Asia. The body is made of (20-25) thin wooden ribs in a very round shape. The front is very thin spruce, left unvarnished. The broomstick-like neck is fixed to the body, and continues into the peghead. There are 6 violin-type friction pegs, 4 are inserted from the front and 2 from the left side. The frets are tied-on nylon (in 5 windings per fret), with many in 1/4 note intervals. The tanbur has 3x2 metal strings, which go over a loose bridge to holes at the edge of the body. Tuning is usually Dd AA dd. In spite of its long length it is not so difficult to play, however orientation demands practice, by which the special arrangement of the 1/4 notes is helpful. Because of the long length it has a very deep sound. Usually only the first course is fingered. The tanbur is mainly used to play classical taqsim music. It is also used by the Kurds for folk music, to accompany singing. Besides this tanbur there is another similar instrument with a long neck, but with the body like a banjo. This instrument is called yayli tambur (see under), which is mainly used as a bowed instrument. See (and hear) more at Tanbur (in Turkish). This special Turkish tambur is a hybrid : a combination of the normal lute-like long neck tambur with the body like a banjo. This instrument is called yayli tambur (or yaylih tambur). The neck is quite flat, and just as long as the normal tanbur. The frets are tied-on nylon (with 5 windings per fret). It has a small guitar-like peghead with machine-tuners (3 on each side). The 6 metal strings (in 3 courses) run over a loose bridge (with the two feet on flat round wooden plates) to some fixing points at the edge of the bowl. Tuning is the same as the tambur : Dd AA dd. The yayli tambur is mainly used as a bowed instrument, but it is sometimes plucked; that is why it is included here anyway. See (and hear) more at Tanbur (in Turkish). Iran (formerly called Persia) is on the crossroad of many different cultures. To the west (with Iraq) live the Arabs (Iranians are not Arabs, and although their script is in Arabic, their language is Farsi). To the east the Pakistani and Hindis of the Indian subcontinent, in the northeast the Afghans and in the northwest the Kurds in Turkey and Caucasus. So no wonder the Iranian plucked instrument reflect this wide variety. The two main Iranian instruments are the setar and the tar, related to each other in tuning and both used for classical Iranian Maqam music. The oud (here called Barbat) is nowadays hardly played in Iran. In the north you can find the saz Azerbaijan (also called qopuz, or chogur ) and the Azeri tar. To the southeast (in Baluchistan) the tanburag (see Pakistan) is used, in groups that also use the benju (see India). In several areas the dotar (in different types) is in use. The afghan rabab is used in the east, but also in a different shape in orchestras. The setar (also spelled sehtar) is the main plucked instrument from Iran. It is one of the very many long neck lutes from the area of the Middle East and Central Asia. They all have a quite thin neck made of walnut or apricot, and a body usually made of mulberry; either built of ribs, or carved from a single block. The setar body is made of (7 to 10) ribs, glued together. The soundhole is usually a number of small holes drilled in a pattern in the front. The setar is played with only the right index finger, strumming up and down. It gives a very sweet delicate sound. The music is mainly the classical Dastgah of Iran. It is also played by the Sufi mystics. The tar is another important long neck lute from Iran. A similar shaped and named instrument is used in the Caucasus states (see under Azerbaijan). The body of a tar is a double-bowl (figure-of-eight) shape, carved from one piece of mulberry wood (some from a bookmatched pair of wood pieces). Seen from the side the body is slanting towards the end. The front is a thin membrane of stretched bladder. The neck is glued to the body and a separate quite large, square pegbox. The 6 friction pegs (with big round knobs) are in three on both sides of the open pegbox. The frets are tied-on nylon or gut, with some in 1/4 note intervals. The tar has 6 steel strings in 3 double courses (the lowest one in octave). They run over a loose bone bridge (with feet) on the skin, and are fixed to a string-holder at the edge of the body. Tuning would be cc' gg c'c'. There is also a bass tar, which has only 3 strings and only the lower half of the body is covered with a skin. It is uses in orchestras. The Iranian tanboor (also spelled tanbur or tanbour) has a narrow pear-shaped body, normally made with (7-10) separate ribs, glued together. The body-shape looks much like the Turkmen dutor (see Central Asia), which is however always carved. It has a separate long neck with 14 tied-on gut frets. The soundboard is also made of mulberry wood and has a number of small holes burned in it in a pattern. It has 3 flat T-shaped pegs; 2 are inserted from the front, one from the left side. The tanboor has three metal strings - the first course is double, on which the melody is played. The other one functions as a drone string with occasional fingering by the thumb. The strings run over a small loose bridge, to holes in the edge of the body. The tanboor has a unique playing technique by which the strings are strummed with the 3 fingers of the right hand (with arpeggios upwards, and hardly any use of the thumb) to produce a very full and even tremolo, often to accompany Sufi singing. The tanboor has always been considered a sacred instrument associated with the Kurdish Sufi music of Western Iran and it is believed that its repertoire is based on ancient Persian music. In Iran several different types of dotar (or dutar) are used. All look similar, and have two strings (hence the name : "two strings"). They differ slightly according to the region they are used, but of course they also differ between different local crafsmen. A global list (based on an Iranian book) could be : All dotars have the body carved from one block of mulberry wood to a thin shell, with a mulberry front (sometimes dried in an oven). In the soundboard some tiny soundholes are usually drilled in a pattern, or one small hole in the back. The body and neck are left unvarnished. The neck is long and separate, often made of pear or plum wood. The tuning head is part of the neck and has two T-shaped tuning pegs, ususally one at the front and one at the left side. All dotars are played strumming/scraping/banging with the fingers in a specific pattern, and usually only the first string In Iran the afghan rabab (see Central Asia) is used mainly in the north and east (Khorasan). But recently the instrument has been altered someway, to be played in special orchestras. To distinquise it from its afghan cousin, we will call it : the iranian rabab. The main difference with the afghan rabab is the lengthening of the neck (with extra frets), and using 4 main (gut or nylon) strings. It lacks the two metal drone strings on the left side of the main strings. The chonguri is a long neck lute from Georgia, quite similar to the panduri (see under). The back of the body is made from (7-10) ribs in such a way that the end forms a flat (standing) end block, which gives the chonguri its special shape. Some instruments have a body carved from one piece of wood. There are usually many soundholes drilled in the soundboard, in a round pattern. The 4 nylon strings (or better : 3 1/2) run over a loose wooden bridge to a single pin on the endblock. The chonguri is mainly used to accompany singing, and because it is normally fretless, no chords are played. For unknown reason the example has 6 frets of inlayed hard wood. The panduri is another popular plucked instrument from Georgia, and looks very similar to the chonguri (see above). The main differences are : the panduri is smaller, it lacks the string halfway (so the panduri has just 3 nylon strings), the panduri has frets and the body shape is less rounded, and usually more in the shape of a spade (so less with a parallel sided endblock). The body is almost always made carved from one block of wood. The frets are usually made of wood, inlayed in the front of the neck. On some there are 7 frets to an octave, but nowadays also chromatic fretting can be found. Tuning would be : e b a', or : g a c', and playing is often strumming to accompany singing. tar /Caucasus tar The tar of Iran can be found (in a slightly different shape) in the Caucasus states of Armenia and especially Azerbaijan. It is known as the Azeri tar or Caucasus tar or 11 string tar or qafqazi tar. It was developed from the Iranian tar around 1870 by Sadikhjan, a tar player from Azerbaijan. It is the national instrument of Azerbaijan, but it is also popular in Uzbekistan. See for the Iranian tar : above. The body of the Azeri tar has a double-bowl (figure-of-eight) shape, carved from one piece of mulberry wood. It lacks the slanting sides of the Iranian tar, and the top half is rounded. The front is a thin membrane of stretched bladder. The neck is glued to the body (which has a strengthening stick through it) and a separate (quite large) square pegbox. The friction pegs are 3 big round knobs on both sides, and 3 violin-like pegs on the left side of the open pegbox. The frets are tied-on nylon (4 windings), with some in 1/4 note intervals (based on 17 intervals in an octave). These fret intervals differ from the Iranian tar. The Azeri tar has (like the Iranian tar) 6 steel strings in 3 double courses (the low one in octave). It has further one extra bass-string on the left side, on a raised nut, and usually 2 double resonance strings via small metal nuts halfway the neck. All these strings are running next to the main strings over the bridge and are fixed to a string-holder at the edge of the body. The tar is played with a special small brass plectrum and hold horizontally high across the chest. In Azerbaijan (next to Georgia and Armenia in the Caucasus) and in the north of Iran they use a saz that looks quite similar to the saz of Turkey, but is rather different. In Iran it is sometimes called gopuz, or ghopooz, (or chogur / choghur) but usually it is referred to as azeri saz. The body of the azeri saz is quite deep and made of separate staves of usually mulberry wood (only rarely it is carved from a block of wood). The same wood is used for the front, which has two tiny soundholes, and lays on top of the body. The neck is a bit wider at the body join, and the pegbox is a straight extension of the neck. Some instruments may be highly decorated with inlay or with paintings, both on neck and body. Playing style is holding the instruments rather high over the shoulder with a short strap. It is mainly used by the poet-singers of the Ashigh. In Dagestan (a Russian republic between Chechnya and the Caspian Sea, just East of Georgia in the Caucasus) exists a special instrument, which is mentioned in both the Vertkov's Atlas SSSR, and in Buchner's book. It is called agach komus (or agach-kumuz), or temur by the Avar people. Also kumuz by the Darghin and khumutz by the Tabasar. On YouTube this instrument seems quite popular, and can be found with names like Avar Pandur, pandure, tenpur, or tanbur or tanpur. It is a kind of slender guitar with 2 (double) or 3 strings, with a deep body (carved from one block of wood) shaped like a long spade and fitted with a trident-like "spike" at the lower end. The short neck seems part of the body and has inlayed frets - sometimes in a diatonic scale (less frets). Some are nicely In Chechnya (a Russian republic West of Dagestan, just North-East of Georgia in the Caucasus) exists a special instrument, which can be found mainly on YOUTUBE and other video websites. It is an instrument like the Russian balalaika, but with a rectangular body shape. It seems made like a panduri from Georgia; that is : the body carved from one block of wood. It has a guitar-like neck with metal frets, and an open peghead with guitar-tuners on one side. The 3 metal strings run over a loose wooden bridge to a long narrow stringholder at the end of the body. It seems mostly played with chords, to accompany singing. In Kalmykia (a Russian republic next to the Caspian Sea, between Dagestan and Kazakhstan) exists a special instrument, which seems a mixture of both the 2-string dombra and the balalaika. The Kalmyk people are closely related to a group in Mongolia, from where they originated. This instrument is also in use there, to accompany throat singing. It seems called Kalmyk dombra or dongbula	1
Crotchety old men seem to have won this argument. Modern pop music is too loud and does sound all the same, just like angry old types have been saying for 70 years. A team from Spain analyzed music from a 55 year period, using an archive known as the Million Song Dataset, and found that songs have indeed become both louder and more homogenized in terms of chords and melodies. 1955, the first year of their dataset, was the birth of rock and roll and saw the decline of the 'doo wop' chord progression (I-vi-IV-V). If you know your old songs, mentally compare "Earth Angel" by The Penguins from 1954 with Bill Haley's "Rock Around the Clock" from 1955, which used the I-IV-V progression still common today. The set from 1955 to 2010 had 464,411 tunes and they used dynamical processes on complex networks to make the connections and find the statistical patterns. "We found evidence of a progressive homogenization of the musical discourse," Joan Serra, first author of the research and artificial intelligence specialist at the Spanish National Research Council, told Reuters. "In particular, we obtained numerical indicators that the diversity of transitions between note combinations - roughly speaking chords plus melodies - has consistently diminished in the last 50 years." And the 'loudness' war you thought has been happening is also not in your mind. Engineers really have been making it louder, because it sounds newer. I once asked an old recording engineer why some older music (Toto, Asia) still sounded new (assified, but new) while other songs of the period sounded like they were being played through a tube, and he said it was all dynamic range compression. Engineers discovered music was much 'hotter' the more it was compressed so it went from being a benefit, like in placing a maximum sound level so distortion does not happen or to give an instrument some sustain, to overused for effect and it leaves all the sound flat and just really, really loud. (a) Examples of the density values and fits of the loudness variable x. (b) Empiric distribution medians. (c) Dynamic variability, expressed as absolute loudness differences between the first and third quartiles of x, \|Q1 − Q3\|. If you want a similar assault for your eyeballs, watch "Transformers 2", where Michael Bay discovered color theory and that orange and teal are complementary, so when they are placed next to each other they give an image similar 'pop'. He then used it as the entire palette for the most difficult movie to watch of the last decade. The Mona Lisa in a Michael Bay world. See how it pops? It also looks terrible. Credit: Todd Miro Citation: Joan Serrà, Álvaro Corral, Marián Boguñá, Martín Haro&Josep Ll. Arcos, 'Measuring the Evolution of Contemporary Western Popular Music', Scientific Reports 2, Article number: 521 doi:10.1038/srep00521 (free to read) - PHYSICAL SCIENCES - EARTH SCIENCES - LIFE SCIENCES - SOCIAL SCIENCES Subscribe to the newsletter Stay in touch with the scientific world! Know Science And Want To Write? - Intellectually Gifted Kids And Learning Disabilities Often Go Hand In Hand - NRDC Says Your Xbox Is Causing Global Warming - But It Isn't - Another One Bites The Dust - WW Cross Section Gets Back Where It Belongs - New Autism-causing Genetic Variant Identified - When Does Quantum Mechanics Become Classical Physics? - A Tampon Could Help Predict Endometrial Cancer - How To Save Formula 1 - "Hi Hank - lots of good comments - some I agree with - others not so much, LOL. The old saying of..." - "It is a science site, which is why absolutely no one reading here agrees with your conclusion ..." - "I would side with the tree huggers too, I once worked for PIRG, except in this case the tree hugger..." - "Well for once [I almost never do] I am gong to take the side of the environmental tree huggers..." - "Autism is neurological condition, a developmental disorder, and NOT a disease!!! Stop telling people..."	1
Learning the correct hand position on the piano can take a while – especially for young kids, or students who have already established bad habits. Here, Portland teacher Bonnie M. shares an easy way to explain it… In The Lion King, do you recall Pumbaa relaxing in a watering hole in the desert with Timon and Simba? Proper hand position for playing piano involves bubbles similar to the ones Pumbaa… contributed. Imagine capturing one of those bubbles in your hand. To do this, your fingers must be curved and the tips must be near your thumb. Looking at your hand from the thumb side, your fingers would form a loose ‘C’ shape. Catch one of these bubbles and turn your hand over. Feel how airy the space below your palm is, and how natural your fingers feel. Now, place your fingers on the keyboard. Since your pointer finger and middle fingers are so much longer than your thumb, keep them curved so that all your fingers have equal opportunities to reach the keys. Pressing down on the keys provides greater control and ease of movement. This bubble position, which keeps your curved fingers near the center of the keys, also draws your finger pads into contact with the keys. Now when you press a key, you press ‘down’ instead of ‘away-and-down.’ Beginning piano music frequently asks pianists to play the song twice: once at forte and another at piano. Playing ‘down’ onto each key reduces tension in our fragile fingers and enables a greater dynamic contrast between the first and last time through the piece. Some of us have shorter fingers than others. My fingers are really long, which could get in my way if I let them splay out flat on the keyboard. If I wanted to play a C scale and forgot to grab a bubble to support my palms, my fingers #2, #3 and #4 would run into all the black notes. Not only would that not sound like a C scale, my fingers don’t like bumping into things as sturdy as black keys! Rounding your hand as if a bubble is supporting your palm is important for another reason. When playing scales up and down the keys, your thumb must traverse the space inside that bubble in order to cross under the other fingers. For an example, play a two-octave scale in the key of C using your right hand. Because all the notes in this scale are white keys, your finger pads are kept near to each other and don’t raise to play any black notes. After beginning the scale on finger #1, #2, #3, your thumb crosses under finger #3 to play the fourth note in the scale. And so, #1, #2, #3, #4 and then the thumb needs to skip ahead again! It crosses under once more and begins the pattern over again. Bonnie M. teaches piano, singing, flute, music theory and opera voice lessons to students of all ages in Portland, OR. She joined the TakeLessons team in November 2012, with a Bachelor’s degree in Vocal Music Education from Willamette University. Learn more about Bonnie, or search for a teacher near you! Photo by pedrobonatto	1
Skip to Main Content We propose a method by which dancing motions can be generated automatically using various dancing rules. Hence the burdensome task of teaching can be avoided by using our proposed method. We have analyzed the dancing motions taught by an expert dancer to the automata and have extracted the dancing rules. The size and the direction of the motion of each degree of freedom are generated according to these dancing rules. Additionally, the timing of the dancing motions of each degree of freedom is decided according to the timing and the length of note acquired from the music.	1
Kids will love learning about 50 of history's most famous composers with these easy-to-digest materials. One-Page Composer Bios is 100% reproducible and is chock-full of brief, informative, and interesting one-page biographies of 50 of history's greatest composers. Use these easy-to-read biographies as a complete course in composers or music history-studying as many or as few composers as you wish-or use them as supplemental material in your music classroom. Alfred also includes bonus single-page histories of each of the 6 eras of music, from the Medieval-era through the 20th century. Recommended for grades 5 and up.	1
BOSTON — On May 19, 1968, three poets stepped up to the mic to recite their verses to the rhythm of percussive thrusts, and from that day forward the art of spoken word was altered. The poets had no idea that they were about to make music history. None of them had given what they were doing a name, but each wanted to create an opening in the Black Arts Movement for their chosen form of expression. The poems were hip and the drumbeats were infectious. Words over beats would become a powerful social force for African-American and Latino youth, paving the way for social and political messaging through beats and rhymes. No discussion about the history of Rap or even about the history of contemporary Spoken Word is complete without mentioning The Last Poets. Clive Campbell, better known as "Kool Herc" or The Father of Hip-Hop, said the vocal style of rap is owed to The Last Poets’ cofounder, Jalal Mansur Nuriddin, the Grandfather of Rap. On June 16th, Abiodun Oyewole, Babatunde Don Eaton, and Umar Bin Hassan of The Last Poets will be stepping up to a mic as part of the international observance of Juneteenth (June 19), the day in 1865 on which slaves in the state of Texas were emancipated from slavery. This was two years after slavery was officially abolished in the United States, on January 1, 1863 (another reason for us to celebrate New Year’s Day!). Juneteenth honors African-American liberation and this year in Boston it will be done through poetry and spoken word. There are other Juneteenth activities taking place, but this one caught my attention because I've been following Jesse Winfrey a/k/a Catch Wreck since he was a high schooler, and I’ve been waiting to hear some fresh lyrics from him. I’ve also been meaning to check out Sofia Snow, another rising young star on Boston's spoken word scene. Veteran poet Jamarhl Crawford, and newbie Neiel Israel will bless the mic with their lyricism, too. Jeff Robinson, a saxophonist, and host of The Lizard Lounge Poetry Jam, will accompany this verbal explosion of FREEDOM with his tunes. I was fortunate to catch Abiodun Oyewole before the show and to get his take on Juneteenth, revolution, Hip-Hop, and the use of the n-word in Rap. He also recited “If We Only Knew What We Could Do,” an original poem about hope. Get tickets for The Last Poets: Live in Boston on The Blackstonian website. Comment on This Article About GeneralArtSceNE news and comment About the AuthorBridgit Brown Bridgit Brown is a graduate of the MFA program in Creative Writing at Emerson College ('98). She was a Fulbright Lecturing and Research Scholar in Cote d'Ivoire, West Africa, and her writing has appeared in the Boston Globe, Boston Herald, Bay State Banner, Color Magazine, BasicBlack.org: Black Perspectives Now, Colorlines of Architecture, Exhale Magazine, Ibbetson Street Magazine, and Somerville Review. Support for WGBH is provided by:Become a WGBH sponsor	1
Learn something new every day More Info... by email A music kiosk is a type of self-standing structure with an electronic interface that helps consumers look up, listen to, or buy music. Kiosks with digital screens and interfaces are part of a modern world of commerce, and are frequently set up in public areas such as airports, shopping malls, and other high-traffic spaces. Music kiosks are often installed in music stores, or in larger department stores offering a music and electronics section where customers may want to access album or artist data. Traditionally, music kiosks have been used to help customers find albums or artists in a music store. As music recently became digital, or migrated to a digital format, music kiosk setups were a way for music store owners to help provide automated customer service. Music kiosks also replaced old-fashioned "listening booths" by becoming a way for customers to listen to samples of the music they were thinking of buying. With listening booths, customers could use traditional media like vinyl, cassette tapes, or compact discs, but with most of today's music kiosks, sound is available in a digital format, and if there is a traditional component, it is generally not accessible to the user. This helps the store control damage caused by customer self-operation of stereo components. In many music stores across the country, music kiosks or stations have become the norm in recent years. Customers rely on them to browse music before buying. In the past, many models allowed for full song play. Today's most sophisticated models replace full song play with specific "clip play." This leads to shorter listening times for the average shopper, but it's also frustrating to shoppers who would like a better sample of songs they are interested in. Today, manufacturers are experimenting with music kiosk designs that would allow users to buy music or musical products with the kiosk itself as the point of sale. These designs would involve adding ATM kiosk features, or some kind of credit card processing unit to an existing design. Some companies have already begun making music kiosks that can sell songs and ringtones to consumers. The music kiosk is a good representation of how audio products have been transformed to a very portable digital experience. It also represents the promise of automated shopping for many different products and industries. All kinds of businesses can take cues from the design of a music kiosk to explore reaching consumers in new and interesting ways for the future of retail in general. I had always seen the old music kiosks in the music store in the mall when I was a teenager, but I was afraid to use them. I didn't know exactly how to operate one, and I didn't want to wind up damaging a CD. That music store has closed down now, like so many others that have fallen victim to online music stores. I think that placing kiosks that let the user buy the digital music inside of actual music stores would be a great way for them to increase their revenue. There is another music store in my town that is having a going out of business sale. I wonder if they have thought about using a music kiosk to help them increase sales. I think I will email them with the idea. One of our editors will review your suggestion and make changes if warranted. Note that depending on the number of suggestions we receive, this can take anywhere from a few hours to a few days. Thank you for helping to improve wiseGEEK!	1
Jazz Guitar Corner: 10 Steps to Learning Jazz Guitar Standards One of the biggest problems I encounter with jazz guitar students is that they have learned a ton of chords, scales and arpeggios, but they can’t play a tune or jam on a standard with other musicians. When learning how to play jazz guitar, it’s vital to keep a focus on learning tunes, as well as developing technique, in order to avoid an awkward situation when someone invites you to jam and you don’t know any tunes. Most players, if not all, pick up the guitar to play songs and jam with other people, so having a strategy in the practice room for learning standards will be beneficial to help you achieve this goal. In this lesson, I’ve listed my 10-step checklist that I run in the woodshed when I learn a new jazz standard so that you can have a group of exercises that will build your chord, scale and arpeggio vocabulary while allowing you to increase your repertoire at the same time. Check out these 10 exercises, and if you have an essential item you'd add to this list, share it in the comments section below. Learning Jazz Standards Checklist Here is the list of 10 exercises to help you learn any jazz standard on guitar. Depending on where your strengths and weaknesses lie, you might want to focus more time on the melody, chord, scale or arpeggios sections. 01. Memorize the melody in two positions on the fretboard. 02. Sing the melody from memory. 03. Play the root note of each chord in time to a backing track. 04. Comp Drop 3 chords from the sixth and fifth-string root notes. 05. Comp Drop 2 chords from the fifth and fourth-string root notes. 06. Play one-octave arpeggios for each chord. 07. Play two-octave arpeggios for each chord. 08. Play one-octave scales for each chord. 09. Play two-octave scales for each chord. 10. Work on a half time and/or walking bass line for the chord changes. Try working out these 10 items the next time you learn a jazz standard on guitar and see how they can help you solidify a tune into your memory and under your fingers from a melody, comping and soloing situation. Do you have an essential learning tool that you would add to this list? Share your thoughts in the COMMENTS section below. Matt Warnock is the owner of mattwarnockguitar.com, a free website that provides hundreds of lessons and resources designed to help guitarists of all experience levels meet their practice and performance goals. Matt lives in the UK, where he is a lecturer in Popular Music Performance at the University of Chester and an examiner for the London College of Music (Registry of Guitar Tutors). You Might Also Like... 5 sec ago 28 min 35 sec ago 2 hours 2 min ago 2 days 19 hours ago 2 days 22 hours ago 3 days 14 hours ago 3 days 16 hours ago	1
Definitions for Dancing This page provides all possible meanings and translations of the word Dancing dancing, dance, terpsichore, saltation(noun) taking a series of rhythmical steps (and movements) in time to music The activity of dancing (see the verb dance). Describing something or someone that is currently in the act of dancing. (See dance.) "Dancing" was the fourth single released in Italy and in the United states from Elisa's third album, Then Comes the Sun, and the first single released from the American album Dancing. U.S. National Library of Medicine Rhythmic and patterned body movements which are usually performed to music. British National Corpus Written Corpus Frequency Rank popularity for the word 'Dancing' in Written Corpus Frequency: #4075 Rank popularity for the word 'Dancing' in Nouns Frequency: #2710 Translations for Dancing From our Multilingual Translation Dictionary Get even more translations for Dancing » Find a translation for the Dancing definition in other languages: Select another language:	1
The octobass is an extremely large bowedstring instrument that was first built around 1850 in Paris by the French luthierJean-Baptiste Vuillaume (1798-1875). It has three strings, and is essentially a larger version of the double bass (the specimen in the collection of the Musée de la Musique in Paris measures 3.48 meters in length, whereas a full size double bass is generally approximately 2 meters in length). Because of the extreme fingerboard length and string thickness, the musician plays it using a system of hand and foot-activated levers and pedals. The instrument is so large that, sometimes, two musicians work together to play it: one to bow and the other to control the levers and foot pedals. It has never been produced on a large scale or used much by composers (though Hector Berlioz wrote favorably about the instrument and proposed its widespread adoption). In addition to the Paris instrument, another octobass is in the Musical Instrument Museum in Phoenix, Arizona. In his edition of Berlioz's treatise (Cambridge University Press, 2002, p. 318) Hugh Macdonald lists another in the Kunsthistorisches Museum, Vienna. He also states that Adolphe Sax created an 'outsize double bass going down to C' with four strings tuned in fifths'. Berlioz writes in his Orchestration Treatise that its lowest string is tuned to C1 (32.7 Hz), one octave below the lowest C of the cello (C2, 64.14 Hz). This note is the same as the lowest note of a modern double bass with a low C extension. The middle string is tuned to G1, a fifth above the lowest string. The uppermost string is tuned to C2, an octave above the instrument's lowest string. Berlioz quotes G2, a fifth above the top string, as the highest note playable on the instrument, giving it a compass of an octave and a fifth. However, Berlioz may have been mistaken because modern and surviving instruments are tuned C, G, C, with the low C string being 16.25 Hz (C0, one octave below the lowest C on the piano). The modern technique of octobass playing includes the technique of fingering up to A, plus higher notes possible by extended technique.	1
Want to remember the lyrics of a song to impress your friends? Want to just know the lyrics so you can sing along? If so, read this article. 1Pick a song you really like. Don't just remember any old song lyrics. Pick a song that you listen to the most and one that you really enjoy.Ad 2Listen to it over and over. It may seem boring, but you have to know the order of the verse, chorus, etc. Most songs go like this: Verse, Chorus, Verse, Chorus, Bridge, Chorus. Some songs are different. Figure out which one is which. Listen to the guitar patterns. Usually it's the same for all verses, same for all choruses, but dramatically different for bridges. 3Start slowly. Listen carefully. Once you think you have a part, write down what you think it is, and go to a reliable lyrics site to check it. 4Repeat step 3 for each section. (Each verse, the chorus, and bridge.) 5Write down the lyrics to the whole song. Once written, go to the lyrics site and check and see how you did. If you missed a few lines, parts, or even words, go back to that part of the song, and repeat step 3. 6Once you think you have it for sure, repeat step 5. 7Pick another one of your favorite songs and try to remember it! Don't worry, once you have song lyrics remembered, you most likely won't forget them.Ad We could really use your help! motor driven systems? - Try not to pick a song with fast lyrics (bands like SR-71 and Sum 41 have pretty fast lyrics.) - Go slow and have fun with it! - Take lyrics tests to that song every once in a while to jog your memory. - Some lyrics sites may not be reliable. Pick one that you can trust. (e.g. ones that got great ratings) - If possible, don't write down lyrics at school. If the song has a bad word, your teacher might see it. - If the song says "you" and has the word "hate" in it, don't let anyone see it or don't even write it down! They may think it's a hate note. Things You'll Need - A song you like - Some paper and pencil - A trusted lyrics site - A quiz site to test your memory (optional)	1
The Rite of Spring \|The Rite of Spring\| \|Based on\|\|pagan myths\| \|Premiere\|\|29 May 1913 Théâtre des Champs-Élysées \|Original ballet company\|\|Ballets Russes\| The Rite of Spring (French: Le Sacre du printemps, Russian: «Весна священная», Vesna svyashchennaya) is a ballet and orchestral concert work by the Russian composer Igor Stravinsky. It was written for the 1913 Paris season of Sergei Diaghilev's Ballets Russes company; the original choreography was by Vaslav Nijinsky, with stage designs and costumes by Nicholas Roerich. When first performed, at the Théâtre des Champs-Élysées on 29 May 1913, the avant-garde nature of the music and choreography caused a sensation and a near-riot in the audience. Although designed as a work for the stage, with specific passages accompanying characters and action, the music achieved equal if not greater recognition as a concert piece, and is widely considered to be one of the most influential musical works of the 20th century. Stravinsky was a young, virtually unknown composer when Diaghilev recruited him to create works for the Ballets Russes. The Rite was the third such project, after the acclaimed The Firebird (1910) and Petrushka (1911). The concept behind The Rite of Spring, developed by Roerich from Stravinsky's outline idea, is suggested by its subtitle, "Pictures of Pagan Russia in Two Parts"; in the scenario, after various primitive rituals celebrating the advent of spring, a young girl is chosen as a sacrificial victim and dances herself to death. After a mixed critical reception for its original run and a short London tour, the ballet was not performed again until the 1920s, when a version choreographed by Léonide Massine replaced Nijinsky's original. Massine's was the forerunner of many innovative productions directed by the world's leading ballet-masters, which gained the work worldwide acceptance. In the 1980s, Nijinsky's original choreography, long believed lost, was reconstructed by the Joffrey Ballet in Los Angeles. Stravinsky's score contains many novel features for its time, including experiments in tonality, metre, rhythm, stress and dissonance. Analysts have noted in the score a significant grounding in Russian folk music, a relationship Stravinsky tended to deny. The music has influenced many of the 20th-century's leading composers, and is one of the most recorded works in the classical repertoire. - 1 Background - 2 Synopsis and structure - 3 Creation - 4 Performance history and reception - 5 Music - 6 Influence and adaptations - 7 Recordings - 8 Editions - 9 Notes and references - 10 Further reading - 11 External links Igor Stravinsky was the son of Fyodor Stravinsky, the principal bass at the Imperial Opera, St Petersburg, and Anna, née Kholodovskaya, a competent amateur singer and pianist from an old-established Russian family. Fyodor's association with many of the leading figures in Russian music, including Rimsky-Korsakov, Borodin and Mussorgsky, meant that Igor grew up in an intensely musical home. In 1901 Stravinsky began to study law at St Petersburg University, while taking private lessons in harmony and counterpoint. Having impressed Rimsky-Korsakov with some of his early compositional efforts, Stravinsky worked under the guidance of the older composer. By the time of his mentor's death in 1908 Stravinsky had produced several works, among them a Piano Sonata in F-sharp minor (1903–04), a Symphony in E-flat major (1907), which he catalogued as "Opus 1", and in 1908 a short orchestral piece, Feu d'artifice ("Fireworks"). In 1909 Feu d'artifice was performed at a concert in St Petersburg. Among those in the audience was the impresario Sergei Diaghilev, who at that time was planning to introduce Russian music and art to western audiences. Like Stravinsky, Diaghilev had initially studied law, but had gravitated via journalism into the theatrical world. In 1907 he began his theatrical career by presenting five concerts in Paris; in the following year he introduced Mussorgsky's opera Boris Godunov. In 1909, still in Paris, he launched the Ballets Russes, initially with Borodin's Polovtsian Dances from Prince Igor and Rimsky-Korsakov's Scheherazade. To present these works Diaghilev recruited the choreographer Michel Fokine, the designer Léon Bakst and the dancer Vaslav Nijinsky. Diaghilev's intention, however, was to produce new works in a distinctively 20th century style, and he was looking for fresh compositional talent. Having heard Feu d'artifice he approached Stravinsky, initially with a request for help in orchestrating music by Chopin to create the ballet Les Sylphides. Stravinsky worked on the opening "Nocturne" and the closing "Valse Brillante"; his reward was a much bigger commission, to write the music for a new ballet, The Firebird (L'oiseau de feu) for the 1910 season. Stravinsky worked through the winter of 1909–10, in close association with Fokine who was choreographing The Firebird. During this period Stravinsky made the acquaintance of Nijinsky who, although not dancing in the ballet, was a keen observer of its development. Stravinsky was uncomplimentary when recording his first impressions of the dancer, observing that he seemed immature and gauche for his age (he was 21). On the other hand Stravinsky found Diaghilev an inspiration, "the very essence of a great personality". The Firebird was premiered on 25 June 1910, with Tamara Karsavina in the main role, and was a great public success. This ensured that the Diaghilev–Stravinsky collaboration would continue, in the first instance with Petrushka (1911) and then The Rite of Spring. Synopsis and structure In a note to the conductor Serge Koussevitzky in February 1914, Stravinsky described The Rite of Spring as "a musical-choreographic work, [representing] pagan Russia ... unified by a single idea: the mystery and great surge of the creative power of Spring". In his analysis of The Rite, Pieter van den Toorn writes that the work lacks a specific plot or narrative, and should be considered as a succession of choreographed episodes. The French titles are given in the form given in the four-part piano score published in 1913. There have been numerous variants of the English translations; those shown are from the 1967 edition of the score. \|Episode\|\|English translation\|\|Synopsis[n 1]\| \|Part I: L'Adoration de la Terre (Adoration of the Earth)\| \|Introduction\|\|Before the curtain rises, an orchestral introduction resembles, according to Stravinsky, "a swarm of spring pipes [dudki]"\| \|Les Augures printaniers\|\|Augurs of Spring\|\|The celebration of spring begins in the hills. An old woman enters and begins to foretell the future.\| \|Jeu du rapt\|\|Ritual of Abduction\|\|Young girls arrive from the river, in single file. They begin the "Dance of the Abduction".\| \|Rondes printanières\|\|Spring Rounds\|\|The young girls dance the Khorovod, the "Spring Rounds".\| \|Jeux des cités rivales\|\|Ritual of the Rival Tribes\|\|The people divide into two groups in opposition to each other, and begin the "Ritual of the Rival Tribes".\| \|Cortège du sage: Le Sage\|\|Procession of the Sage: The Sage\|\|A holy procession leads to the entry of the wise elders, headed by the Sage who brings the games to a pause and blesses the earth.\| \|Danse de la terre\|\|Dance of the Earth\|\|The people break into a passionate dance, sanctifying and becoming one with the earth.\| \|Part II: Le Sacrifice (The Sacrifice)\| \|Cercles mystérieux des adolescentes\|\|Mystic Circles of the Young Girls\|\|The young girls engage in mysterious games, walking in circles.\| \|Glorification de l'élue\|\|Glorification of the Chosen One\|\|One of the young girls is selected by fate, being twice caught in the perpetual circle, and is honoured as the "Chosen One" with a martial dance.\| \|Evocation des ancêtres\|\|Evocation of the Ancestors\|\|In a brief dance, the young girls invoke the ancestors.\| \|Action rituelle des ancêtres\|\|Ritual Action of the Ancestors\|\|The Chosen One is entrusted to the care of the old wise men.\| \|Danse sacrale (L'Élue)\|\|Sacrificial Dance\|\|The Chosen One dances to death in the presence of the old men, in the great "Sacrificial Dance".\| Lawrence Morton, in a study of the origins of The Rite, records that in 1907–08 Stravinsky set to music two poems from Sergey Gorodetsky's collection Yar. Another poem in the anthology, which Stravinsky did not set but is likely to have read, is "Yarila" which, Morton observes, contains many of the basic elements from which The Rite of Spring developed, including pagan rites, sage elders, and the propitiatory sacrifice of a young maiden: "The likeness is too close to be coincidental". Stravinsky himself gave contradictory accounts of the genesis of The Rite. In a 1920 article he stressed that the musical ideas had come first, that the pagan setting had been suggested by the music rather than the other way round. However, in his 1936 autobiography he described the origin of the work thus: "One day [in 1910], when I was finishing the last pages of L'Oiseau de Feu in St Petersburg, I had a fleeting vision ... I saw in my imagination a solemn pagan rite: sage elders, seated in a circle, watching a young girl dance herself to death. They were sacrificing her to propitiate the god of Spring. Such was the theme of the Sacre du Printemps". By May 1910 Stravinsky was discussing his idea with Nicholas Roerich, the foremost Russian expert on folk art and ancient rituals. Roerich had a reputation as an artist and mystic, and had provided the stage designs for Diaghilev's 1909 production of the Polovtsian Dances. The pair quickly agreed on a working title, "The Great Sacrifice" (Russian: Velikaia zhertva); Diaghilev gave his blessing to the work, although the collaboration was put on hold for a year while Stravinsky was occupied with his second major commission for Diaghilev, the ballet Petrushka. In July 1911 Stravinsky visited Talashkino, near Smolensk, where Roerich was staying with the Princess Maria Tenisheva, a noted patron of the arts and a sponsor of Diaghilev's magazine World of Art. Here, over several days, Stravinsky and Roerich finalised the structure of the ballet. Thomas F. Kelly, in his history of the Rite premiere, suggests that the two-part pagan scenario that emerged was primarily devised by Roerich. Stravinsky later explained to Nikolai Findeyzen, the editor of the Russian Musical Gazette, that the first part of the work would be called "The Kiss of the Earth", and would consist of games and ritual dances interrupted by a procession of sages, culminating in a frenzied dance as the people embraced the spring. Part Two, "The Sacrifice", would have a darker aspect; secret night games of maidens, leading to the choice of one for sacrifice and her eventual dance to the death before the sages. The original working title was changed to "Holy Spring" (Russian: Vesna sviashchennaia), but the work became generally known by the French translation Le Sacre du printemps, or its English equivalent The Rite of Spring, with the subtitle "Pictures of Pagan Russia in Two Parts". Stravinsky's sketchbooks show that after returning to his home at Ustilug in the Ukraine in September 1911, he worked on two movements, the "Augurs of Spring" and the "Spring Rounds". In October he left Ustilug for Clarens in Switzerland, where in a tiny and sparsely-furnished room—eight feet square, with only a piano, a table and two chairs—he worked throughout the 1911–12 winter on the score. By March 1912, according to the sketchbook chronology, Stravinsky had completed Part I and had drafted much of Part II. He also prepared a two-hand piano version, subsequently lost, which he may have used to demonstrate the work to Diaghilev and the Ballet Russes conductor Pierre Monteux in April 1912. He also made a four-hand piano arrangement which became the first published version of The Rite; he and the composer Claude Debussy played the first half of this together, in June 1912. Following Diaghilev's decision to delay the premiere until 1913, Stravinsky put The Rite aside during the summer of 1912. He enjoyed the Paris season, and accompanied Diaghilev to the Bayreuth Festival to attend a performance of Parsifal. Stravinsky resumed work on The Rite in the autumn; the sketchbooks indicate that he had finished the outline of the final sacrificial dance on 17 November 1912. During the remaining months of winter he worked on the full orchestral score, which he signed and dated as "completed in Clarens, March 8, 1913". He showed the manuscript to Maurice Ravel, who was enthusiastic and predicted, in a letter to a friend, that the first performance of the Le Sacre would be as important as the 1902 premiere of Debussy's Pelléas et Mélisande. After the orchestral rehearsals began in late March, Monteux drew the composer's attention to several passages which were causing problems: inaudible horns, a flute solo drowned out by brass and strings, and multiple problems with the balance among instruments in the brass section during fortissimo episodes. Stravinsky amended these passages, and as late as April was still revising and rewriting the final bars of the "Sacrificial Dance". Revision of the score did not end with the version prepared for the 1913 premiere; rather, Stravinsky continued to make changes for the next 30 years or more. According to Van den Toorn, "[n]o other work of Stravinsky's underwent such a series of post-premiere revisions". Stravinsky acknowledged that the work's opening bassoon melody was derived from an anthology of Lithuanian folk songs, but maintained that this was his only borrowing from such sources; if other elements sounded like aboriginal folk music, he said, it was due to "some unconscious 'folk' memory". However, Morton has identified several more melodies in Part I as having their origins in the Lithuanian collection. More recently Richard Taruskin has discovered in the score an adapted tune from one of Rimsky-Korsakov's "One Hundred Russian National Songs". Taruskin notes the paradox whereby The Rite, generally acknowledged as the most revolutionary of the composer's early works, is in fact rooted in the traditions of Russian music. Taruskin has listed a number of sources that Roerich consulted when creating his designs. Among these are The Primary Chronicle, a 12th-century compendium of early pagan customs, and Alexander Afanasyev's study of peasant folklore and pagan prehistory. The Princess Tenisheva's collection of costumes was an early source of inspiration. When the designs were complete, Stravinsky expressed delight and declared them "a real miracle". Stravinsky's relationship with his other main collaborator, Nijinsky, was more complicated. Diaghilev had decided that Nijinsky's genius as a dancer would translate into the role of ballet-master; he was not dissuaded when Nijinsky's first attempt at choreography, Debussy's L'après-midi d'un faune, caused controversy and near-scandal because of the dancer's novel stylised movements and his overtly sexual gesture at the work's end. It is apparent from contemporary correspondence that, at least initially, Stravinsky viewed Nijinsky's talents as a choreographer with approval; a letter he sent to Findeyzen praises the dancer's "passionate zeal and complete self-effacement". However, in his 1936 memoirs Stravinsky writes that the decision to employ Nijinsky in this role filled him with apprehension; although he admired Nijinsky as a dancer he had no confidence in him as a choreographer: "... the poor boy knew nothing of music. He could neither read it nor play any instrument".[n 2] Later still, Stravinsky would ridicule Nijinsky's dancing maidens as "knock-kneed and long-braided Lolitas". Stephen Walsh, a leading Stravinsky analyst, has suggested that the belated disavowal of Nijinsky's choreography, together with the denial of folk music influences, was part of an attempt by the composer, then in exile, to downplay the music's Russian roots and influences. Stravinsky's autobiographical account refers to many "painful incidents" between the ballet-master and the dancers during the rehearsal period. By the beginning of 1913, when Nijinsky was badly behind schedule, Stravinsky was warned by Diaghilev that "unless you come here immediately ... the Sacre will not take place". The problems were slowly overcome, and when the final rehearsals were held in May 1913 the dancers appeared to have mastered the work's difficulties. Even the Ballets Russes's sceptical stage director, Serge Grigoriev, was full of praise for the originality and dynamism of Nijinsky's choreography. The conductor Pierre Monteux had worked with Diaghilev since 1911, and had been in charge of the orchestra at the premiere of Petrushka. Monteux's first reaction to The Rite, after hearing Stravinsky play a piano version, was to leave the room and find a quiet corner. Although he would perform his duties with conscientious professionalism, he never came to enjoy the work; nearly fifty years after the premiere he told enquirers that he detested it. On 30 March Monteux informed Stravinsky of modifications he thought were necessary to the score, all of which the composer implemented. The orchestra, drawn mainly from the Concerts Colonne in Paris, was with 99 players much larger than was normally employed at the theatre, and had difficulty fitting into the orchestra pit. After the first part of the ballet received two full orchestral rehearsals in March, Monteux and the company departed to perform in Monte Carlo. Rehearsals resumed when they returned; the unusually large number of rehearsals—seventeen solely orchestral and five with the dancers—were fitted into the fortnight before the opening, after Stravinsky's arrival in Paris on 13 May. The music contained so many unusual note combinations that Monteux had to ask the musicians to stop interrupting when they thought they had found mistakes in the score, saying he would tell them if something was played incorrectly. According to Doris Monteux, "The musicians thought it absolutely crazy". At one point, a climactic brass fortissimo, the orchestra broke up in nervous laughter at the sound, causing Stravinsky to intervene angrily.[n 3] The role of the sacrificial victim was to have been danced by Nijinsky's sister, Bronislava Nijinska; when she became pregnant during rehearsals she was replaced by the then relatively unknown Maria Piltz. Performance history and reception Paris's Théâtre des Champs-Élysées was a new structure, which had opened on 2 April 1913 with a programme celebrating the works of many of the leading composers of the day. The theatre's manager, Gabriel Astruc, was determined to house the 1913 Ballets Russes season, and paid Diaghilev the large sum of 25,000 francs per performance, double what he had paid the previous year. Ticket sales for the evening, ticket prices being doubled for a premiere, amounted to 35,000 francs. The programme for 29 May 1913 also included Les Sylphides, Weber's Le Spectre de la Rose and Borodin's Polovtsian Dances. At the time, a Parisian ballet audience typically consisted of two diverse groups: the wealthy and fashionable set, who would be expecting to see a traditional performance with beautiful music, and a "Bohemian" group who, the poet-philosopher Jean Cocteau asserted, would "acclaim, right or wrong, anything that is new because of their hatred of the boxes". Final rehearsals were held on the day before the premiere, in the presence of members of the press and assorted invited guests. According to Stravinsky all went peacefully. However, the critic of L'Écho de Paris, Adolphe Boschot, foresaw possible trouble; he wondered how the public would receive the work, and suggested that they might react badly if they thought they were being mocked. On the evening of the 29 May the theatre was packed: Gustav Linor reported, "Never ... has the hall been so full, or so resplendent; the stairways and the corridors were crowded with spectators eager to see and to hear". The evening began with Les Sylphides, in which Nijinsky and Karsavina danced the main roles. The Rite followed. Some eyewitnesses and commentators said that the disturbances in the audience began during the Introduction, and grew into a crescendo when the curtain rose on the stamping dancers in "Augurs of Spring". But music historian Richard Taruskin asserts, "it was not Stravinsky’s music that did the shocking. It was the ugly earthbound lurching and stomping devised by Vaslav Nijinsky." Marie Rambert, who was working as an assistant to Nijinsky, recalled later that it was soon impossible to hear the music on the stage. In his autobiography, Stravinsky writes that the derisive laughter that greeted the first bars of the Introduction disgusted him, and that he left the auditorium to watch the rest of the performance from the stage wings. The demonstrations, he says, grew into "a terrific uproar" which, along with the on-stage noises, drowned out the voice of Nijinsky who was shouting the step numbers to the dancers. The journalist and photographer Carl Van Vechten recorded that the person behind him got carried away with excitement, and "began to beat rhythmically on top of my head", though Van Vechten failed to notice this at first, his own emotion being so great. Monteux believed that the trouble began when the two factions in the audience began attacking each other, but their mutual anger was soon diverted towards the orchestra: "Everything available was tossed in our direction, but we continued to play on". Around forty of the worst offenders were ejected—possibly with the intervention of the police, although this is uncorroborated. Through all the disturbances the performance continued without interruption. Things grew noticeably quieter during Part II, and by some accounts Maria Piltz's rendering of the final "Sacrificial Dance" was watched in reasonable silence. At the end there were several curtain calls for the dancers, for Monteux and the orchestra, and for Stravinsky and Nijinsky before the evening's programme continued. Among the more hostile press reviews was that of Le Figaro 's critic, Henri Quittard, who called the work "a laborious and puerile barbarity" and added "We are sorry to see an artist such as M. Stravinsky involve himself in this disconcerting adventure". On the other hand Gustav Linor, writing in the leading theatrical magazine Comoedia, thought the performance was superb, especially that of Maria Piltz; the disturbances, while deplorable, were merely "a rowdy debate" between two ill-mannered factions. Emile Raudin, of Les Marges, who had barely heard the music, wrote: "Couldn't we ask M. Astruc ... to set aside one performance for well-intentioned spectators? ... We could at least propose to evict the female element". The composer Alfredo Casella thought that the demonstrations were aimed at Nijinsky's choreography rather than at the music, a view shared by the critic Michel-Dimitri Calvocoressi, who wrote: "The idea was excellent, but was not successfully carried out". Calvocoressi failed to observe any direct hostility to the composer—unlike, he said, the premiere of Debussy's Pelléas et Mélisande in 1902. Of later reports that the veteran composer Camille Saint-Saëns had stormed out of the premiere, Stravinsky observed that this was impossible; Saint-Saëns did not attend.[n 4] Stravinsky also rejected Cocteau's story that, after the performance, Stravinsky, Nijinsky, Diaghilev and Cocteau himself took a cab to the Bois de Boulogne where a tearful Diaghilev recited poems by Pushkin. Stravinsky merely recalled a celebratory dinner with Diaghilev and Nijinsky, at which the impresario expressed his entire satisfaction with the outcome. To Maximilien Steinberg, a former fellow-pupil under Rimsky-Korsakov, Stravinsky wrote that Nijinsky's choreography had been "incomparable: with the exception of a few places, everything was as I wanted it". Initial run and early revivals The premiere was followed by five further performances of The Rite at the Théâtre des Champs-Élysées, the last on 13 June. Although these occasions were relatively peaceful, something of the mood of the first night remained; the composer Puccini, who attended the second performance on 2 June, described the choreography as ridiculous and the music cacophonous—"the work of a madman. The public hissed, laughed – and applauded". Stravinsky, confined to his bed by typhoid fever, did not join the company when it went to London for four performances at the Theatre Royal, Drury Lane. Reviewing the London production, The Times critic was impressed how different elements of the work came together to form a coherent whole, but was less enthusiastic about the music itself, opining that Stravinsky had entirely sacrificed melody and harmony for rhythm: "If M. Stravinsky had wished to be really primitive, he would have been wise to ... score his ballet for nothing but drums". The ballet historian Cyril Beaumont commented on the "slow, uncouth movements" of the dancers, finding these "in complete opposition to the traditions of classical ballet". After the opening Paris run and the London performances, events conspired to prevent further stagings of the ballet. Nijinsky's choreography, which Kelly describes as "so striking, so outrageous, so frail as to its preservation", did not appear again until attempts were made to reconstruct it in the 1980s. On 19 September 1913 Nijinsky married Romola de Pulszky while the Ballets Russes was on tour without Diaghilev in South America. When Diaghilev found out he was distraught and furious that his lover had married, and dismissed Nijinsky. Diaghilev was then obliged to re-hire Fokine, who had resigned in 1912 because Nijinsky had been asked to choreograph Faune. Fokine made it a condition of his re-employment that none of Nijinsky's choreography would be performed. In a letter to the art critic and historian Alexandre Benois, Stravinsky wrote, "[T]he possibility has gone for some time of seeing anything valuable in the field of dance and, still more important, of again seeing this offspring of mine". The outbreak of the First World War in August 1914 disrupted the established touring circuit, which included countries now on opposing sides, and caused a number of dancers, including Fokine, to return to their own countries. Diaghilev was reconciled to re-engaging Nijinsky as both dancer and choreographer, but Nijinsky had been placed under house arrest in Hungary as an enemy Russian citizen. His release was obtained by Diaghilev in a prisoner exchange with the United States in 1916, for a tour there, but his mental health steadily declined and he took no further part in professional ballet after 1917. In 1920, when Diaghilev decided to revive The Rite, he found that no one now remembered the choreography. After spending most of the war years in Switzerland, and becoming a permanent exile from his homeland after the 1917 Russian Revolution, Stravinsky resumed his partnership with Diaghilev when the war ended. In December 1920 Ernest Ansermet conducted a new production in Paris, choreographed by Léonide Massine, with the Nicholas Roerich designs retained; the lead dancer was Lydia Sokolova. In his memoirs, Stravinsky is equivocal about the Massine production; the young ballet-master, he writes, showed "unquestionable talent", but there was something "forced and artificial" in his choreography, which lacked the necessary organic relationship with the music. Sokolova, in her later account, recalled some of the tensions surrounding the production, with Stravinsky, "wearing an expression that would have frightened a hundred Chosen Virgins, pranc[ing] up and down the centre aisle" while Ansermet rehearsed the orchestra. The ballet was first shown in the United States on 11 April 1930, when Massine's 1920 version was performed by the Philadelphia Orchestra in Philadelphia under Leopold Stokowski, with Martha Graham dancing the role of the Chosen One. The production moved to New York, where Massine was relieved to find the audiences receptive, a sign, he thought, that New Yorkers were finally beginning to take ballet seriously. The first American-designed production, in 1937, was that of the Modern Dance exponent Lester Horton, whose version replaced the original pagan Russian setting with a Wild West background and the use of Native American dances. In 1944 Massine began a new collaboration with Roerich, who before his death in 1947 completed a number of sketches for a new production which Massine brought to fruition at La Scala, Milan in 1948. This heralded a number of significant postwar European productions. Mary Wigman in Berlin (1957) followed Horton in highlighting the erotic aspects of virgin sacrifice, as did Maurice Béjart in Brussels (1959). Béjart' s representation replaced the culminating sacrifice with a depiction of what the critic Robert Johnson describes as "ceremonial coitus". The Royal Ballet's 1962 production, choreographed by Kenneth MacMillan and designed by Sidney Nolan, was first performed on 3 May and was a critical triumph. It has remained in the company's repertoire for more than 50 years; after its revival in May 2011 the Daily Telegraph 's critic Mark Monahan called it one of the Royal Ballet's greatest achievements. Moscow first saw The Rite in 1965, in a version choreographed for the Bolshoi Ballet by Natalia Kasatkina and Vladimir Vasiliev. This production was shown in Leningrad four years later, at the Maly Opera Theatre, and introduced a storyline that provided the Chosen One with a lover who wreaks vengeance on the elders after the sacrifice. Johnson describes the production as "a product of state atheism ... Soviet propaganda at its best". In 1975 Pina Bausch, who had taken over the Wuppertal ballet company, caused a stir in the ballet world with her stark depiction, played out on an earth-covered stage, in which the Chosen One is sacrificed to gratify the misogyny of the surrounding men. At the end, according to The Guardian 's Luke Jennings, "the cast is sweat-streaked, filthy and audibly panting". Part of this dance appears in the movie Pina. In America, in 1980, Paul Taylor used Stravinsky's four-hand piano version of the score as the background for a scenario based on child murder and gangster film images. In February 1984 Martha Graham, in her 90th year, resumed her association with The Rite by choreographing a new production at New York's State Theater. The New York Times critic declared the performance "a triumph ... totally elemental, as primal in expression of basic emotion as any tribal ceremony, as hauntingly staged in its deliberate bleakness as it is rich in implication". Another significant new choreography from this period was prepared by Loyce Houlton for the Minnesota Dance Theatre in 1985. On 30 September 1987, the Joffrey Ballet in Los Angeles performed The Rite based on a reconstruction of Nijinsky's 1913 choreography, until then thought lost beyond recall. The performance resulted from years of research, primarily by Millicent Hodson, who pieced the choreography together from the original prompt books, contemporary sketches and photographs, and the recollections of Marie Rambert and other survivors. Hodson's version has since been performed by the Kirov Ballet, at the Mariinsky Theatre in 2003 and later that year at Covent Garden. In its 2012–13 season the Joffrey Ballet gave centennial performances at numerous venues, including the University of Texas on 5–6 March 2013 and the University of Massachusetts on 14 March 2013. The music publishers Boosey and Hawkes have estimated that since its premiere, the ballet has been the subject of at least 150 productions, many of which have become classics and have been performed worldwide. Among the more radical interpretations is Glen Tetley's 1974 version, in which the Chosen One is a young male. More recently there have been solo dance versions devised by Molissa Fenley and Javier de Frutos, a punk rock interpretation from Michael Clark, and Rites (2008), by The Australian Ballet in conjunction with Bangarra Dance Theatre, which represents Aboriginal perceptions of the elements of earth, air, fire and water. On 18 February 1914 The Rite received its first concert performance (the music without the ballet), in St Petersburg under Serge Koussevitzky. On 5 April that year, Stravinsky experienced for himself the popular success of The Rite as a concert work, at the Casino de Paris. After the performance, again under Monteux, the composer was carried in triumph from the hall on the shoulders of his admirers. The Rite had its first British concert performance on 7 June 1921, at the Queen's Hall in London under Eugene Goossens. Its American premiere occurred on 3 March 1922, when Leopold Stokowski included it in a Philadelphia Orchestra programme. Goossens was also responsible for introducing The Rite to Australia on 23 August 1946 at the Sydney Town Hall, as guest conductor of the Sydney Symphony Orchestra. Stravinsky first conducted the work in 1926, in a concert given by the Concertgebouw Orchestra in Amsterdam; two years later he brought it to the Salle Pleyel in Paris for two performances under his baton. Of these occasions he later wrote that "thanks to the experience I had gained with all kinds of orchestras ... I had reached a point where I could obtain exactly what I wanted, as I wanted it". Commentators have broadly agreed that the work has had a greater impact in the concert hall than it has on the stage; many of Stravinsky's revisions to the music were made with the concert hall rather than the theatre in mind. The work has become a staple in the repertoires of all the leading orchestras, and has been cited by Leonard Bernstein as "the most important piece of music of the 20th century". In 1963, 50 years after the premiere, Monteux (then aged 88) agreed to conduct a commemorative performance at London's Royal Albert Hall. According to Isaiah Berlin, a close friend of the composer, Stravinsky informed him that he had no intention of hearing his music being "murdered by that frightful butcher". Instead he arranged tickets for that particular evening's performance of Mozart's opera The Marriage of Figaro, at Covent Garden. Under pressure from his friends, Stravinsky was persuaded to leave the opera after the first act. He arrived at the Albert Hall just as the performance of The Rite was ending;[n 5] composer and conductor shared a warm embrace in front of the unaware, wildly cheering audience. Monteux's biographer John Canarina provides a different slant on this occasion, recording that by the end of the evening Stravinsky had asserted that "Monteux, almost alone among conductors, never cheapened Rite or looked for his own glory in it, and he continued to play it all his life with the greatest fidelity". General character and instrumentation Commentators have often described The Rite 's music in vivid terms; Paul Rosenfeld, in 1920, wrote of it "pound[ing] with the rhythm of engines, whirls and spirals like screws and fly-wheels, grinds and shrieks like laboring metal". In a more recent analysis, The New York Times critic Donal Henahan refers to "great crunching, snarling chords from the brass and thundering thumps from the timpani". The composer Julius Harrison acknowledged the uniqueness of the work negatively: it demonstrated Stravinsky's "abhorrence of everything for which music has stood these many centuries ... all human endeavour and progress are being swept aside to make room for hideous sounds ..." In The Firebird, Stravinsky had begun to experiment with bitonality (the use of two different keys simultaneously). He took this technique further in Petrushka, but reserved its full effect for The Rite where, as the analyst E.W. White explains, he "pushed [it] to its logical conclusion". White also observes the music's complex metrical character, with combinations of duple and triple time in which a strong irregular beat is emphasised by powerful percussion. The music critic Alex Ross has described the irregular process whereby Stravinsky adapted and absorbed traditional Russian folk material into the score. He "proceeded to pulverize them into motivic bits, pile them up in layers, and reassemble them in cubistic collages and montages". The duration of the work is about 35 minutes. The score calls for one piccolo, three flutes (third doubling second piccolo), one alto flute, four oboes (fourth doubling second English horn), English horn, three clarinets in B♭ and A (third doubling second bass clarinet), clarinet in E♭ and D, one bass clarinet, four bassoons (fourth doubling second contrabassoon), one contrabassoon; eight horns (seventh and eighth doubling tenor Wagner tubas), trumpet in D, four trumpets in C (fourth doubling bass trumpet in E♭), three trombones, one bass trombone, two bass tubas; a percussion section with 5 timpani (requiring two players), bass drum, gong, triangle, tambourine, cymbals, antique cymbals in A♭ and B♭, güiro; and strings. Despite the large orchestra, much of the score is written chamber-fashion, with individual instruments and small groups having distinct roles. Part I: The Adoration of the Earth The opening melody is played by a solo bassoon in a very high register, which renders the instrument almost unidentifiable; gradually other woodwind instruments are sounded and are eventually joined by strings. The sound builds up before stopping suddenly, Hill says, "just as it is bursting ecstatically into bloom". There is then a reiteration of the opening bassoon solo, now played a semitone lower. The first dance, "Augurs of Spring", is characterised by a repetitive stamping chord in the horns and strings, based on E-flat superimposed on a triad of E, G-sharp and B. White suggests that this bitonal combination, which Stravinsky considered the focal point of the entire work, was devised on the piano, since the constituent chords are comfortable fits for the hands on a keyboard. The rhythm of the stamping is disturbed by Stravinsky's constant shifting of the accent, on and off the beat, before the dance ends in a collapse, as if from exhaustion. The "Ritual of Abduction" which follows is described by Hill as "the most terrifying of musical hunts". It concludes in a series of flute trills that usher in the "Spring Rounds", in which a slow and laborious theme gradually rises to a dissonant fortissimo, a "ghastly caricature" of the episode's main tune. Brass and percussion predominate as the "Ritual of the Rival Tribes" begins. A tune emerges on tenor and bass tubas, leading after much repetition to the entry of the Sage's procession. The music then comes to a virtual halt, "bleached free of colour" (Hill), as the Sage blesses the earth. The "Dance of the Earth" then begins, bringing Part I to a close in a series of phrases of the utmost vigour which are abruptly terminated in what Hill describes as a "blunt, brutal amputation". Part II: The Sacrifice Part II has a greater cohesion than its predecessor. Hill describes the music as following an arc stretching from the beginning of the Introduction to the conclusion of the final dance. Woodwind and muted trumpets are prominent throughout the Introduction, which ends with a number of rising cadences on strings and flutes. The transition into the "Mystic Circles" is almost imperceptible; the main theme of the section has been prefigured in the Introduction. A loud repeated chord, which Berger likens to a call to order, announces the moment for choosing the sacrificial victim. The "Glorification of the Chosen One" is brief and violent; in the "Evocation of the Ancestors" that follows, short phrases are interspersed with drum rolls. The "Ritual Action of the Ancestors" begins quietly, but slowly builds to a series of climaxes before subsiding suddenly into the quiet phrases that began the episode. The final transition introduces the "Sacrificial Dance". This is written as a more disciplined ritual than the extravagant dance that ended Part I, though it contains some wild moments, with the large percussion section of the orchestra given full voice. Stravinsky had difficulties with this section, especially with the final bars that conclude the work. The abrupt ending displeased several critics, one of whom wrote that the music "suddenly falls over on its side". Stravinsky himself referred to the final chord disparagingly as "a noise", but in his various attempts to amend or rewrite the section, was unable to produce a more acceptable solution. Influence and adaptations The music historian Donald Jay Grout has written : "The Sacre is undoubtedly the most famous composition of the early 20th century ... it had the effect of an explosion that so scattered the elements of musical language that they could never again be put together as before". The academic and critic Jan Smaczny, echoing Bernstein, calls it one of the 20th century's most influential compositions, providing "endless stimulation for performers and listeners". According to Kelly the 1913 premiere might be considered "the most important single moment in the history of 20th century music", and its repercussions continue to reverberate in the 21st century. Ross has described The Rite as a prophetic work, presaging the "second avant-garde" era in classical composition—music of the body rather than of the mind, in which "[m]elodies would follow the patterns of speech; rhythms would match the energy of dance ... sonorities would have the hardness of life as it is really lived". Among 20th-century composers most influenced by The Rite is Stravinsky's near contemporary, Edgard Varèse, who had attended the 1913 premiere. Varèse, according to Ross, was particularly drawn to the "cruel harmonies and stimulating rhythms" of The Rite, which he employed to full effect in his concert work Amériques (1921), scored for a massive orchestra with added sound effects including a lion's roar and a wailing siren. Aaron Copland, to whom Stravinsky was a particular inspiration in the former's student days, considered The Rite a masterpiece that had created "the decade of the displaced accent and the polytonal chord". Copland adopted Stravinsky's technique of composing in small sections which he then shuffled and rearranged, rather than working through from beginning to end. Ross cites the music of Copland's ballet Billy the Kid as coming directly from the "Spring Rounds" section of The Rite. For Olivier Messiaen The Rite was of special significance; he constantly analysed and expounded on the work, which gave him an enduring model for rhythmic drive and assembly of material. After the premiere the writer Leon Vallas opined that Stravinsky had written music 30 years ahead of its time, suitable to be heard in 1940. Coincidentally, it was in that year that Walt Disney released Fantasia, an animated feature film using music from The Rite and other classical compositions. The Rite segment of the film depicted the Earth's prehistory, leading to the extinction of the dinosaurs. Among those impressed by the film was Gunther Schuller, later a composer, conductor and jazz scholar. The Rite of Spring sequence, he says, overwhelmed him and determined his future career in music: "I hope [Stravinsky] appreciated that hundreds—perhaps thousands—of musicians were turned onto The Rite of Spring ... through Fantasia, musicians who might otherwise never have heard the work, or at least not until many years later". In later life Stravinsky claimed distaste for the adaptation, though as Ross remarks, he said nothing critical at the time; according to Ross, the composer Paul Hindemith observed that "Igor appears to love it". Before the first gramophone disc recordings of The Rite were issued in 1929, Stravinsky had helped to produce a pianola version of the work for the Aeolian Company. He also created a much more comprehensive arrangement for the French player piano company Pleyel, with whom he signed a contract in 1923 under which many of his early works were reproduced on this medium. The Pleyel version of The Rite of Spring was issued in 1921; the British pianolist Rex Lawson recorded the work in this form in 1990. In 1929 Stravinsky and Monteux vied with each other to conduct the first orchestral gramophone recording of The Rite. While Stravinsky led L'Orchestre des Concerts Straram in a recording for the Columbia label, at the same time Monteux was recording it for the HMV label. Stokowski's version followed in 1930. Stravinsky made two more recordings, in 1940 and 1960. According to the critic Edward Greenfield, Stravinsky was not technically a great conductor but, Greenfield says, in the 1960 recording with the Columbia Symphony Orchestra the composer inspired a performance with "extraordinary thrust and resilience". In conversations with Robert Craft, Stravinsky reviewed several recordings of The Rite made in the 1960s. He thought Herbert von Karajan's 1963 recording with the Berlin Philharmonic, was good, but "the performance is ... too polished, a pet savage rather than a real one". Stravinsky thought that Pierre Boulez, with the Orchestre National de France (1963), was "less good than I had hoped ... very bad tempi and some tasteless alterations". A recording by The Moscow State Symphony Orchestra in 1962 was complimented by the composer for making the music sound Russian "which is just right", but Stravinsky's concluding judgement is that none of these three performances is worth preserving. As of 2013 there are well over 100 different recordings of The Rite commercially available, and many more held in library sound archives. It has become one of the most recorded of all 20th century musical works. A work that addresses this wealth of available recorded versions is Stefan Goldmanns "Edit", mounting one continuous recording from hundreds of cut segments from 14 recorded versions. The first published score was the four-hand piano arrangement (Edition Russe de Musique, RV196), dated 1913. Publication of the full orchestral score was prevented by the outbreak of war in August 1914. After the revival of the work in 1920 Stravinsky, who had not heard the music for seven years, made numerous revisions to the score, which was finally published in 1921 (Edition Russe de Musique, RV 197/197b. large and pocket scores). In 1922 Ansermet, who was preparing to perform the work in Berlin, sent to Stravinsky a list of errors he had found in the published score. In 1926, as part of his preparation for that year's performance with the Concertgebouw Orchestra, Stravinsky rewrote the "Evocation of the Ancestors" section and made substantial changes to the "Sacrificial Dance". The extent of these revisions, together with Ansermet's recommendations, convinced Stravinsky that a new edition was necessary, and this appeared in large and pocket form in 1929. It did not, however, incorporate all of Ansermet's amendments and, confusingly, bore the date and RV code of the 1921 edition, making the new edition hard to identify. Stravinsky continued to revise the work, and in 1943 rewrote the "Sacrificial Dance". In 1948 Boosey and Hawkes issued a corrected version of the 1929 score (B&H 16333); Stravinsky's substantial 1943 amendment of the "Sacrificial Dance" was not incorporated into the new version and remained unperformed, to the composer's disappointment. He considered it "much easier to play ... and superior in balance and sonority" to the earlier versions. A less musical motive for the revisions and corrected editions was copyright law. The composer had left Galaxy music publishing (agents for Editions Russe de la Musique, the original publisher) for Associated Music Publishers at the time, and orchestras would be reluctant to pay a second rental charge from two publishers to match the full work and the revised Sacrificial Dance; moreover, the revised dance could only be published in America. The 1948 score provided copyright protection to the work in America, where it had lapsed, but Boosey (who acquired the Editions Russe catalogue) did not have the rights to the revised finale. The 1929 score as revised in 1948 forms the basis of most modern performances of The Rite. Boosey and Hawkes reissued their 1948 edition in 1965, and produced a newly engraved edition (B&H 19441) in 1967. The firm also issued an unmodified reprint of the 1913 piano reduction in 1952 (B&H 17271) and a revised piano version, incorporating the 1929 revisions, in 1967. The Paul Sacher Foundation, in association with Boosey and Hawkes, announced in May 2013, as part of The Rite 's centenary celebrations, their intention to publish the 1913 autograph score, as used in early performances. After being kept in Russia for decades, the autograph score was acquired by Boosey and Hawkes in 1947. The firm presented the score to Stravinsky in 1962, on his 80th birthday. After the composer's death in 1971 the manuscript was acquired by the Paul Sacher Foundation. As well as the autograph score, they have published the manuscript piano four-hands score. In 2000, Kalmus Music Publishers brought out an edition where former Philadelphia Orchestra librarian Clint Nieweg made over 21,000 corrections to the score and parts. Since then a published errata list has added some 310 more corrections, and this is considered to be the most accurate version of the work today. Notes and references - Except as indicated by a specific citation, the synopsis information is taken from Stravinsky's February 1914 note to Koussevitsky. - Nijinsky's sister Bronislava Nijinska later insisted that her brother could play a number of instruments, including the balalaika, the clarinet and the piano. - Kelly and Walsh both cite Henri Girard, a member of the double-bass section. According to Truman Bullard, the section referred to is at the conclusion of the "Spring Rounds". - Monteux's biographer records that Saint-Saëns walked out of the Paris premiere of the concert version of The Rite, which Monteux conducted in April 1914; Saint-Saëns opined that Stravinsky was "mad". - In a different account of the incident, the music historian Richard Morrison writes that Stravinsky arrived at the end of the first part, rather than at the end of the piece. - Walsh, Stephen (2012). "Stravinsky, Igor, §1: Background and early years, 1882–1905". Grove Music Online. Retrieved 9 August 2012. (subscription required) - Walsh, Stephen (2012). "Stravinsky, Igor, §2: Towards The Firebird, 1902–09". Grove Music Online. Retrieved 9 August 2012. (subscription required) - "Stravinsky, Igor, §11: Posthumous reputation and legacy: Works". Grove Music Online. 2012. Retrieved 9 August 2012. (subscription required) - White 1961, pp. 52–53 - "Diaghilev, Serge". The Oxford Dictionary of Music Online edition. 2012. Retrieved 9 August 2012. (subscription required) - Griffiths, Paul (2012). "Diaghilev (Dyagilev), Sergey Pavlovich". Grove Music Online. Retrieved 9 August 2012. (subscription required) - Stravinsky, pp. 24–28 - Walsh, Stephen (2012). "Stravinsky, Igor, §3: The early Diaghilev ballets, 1910–14". Grove Music Online. Retrieved 9 August 2012. (subscription required) - Van den Toorn, pp. 26–27 - Taruskin 1996, p. 874 - Morton, Lawrence (March 1979). "Footnotes to Stravinsky Studies: Le Sacre du printemps". Tempo (New Series) (128): pp. 9–16. (subscription required) - Hill pp. 102–104 - Hill, p. 3 - Stravinsky, p. 31 - Hill, pp. 4–8 - Van den Toorn, p. 2 - Stravinsky, pp. 35–36 - Kelly, p. 297 - Grout and Palisca, p. 713 - Van den Toorn, p. 24 - Hill, p. 13 - Van den Toorn, p. 35 - Van den Toorn, p. 34 - Stravinsky, pp. 37–39 - Van den Toorn, pp. 36–38 - Orenstein, p. 66 - Van den Toorn, pp. 39–42 - Taruskin 1980, p. 502 - Van den Toorn, p. 10 - Van den Toorn, p. 12 - Taruskin 1980, p. 510 - Hill, pp. vii–viii - Taruskin 1980, p. 513 - Taruskin 1980, p. 543 - Van den Toorn, pp. 14–15 - Stravinsky, p. 36 - Kelly, p. 263 - Hill, p. 109 - Stravinsky, pp. 40–41 - Kelly, pp. 273–77 - Stravinsky and Craft 1981, p. 143 - Walsh, Stephen. "Proms 2012: Programme note: Stravinsky – The Rite of Spring". BBC. Retrieved 11 August 2012. - Stravinsky, p. 42 - Gregoriev, p. 84 - Kelly, pp. 273–74 - Hill p. 29 - Kelly, p. 280 - Walsh, p. 202 - Kelly, p. 281, Walsh, p. 203 - Bullard, pp. 97–98 - New York Times (8 June 1913). "Parisians Hiss New Ballet". Retrieved 4 November 2014. - Kelly p. 276 - Kelly, p. 305, 315 Gustave Linor, Comoedia 30 May 1913, reported 38,000, while a later review in Comoedia on 5 June reported 35,000 - Kelly, pp. 284–85 - Ross, p. 74 - Stravinsky, pp. 46–47 - Kelly, p. 282 - Kelly, p. 304, quoting Gustav Linor writing in Comoedia, 30 May 1913, At the Théâtre des Champs-Elysées: Le Sacre du printemps - Taruskin, Richard (14 September 2012). "Shocker Cools Into a ‘Rite’ of Passage". New York Times. Retrieved 28 November 2014. - Hill, pp. 28–30 - White 1966, pp. 177–78 - Kelly, pp. 292–94 - Kelly p. 307, quoting Quittard's report in Le Figaro, 31 May 1913 - Kelly pp. 304–05, quoting Linor's report in Comoedia, 30 May 1913 - Kelly, pp. 327–28, translated from Casella, Alfredo: Strawinski. La Scuola, Brescia 1961. OCLC 12830261 - Calvocoressi, pp. 244–45 - Kelly, p. 283 - Canarina, p. 47 - Stravinsky and Craft 1959, pp. 47–48 - Kelly, p. 294 - Hill, p. 116 - Adami (ed.), p. 251 - Stravinsky, p. 49 - "Diaghilev London Walk". Victoria and Albert Museum. Retrieved 27 August 2012. - "The Fusion of Music and Dancing". The Times: p. 8. 26 July 1913. - Buckle, p. 268 - Walsh p. 219, quoting letter to Benois of 20 Sept/3 Oct 1913 - Buckle, p. 366 - Stravinsky, pp. 92–93 - Hill, pp. 86–89 - Berman, Greta (May 2008). "Painting in the Key of Color: The Art of Nicholas Roerich". the Juilliard Journal Online. The Juilliard School. Retrieved 27 May 2013. - Johnson, pp. 233–34 - Monahan, Mark (30 May 2011). "Covent Garden and Salisbury Playhouse, review". The Telegraph online. Retrieved 18 August 2011. - Solominskaya, Elena (January–February 2003). "The Ballet Time". Ballet magazine. - Wakin, Daniel J. (30 June 2009). "Pina Bausch, German Choreographer, Dies at 68". The New York Times. - Jennings, Luke (1 July 2009). "Obituary: Pina Bausch". The Guardian. - Johnson, pp. 235–36 - Kisselgoff, Anna (29 February 1984). "Dance: The Rite, by Martha Graham". The New York Times. - The significance of this version is highlighted in an obituary for Loyce Houlton in the New York Times written by Jack Anderson. See Anderson, Jack (18 March 1995). "Loyce Houlton, 70, Troupe Founder And Choreographer". New York Times. Retrieved 4 November 2014. - Fink, Robert (Summer 1999). "The Rite of Spring and the Forging of a Modern Style". Journal of the American Musicological Society 52 (2): p. 299. doi:10.1525/jams.1999.52.2.03a00030. JSTOR 832000. (subscription required) - "The Joffrey Ballet Resurrects The Rite of Spring". National Endowment for the Arts. Retrieved 18 August 2012. - Kennedy, Maev (5 August 2003). "Kirov revive Nijinsky's wonder". The Guardian. - "The Joffrey Ballet: The Rite of Spring". The University of Texas at Austin. Retrieved 24 March 2013. - "Joffrey Ballet to perform Rite of Spring and other works at UMass Fine Arts Center". University of Massachusetts. 10 March 2013. Retrieved 24 May 2013. - "Stravinsky: towards The Rite of Spring's centenary". Boosey & Hawkes. March 2011. Retrieved 17 August 2012. - "The Rite of Spring". Pacific Northwest Ballet. Retrieved 17 August 2012. - Kisselgoff, Anna. "In 'State of Darkness', a Dancer's Rite of Passage", The New York Times, 8 October 1988. - D'Aoust, Renée E. "Lowenberg at Pacific Northwest Ballet & School", The Dance Insider. July 2007. - "Aboriginal ballet hits Paris stage". Australian Broadcast Company. 3 October 2008. Retrieved 17 August 2012. - Hill, p. 8 - Van den Toorn, p. 6 - Smith, p. 94 - "Australian Composition 1945–1959". Australian Music Centre. Retrieved 18 August 2012. - Sydney Morning Herald: Sydney to hear "Rite of Spring", 22 August 1946, p. 5 - Stravinsky, p. 129 - Stravinsky, p. 137 - Freed, Richard (20 November 2004). "The Rite of Spring: About the work". The Kennedy Center. Retrieved 12 August 2012. - "The Rite of Spring at 100; The History". Carolina Performing Arts: The University of North Carolina. Retrieved 12 August 2012. - Morrison, pp. 137–38 - Hill, p. 102 - Canarina, p. 301 - Rosenfeld, p. 202 - Henahan, Donal (23 March 1984). "Philharmonic: Incarnations of Spring". The New York Times. - Harrison, p. 168 - White 1961, p. 59 - White 1961, p. 61 - Ross, p. 90 - Del Mar, Norman (1981). Anatomy of the Orchestra. London: Faber & Faber. p. 266. ISBN 0-571-11552-7. - Stravinsky, Igor (1967). The Rite of Spring. Boosey & Hawkes. - Kelly, p. 259 - Berger, Arthur (liner notes) (1949). Stravinsky: The Rite of Spring. Antal Dorati conducting the Minneapolis Symphony Orchestra (Vinyl LP). London: Oriole Records Ltd: Mercury Classics. - Hill, pp. 62–63 - Van den Toorn, p. 138 - White 1961, p. 57 - Ross, p. 75 - Hill, p. 67 - Hill, p. 70 - Hill, pp. 72–73 - Smaczny, Jan (liner notes) (1995). Stravinsky: The Rite of Spring. David Atherton conducting the BBC National Orchestra of Wales (Compact Disc). London: BBC Music Magazine BBC MM135. - Kelly, p. 258 - Ross, p. 76 - Ross, p. 137 - May, Thomas. "Varèse: Amériques". The Los Angeles Philharmonic. Retrieved 19 August 2012. - Gammond, Peter (liner notes) (1988). Stravinsky: The Rite of Spring. Simon Rattle conducting the National Youth Orchestra (Compact Disc). London: Academy Sound and Vision Ltd QS 8031. - Pollack, Howard (2012). "Copland, Aaron". Grove Music Online. Retrieved 19 August 2012. (subscription required) - Ross, p. 275 - Griffiths, Paul (2012). "Messiaen, Olivier (Eugène Prosper Charles)". Grove Music Online. Retrieved 19 August 2012. (subscription required) - Teachout, Terry (28 October 2011). "Why 'Fantasia' Mattered—Just Ask Gunther Schuller". Wall Street Journal. - Ross, pp. 297–98 - White 1979, pp. 619–20 - Hill, pp. 162–64 - Hill, pp. 118–19 - Greenfield, Edward (20 May 1988). "Distinctive movements in the rites of rivals". The Guardian: p. 34. - Stravinsky and Craft 1982, pp. 88–89 - "Stravinsky: The Rite of Spring (Le Sacre du Printemps)". Presto Classical. Retrieved 27 August 2012. - "Stefan Goldmann: Le Sacre du Printemps Edit". Little White Earbuds. Retrieved 15 October 2013. - Craft, Robert (September 1977). "Le Sacre du Printemps: The Revisions". Tempo. New Series (122). JSTOR 945096. (subscription required) - Walsh, pp. 151–52 - Van den Toorn, p. 36 (note 30) - "Collections: Igor Strawinsky". Paul Sacher Foundation. Retrieved 29 August 2012. - " "Stravinsky: Rite of Spring centenary publications announced". Boosey & Hawkes. Retrieved 3 April 2013. - Lebrecht, Norman (May 29, 2013). "The Absolutely Right Rite Of Spring". Archived from the original on June 13, 2013. - Adami, Giuseppe (tr. Makin, Ena) (1974). Giacomo Puccini: Letters. London: Harrap. ISBN 0-245-52422-3. - Buckle, Richard (1979). Diaghilev. London: Weidenfeld and Nicholson. ISBN 0-297-77506-5. - Bullard, Truman (1971). The first performance of Igor Stravinsky's Sacre du printemps. Ann Arbor, Michigan: Ann Arbor University (microfilm copy). OCLC 937514. - Calvocoressi, Michel-Dimitri (1934). Music and Ballet. London: Faber & Faber. OCLC 3375044. - Canarina, John (2003). Pierre Monteux, Maître. Pompton Plains, New Jersey: Amadeus Press. ISBN 1-57467-082-4. - Grigoriev, Serge (1952). The Diaghilev Ballet 1909–1929. London: Constable. - Grout, Donald Jay; Palisca, Claude V. (1981). A History of Western Music (3rd ed.). London and Melbourne: J. M. Dent & Sons. ISBN 0-460-04546-6. - Harrison, Julius (1934). "The Orchestra and Orchestral Music". In Bacharach, A. L. The Musical Companion. London: Victor Gollancz. OCLC 991797. - Hill, Peter (2000). Stravinsky: The Rite of Spring. Cambridge: Cambridge University Press. ISBN 0-521-62714-1. - Johnson, Robert (1992). "Sacred Scandals". Dance Chronicle 15 (2): 227–36. doi:10.1080/01472529208569095. JSTOR 1567675. - Kelly, Thomas Forrest (2000). First Nights: Five Musical Premieres. New Haven: Yale University Press. ISBN 0-300-07774-2. - Morrison, Richard (2004). Orchestra. London: Faber and Faber. ISBN 0-571-21584-X. - Orenstein, Arbie (1975). Ravel: Man and Musician. New York: Columbia University Press. ISBN 978-0-231-03902-4. - Rosenfeld, Paul (1920). Musical Portraits: Interpretations of Twenty Modern Composers. New York: Harcourt, Brace and Howe. OCLC 854294. - Ross, Alex (2008). The Rest Is Noise. London: Fourth Estate. ISBN 978-1-84115-475-6. - Smith, William Ander (1996). The Mystery of Leopold Stokowski. Cranbury, NJ: Association of University Presses. ISBN 0-8386-3362-5. - Stravinsky, Igor (1962). An Autobiography. New York: W. W. Norton. OCLC 2872436. - Stravinsky, Igor; Craft, Robert (1959). Conversations with Igor Stravinsky. New York: Doubleday. OCLC 896750. - Stravinsky, Igor; Craft, Robert (1981) . Expositions and Developments. Berkeley and Los Angeles: University of California Press. ISBN 0-520-04403-7. - Stravinsky, Igor; Craft, Robert (1982) . Dialogues. Berkeley and Los Angeles: University of California Press. ISBN 0-520-04650-1. - Taruskin, Richard (Autumn 1980). "Russian Folk Melodies in The Rite of Spring". Journal of the American Musicological Society 33 (3): 501–34. doi:10.1525/jams.1980.33.3.03a00040. JSTOR 831304. - Taruskin, Richard (1996). Stravinsky and the Russian Tradition (Vol. I). Berkeley and Los Angeles: University of California Press. ISBN 0-520-07099-2. - Van den Toorn, Pieter C. (1987). Stravinsky and the Rite of Spring: The Beginnings of a Musical Language. Berkeley and Los Angeles: University of California Press. ISBN 0-520-05958-1. - Walsh, Stephen (1999). Stravinsky: A Creative Spring. London: Jonathan Cape. ISBN 0-224-06021-X. - White, Eric Walter (1961). "Stravinsky". In Hartog, Howard. European Music in the Twentieth Century. London: Pelican Books. OCLC 263537162. - White, Eric Walter (1966). Stravinsky the Composer and his Works (Original ed.). Berkeley and Los Angeles: University of California Press. OCLC 283025. - White, Eric Walter (1979). Stravinsky the Composer and his Works (2nd ed.). Berkeley and Los Angeles: University of California Press. ISBN 0-520-03985-8. - Hodson, Millicent (1996). Nijinsky's Crime Against Grace: Reconstruction of the Original Choreography for Le sacre du printemps. Pendragon Press. \|Wikimedia Commons has media related to Le Sacre du printemps.\| \|Wikiquote has quotations related to: The Rite of Spring\| - The complete ballet on YouTube - "100 years on: Igor Stravinsky on The Rite of Spring by Robert Craft, The Times Literary Supplement, 19 June 2013 - Video of a performance of the Sacrificial Dance from the reconstructed Nijinsky choreography (1987) on YouTube - Multimedia Web Site – Keeping Score: Revolutions in Music: Stravinsky's The Rite of Spring - First 1929 orchestral recording conducted by the composer in MP3 format - Performance of Stravinsky's four-hand piano arrangement of The Rite of Spring by Jonathan Biss and Jeremy Denk from the Isabella Stewart Gardner Museum in MP3 format - The Rite of Spring: Free scores at the International Music Score Library Project - MERLOT Educational Materials: Musical Storytelling in Stravinsky's Rite of Spring (Presentation), Graphical Score (Animation) - The Rite of Spring: 'The work of a madman' from The Guardian - BBC Proms 2011 Stravinsky's Rite of Spring	1
Are you flummoxed with your flute tone? Is it too bright or airy for your taste? Look no further. Here are a few steps you can take to improve your tone. 1Sit up straight. In fact, it's easiest to play with a good tone while standing. Make sure your back is straight up and down when you are sitting and don't slouch! Turn your body at a slight angle so that you don't have to reposition your neck to see the music stand clearly.Ad 2Hold your flute up. You've probably been told this at least a thousand times, but it can affect your tone if you hold the flute too low. You should hold it about 20° below parallel. When you hold it any lower you collapse your stomach area and cannot take a proper breath or support the tone. If you hold it any higher you will create tension in your right arm. (Sorry marching flautists.) 3Balance the flute. This is related, but not the same thing as correct posture. There are three points of balance when holding up a flute: the chin, left thumb, and the right thumb. The lip plate should rest in the hollow between your lip and chin, and you should feel a gentle pressure on the lower gums. Your flute should rest just above the lowest knuckle of your left pointer finger, above where the finger meets the hand. The flute should rest on the tip of the right thumb, underneath or slightly behind the flute, between the F and E keys. Your right pinkie finger should then land naturally on the E flat key. Once in this position it should feel very natural, and the flute should "float", allowing you to produce a resonant sound. 4Breathe correctly. Take a deep breath starting with your belly, not your chest, before playing. You should see your belly physically expand. Your back should expand too toward the end of a deep breath. If your chest is the first thing to expand, or your shoulders rise upward when you breath, you are not getting as much air as you could. - One way to practice this is to bend forward at the waist, making a 90 degree angle between your legs and torso. Then take a deep breath starting from your belly, feeling your entire belly and back expand before your chest does. 5Listen to your tone. You can probably fix things yourself. Just think about sounding resonant and full. Imagine that you are vibrating the whole length of your flute. 6Support the air stream. Think about activating your core and belly muscles to physically "support" the air and produce a strong, steady stream. This will also help you play in tune, which always makes for a better tone and is extremely important when playing with others. 7Shape your lips. Making the hole in your lips smaller can produce a better tone. The air stream is more direct and you do not use as much air. On the other hand, make sure not to make the hole too small, or you can cut off the airflow and get an airy or forced sound. 8Experiment. You won't find your ideal tone until you know what all the options are! Furthermore, the meaning of a "good" flute tone depends on the music you're playing, and skilled musicians know how to vary their tone color (rich, bright, mellow, sweet, intense, haunting, etc.) to suit the mood they want to create. To practice this, pick a note you can play comfortably, hold it, and explore the following movements. As you play, notice how the sound changes, whether it seems more or less pleasing, and what types of musical moods it might evoke. Over time you can learn to pick the tone color you want and immediately find the position of your lips, jaw and body to produce it. - Move the end of your flute higher and lower. This changes the angle of the air across the embouchure hole. Many flutists let their right arm drop too far for optimal tone and this exercise will show you if you're one of them. - Move the end of your flute forward and backward. This also changes the angle of the air stream. Listen for the place where it sounds the most focused. - Tilt your head left, right, forward and back. Feel what's most comfortable and sounds clearest. - Roll the mouthpiece in and out. This changes how much air enters the flute and also affects pitch (whether you're flat, sharp, or just right). - Direct your airstream higher or lower by moving your jaw forward and back. This affect can be similar to rolling the mouthpiece in or out. - Make the muscles in your lips, cheeks and jaw more relaxed and less relaxed. 9Record yourself. You may be surprised. The acoustics of our own bodies and the space around them mean that your tone will sound different when heard by you as you play, someone standing a few feet away, and someone sitting in the back of a large concert hall. There are professional flutists with very bold tones that can border on abrasive if you're standing next to them, but they carry beautifully during a solo in a large hall. Conversely, a delicate, sweet tone that sounds lovely to the player's own ears may seem weak and uninteresting from across the room. It can be very helpful to record yourself from various distances to understand how you'll sound to others. Of course, unless you have high quality recording equipment this doesn't work perfectly, but even a video on your smartphone is better than nothing. 10Practice long tones. As many music teachers like to say, "Practice doesn't make perfect. Perfect practice makes perfect." Unless you spend a lot of time trying to play with good tone, you won't reliably develop it. One way to do this is to spend part of every practice session on long tones. This is often done as part of your warmup. Moyse's "de la Sonorité" book is a classic resource for this, but you can also find many online resources describing long tone practice techniques. 11Listen to recordings of professional flutists. They all play with reasonably good tone or they would not have made it as professionals, but you may also notice you like some better than others. Think about what characterizes the tones you like the best, and experiment with trying to imitate them as you play. 13Use vibrato on longer notes. Vibrato is a technique in which the player pitch bends very fast. Act like you are whispering "ha, ha, ha" and try to play a note. It might sound unnatural at first, so practice until it is natural and even. Vibrato is a good technique that will create interest on longer notes and mask tuning inconsistencies as well. The speed of the vibrato depends upon the effect a flutist is trying to achieve; a faster vibrato often portrays a more intense feeling, while a slower vibrato is more soothing. 14Have your flute serviced regularly. A flute that works better has a better tone. Period. If your tuning cork is messed up, a key is leaking, the rods are misaligned, or your flute is ailing in any other way, that will negatively affect your tone. To some extent you can fix things yourself--sticky keys or loose screws--but for most things have your flute checked at a music store. 15Get a better flute. The quality of the metal (whether nickel, silver,gold, or even platinum) and the craftsmanship that went into making a flute drastically affect its tone. They say a master flutist can make even the lowest quality flute sound great, but for the rest of us, instrument quality makes a difference. If you have a beginner's flute and want to play seriously, consider buying a new one. Professional and intermediate flutes are crafted more precisely, and it is easier to get a good tone on many notes. Some features to consider: • The most important part of the flute is the head joint, so if you cannot afford the body and foot joint, make sure to update the head joint's metal quality at the least. • Some companies sell head joints with "wings" on the lip plate. The "wings" help direct the air in the flute and minimize the amount of air that escapes. It helps you have a clearer tone and sound less airy. • Watch out for gold plated lip plates. They don't affect tone at all and are just for looks. However a better quality riser, the short "chimney" that attaches the lip plate to the head joint, does improve tone. We could really use your help! - Hold your head up when you are playing; don't look down! The only time you might look down is if a super high note that you are playing is sharp. Otherwise, holding your head up goes along with the right posture and helps produce a better tone. To practice this, try reading your music at close to eye level, or even playing notes while looking at something on the wall that is eye level. - Remember that if you blow slow air, the note will sound lower. If you want a higher note, blow fast air. - Don't cover too much of the embouchure hole. This will make the tone too flat. - Try singing before you play. It may sound weird, but it helps open up the throat. Singing while playing, which requires a little practice is also a great exercise to improve your tone. - Band directors will tell you that crossed legs negatively affect tone. This is not true for flute players (as long as you are sitting up straight). However, it does look very unprofessional in an ensemble setting. - To practice double-tonguing you alternate the "tu" with "ku" syllables. You will greatly increase your to tonguing speed. If you have difficulty with this, isolate the "ku" syllable and practice to strengthen those muscles in the back of your throat. - The other tips are helpful and all but it's most important to practice everyday and do your best. - When you actually are playing your flute, make sure you tongue. This is where you make a "t" sound while you play. This helps separate the notes and make the piece sound clearer. - For advice specific to your unique embouchure and playing consult with a private flute teacher. - Get a good quality flute! This will make it easier to learn to play and use. - Don't use vibrato if you are trying to tune; you should use a straight tone then or risk tuning incorrectly. Also vibrato may not be appropriate for some styles of music. - Some flautists have allergic reactions to the metal in their lip plate. The silver, nickel, or gold might turn your chin ashy. If you have this problem you can put a piece of tape on the lip plate. Sources and Citations In other languages: Thanks to all authors for creating a page that has been read 154,231 times.	1
- Government and society - Cultural life - Leaders of Russia from 1276 The 20th century Producer Serge Diaghilev and directors Konstantin Stanislavsky and Vsevolod Meyerhold dominated Russian theatrical life in the first decades of the 20th century. Together with Vladimir Nemirovich-Danchenko, Stanislavsky founded the Moscow Art Theatre (later called the Moscow Academic Art Theatre) in 1898. Stanislavsky’s insistence on historical accuracy, exact realism, and intense psychological preparation by his actors led to a string of successful productions from the beginning of the century into the 1930s. The theatre was known particularly for its productions of Chekhov’s plays, including The Seagull (1896), the hit of the theatre’s inaugural season. Meyerhold was one of Stanislavsky’s actors, but he broke with his master’s insistence on realism. He welcomed the Russian Revolution and put his considerable talent and energy into creating a new theatre for the new state. Throughout the 1920s and into the ’30s, he staged brilliant, inventive productions, both of contemporary drama and of the classics. However, his iconoclastic style fell out of favour in the 1930s, and he was arrested and executed in 1940. Diaghilev was a brilliant organizer and impresario whose innovative Ballets Russes premiered many of the most significant ballets of the first quarter of the century. Although the legendary company was based primarily in Paris, Diaghilev employed major Russian composers (particularly Stravinsky), artists (e.g., Alexandre Benois, Natalya Goncharova, and Mikhail Larionov), and dancers (including Vaslav Nijinsky and Tamara Karsavina). Ballet enjoyed great success in the Soviet period, not because of any innovations but because the great troupes of the Bolshoi Theatre in Moscow and the Kirov (now Mariinsky) Theatre in Leningrad (now St. Petersburg) were able to preserve the traditions of classical dance that had been perfected prior to 1917. The Soviet Union’s choreography schools produced one internationally famous star after another, including the incomparable Maya Plisetskaya, Rudolf Nureyev (who defected in 1961), and Mikhail Baryshnikov (who defected in 1974). Another extremely successful area of theatrical performance was puppet theatre. The Obraztsov Puppet Theatre (formerly the State Central Puppet Theatre), founded in Moscow by Sergey Obraztsov, continues to give delightful performances for patrons of all ages. The same can be said for the spectacular presentations of the Moscow State Circus, which has performed throughout the world to great acclaim. Using since 1971 a larger building and renamed the Great Moscow State Circus, it excelled even in the darkest of the Cold War years. Theatrical life in post-Soviet Russia has continued to thrive. The Moscow and St. Petersburg theatres have maintained their leading position, but they have been joined by hundreds of theatres throughout the country. Liberated from state censorship, the theatres have experimented with bold and innovative techniques and subject matter. The repertoire of the theatres experienced a shift away from political topics and toward classical and psychological themes. Since the late 1990s the Bolshoi Theatre’s dominance has been challenged by the Novaya (New) Opera Theatre in Moscow. Among other successful theatres in Moscow are the Luna Theater, Arbat-Opera, Moscow City Opera, and the Helikon-Opera. (For further discussion, see theatre, Western and dance, Western.) 1Statutory number per Inter-Parliamentary Union Web site. \|Official name\|\|Rossiyskaya Federatsiya (Russian Federation), or Rossia (Russia)\| \|Form of government\|\|federal multiparty republic with a bicameral legislative body (Federal Assembly comprising the Federation Council and the State Duma )\| \|Head of state\|\|President: Vladimir Putin\| \|Head of government\|\|Prime Minister: Dmitry Medvedev\| \|Monetary unit\|\|ruble (RUB)\| \|Population\|\|(2014 est.) 143,819,000\| \|Total area (sq mi)\|\|6,601,700\| \|Total area (sq km)\|\|17,098,200\| \|Urban-rural population\|\|Urban: (2012) 73.9%\| Rural: (2012) 26.1% \|Life expectancy at birth\|\|Male: (2009) 62.8 years\| Female: (2009) 74.7 years \|Literacy: percentage of population age 15 and over literate\|\|Male: (2008) 99.8%\| Female: (2008) 99.2% \|GNI per capita (U.S.$)\|\|(2013) 13,860\|	1
Introduced by his father to literature while very young, in addition to his native Italian, Ferretti mastered not only Latin and Ancient Greek but also French and English, and began writing verse early. Even though he worked in the tobacco industry from the age of about 30 until he was over 60, he was extremely prolific, writing "everything from love letter to odes and welcoming speeches", and numerous opera libretti, all but the few listed below being generally forgotten. His first big success was La Cenerentola, written at great speed for Rossini over Christmas in 1816. Ferretti wrote afterwards how he had agreed to write a libretto on a subject which the censor vetoed, so he met the composer and the theatre manager to discuss alternatives. He struggled to find a new subject that appealed, but about two dozen were rejected for one reason or another. At last, yawning wearily, Ferretti said "La Cenerentola" ("Cinderella") and at last Rossini decided he liked it, so Ferretti went home and began at once, worked night and day on it, and gave sections to Rossini on Christmas Day. Early on during the production there were problems, but Rossini predicted (correctly) that it would be a great success in the long term. Ferretti married the singer Teresa Terziani in 1820, and their house was continually visited by musicians and poets, including Donizetti who had been given a letter of introduction to Ferretti by Johann Simon Mayr. They became good friends after he arriving in Rome in October 1821 for the preparation of the production of his Zoraida di Granata, which became his first major success. Ferretti worked on revising Bartolomeo Merelli's libretto for the opera. Librettos by Ferretti Altogether, Ferretti wrote about 70 librettos, the major of which were for operas presented in Rome. - Composed by Gaetano Donizetti - Zoraida di Granata (contributed, 1822) - L'ajo nell'imbarazzo, o Don Gregorio (1824) - Zoraide di Grenata (1824) - Olivo e Pasquale (1827) - Il furioso all'isola di San Domingo (1832) - Torquato Tasso (1833) - Composed by Saverio Mercadante - Scipione in Cartagine (1820) - Gli amici di Siracusa (1824) - Composed by Giovanni Pacini - Cesare in Egitto (1821) - Composed by Luigi Ricci - L’orfanella di Ginevra (1829) - Composed by Lauro Rossi - La figlia di Figaro (1846) - Composed by Gioachino Rossini - La Cenerentola, ossia La bontà in trionfo (1817) - Matilde di Shabran, o sia Bellezza, e cuor di ferro (1821) - Composed by Niccolò Antonio Zingarelli - Baldovino (1811) - Opera Talent entry for Jacopo Ferretti - Allit 1991, pp. 26—27 - Black 1998, p. 167 - Allitt, John Stewart (1991), Donizetti: in the light of Romanticism and the teaching of Johann Simon Mayr, Shaftesbury: Element Books, Ltd (UK); Rockport, MA: Element, Inc.(USA) - Bini, Analisa (1996), Jacopo Ferretti e la cultura del suo tempo ("Jacopo Ferretti and the culture of his time"), Skira. ISBN 88-8118-599-7 - Black, John (1998), "Ferretti, Jacopo", in Stanley Sadie, (Ed.), The New Grove Dictionary of Opera, Vol. Two, pp. 167—168. London: MacMillan Publishers, Inc. ISBN 0-333-73432-7 ISBN 1-56159-228-5 - Holden, Amanda (Ed.), The New Penguin Opera Guide, New York: Penguin Putnam, 2001. ISBN 0-140-29312-4	1
Victor Herbert (February 1, 1859 – May 26, 1924) was an Irish-born, German-raised American composer, cellist, and conductor. He is best known for his many operettas which premiered on Broadway between the 1890s and World War I. He was a founding member of ASCAP, an activist for the legal rights of composers, and influenced the development of the Copyright Act of 1909. Herbert began his career in Vienna, Austria and Stuttgart, Germany where he performed as a cellist. He and his opera singer wife moved to the United States in 1886 when both worked with the Metropolitan Opera. They eventually became citizens and remained in the US for the rest of their lives.	1
A songwriter is someone who writes the lyrics to songs, the musical composition or melody to songs, or both. That is to say, a songwriter is a lyricist, a composer, or both. The word 'songwriter' is however more commonly used to describe one who writes popular songs than to describe a writer of art songs. Songwriters may perform the songs they write themselves, or may write for somebody else to perform. People who sing their own songs are nowadays typically called singer-songwriters, although the tradition of doing this dates back hundreds of years. It is often speculated that pre-historic man must have made up and sung songs, and judging by some of our heavy rock bands and rappers, that must be true (only kidding). More recently, the troubadours of the middle ages sang their own work, as did the German Minnesingers. Nelson - On songwriting Most songs are written for somebody other than the composer to perform, although it is known that Schubert often sang his own songs at private parties, and there have been a number of composers who were also singers and wrote for themselves, Carl Loewe being one example. Many modern rock and roll bands have one or two songwriters, usually members of the band. In many cases, the lead singer is one of the songwriters. WELL KNOWN SONGWRITERS There have been quite a few popular songwriting teams such as the Tamla Motown team of Brian Holland, Lamont Dozier and Eddie Holland and the teams of Leiber and Stoller, Lennon and McCartney, Morrissey and Johnny Marr, Elton John and Bernie Taupin, Alan Jay Lerner and Frederick Loewe, George and Ira Gershwin, Jagger and Richards, Roger Cook and Roger Greenaway, Guy Fletcher and Doug Flett, Geoff Stephens and Tony Macaulay, Rodgers and Hart, The Bee Gees, the Jackson brothers, Albert Hammond and Mike Hazlewood, Ashford & Simpson and of course Stock, Aitken and Waterman. Many songwriters also serve as their own music publishers, while others have outside publishers. Songs in country music are often written by staff writers; songwriters directly employed by music publishers. Legally, songs may only be copied or performed publicly by permission of the authors. The legal power to grant these permissions may be bought, sold or otherwise transferred. This is governed by copyright law. Songwriting and publishing royalties can be a substantial source of income, particularly if a song becomes a hit record. Songwriters in the popular music genre often also work as record producers, commonly using the professional title Producer-songwriter. SONG WRITING TIPS In my experience there is no set way to write a song. The inspiration can come from any direction and unfortunately, at almost any time - which means a lot of ideas are lost. It can start with a catchy lyric, a beat, or a riff. A good story or event may inspire you, or you may feel strongly on a subject and want to vent some spleen. Song writers work in different ways and each artist will normally develop a method they prefer to use. I would also say that mood is important. If you are not in a creative and relaxed frame of mind, it will be harder to write. Once I get an idea for a song, I usually set a beat to help create the mood and keep me in time - I don't like using metronomes. I also prefer to work with a musician or producer. I am not a musician, but if pushed will work out a chord sequence or phrase on which to build a song. I'd rather a co-writer generated a sequence on the guitar or keyboards. Of course it has to be a nice sounding sequence. If the vibes are wrong to begin with, you may as well watch the tennis. From this sequence, I will generate a melody. The melody may come intuitively by simply listening to the sequence. The subject for the song may already have generated some lyrics, when they can be used to form the melody. By now you should identify with some of this. I use the recorder (tape or computer) to get down ideas. Having settled down with some paper and a cup of coffee or tea, I'll immerse myself in the sounds and try to let go vocally, recording the result. After a few takes, there should be some form of melody ideas worth developing. At which point you may need to rewrite or arrange your lyrics. You're saying something with meaning, right? You're not just creating background noise, are you? Then you need to grab their attention early or you'll lose them even before your song gets to the chorus. THE 3 MINUTE RULE I don't fully understand why, but three minutes is just about as long as a song should be. After that, I'm looking for a change. I need to hear everything in that 3 minutes. Two and a half minutes is too short and three and a half minutes is a bit long. The only exception is a dance track, when I'm on the floor. When sometimes 3 minutes seems a bit short. Although real-life is often more interesting then fantasy "you won't believe this", sometimes a true story is too complicated to fit in a 3-minute song unless you write about just one aspect. Whatever you do, have a clear vision of what the song is about. Because if you don't, the listener isn't going to figure it out for you. We all live fast lives and there just isn't time. The hook is the hard sell. It's the catchy part of the song. It's the repetitious part that's implanted in your mind after hearing the song just once. Or that's what it's supposed to be. It's the words that everyone remembers, the melodic line you can't get out of your 're walking down the street, and suddenly that tune just comes from nowhere - that's the hook. Everyone's ears are conditioned to listen for a song's hook. And since everyone's waiting to hear it, it's best not to make them wait too long. Typically, a song is structured with the hook as its chorus, and many song titles are lifted from the hook. Remember the purpose is to reel in the listener, so utilize your hook. When song writing, the trick is to generate the hook, then concentrate on developing the hook. The hook is what will sell your song to the music executive and it will ultimately sell your record to the public. RADIO and TV I like most popular music on the radio or tv, which means I'm totally open to writing songs in any genre. What you hear and see via this medium, is the standard o music you should aspire to - whether you like what they are playing or not. A good way to understand what makes popular music tick, is to pick apart the hit songs. You will find that most of the top tunes have a familiar structure, catchy lyrics and or music or, amazing production. Hype by the labels will get a song on the radio, but it won't keep it there. SHORT and SWEET Going back to the 3 minute rule, the radio generally plays short songs (2 1/2 - 3 1/2 minutes). If your song is longer then this you are drastically reducing your chances that radio will ever play it. There is nothing to stop you having a longer version on your full CD and send radio a shorter edited version (that's what the big labels do). But unless you can afford to do different version of your songs, keep it short. The same holds true for getting publishers, record companies, producers or almost anyone that matters to listen to your song - including fans. Where do you suppose the saying "Get to the chorus, don't bore us" came from. The quickest way for them to jump to the next tape or CD is to not grab their attention right away and then keep it. Inject a sparkle using a turn-about on a cliché, as in Diane Warren's "UnBreak my Heart". Tell a real, honest to goodness story and make people believe it. Don't repeat words in the same line, and don't be afraid to use sound-alike rhymes instead of exact rhymes. Although a lyric and poem share the features of words, rhyme, and meter, the two should not be confused and often are. The differences between a poem and lyric: A poem is designed to be read, it's length can vary, and it can be complex in its language. Readers have time to stop, re-read and mull over a poem. Not so with a song, for unlike a poem a song is time dependant. For this reason a lyric on its own is an unfinished product and only a part of a potential song. The meaning of the lyric should be instantly clear and must understand as it is being performed. A lyric is designed to be sung, and every word should sing. So you can't afford to waste a word and each word must be carefully selected to get across your message the most effectively. Each line of a song should build on the previous one. Anyone should be able to read your verses and have a general idea about what the chorus will be. SPEAK YOUR MIND IF AT FIRST... Sometimes, all it takes is a fresh mind to put your creative flow back into motion again. Never be afraid to revise your songs or start them completely over. Very occasionally a great song is captured in minutes, after that it takes patience to perfect work. Great songs are generally rewritten until technically perfect. No one writes a song perfectly on the first go. Good material has always been revised and fine-tuned by the time you hear it. This sorts the men from the boys. It's easy to have the idea and get it down in the rough. It takes dedication to work through and perfect the song. it also takes a high degree of skill and technical competence. NK Recording artists: We have a number of songs available for you to perform, purchase or otherwise negotiate rights to. All monies raised from this site is to be used to send a message to world leaders that there is an alternative to Petrol Wars and Nuclear Power. WARNER MUSIC GROUP (AOL TIME WARNER) Music companies looking for acts: please stay tuned and contact our A&R department or write to the address below, when you spot someone with potential. 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Offers 4,000 products online, at competitive prices, for musicians of all types. Harps, harp music, clarsach, pedal harps and concert harps. Founded in 1980 by a group of craftsmen, all experienced in harp making. Workshops are a converted coach house beside a large Victorian family home set in the Surrey countryside. 01342 893242 Fax. 01342 892646 PREMIER PERCUSSION Information on percussion products, Leicestershire. Guitar effects consoles, with fascinating history attached - Roger has worked with many of the true greats. MAYER ELECTRONIC DESIGN ASSOCIATES SAXOPHONES.CO.UK Sales and rentals of saxophones, flutes and clarinets. SOUND TECHNOLOGY PLC Guitars, basses, sound software and more. STATUS GRAPHITE Hand-crafted graphite basses and guitars. STRINGS DIRECT Order strings online; accessories cables, useful tutorial. Suppliers of classical guitars and associated recorded music. THE CONTRABASS SHOPPE Dealers in orchestral stringed instruments. Manufacturers and suppliers of hardware and software for the church based in Cheshire. times a year, the Totnes School of Guitarmaking runs a 12-week course for up to seven people. Each of them has chosen what kind of guitar they want to make, and leaves at the end with the finished Think Music is a comprehensive direct musical instruments and equipment retailer. We have over 3000 product lines for you to browse and buy. UK Websites Directory A new directory site worth a look! Organ builders and installers in Northern Ireland, started in the garage adjoining the home of Christopher Gordon-Wells in 1966 then expanded into an old schoolhouse at Stoneyford north-west of Lisburn. Present Gregg Street workshop, was purchased in 1971 and has been steadily adapted and adjoining properties acquired for larger voicing shop and pipe store. Gregg Street, Lisburn, BT27 5AW, Northern Ireland Online store for PA, guitars, drums, pianos and more. of Music Limited, 20 Denmark Street, London WC1 Builders of pipeless organs based in Surrey. Wyvern Organ Buiders Ltd, Chobham, Woking, Surrey, GU24 8AQ. U.K. Tel: 01276 856363 Fax: 01256 855241 email: [email protected] The home of Gibson electric guitars today is "Gibson USA," built in 1974 in Nashville specifically for the production of Gibson's Les Paul guitars. you have a comment or question about anything related to Gibson Musical Instruments send an email to [email protected]. We'll do our best to respond within 24 hours. You can reach the GMI Customer Support staff 24 hours a day by calling 1-800-4-GIBSON Entertainment Relations, 3rd Floor, 29-35 Rathbone Street, London, England, W1T 1NJ Tel. (0) 207.470.7800 Fax. (0) 207.470.7870 Email: [email protected]. Online suppliers of a variety of equipment for guitarists. 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Music Psychology and Effects of Music To quote Stevie Wonder, "Music is world within itself, with a language we all understand...."--music acts as a language, with or without words, serving as a platform for people from all walks of life to express their deepest and most profound thoughts and emotions. As such, Leo Tolstoy has described music as "the shorthand of emotion". Of course, the musical experience goes beyond simply listening to it: as an exercise in creativity, and as a social activity, music involves considerable emotional and cognitive investment, whether in terms of its creation or its performance. Despite its widespread presence and relevance in our societies, music’s effects on the human mind are only beginning to be understood. The search for answers into music’s impact on the human mind has attracted scholars and researchers from a wide array of disciplines, including computer science, musicology, anthropology, and psychology. From its effects on depression and social attitudes, to research on its benefits in education, music psychology represents an exciting exploration of the magic that is music, as well as its involvement in the mystery that is the human mind. With or without lyrics, music conveys a message, an emotional message that reaches down into our heart, stirring deepest of feelings and emotions. Above: Copy of Jakobus Stainer, 18th century. Photo: Frinck While searching for a definition of music can yield as many as 27 different definitions for the single word “music”, for the purposes of this web page and site, the term “music” is defined in its most common form as: A “rhythmic, melodic, or harmonic grouping of sounds” composed in such a way that it forms a unified whole “so as to convey a message, to communicate, or to entertain.” Music definition is based on the OnMusic Dictionary Another definition of music: Vocal or instrumental sounds (or a combination of the two), which are combined so as to “produce beauty of form, harmony, and expression of emotion.” (Based on Oxford Dictionaries). Applications of Music Psychology Encompassing multiple disciplines, music psychology represents an excellent approach to understanding the phenomenon of the psychological effects of music, and how it can be harnessed to benefit individuals and societies. Music psychology examines the psychological processes underlying activities such as playing, listening to, and composing music, with psychologists, neuroscientists, linguists, educators, and computer scientists contributing to this treasure trove of knowledge. Through extensive research, scholars and professionals have been able to identify numerous applications for music psychology, including: Music-based treatments for a wide range of disorders, including bipolar disorder, depression, and memory impairments Extracurricular activities that foster academic performance Parenting and social activities that foster prosocial behavior Music as a marketing strategy Elements and Structure of Music As It Affects Emotions and the Mind Music can be a positive force for mental health, calming, relaxing, intellectually stimulating. This is true for adults, teens and children. Music can and does affect our emotions, it can create "channels" in our mind, patterns of thinking. It can impart ideas and ideologies, powerfully and emotionally conveying a way of life. Our choices in music, the intensity and frequency of the music we listen to, can have a bearing on our mental health, both in a positive way and in a way that can create imbalance. Some of the greatest composers were borderline geniuses, but also, many had personalities that could be described as deeply emotional or even volatile. Both mood and mood disorders can be affected by both the type, intensity, and amount of music we listen to. When we listen to music, we can internalize the emotions, so that the emotions of the composer, the band or singer, become a part of us. For the time we listen to and identify with the music, we have a spiritual connection, a bonding, with the one or ones who are singing, playing, and/or who composed the music. Music can be interpreted in different ways. Even the same music performed by the same composer, can convey a message of sadness and joy, loyalty or anger and betrayal, depending on the manner in which he/she chooses to convey the message. Music can be used in a positive way to bridge gaps, to create a bond between people who might otherwise have little in common. It can convey a message of peace and brotherhood, relax, soothe. At the same time, music has been used historically to glorify war and patriotism, such as when the Americans conquered the British in the War of 1812, and the resultant song, the Star Spangled Banner that went on to become the national anthem of the United States; also, consider classical pieces by German composer and theater director Richard Wagner (pronounced Vagner), which were used by Hitler to stir patriotic fervor in the masses. Children, teens, and even babies potentially benefit from listening to music, as music can be a stimulant to intellectual and cognitive development. At the same time, parents should choose carefully the type of music they play for the baby and child, as well as what music the mother listens to while carrying the baby in the womb. The Many Facets of the Psychology of Music—Disciplines and Research Under the title, Psychology of Music, Oxford University provides a broad synopsis of the subject, stating that the psychology of music focuses on understanding the psychological process involved in: listening to music composing or improvising music, and using empirical, theoretical and computational methods in interpreting as well as producing music Continuing research in music psychology is done by psychologists, musicologists in various disciplines, and computer scientists. Music psychology research includes: music perception and cognition computer modelling of musical capacities in musicians and listeners music and social psychology music as it relates to emotion and meaning music therapy, and the psychological processes -------Music therapy and speech language pathology (see American Speech-Language-Hearing Association (ASHA). -------Music therapy and addictions psychology of music from a developmental approach music and consciousness music and embodiment music and neuroscience In addition to the psychology of music, the multidisciplinary modality of the field involves explorations and research in such fields as (Hodges, D. 2003): anthropology of music sociology of music biology of music physics of music philosophy of music The Psychology of Music As previously mentioned, music is a deep and engaging emotional experience that affects a large cross-section of music lovers. Whether it’s a massive symphony that brings one to tears, or a nostalgic song that speaks of a happy summer; whether it rocks you to sleep or inspires you to travel, music’s effects cannot be understated. But how does music elicit these effects and make us feel the way we do? Lyrics do play an important role, but what about instrumental music? In order to understand the psychological impact of music we must understand the basic elements of music itself. Rhythm: Rhythm is the temporal aspect of music and is gives rise to music’s organization and pattern-based nature. The San Francisco Symphony states that you can find rhythm almost "anywhere", in a player dribbling a basketball, a washing machine, raindrops falling, or a runner in the street. Rhythm is what makes "music move and flow". Rhythm consists of sounds and silences, the repeated patter of these sounds and silences produces the beat, closely related to rhythm. A composer might use numerous rhythms in one piece. Beat and Meter: Closely related to rhythm is beat and meter. Beats are the fundamental building blocks of rhythm, the basic pulse of music, and are grouped together in measures; you might tap your foot or bang your hand on the table to the beat. Meter is the organization of strong and weak beat patterns that give rise to rhythm. Most of today’s music is written in 4/4 meter (or 4/4 time); the top (numerator) 4 refers to the number of beats in the measure, the bottom (denominator) 4 refers to the note (1/4 or quarter note) that gets one beat. As another example, a waltz is written in 3/4 time, with 3 beats to a measure rather than 4. Some meters are more complex, and the meter can change throughout a single piece in more-complex musical arrangements. Pitch: Pitch is the property that organizes sounds along a frequency-based scale; it is the quality that gives ear to classifying a sound as being relatively high or low. Each pitch is referred to as a note and the frequency of sound wave vibrations determine the pitch. The accepted standard for tuning the majority of musical instruments is a pitch of 440Hz, or 440 cycles per second. Specific pitches are referred to as tones; tones are the fundamental units for the majority of musical scale systems and are organized into octaves ("oct" meaning 8, musical notes range from A to G, 7 notes, then return to A on the 8th note). Western music theorists divide octaves into 12 pitches of relatively equal distance, which are referred to as the Circle of Fifths. Harmony: In harmony, two or more notes are played simultaneously to form chords. New Scientist in the article, Why Harmony Pleases the Brain states that in harmony the notes can be played at the same time, as well as behind, beneath, or around the melody, supporting the melody and providing "texture and mood". Melody: With melody, notes are played out in sequence based on rhythm and pitch, producing a complete arrangement, or an arrangement that still needs something to be developed to be complete. Composer Leonard Bernstein describes melody as a series of notes that move along in time, one after another. Texture: Put simply, texture is how each instrumental (or vocal) section—whether the music is being produced through actual musical instruments or if the sounds are being produced electronically, or both—is layered and interacts with each other. Timbre: The quality or "color" of a sound disregarding pitch, how we can distinguish one instrument from another. Professor of music David Meckler refers to these adjectives in describing timbre: bright, dark, brassy, reedy, harsh, noisy, thin, buzzy, pure, raspy, shrill, mellow, strained. Meckler states, "I prefer to avoid describing timbre in emotional terms", adjectives such as happy or sad, angry or peaceful, excited or tranquil, which he refers to as emotional descriptions rather than quality of sound (Meckler, D). Even the same instrument played by different musicians can produce a different timbre. Key: The key, or tonality, of a musical piece is the organization of a piece as is centered on the primary note of a scale that the piece is written in. Keys can be categorized as either major ("happy") or minor ("sad"). The key revolves around a single note, scale, and chord that gives the piece its sense of completion or rest. Elements of Music: Consonance and Disonnance: Additional, am important aspect of the elements of music to consider, especially as it relates to the psychology of music are the elements of Consonance and Dissonance. The impression of stability is provided in a musical piece, a sense of coherence, pleasantness, or rest through consonance. This contrasts with the tension, clash, or grating sound when certain combinations of musical notes or tones come together. Elements of consonance and dissonance can be found numerous times throughout a piece, or in specific sections. Music and Music Education Benefits for Teens and Children In the classroom, typically in preschool and kindergarten, soft and calming music is often, almost ubiquitously used to help children to relax at nap time and other times of the day. Some high schools use classical music through the hallway speaker in the morning periods and other times of the day. One high school teacher in Newark, NJ, plays soft music in the background while her students quietly work. Calming music adds to a peaceful and calm atmosphere in some urban schools. Other topics on the benefits of positive music in schools, and for children and teens include: Higher Test Scores and Cognitive Devevelopment; Higher SAT scores Music teachers can be positive role models, see how. Learning to play a music instrument helps teens to develop self esteem Read more on music in schools, teens and children Music and Teens - Developing Self Esteem "I love my piano lessons," said a 14 year old girl when she began studying piano. Active participation in playing music and music appreciation has been demonstrated to increase self-esteem. One teenager who was diagnosed with ADHD said that she had difficulty connecting with other teenagers in school. Learning to play piano during her teenage years, filled many vacant hours, staved off boredom, but also contributed to her development of self-esteem, which sometimes can be damaged when a teenager is diagnosed with a mental health disorder. Read more on music education and self esteem The Psychology of Music - Teenagers and Children Benefit from being Exposed and Learning to Enjoy a Wide Variety of Music There are many positive benefits for children and teenagers to be actively involved in learning about a wide variety of music, as well as in learning to play a musical instrument. By learning about and being exposed to a wide variety of music, "widening out" in their musical taste, a teenager can get a better perspective on cultural history, and where the music of today fits into the broader picture of music throughout history. There have been centuries of rich cultural heritage in many diverse cultures which have produced a wide variety of fascinating styles of music, much broader in scope and emotion than what might be popular at this point in time with commercial and pop, hop-hop and rock music, along with their various offshoots or progeny in various, current modes of popular music. Read more on benefits of music education Misogyny, Commercialization of Sex in Popular Music and Music Videos - It's Effect on Teenagers and Children The Birth of Rock and Roll - Jazz - Drug Culture - Teen Rebellion Positive benefits of poetry therapy Music, Psychology, Intensity and Effects On the other side of the coin, music such as hard core, hard rock, punk, and hard alternative, take your mind to highs and lows in your mood on what can be a wild mental-chemical roller coaster ride, for many, day in and out. Hip hop may also increase the mental excitement level of the listener. Music of all types affects emotions. Science indicates that the dopamine level in our mind is elevated by listening to or playing exciting music. Angus Young of hard rock band AC/DC. June 2001, Cologne, Germany Is listening to pop music linked with Major Depression in teens? - See: Teen Depression - Association Between Media Use in Adolescence and Major Depression - Major Depressive Disorder (MDD) in Young Adulthood Everyone's mind is wired differently. There is a complex predisposition in our bodies and minds which combines with psycho-social factors, such as the dynamics of family life, workplace or school environment, interpersonal relationships and inherited emotional makeup ( See Urie Bronfenbrenner's Bioecological Model of mental health. For individuals who are musically inclined, and at the same time deeply emotional, listening to music may affect them on a deeper level than others. Associate professor of psychology at Michigan State University, Joel Nigg, in his book, What Causes ADHD? explains that there is most likely a combination of pregenetic predisposition along with environmental factors which lead to symptoms of ADHD in some children. The same principle most likely applies with mood disorders and with various influences on mental health, including media and music. There is a combination of environmental, along with pre-genetic predisposition, which influences the way the brain processes information, so that certain environmental factors might illicit symptomatic responses associated with certain mental health disorders. Therefore, for some individuals, intense music might be one factor contributing to symptoms of certain mental health disorders. Because music has been demonstrated to affect the level of certain neurotransmitters in the brain, then it is not a far stretch to conclude that music might be involved with certain mental health disorders, any more than it is not a stretch to conclude that illicit drug use can result in symptoms of mental health disorders. Though the affect might not be as intense with listening to music as it would be with taking drugs, a similar principle applies, that the chemistry of the emotions and mind itself is being altered through an external source, in the case of music, a less direct connection than with taking drugs, but there is an affect nonetheless. Music, Psychology and Mental Health Disorders One well known example of a singer with mental health difficulties is Axel Rose the hard rock singer well known for his bipolar disorder, of the group Guns 'n Roses. To what extent does is his disorder affected by the intensity and frequency of the music that he performs? Also, to be considered, as one listens intently, identifies with the mood and emotions of a song, an entire CD, and when listens daily to that music, on the radio, car stereo, iPod or some other way, the emotions of that music become one's own emotions. In a similar way that a brain cell transmits an electrical current through the axon to the dendrite, skips the gap chemically, to start again to the next brain cell and start the process anew, musical energy is transmitted electrically from one person or group to another through modern technology. Joel Robertson, Ph.D., documents the impact both in a positive and detrimental way music can have on mental health, in areas such as depression, and also, by extension, bipolar disorder, in his book Natural Prozac. Those emotions, then, are transmitted through our sense and become our own. If those emotions are happy and positive, our brain will assimilate those emotions, if they are angry or emotionally pained, our minds similarly assimilate those same emotions, which are apparent in the brain through combinations of neurotransmitters and thought patterns. The electro-chemical patterns in the composer's mind, then, influence the electro-chemical composition in another's mind, or in the minds of masses of people. Music, then, and mass media, has tremendous influence on both the culture, mental and emotional state, as well as the chemical balance of millions of minds. As a general recommendation, by mellowing out in our taste in music, toning down the intensity and quantity of music we daily listen to, our mental health can be positively affected. Psychology of Music and Its Impact On the Mind, Mental Health Disorders Music can have a calming influence and instill a feeling of well being. Our genetic makeup has a bearing in the way the brain processes music. Some listen to music as something light and in the background, for others we absorb every note, every emotion, and it becomes a deep part of our psychological profile. Since young people and, today, children, often times listen to hours of music daily from many sources, it helps shed light on the impact that music might be having in terms of the mental health of children and teen mood disorders Some have noted today that persons who are very talented musically, creators of new and innovative music, have a tendency towards mental health disorders. Music borders on the spiritual. It can be something that stirs up from the very depths of one's soul, one's emotion, and is subject of study in emotion psychology. It is not surprising, then, that some psychologists acknowledge and have written about the affectt that music can have in mental health and how the chemical balance of our minds can be affected. Music can be a highly emotional form of communication. Ann Olson, PsyD, a mental health counselor and author of Illuminating Schizophenia: Insights Into the Uncommon Mind, encourage those with schizophrenia to listen to music without lyrics. Olson, who herself suffers with schizophrenia, notes that the lyrics can sometimes take on deeply personal meaning for those with schizophrenia, so that it can affects ones thoughts about oneself, and stir up mental battles related to schizophrenia. Suggestions in songs are internalized by the schizophrenic, in a way that contributes to a blurring of reality, contributing to psychosis. In the same way that children under a certain age usually have difficult differentiating between fantasy and reality, the schizophrenic has difficulty processing lyrical suggestions made in songs that they have internalized. On the positive side, music has been used both on a personal level, in education and in professional therapy, called, obviously, music therapy, to impart pleasant thoughts and to calm the mind. Music therapy is a specific branch of psychology that has already been developed and is being used in a clinical setting. Like Art Therapy, Music Therapy is an evidence-based clinical practice using music intervention with a patient or client and Board certified Music Therapist. Music Therapists in the United States hold a MT-BC credential, which is issued by the Certification Board for Music Therapists. Music Therapy in this context is not a self-help way of coping with anxieties, depression, or other mental health issues or emotional needs. It is more than a “feel-good” self-administered treatment, but it is a specific medical discipline that helps patients or clients achieve specific goals in a therapeutic context. The abilities or skills gained through music therapy can then be transferred for us in other parts of the lives of those utilizing Music Therapy. This approach is very similar to the approach taken by Art Therapy, where a licensed practicioner using as art therapy with clients. This is in contrast to art’s use as a self-help tool, which is quite different, but equally as valid, depending on the needs of the individual. The American Music Therapy Association (AMTA) outlines numerous avenues for use of and research in music therapy, among the following: music facilitating physical movement increasing people's motivation towards better engagement with other forms of treatment providing of emotional support for both clients and for clients’ families music facilitating an outlet for expression of feelings References for Music Psychology page: 1. Bernstein, L. (2009). Young People's Concert: What Is Melody? The Leonard Bernstein Office, Inc. Retrieved from http://www.leonardbernstein.com/ypc_script_what_is_melody.htm 2. Catterall, James S., Richard Chapleau, and John Iwanaga. "Involvement in the Arts and Human Development: General Involvement and Intensive Involvement in Music and Theater Arts." Los Angeles, CA: The Imagination Project at UCLA Graduate School of Education and Information Studies, 1999. NELS:88, National Education Longitudinal Survey) 3. Connors, Abigail, (August 2009). Listen! music matters - Seven surprising benefits of music education. NJ Family. 4. Could Pop Music Be Linked to Depression? Preliminary study found those who listened to lots of tunes had raised risk - April 4, 2011 - U.S. News & World Report 5. Definition of Music. Oxford Dictionaries. Retrieved March 27, 2015 from http://www.oxforddictionaries.com/us/definition/american_english/music 6. Grossman, L. (2011, September). Why Harmony Pleases the Brain. New Scientist. 7. Hamman, D. L., Walker, L., (1993). Music Teachers as Role Models for African American Students.Journal of Research in Music Education, Vol. 41, No. 4, 303-314, (1993). DOI: 10.2307/3345506. 8. Hodges, D. (2003) Music education and music psychology: What‟s the connection? Research Studies in Music Education. 21, 31-44. Intro to Beats: What are Beats, Meter, and Rhythm? EarSketch. Retrieved March 28, 2015 from http://earsketch.gatech.edu/learning/intro-to-beats/what-is-a-beat-meter-rhythm 10. Meckler, D. Elements of Music. San Mateo Community College . Retrieved March 27, 2015 11. Musical Keys and the Circle of Fifths. Music for Dummies. Hoboken, NJ: John Wiley & Sons, Inc. Retrieved March 27, 2015 from 12. Music Definition. Dictionary OnMusic. Retrieved March 27, 2015 from http://dictionary.onmusic.org/search?utf8=%E2%9C%93&term_search%5Bquery%5D=music&commit=Search 13. Music Education Online. Children's Music Workshop. (Retrieved August 4, 2009). http://www.schoolmusictoday.com/advocacy/benefits.html 14. Music: Pathology. (1938, May 2). Time Magazine. 15. Nypaver, A. What Is Pitch in Music? - Definition, Lesson & Quiz. . Retrieved March 28, 2015 from http://study.com/academy/lesson/what-is-pitch-in-music-definition-lesson-quiz.html 16. Ratliff, B., (June 3, 2008). Bo Diddley, Who Gave Rock and Roll His Beat, Dies at 79. New York Times. 17. Robertson, J., (1998). Natural Prozac. San Francisco: Harper SanFrancisco. 18. Rhythm. SFS Kids.org. San Francisco Symphony. Retrieved March 28, 2015 from 19. Speech-Language Therapy and Music Therapy Collaboration: The Dos, the Don’ts, and the “Why Nots?” (2011, October 4). Music therapy and Speech-Language Pathology. American Speech-Language-Hearing Association (ASHA). ASHA sphere. 20. Woody, R.H., (2013, May 3). How Practicing Less Can Foster Musical Growth. Psychology Today. Off-site Links Related to Music Psychology Does Music Affect a Fetus? Discovery Channel documentary video Responsible Hip-Hop - Why one rapper rejects hate messages of L'il Wayne and gangsta rap. Article/Interview with rapper DEE1 - DR BOYCE WATKINS: WHY THIS RAPPER TURNED DOWN A DEAL FROM LIL WAYNE’S LABEL The fetus responds to music in the womb. The fetus reacts to music. (It does not seem to enjoy hip-hop). Music to listen to: (Off-site links) Simple Pachelbel Canon Johann Strauss - Emporer's Waltz - Youth Orchestra Emporer's Waltz Andre Rieu - and ballet. Air on G-String Air on G-String - Single Acoustic Classical Guitar Air on G-String Sheet Music Beautiful CD Music Store for Youth, Children, Expectant Mothers Pages Related to Music Psychology Music and Bipolar Disorder Music History - The History and Psychology of Rock and Roll - and Jazz Teen Depression and Music - Pop music and teen depression link - Based on clinical study The Psychology of Miley Cyrus/Hannah Montana and pop-music for girls Misogyny in Commercial/Pop and Rap Music	1
Become a Better Arranger with Berklee Gain the vital tools needed to become an accomplished arranger, across a variety of genres, instruments, and styles. Essential learning for anyone interested in arranging music for a band, Arranging 1: Rhythm Section explores all aspects of writing and arranging for the rhythm section. Take your arranging abilities to the next level of development by studying more advanced techniques for voicing chords, orchestration, articulations, and background lines. Learn to create your own original grooves by analyzing, writing, sequencing and recording the rhythms and styles that have influenced western contemporary music. Develop your writing and arranging skills for smaller bands and larger ensembles and learn techniques that can be applied to both live instrumentation or sequenced/sampled sounds. Gain a practical, real-world understanding of the sound and personality of woodwind and string instruments, and learn how to properly apply them to songs, arrangements, and compositions. Master the concepts of vocal writing and arranging from basic to more advancedand learn to write vocal charts in a number of contemporary styles, including jazz, folk, pop, and R&B. Gain a broad overview of counterpoint and the art of writing lines that support both the melody and the overall structure of a composition - essential information for singers, songwriters, composers, guitarists and musicians from all backgrounds. Become a more versatile and sought-after jazz arranger. Jazz Arranging explores techniques that will allow you to write effective jazz arrangements for all types of instrumental combinations, from bop and hard-bop, to big band jazz ensembles. Learn effective techniques that will help you compose jazz tunes that have a balance of melodic, harmonic, and rhythmic appeal. Create great-looking music quickly and easily with the powerful Finale music notation software, and learn techniques to maximize speed, control, and accuracy. Learn to create lead sheets, choral and instrumental scores, drum maps and guitar notation, and explore many other ways to use Sibelius for your own personal and professional needs. Take your musical vocabulary and skill set to a whole new level for writing, arranging, and performing music of any genre by learning reharmonization and providing musical interest and variety to standard repertoire. Add depth and flavor to compositions in any genre by studying the characteristics of a wide array of world music compositional techniques. Learn how to develop upon virtually any kernel of an idea, from a melodic fragment to a catchy rhythm or phrase, or a nice chord. Explore a variety of approaches to composing and how they work, complete with examples, composer perspectives, and more. Master Certificates (8-12 Courses) Featuring our most advanced and in-depth arranging curriculum, build the strong foundation and gain the tools needed to become an accomplished arranger, across various genres and instruments. Gain a broad but in-depth background in arranging—for the rhythm section, horns, and strings—to writing for the full orchestra, and gain marketable skills that’ll be put to work immediately. Professional Certificates (4-6 Courses) Create your own certificate program by adding five courses from any interest area into a dedicated program. Specialist Certificates (3 Courses) Spring Term Starts April 6 for Courses and Multi-Course Certificates Create an Account Contact an Advisor Mon-Thu, 9AM-8PM ET Fri, 9AM-5PM ET	1
Reading Jane Austen's books really made me wonder how people used to make a living in the 19th century England. It seems to me that the men didn't have to go to work. Mr. Bingley (from Pride and Prejudice) who is said to have four or five thousand pounds a year, considered very rich, spent considerable amount of time (few months a year) doing nothing except dancing and making acquaintances. The Dashwoods family (from Sense and Sensibility) after the death of Henry Dashwood (the father) lived on an income of five hundred pounds a year, which was said to be a tight budget and yet were still able to have a few servants. BTW, I did a little conversion to find out how much the money back then is worth today. (http://www.nationalarchives.gov.uk/c...esults.asp#mid ) Mr. Darcy £10,000 / year = £339,600.00 Mr. Bingley £4000 / year = £135,840.00 The Dashwoods £500 / year = £16,980.00 I could hardly see how I could afford to have a servant with the Dashwoods' income today. Last edited by bhaisahab; 29-Oct-2009 at 12:42. Also, you are reading about the gentry, the land-owning society. Essentially, they are something like business owners, and would only to to "do business" every other day or so. Dickens said "Annual income twenty pounds, annual expenditure nineteen six, result happiness. Annual income twenty pounds, annual expenditure twenty pound ought and six, result misery." £10,000 would have been a lot if £20 can be used as an example of an annual salary over three decades later. This is a really helpful site to find out equivalent values: Take a break \| Currency converter \| Old money to new Until towards the end of the 19th century, money acquired through trade was regarded as "unclean" - though many landowners did in fact invest their money in industrial developments. In Austen's own circle landowning was the most respectable source of large income, but one has to be aware of the way in which the agricultural markets of the day fluctuated with good or bad harvests. Maintaining a large estate with tenant farmers in a market that was seeing massive falls was always a struggle. A servant received all his or her keep [food and lodging] plus often clothing [uniform or similar] as well as a small monetary sum. They did not of course pay any tax. Until the mid-20th century most middle and lower middle class houses had at least one live-in servant, and probably two or three who came in by the hour to do heavy work.	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 15 multiple choice questions and 5 short answer questions. Multiple Choice Questions 1. What does Nhuong say the white catfish fought like at the end of the old man's line? (a) A boxer. (b) A wrestler. (c) A demon. (d) A devil. 2. Why couldn't Nhuong stay for dinner? (a) His mother needed Tank's help. (b) He had to finish his homework. (c) He was going out for dinner with his cousin. (d) His mother was cooking his favorite. 3. What did the author's family mainly grow on their land? 4. Why did lowland buffalo not make good fighters? (a) They were not brought up with fierce animals. (b) They never had to look after themselves. (c) They were spoiled. (d) They had a different diet. 5. What did the families do with their bridge at night? (a) Covered it with oil. (b) Threw it in the trench. (c) Broke it. (d) Pulled it in. 6. What warned the farmer to the presence of a wild hog? (a) The hog's tusks. (b) A strange smell. (c) His dog. (d) His daughter. 7. What were the houses in the village made of? (b) Tree bark. (d) Sugar cane. 8. What might the female buffalo do if Tank was defeated? (a) They would eat their calves. (b) They would refuse any other leaders. (c) They would follow the winner home. (d) They would walk off a cliff. 9. What would the otters eat at their party? 10. How do the men tire the hog? (a) They set their dogs after it. (b) They push it into a trench. (c) They drive a truck after it. (d) They set Tank after it. 11. What did the villagers have to travel across to get to the nearest town? (b) A lake. (c) A river. 12. Where did Nhuong hear the story of how Tank was stolen? (a) A local wedding. (b) A supermarket. (c) The school yard. (d) A government meeting. 13. Where did Nhuong and his cousin sell the otters? (a) A city factory. (b) The market place. (c) The next village. (d) The dock. 14. How did Tank injure one of the thieves? (a) He gored his the leg. (b) He stamped on his foot. (c) He bit his nose. (d) He gored his buttocks. 15. What would fisherman use to fish a white catfish? (a) A metal pole. (b) A bamboo pole. (c) A fishing line on its own. (d) A spear. Short Answer Questions 1. Where did Nhuong imprison the otter? 2. Which of the following is a question the children asked about Tank? 3. What kind of calf does Nhuong's father want to buy? 4. How did the mother otter try to stop Nhuong from taking her cubs? 5. When is the only time a tiger will attack a wild hog? This section contains 477 words (approx. 2 pages at 300 words per page)	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 15 multiple choice questions and 5 short answer questions. Multiple Choice Questions 1. Why does Cal want Chapter Eleven to drive through Detroit on their way home for Milton's funeral? (a) He wants to shop for an outfit to wear to the funeral. (b) He wants to revisit the settings of her family's history. (c) He wants to stop and visit some of Milton's old friends. (d) He wants to delay seeing Tessie for the first time since deciding to live as a man. 2. Where do Callie and the Object spend most of their days in the summer? (a) At the Object's house. (b) At the Object's family's summer home. (c) At Callie's house. (d) The Grosse Pointe Club swimming pool. 3. Which of the following does NOT occur at the hunting lodge? (a) Jerome and Callie have sex. (b) Jerome, Callie, Rex and the Object smoke marajuana. (c) Jerome, Callie, Rex and the Object break into the lodge. (d) Callie stops the Object from becoming intimately involved with Rex. 4. Who is Mr. da Silva? (a) Callie's drama club advisor. (b) Callie's teacher and love interest. (c) Callie's high school English teacher. (d) Callie's eighth grade honors English teacher. 5. How does Callie's physical development compare to that of the other girls in her sixth grade class? (a) Callie and the other girls are both beginning to go through puberty. (b) Callie and the other girls have not reached puberty yet. (c) Callie is much more developed than the other girls. (d) Callie is much less developed than the other girls. 6. According to Dr. Luce which of the following is NOT an influence on gender identity? (c) Sex of rearing. 7. Why do Tessie, Milton and Callie travel to New York City? (a) For a relaxing family vacation. (b) For Callie to have abdominal surgery following her tractor injury. (c) To visit the Sexual Disorders and Gender Identity Clinic. (d) To visit Chapter Eleven at college. 8. What synonym for "hermaphrodite" does Callie see in the dictionary that upsets her? 9. Why does the man who claims to have Callie want Milton to negotiate a ransom price with him? (a) He is not sure how much Callie's return is worth to Milton. (b) He wants to engage in a bargaining session. (c) He wants to make Milton suffer even more. (d) He believes he can get more money from Milton than he initially asks for. 10. What is Callie's first step in her physical transformation into a boy? (a) Getting a short haircut. (b) Purchasing and wearing a used suit. (c) Purchasing a bus ticket to Scranton. (d) Walking like a man. 11. Which of the following is NOT a reason why Callie is concerned about her upcoming appointment with Dr. Bauer? (a) He is a gynecologist and she knows that her genitals are different than other girls'. (b) The Object tells Callie that the exam is painful. (c) The Object tells Callie that Dr. Bauer is perverted. (d) Callie is concerned that he will be able to tell that she is sexually attracted to girls. 12. Who does the Object develop a crush on that upsets Callie? (b) Rex Reese. (d) Chapter Eleven. 13. What does Callie attribute the changes in Chapter Eleven to? (a) His liberal arts education. (b) Milton's conservative views. (c) His girlfriend, Meg. (d) The military draft. 14. Who is the first person to pick Cal/Callie up when s/he begins hitchhiking? (a) A 30-something gay man. (b) A red-headed truck driver. (c) An old, judgmental woman. (d) A retired couple. 15. How does Milton die? (a) Father Mike shoots Milton while he is following him. (b) His car falls off of a bridge and sinks into the river. (c) Milton commits suicide because he believes he will never see Callie again. (d) Father Mike rams his car into Milton's crushing him. Short Answer Questions 1. What is perplexing to Dr. Luce and his colleagues about Callie's condition? 2. What does Callie do to try to remove the memory of having sex with Jerome? 3. What is Octopussy's Garden? 4. What course of treatment does Dr. Luce recommend for Callie? 5. What medical condition does Dr. Philobosian diagnose Desdemona with? This section contains 827 words (approx. 3 pages at 300 words per page)	2
\|Name: _________________________\|\|Period: ___________________\| This quiz consists of 5 multiple choice and 5 short answer questions through Act 2, Part 1. Multiple Choice Questions 1. When George loses he temper when the boys question him, what does he say the organization he works for tries to do? (a) Wipe out bad police officers. (b) Wipe out bad investigations. (c) Wipe out prejudice. (d) Prevent cover-ups. 2. What is the technique called that exposes flaws by making them extreme? 3. What does Henry do when the guard comes in with new and more difficult work assignments? (a) Asks for reassignment. (b) Beats the guard up. (c) Gives in. 4. How does Henry react to George and Alice's actions during the break in the court proceedings? (a) He mocks them. (b) He accepts them. (c) He rejects them. (d) He laments them. 5. What does El Pachuco believe should be most important to a true pachuco? Short Answer Questions 1. El Pachuco describes the "Pachuco" as part heroic what? 2. Who comes to Los Angeles on the night of the Riots? 3. How is a zoot suit cut? 4. What happened to El Pachuco symbolizes white society's desire to do what? 5. What is the sound that is blaring at the beginning of Act 1, scene ii? This section contains 229 words (approx. 1 page at 300 words per page)	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 15 multiple choice questions and 5 short answer questions. Multiple Choice Questions 1. Why does Elinor wonder if Marianne and Willoughby will be able to sustain a conversation? (a) They have already covered several topics (b) They don't know each other well enough (c) They are both very reserved people (d) They hate each other 2. Why could Willoughby not marry Marianne? (a) He lives too far away (b) His family would not allow it (c) He was in too much debt (d) He did not love her 3. Whose lock of hair does Edward claim it is? (b) His own (c) His brother's 4. What kind of woman does Marianne and Willoughby think Brandon attracts? (a) Insane women (b) Widows and married women (c) Pleasant and kind women (d) Loose women 5. How does Elinor keep herself busy when Edward leaves? (a) She draws (b) She visits the Middleton's everyday (c) She goes for walks with Mariane (d) She does the housework 6. Why does Elinor think her situation with Edward is better than Marianne's situation with Willoughby? (a) They were never really love (b) At least they can still be friendly (c) Edward does not like socializing (d) They never got engaged 7. How long is the carriage ride to London? (a) A week (b) Three hours (c) Three days (d) Ten days 8. Why is Edward reluctant to leave? (a) He has nowhere to go (b) He dislikes Fanny (c) He does not want to leave Elinor (d) He dislikes Norland 9. What does Marianne do at the party? (a) Play the piano 10. What secret does Brandon reveal to Elinor? (a) That he has had an unhappy love affair with a woman similar to Marianne (b) That he is in love with her (c) That he is already married (d) That he is AWOL 11. For how long do Lucy and Anne stay at Barton Park? (a) A week (b) One month (c) Six weeks (d) Two months 12. Which of the sisters stays behind from visiting Lady Middleton? 13. Why is Marianne not happy Edward is marrying Elinor? (a) He is not dashing enough (b) He does not have any money (c) He does not have a job (d) He does not love her 14. Why does Marianne hope for cold weather? (a) Willoughby will come back from his outdoor pursuits (b) She wants to have an excuse to stay inside and read (c) Willoughby will contract a cold (d) London is too humid 15. What does Elinor worry Edward's mother and sister will force him to do? (a) Find a job (b) Marry a woman of higher standing (c) Give them a yearly allowance Short Answer Questions 1. What baffles Marianne? 2. Why has Edward ended up having a idle life? 3. Which of Mrs.Dashwood's suggestions upset Willoughby? 4. Which family does Austen immediately introduce in this chapter? 5. Which one of the sisters does Edward Ferrars devote his time to? This section contains 508 words (approx. 2 pages at 300 words per page)	2
discussed in biography...tracts of 1641–42 are the antimonarchical polemics of 1649–55. Composed after Milton had become allied to those who sought to form an English republic, The Tenure of Kings and Magistrates (1649)—probably written before and during the trial of King Charles I though not published until after his death on January 30, 1649—urges the... history of English literature...and withering sarcasm. Milton’s later pamphlets—on divorce, education, and free speech ( Areopagitica, 1644) and in defense of tyrannicide ( The Tenure of Kings and Magistrates, 1649)—adopt a loosely Ciceronian sonorousness, but their language is plain and always intensely imaginative and absorbing. views on Charles I...of the king aroused hostility not only in England but also throughout Europe. Regicide was considered the worst of all crimes, and not even the brilliance of John Milton in The Tenure of Kings and Magistrates (1649) could persuade either Catholic or Protestant powers that the execution of Charles I was just. Open season was declared against English shipping, and... The Tenure of Kings and Magistrates Work by Milton Simply begin typing or use the editing tools above to add to this article. Once you are finished and click submit, your modifications will be sent to our editors for review.	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 5 short answer questions and 1 (of 3) essay topics. Short Answer Questions 1. Officer Leandro Pornoy, who visited with the twins at Clothilde Armenta's: 2. Colonel Lazaro Aponte: 3. The purple blotch that appears on Santiago's face is described as: 4. Santiago Nasar's tendency to disguise the girls' identities might suggest that: 5. Angela is frightened that: Essay Topic 1 The last line of any piece of writing can deliver or reinforce a powerful message. In the first three chapters, the author uses the last line to name Santiago Nasar and seal his fate as dead or destined to die. What message or purpose does repeating this idea serve? Essay Topic 2 Many dreams are described in detail in the novel. Freud said, "Unless the content of the dream rightly understood is inspired by alien spirits, it is part of [one's] own being." In an essay, connect Freud's belief to the author's use of dreams in the novel. Consider how the character's dreams reveal part of each character's being, and what is being revealed. Essay Topic 3 Consider the statement that "Honor is love," as the narrator's mother would have us believe. Write an essay in which you defend, refute, or qualify this statement. This section contains 982 words (approx. 4 pages at 300 words per page)	2
External Web sites Britannica Web sites Articles from Britannica encyclopedias for elementary and high school students. - Virginia Woolf - Student Encyclopedia (Ages 11 and up) (1882-1941). Virginia Woolf was born Virginia Stephen in London on January 25, 1882, and was educated by her father, Sir Leslie Stephen. After his death she set up housekeeping in Gordon Square in the district of Bloomsbury in London. Beginning in about 1907 her home was frequently visited by the young intellectuals who later became known as the Bloomsbury group. Among the group’s members were economist John Maynard Keynes, biographer Lytton Strachey, novelist E.M. Forster, and political writer Leonard Woolf. Woolf became her husband in 1912. The couple founded Hogarth Press as a publisher for her own and other authors’ books.	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions. Multiple Choice Questions 1. A forlorn Mary Alice informs Grandma of ______________. (a) Mildred's demand. (b) Mildred's desire to be her friend. (c) Mildred's following her. (d) Her interest in being Mildred's friend. 2. What is Augie Fluke intent on proving to Mary Alice? (a) He is smart. (b) He is handsome. (c) He is a good shot. (d) He can dance. 3. The day proceeds, and most of the _________________ are bad shots. (a) Boy Scouts. (c) NRA members. 4. Who is one of the last to be served? (b) Mary Alice. (d) Augie Fluke. 5. Mad, Grandma affixes a spare tire to the front of the farmer's tractor in the barn, and does what? (a) Rams the tractor into the tree. (b) Steals the tractor. (c) Runs the tractor into the river. (d) Rams the tractor into the farmer's house. Short Answer Questions 1. In a dank basement, they discover ______________, who is doubling as a janitor. 2. After the shoot, Grandma unloads all the burgoo coins onto ____________. 3. The teacher is reading ____________ when Mary Alice enters the class. 4. Grandma takes Mary Alice directly where? 5. What has broken the narrator and her mother? Short Essay Questions 1. What is a main reason for why Mary Alice does not want to move in with her grandmother? Why might she feel this way? 2. What does Mary Alice bring to Grandma's house? Why does she bring this? 3. How does Grandma take advantage of this man? Why does she do this? 4. What is another way that Grandma surprises Mary Alice during this holiday season? How is this surprise important? 5. What is burgoo stew? How might this represent life during the Great Depression? 6. What is significant about Mary Alice coming back to Grandma's town? 7. How is Mary Alice's date interrupted? How is this foreshadowed? 8. Why is this man in town? What does Grandma think of this? 9. Who contacts Mary Alice in the summer? Why? How does Mary Alice feel about this? 10. What is Grandma's final surprise for Mary Alice? What does this reinforce about Grandma? This section contains 873 words (approx. 3 pages at 300 words per page)	2
A poetry reading is a public oral recitation or performance of poetry. A public reading is typically given on a small stage in a café or bookstore, although reading by prominent poets frequently are booked into larger venues such as amphitheaters and college auditoriums, to accommodate crowds. Unless otherwise indicated in advance, poetry readings almost always involve poets reading their own work or reciting it from memory—the recitation of a work by another poet is normally the act of a well-known poet who chooses to read a few poems by lesser-known poets or old friends that the poet feels should be more widely recognized. Poetry readings often involve several readers (often called "featured poets" or "featureds"), although normally one poet is chosen as a "headliner." American poet Donald Hall described the increase in emphasis on public readings of poetry in the United States in a 2012 New Yorker magazine blog post where he recounted it a phenomenon that grew in the last half of the twentieth century. Hall, who speculates that the change may have been due to the star power of Dylan Thomas, wrote, "It used to be that one poet in each generation performed poems in public. In the twenties, it was Vachel Lindsay, who sometimes dropped to his knees in the middle of a poem. Then Robert Frost took over, and made his living largely on the road." Hall suggests that poetry readings have shifted the focus of poetry more towards sound, adding that "In concentrating on sound, as in anything else, there are things to beware of. Revising a poem one morning, I found myself knowing that a new phrase was repellent, but realized it would pass if I intoned it out loud. Watch out. A poem must work from the platform but it must also work on the page.". A poetry slam is a competitive format that has become increasingly popular, especially in the United States, since its inception in the 1980s. Much of the poetry featured at slams has adapted to a hip-hop sensibility. - Hall, Donald. "Thank You Thank You", The New Yorker, 26 October 2012. Retrieved 3 January 2014. - Video showcase recorded at poetry readings in Southern California - Video showcase recorded at poetry readings in Vancouver, BC, Canada \|This speech and debate-related article is a stub. You can help Wikipedia by expanding it.\|	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 5 short answer questions, 10 short essay questions, and 1 (of 3) essay topics. Short Answer Questions 1. To what does Tom Crick compare the soil of the Fens? 2. What gives the Atkinsons the decisive advantage over the other brewers in the Gildsey area? 3. What does Tom dream that he considers telling the headmaster about? 4. What sort of proof does Mary offer that Dick cannot be the father of her child? 5. Why does his most outspoken student reject Tom Crick's attempt to teach the class history? Short Essay Questions 1. In chapter 45, what is the symbolic significance of where Dick elected to hide the key from Tom to their mother's chest? 2. In chapter 6, Tom Crick suggests that the Fens and history have what in common? 3. In chapter 27, Tom Crick explains what he means by Natural History. What does he think it is a study of, truly? 4. As he watches Dick ride off on his motorbike at the end of chapter 46, Tom states that Dick rides as if he has the legacy of the Atkinsons on his back. How so? 5. In chapter 8, Tom Crick speaks about how humans tell stories. What are some examples he uses about how history and fiction sometimes seem to overlap? 6. What is the significance of phlegm for the body according to chapter 51? 7. Briefly discuss how, in chapter 44, his interview with the police unravels Tom's earlier ideas about teaching the facts of history. 8. IIn Chapter 43, what significant change occurs in Tom and Price's attitude toward history? 9. In chapter 32, Tom Crick describes the relationship between Mary and Dick. Why does Mary say she wants to "educate" Dick and what is the version of events that she tells Tom? 10. In chapter 10, Tom Crick explains that he thinks the most important question is the question "why?" How does he use Louis XVI's fate to illustrate that point? Essay Topic 1 Religion is not an overt topic in Graham Swift's novel Waterland, but it certainly recurs as a theme. In particular, Tom Crick discusses religion in respect to two women: Gildsey's patron saint Gunnhilda and Tom's wife Mary. Using specifics and quotes from the novel, retrace the religious development those two women undergo in the novel and compare and contrast them. Essay Topic 2 In Graham Swift's novel Waterland, one major theme is that of being truthful--both towards oneself and towards others. The narrator, Tom, is the best example for that struggle. Give an example from Tom's story (or from his story-telling) of instances when telling the truth matters very much, but either Tom or the reader cannot tell whether the truth is being told. Explore what difference it would have made in that instance if the truth had been told. Essay Topic 3 Unusual deaths and half-dead states haunt the characters of the novel Waterland by Graham Swift. Choose one character whose death or death-like state is traumatizing to the other characters, describe the circumstances of his or her death, and explore the death's lasting effects. Using specifics from the book, argue why those deaths were as important as they were. Analyze how death serves as a theme and as a symbol in the novel and what that theme or symbol implies for Tom Crick's view of history. This section contains 2,597 words (approx. 9 pages at 300 words per page)	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 5 short answer questions and 1 (of 3) essay topics. Short Answer Questions 1. What does Norwood finally say Bert is allowed to do? 2. Where does Cora say she will see Bert when he leaves? 3. Of what does Cora inform this person? 4. With whom did Bert have dinner? 5. What is Bert holding? Essay Topic 1 Norwood and Bert have much in common. Part 1) Prove this statement. Part 2) How do these similarities reflect the theme of this play and the plays deeper meaning? Part 3) What role do these similarities play in the advancement of the plot of the play? Could these two characters have been able to act any differently towards one another? Why or why not? Essay Topic 2 Norwood does not tolerate disrespect from his "darkies." Part 1) How have his "darkies" been disrespectful to him? How does this affect Norwood? Part 2) Would you agree that disrespect has been shown? Explain. Part 3) How would you react if you were one of Norwood's "darkies?" Why? Essay Topic 3 Bert used to be Norwood's favorite. Part 1) Why might Bert have been Norwood's favorite? Part 2) What changed this? How is Norwood to blame for this change? Part 3) How does Norwood's attitude towards Bert reflect how he feels about the rest of his children with Cora and possibly his other "darkies" as well? This section contains 1,370 words (approx. 5 pages at 300 words per page)	2
\|Name: _________________________\|\|Period: ___________________\| This quiz consists of 5 multiple choice and 5 short answer questions through Part I: Seeds, December 11, 1906 - May 15, 1939. Multiple Choice Questions 1. Cameron Wilcox returns from war with ______________. (a) Foreign money. (b) A bag of guns. (c) Trophies from battle, including human body parts. (d) Uniforms of people he had killed. 2. What do Ad Topperwine and the designer support? (a) Government gun regulation. (b) Arming insurgencies. (c) Selling weapons to foreign countries. (d) Individual gun ownership. 3. When does Cameron Wilcox suffer personal disasters? (a) Civil War. (b) Spanish-American War. (c) World War I. (d) The Great Depression. 4. Who designed the weapon Ad Topperwine is testing? (a) Samuel Colt. (b) John Browning. (c) Simon Winchester. (d) Smith & Wesson. 5. What opposition do the court cases set up? (a) Between law enforcement and gun owners. (b) Between private citizens and government agents. (c) Between gun owners and gun manufacturers. (d) Between the federal government and gun culture. Short Answer Questions 1. What theme runs through the first chapter? 2. What is Zofia's family's relationship with the Nazis? 3. What is Ad Topperwine testing in the first chapter? 4. Where was Cameron Wilcox involved in a veterans' march? 5. For what topic does the first chapter "Seeds" lay the foundation for? This section contains 242 words (approx. 1 page at 300 words per page)	2
Crane, Stephen, 1871–1900, American novelist, poet, and short-story writer, b. Newark, N.J. Often designated the first modern American writer, Crane is ranked among the authors who introduced realism into American literature. The 14th child of a Methodist minister, he grew up in Port Jervis, N.Y., and briefly attended Lafayette College and Syracuse Univ. He moved to New York City in 1890 and for five years lived in poverty as a free-lance writer. His first novel, Maggie: A Girl of the Streets (1893), a grimly realistic story of slum life, was unpopular but gained the young writer the friendship of Hamlin Garland and William Dean Howells. Crane's next novel, The Red Badge of Courage (1895, restored ed. 1982), brought him wide and deserved fame. Set during the Civil War, the novel traces the development of a young recruit, Henry Fleming, through fear, illusion, panic, and cowardice, to a quiet, humble heroism. This remarkable account of the emotions of a soldier under fire is all the more amazing since Crane had never been in battle. On the strength of the novel he served as a foreign correspondent in Cuba and in Greece. Around 1897 Crane married Cora Taylor, who ran a brothel in Florida. His marriage, coupled with his unorthodox personality, aroused scandalous rumors, including those that he was a drug addict and a satanist. Because of this slander Crane spent his last years abroad; he died of tuberculosis in Germany at the age of 28. Crane was a superb literary stylist who emphasized irony and paradox and made innovative use of imagery and symbolism. Thus, although realistic, his novels are highly individual. Crane also wrote superb short stories and poems. The title stories of The Open Boat and Other Tales (1898) and The Monster and Other Stories (1899) are considered among the finest stories in English. His two books of epigrammatic free verse, The Black Rider (1895) and War Is Kind (1899), anticipated several strains of 20th-century poetry. See his works, ed. by F. Bowers (10 vol., 1969–76); letters, ed. by S. Wertheim and P. Sorrentino (2 vol., 1988); biographies by J. Berryman (1950, repr. 1975), R. W. Stallman (1968), and L. H. Davis (1998); studies by M. Holton (1972), R. M. Weatherford, ed. (1973), F. Bergon (1975), D. Halliburton (1989), and C. Benfey (1992); bibliography by R. W. Stallman (1972). More on Stephen Crane from Infoplease: See more Encyclopedia articles on: American Literature: Biographies	2
Theatrical realism was a general movement in 19th-century theatre from the time period of 1870-1960 that developed a set of dramatic and theatrical conventions with the aim of bringing a greater fidelity of real life to texts and performances. Part of a broader artistic movement, it shared many stylistic choices with naturalism, including a focus on everyday (middle-class) drama, ordinary speech, and dull settings. Realism and naturalism diverge chiefly on the degree of choice that characters have: while naturalism believes in the overall strength of external forces over internal decisions, realism asserts the power of the individual to choose (see A Doll's House). Russia's first professional playwright, Aleksey Pisemsky, and Leo Tolstoy (The Power of Darkness (1886)), began a tradition of psychological realism in Russia which differed from the use of Naturalism later establishment by the Moscow Art Theatre and it's founders, Constantin Stanislavski and Vladimir Nemirovich-Danchenko. The main difference being that in the Realism of writers like Ibsen, is that something happens, it follows the rules of The Well-Made Play, while Naturalism is simply characters living on stage which is most present in Chekhov's Uncle Vanya and The Cherry Orchard, where the characters could attempt to save the orchard, but instead they do nothing. The Moscow Art Theatre's ground-breaking productions of these plays by Anton Chekhov in turn influenced Maxim Gorky and Mikhail Bulgakov. Stanislavski went on to develop his 'system', a form of actor training that is particularly suited to psychological realism. 19th-century realism is closely connected to the development of modern drama, which, as Martin Harrison explains, "is usually said to have begun in the early 1870s" with the "middle-period" work of the Norwegian dramatist Henrik Ibsen. Ibsen's realistic drama in prose has been "enormously influential." In opera, verismo refers to a post-Romantic Italian tradition that sought to incorporate the naturalism of Émile Zola and Henrik Ibsen. It included realistic – sometimes sordid or violent – depictions of contemporary everyday life, especially the life of the lower classes. - Brockett and Hildy (2003, 370, 372) and Benedetti (2005, 100) and (1999, 14-17). - Harrison (1998, 160). - Benedetti, Jean. 1999. Stanislavski: His Life and Art. Revised edition. Original edition published in 1988. London: Methuen. ISBN 0-413-52520-1. - ---. 2005. The Art of the Actor: The Essential History of Acting, From Classical Times to the Present Day. London: Methuen. ISBN 0-413-77336-1. - Brockett, Oscar G. and Franklin J. Hildy. 2003. History of the Theatre. Ninth edition, International edition. Boston: Allyn and Bacon. ISBN 0-205-41050-2. - Harrison, Martin. 1998. The Language of Theatre. London: Routledge. ISBN 0-87830-087-2.	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 5 short answer questions, 10 short essay questions, and 1 (of 3) essay topics. Short Answer Questions 1. With whom is the governor in love with? 2. How does Welldon say he could cheat the widow? 3. What does Blanford vow to help Oroonoko do at the beginning of Act II, Scene II? 4. What is Oroonoko's status? 5. What does the line "I shou'd like mightily to be call'd Mrs. Welldon" foreshadow in Act I, Scene I? Short Essay Questions 1. Why does Oroonoko say that Imoinda has made him a coward? 2. How do Blanford and the others find Oroonoko in Act V, Scene III and what do they tell him? Does Oroonoko trust them? 3. How is the dispute between Daniel and Lucy resolved in Act V? 4. What does Aboan caution Oroonoko in Scene II, Act III and what does he fear has happened to Oroonoko? 5. How is Widow Lackitt's interest in Welldon shown (list 5 examples) and what does it foreshadow? 6. At the beginning of Act I, Scene II, what are the Governor and Blanford discussing and what might this foreshadow? 7. What is Aboan's most convincing argument which finally gets Oroonoko to join his plans of revolt? 8. Describe the Captain's character in Act I, Scene II. 9. What is the lesson behind the captain's death and did we know it was coming? 10. How might Act III be considered the climax of the play? Essay Topic 1 There are six elements to the plot of a play. Discuss what these six elements are and how Oroonoko follows these elements. Research as necessary using at least one book source (not including the play or novella) and use specific examples from the play. Essay Topic 2 Plays have been written as far back as ancient Greek times and Aristotle, as an ancient Greek philosopher left the world with his rulings on the six dramatic elements. Discuss Aristotle's six dramatic elements then choose one to analyze in regards to the play: 1) Plot/Action 2) Character 3) Ideas/Themes 4) Language 5) Music 6) Spectacle. Research as necessary using at least one book source (not including the play or novella) and use specific examples from the play. Essay Topic 3 It is often said that the greatest story is a love story. The play is not without the elements of a romance. Discuss what are the elements of a romance or love story and how they are portrayed in the play. Which characters are involved and with who? Is it a comedic love or tragic? What is the message about love? Research as necessary using at least one book source (not including the play or novella) and use specific examples from the play. This section contains 2,327 words (approx. 8 pages at 300 words per page)	2
Why So Pale and Wan, Fond Lover? (Study Guide) Cummings Guides Home..\|..Contact This Site .Study Guide Written by Michael J. Cummings...© 2009 .Type of Work and Year of Publication ....... "Why So Pale and Wan? " Background. Games at twilight by Alexandra Rodriguez on Prezi. Search for Richard III teaching resources - TES. Ama Ata Aidoo: Language in The Dilemma of A Ghost. Megan Behrent, Brown University '97 The Dilemma of a Ghost , Aidoo's first play, puts on stage a wide array of characters from diverse heritages, educational backgrounds and thus, linguistic backgrounds. Language plays an extremely important role in that it is the primary way in which differences in background and educational status are represented, and it is also central to the miscommunications that occur between the different characters. In "Language and Drama," Dapo Adelugba argues that 'speech, in Aidoo's plays is an index of social class, age and blackground". For Eulalie, an African-American woman, English is a first language and Aidoo tries to demonstrate this in this character's speech. Although she certainly succeeds in distinguishing Eulalie's speech from the other characters, it is perhaps in her attempt to portray American-English that Aidoo is least successful. Perhaps the most interesting and successful use of language is that of the family as well as the two old women. Report On The Threatened City Guided Questions. Please have a copy of the short story at hand when working on the exercises below. Read the text carefully and answer the following questions meticulously. Remember to quote selectively from the text to illustrate your points when necessary. Jot down quote/important scenario page numbers in parenthesis for easy reference later on. Give a brief outline of the plot of the story. Make sure you include only the most vital events.What facts do we have about the visiting extra-terrestrials by the end of the short storyWhere do they come from – approximately? The Custody of the Pumpkin - Ms Kirby's Class Noticeboard. P.G. Wodehouse Jeeves & Wooster (based on 'Jeeves' by P.G. Wodehouse) Plot Summary This story is about an upper class English man, who is both an Earl and a Lord who decides that his aristocratic family is missing a significant title: winner of the largest pumpkin at the Shrewsbury Flower and Vegetable Garden. Matthew's Poetry Analysis: Summer Farm - Norman MacCaig. Summer Farm Norman MacCaig Summary: The poet lies within the depths of his mind, probably in his happy place as his mother’s family lived in the rural area, which is reflected in this story. Everything described in the story is part of his mind, with perhaps every animal representing a different aspect of his mind. This poet always discusses the concept of having layers and layers of dreams, like how the mind is made up of layers and layers. Sounds like inception to me. The Importance by Cecilia L on Prezi. This Is My Letter to the World - Poetry for Students. Emily Dickinson c. 1862 Author Biography Poem Text Poem Summary Themes. AS-Level – Songs of Ourselves: Part 1. There are 36 poems that make up the first part of CIE’s poetry anthology, which may seem a little overwhelming at first, but never fear; if you’re organised and understand the types of questions that are going to be on the exam then you’ll be fine (see Poetry Exam Tips). Follow each of the links for the poem + my analysis. You may also find my Comparison Chart a useful way of linking poems for the comparison essay. I’ve tried to be extremely thorough and have broken down my analysis into different elements you’re expected to be able to discuss: Click here for Analysis Breakdown Overview – a short summary of what the poem is about. Context – background information about the poet/the poem. *Themes – the main ideas dealt with in the poem. A Martyr to Love: Mary Wroth’s Sonnets in the Early British Literature Survey Course. In the undergraduate early British literature survey course (beginnings to 1660) that I teach at a small liberal arts university, I like to introduce students to Sir Philip Sidney’s niece, Mary Wroth, also a sonneteer who began writing in 1613. Her Pamphilia to Amphilanthus, the first complete sonnet sequence by a woman writer in England, was published with her longer prose work, The Countesse of Montgomeries Urania (1621). Because we study so many sonnets by the conventional writers, Petrarch, Wyatt, Shakespeare, Spenser, Sidney, and Marlowe in the course first, students are aware of basic sonnet forms and conventions before we read her. By this point in the course, they understand the differences between Italian and English forms and notice when a writer significantly departs from established sonnet traditions. Wroth works especially well also in courses that look at later women writers who revived the form in the late eighteenth and nineteenth centuries. Rainbow Literature. Analysis of 'Flag' by John Agard. Flag read by John Agard (AQA Conflict Anthology) John Agard 'Put The Kettle On' Poetry Jump Up by John Agard. John Agard: 'Listen Mr Oxford don' Benjamin Zephaniah author of 'Too Black Too Strong' discusses racism and multiculturalism. Benjamin Zephaniah Talking Turkeys Christmas Poem. Money - Benjamin Zephaniah. Dis Poetry. Theories of Diaspora. Welcome to Lit2Go ETC. A poet is, before anything else, a person who is passionately in love with language. Scottish Poetry Library. Carol Ann Duffy was born in the Gorbals (Glasgow) on 23 December 1955, the first child of May (née Black) and Frank Duffy; May was Irish and Frank had Irish grandparents. They subsequently had four sons, and moved when Carol Ann was six to Stafford, where her father worked for English Electric and managed Stafford Rangers Football Club in his spare time. Duffy attended Roman Catholic primary and middle schools, and then Stafford Girls’ High. Her early passion for reading and writing was encouraged by two of her English teachers, and developed by the poet-artist Adrian Henri (one of a trio of Liverpool poets whose work was famously anthologised as ‘The Mersey Sound’ in 1967), with whom she lived from the age of 16 until 1982. Carol Ann Duffy: Rapture (2005) Poems. Carol Ann Duffy’s seventh collection is a book-length love poem, and a moving act of personal testimony; but what sets these poems apart is Duffy’s refusal to simplify the contradictions and transformations of love – infatuation, longing, passion, commitment, rancour, separation and grief. Instead, Rapture is a map of real love, in all its churning complexity, showing us that a song can be made of even the most painful episodes in our lives. These are poems that will find deep rhymes in the experience of most readers and will, ultimately, prove that poetry can and should speak for us all. Exclusive: poet laureate Carol Ann Duffy's poems for children. Carol Ann Duffy has been acclaimed as the first poet laureate for the whole family with her brilliant poems for children. New laureate Carol Ann - who edits our Poetry Corner column - has given us an exclusive preview of her latest work to share with Daily Mirror readers. Carol Ann Duffy. On December 23, 1955, Carol Ann Duffy was born in Glasgow, Scotland to Mary Black and Frank Duffy, both of Irish Catholic descent. Together with her four younger brothers, she was raised in Staffordshire in the West Midlands of England where her father worked as a fitter with English Electric. She received a degree in philosophy from Liverpool University in 1977. Her first job was writing for television shows, followed by a C. Day Lewis Fellowship to work as a writer-in-residence in East End schools of London from 1982 and 1984. Phshigher.wikispaces. Faber: 60 Years in 60 Poems. Custody of the Pumpkin (Use of Humour) Themes: obsession, Ambition,prioritysocial class differencehumuiliationprejudicematerialismarrogancesarcasm and humour Ways that creates the humour: Use of similes:(like an elderly leopard, like a fish, like a setter… etc.) It helps to understand the characters better by indirect characterization. Character’s actions and emotions are explained. Narration: Third person omniscient limited. The Importance of Being Ernest. Introduction to Literature:The Importance of Being Earnest (1895) Act One The play's story-- marriage, its manners and obstacles--is actually quite a common one in fiction (literature and best-sellers) and especially comedies. The characters' views of marriage are both a source of laughter and an issue for serious discussion. What does each character in this act (i.e. The Importance of Being Earnest: STUDY QUESTIONS - MULTIPLE CHOICE QUIZ by Oscar Wilde. Free Study Guide: The Importance of Being Earnest by Oscar Wilde - Free BookNotes Previous Page \| Table of Contents \| Next Page Downloadable / Printable Version 1. Why is Jack not allowed to marry Gwendolen? Who's Afraid of Virginia Woolf Study Guide. Comparaingtexts.wikispaces. A-Level Synopses, AS English Lit Guides, Exam Literature Studies. The Great Gatsby. The Great Gatsby (1925) by F. Scott Fitzgerald is a short novel which takes place on Long Island during the Jazz Age and is commonly cited as one of the greatest novels of the 20th century. Chapter 1 IGCSE Literature at IESE - Songs of Ourselves Poetry. The selection of poetry that you will be studying comes from the 19th and 20th Centuries. Here are the poems that you will look at:Thomas Hardy, ‘The Voice’Allen Curnow‘Time’Mathew Arnold, ‘Dover Beach’Adrienne Rich, ‘Amends’Ted Hughes, ‘Full Moon and Little Frieda’Gillian Clarke, ‘Lament’John Keats, ‘The Grasshopper and The Cricket’Vachel Lindsay, ‘The Flower-fed Buffaloes’Boey Kim Cheng, ‘Report to Wordsworth’John Clare, ‘First Love’Dennis Scott, ‘Marrysong’George Gordon Lord Byron, ‘So, We’ll Go No More A-Roving’Elizabeth Barrett Browning, Sonnet 43 (‘How do I love thee? Let me count the ways!’) Edna St Vincent Millay, Sonnet 29 (‘Pity me not because the light of day’) The poems are linked by a number of themes: Love, Relationships, Nature, Conflict betweent Man and Nature, Memories. Literary Devices. WikiPaintings.org - the encyclopedia of painting. Children's short stories. Classic Short Stories. Thomas Bailey Aldrich (1 Story) Honore de Balzac (1 Story) Ambrose Bierce (4 Stories) Paul Bowles (1 Story) Books, Poems, Articles and Stories for Children. WILLIAM SHAKESPEARE SONNETS with text of each sonnet. Stories from Shakespeare - Penguin Readers Level 3. An Analysis of Shakespeare's Sonnets and Sonnet Paraphrase in Modern English. Shakespeare's Sonnets. Shakespeare's Sonnets. Shakespearean Sonnet. Cummings Guides Home..\|..Shakespeare Videos..\|..Shakespeare Books .By Michael J. Cummings © 2003. The Shakespearean Sonnet: Overview ........William Shakespeare wrote one hundred fifty-four sonnets.	2
\|Name: _________________________\|\|Period: ___________________\| This quiz consists of 5 multiple choice and 5 short answer questions through Act 2. Multiple Choice Questions 1. What is the relationship between Elmire and Mariane? (c) Mother and daughter. (d) Stepmother and stepdaughter. 2. What is the name of Tartuffe's servant? 3. What does Elmire refer to as a "dreadful chore" to Cleante in Act 1? (a) Standing up. (b) Madame Pernelle's lecture. (c) Talking to Orgon. (d) Listening to Tartuffe. 4. What derogatory name does Madame Pernelle call her servant just before leaving the house in Act 1? (a) A dog. (b) A slut. (c) A lass. (d) A waste. 5. In Act 1, what ailment does Dorine tell Orgon his wife suffered while he was gone? (a) The flu. (b) A fever. (c) A fever and headache. (d) Breathing problems. Short Answer Questions 1. What is Mariane's response to Valere when he asks her what she thinks of her father's decision for her to marry Tartuffe? 2. Which two characters converse with one another just after Madame Pernelle leaves in Act 1? 3. Finish the sentence: "Monsieur, can you pose as one who's sage, gravely stroking your breaded _____." 4. What does Mariane describe as having "with the strongest passion"? 5. Who describes Tartuffe as "a base usurper with a power tyrannic"? This section contains 223 words (approx. 1 page at 300 words per page)	2
Sonnet 60 Man and the Natural World Quotes How we cite our quotes: (Line) Like as the waves make towards the pebbled shore, So do our minutes hasten to their end, Each changing place with that which goes before, In sequent toil all forwards do contend. (1-4) On the surface, the simile in these lines is just comparing "waves" to "minutes." But notice that Shakespeare says "our minutes." So, he is actually comparing the minutes as experienced by human beings to the passage of waves toward the shore. The connection this draws between humans and nature is disturbing—but mainly because of the differences between humans and nature. Think about it: the sea can just keep sending waves over and over again toward the shore. If the waves get destroyed each time, it doesn't matter: the sea always has more. Humans, however, only have a limited number of minutes in their lives before they die. In these lines, Shakespeare is being extremely sneaky. He compares one thing to another, but the similarity between the two things mainly serves to reveal the underlying differences—and it's the differences that are the real heart of the problem. Nativity, once in the main of light, Crawls to maturity, wherewith being crowned, (5-6) In these lines, the birth and development of a child is compared to the rising of the sun. So human life is natural, recurring, and, like the sun, brings joy and warmth to those who see it. For a while, at least. Crookèd eclipses 'gainst his glory fight, And time that gave doth now his gift confound. (7-8) How quickly things change—and in very strange ways. If you were going to compare human life to the sun, you would probably start off just the same way Shakespeare does—by describing birth and maturation as like the rising of the sun. And then you would probably describe old age and death as the gradual setting of the sun through afternoon and evening, until it finally disappears below the horizon. Right? But Shakespeare doesn't do that. Instead of having the sun set, it gets blotted out by "Crookèd eclipses," something extremely rare in nature. From the perspective of the Elizabethans, "eclipses" could even be thought of as bordering on being unnatural, and frankly terrifying. We're betting that's kind of the point: Shakespeare wants us to feel outraged at what time does to people, and it's a lot harder to feel outraged if you accept it as a natural process. The more he can portray time as unnatural, the more the reader is going to join with the speaker of the poem in trying to fight time, tooth and nail (and verse).	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 15 multiple choice questions and 5 short answer questions. Multiple Choice Questions 1. What is one thing that makes Anita realize Oscar is right about their country? (a) The way her father and mother speak in low tones all the time. (b) The way the Secret Police stand on every street corner. (c) The way she has to erase her diary. (d) The way the teachers never veer from planned lessons. 2. Who comes over to spend time with Sammy? (c) Sammy's second cousin. (d) No one. 3. What doesn't feel right to some of the students? (a) That there are only girls in the school. (b) That the summer break is going to be much shorter this year. (c) The climate, which they are not used to. (d) That religious symbols are being used in school. 4. Who is Carla? (a) Anita's younger sister. (b) Anita's older sister. (c) A new girl who just started school the day before. (d) Anita's cousin. 5. What do the men in the Volkwagons want? (a) To stay for a few days. (b) To arrest Anita's mother. (c) To buy stuff in the store. (d) To search the property. 6. Why does Anita's father say they have to stay? (a) To mind the store. (b) To wait for Anita's older borther to be released from prison. (c) To wait for Anita's older brother to get out of the military. (d) To see if Tio Enrique will return. 7. What do Carla and Anita find difficult? (a) To attend different schools. (b) To leave each other. (c) To travel so far by train. (d) To choose items for the valise. 8. What does Oscar talk about concerning the country? (a) Freeing it. (b) The lack of a good educational system. (c) The class structure that keeps people poor. (d) Its noble history. 9. Why are the students unsettled about the visitors to the classroom? (a) The last time it happened, one student left and never came back. (b) It is interrupting their practice time. (c) It is almost time for recess, but they can't leave until the teacher dismisses them. (d) They think something is wrong with Anita's mother. 10. Where is Tio Tony? (a) He is missing. (b) He is in the Bronx. (c) He is hiding in the mountains outside of Santo Domingo. (d) He is in prison in Santo Domingo 11. How old is Mr. Washburn's son? 12. Where are Anita's grandparents? (a) La Romana (b) New York. (d) San Cristobal 13. What does Chucha often see in her dreams? (a) The future. (b) She never dreams. (c) The past altered to bizarre visions. (d) Monsters shaped like people. 14. Who comes into the classroom? (a) A new student who happens to be a boy. (b) The nurse. (c) The principal. (d) Another teacher. 15. Who does Anita's father take to work the day after Carla leaves? (b) Anita's brother. (d) No one. Short Answer Questions 1. What are the men in dark glasses using as an excuse to search the compound? 2. What is Chucha's opinion about these men? 3. Who is Chucha? 4. What does the teacher tell Carla to do? 5. What is another name for Mr. Smith? This section contains 558 words (approx. 2 pages at 300 words per page)	2
Sensory words in poetry are those that powerfully invoke instances of sense perception for the reader, particularly those invoking the five senses themselves: taste, touch, sight, smell and hearing. Through the use of sensory language, the poet seeks to enhance the poem's experiential nature.Know More Poetry often has a capacity to create a sense of immersion for the reader that is more powerful than that correspondingly found in general prose. Sensory language, or sense words, play an enormous role in this. Adjectives are one of the primary tools employed by poets in this regard, adding crisp and stimulating descriptions of the material presented. For example, anxiety may be described as paralyzing or prickly; the sun may be described as burning or blinding. In each case, several sensations or sense faculties are brought into play, layering the experience with complexity. Another common sensory language tool for poets is the metaphor. Rather than being straightforward description, the metaphor compares the material in the poem to something else, either explicitly or inferentially. An emotion, for instance, may be compared to a tide rolling across the surface of the ocean. Not only does this produce a specific type of imagery for the reader, it also allows her to recall her own concrete experiences of being in the sea, perhaps at high tide, and to transfer that recollection to her appreciation of the poem and its potential meaning. Thus, metaphor not only amplifies and expands the poet's ability to create sensory connections, but also her ability to introduce symbolism and allegory into the content of the poem.Learn more in Poetry Poetic elements are literary tools used by authors when they write poetry. There are several poetic elements, and a different combination of them can be used in each individual poem. Each element serves to make a poem more imaginative, interesting or compelling according to the author's wishes.Full Answer > Sensory details are bits of information a writer uses that describe what is being written using the five senses: sight, sound, taste, touch and smell. These words brighten up a story and help the reader feel truly involved instead of simply consuming the writing. Many people describe this writing method as "showing," as opposed to "telling."Full Answer > One example of poetic justice is the fate of the character Mr. Bumble in the Charles Dickens novel "Oliver Twist." A wealthy sadist at the start of the novel, Mr. Bumble ends the tale as a pauper, working in a house he once owned and frequently enduring humiliation from his wife. Poetic justice occurs when good characters are rewarded and bad characters punished through an ironic twist of fate.Full Answer > Poetic sound devices are tools poets use to impart meaning or feeling through the way words sound. Some examples of poetic sound devices are alliteration, which is repetition of the initial sounds of words, and assonance, or repetition of vowel sounds.Full Answer >	2
- Shopping Bag ( 0 items ) Each volume in the Barnes & ... Each volume in the Barnes & Noble Shakespeare includes: Introduction to Romeo and Juliet by Mario DiGangi “Romeo, Romeo! Wherefore art thou Romeo?” So familiar is Romeo and Juliet to us that it takes an act of conscious will to imagine a time when Juliet’s question was not a cliché. In its immediate dramatic context, Juliet’s question is the spontaneous, tentative, and private expression of a young woman’s burgeoning erotic desire. It also serves to confirm Juliet’s true feelings for Romeo, who overhears her confession from beneath her window. Yet in our own time, Juliet’s anguished question is repeated again and again in the classroom, on the stage, and in popular culture as part of an enduring myth of romantic love associated with Shakespeare’s play. As a result, we are perhaps far more likely to regard “Romeo, Romeo! Wherefore art thou Romeo?” as something that Shakespeare, rather than Juliet, said. Detached from its dramatic context, Juliet’s question can be taken as a prime example of the Bard’s romantic lyricism, or, less reverently, as a piece of romantic sentiment irresistibly ripe for burlesque—perhaps most memorably in Bugs Bunny’s absurdly exaggerated, cross-dressed performance of Juliet’s passion. The modern understanding of Romeo and Juliet as archetypical tragic lovers has been shaped by centuries of performance history and critical commentary, and, more recently, by popular movies and secondary school curricula. Yet Elizabethan audiences might have been surprised to find that they were being asked to regard this pair of contemporary Italian adolescents as serious tragic protagonists. The most elevated dramatic genre, tragedy traditionally dealt with the fall of great men—“great” because both aristocratic and historically important. Romeo and Juliet are neither. Thus part of the Chorus’s job is to persuade his audience to bring “patient ears” to this unconventional, but nonetheless “piteous” and “fearful,” tragedy featuring “star-crossed lovers” rather than great historical figures (Prologue 13, 7, 9, 6). By defining Romeo and Juliet as “star-crossed lovers” instead of as son and daughter, boy and girl, Montague and Capulet, or husband and wife, the Prologue places the protagonists in a lofty tradition of legendary and historical tragic couples such as Dido and Aeneas and Antony and Cleopatra. Romeo and Juliet, however, are non-noble, nonlegendary lovers whose story originated not in ancient epic or historical narratives but in modern romances. As such, an Elizabethan audience might well have felt skeptical about the value of a tragedy centered on their lives and loves. Shakespeare’s unconventional protagonists might have further alienated the sympathies of many London playgoers through their association with Catholicism, the extremely young age at which they enter into a clandestine marriage, and their sacrilegious acts of suicide. In order to find Romeo and Juliet figures worthy of tragic treatment, then, Shakespeare’s audience would have to find value in their love. The Prologue’s reference to the protagonists as “star-crossed” begins to establish this value by attributing cosmic significance to their story. But the value of Romeo and Juliet’s experience emerges most forcefully from the way that Shakespeare invests their love with depth and dimension as a force of personal and social change. Whereas the mature protagonists of Shakespeare’s later love tragedies Othello and Antony and Cleopatra discover that their personal histories and social identities thwart their ability to sustain romantic intimacy, the young lovers of Romeo and Juliet discover that romantic intimacy provides an opportunity to challenge and transform their inherited social identities as enemies. Romeo and Juliet believe that they can shape a future that will reward their own standards of value. In one of the play’s most poignant moments, Romeo assures Juliet that “these woes shall serve / For sweet discourses in our times to come” (3.5.51–52). (The more experienced Friar regards the future with greater apprehension: “So smile the heavens upon this holy act / That after-hours with sorrow chide us not” [2.6.1–2]). Like the protagonists of Shakespeare’s later tragedies, however, Romeo and Juliet are not simply “star-crossed” victims of fate: they actively participate in bringing about the woes that will prevent a sweeter future from being realized. Evading public recognition of the transformations wrought by their love, Romeo and Juliet disastrously underestimate the power exerted over their lives by the very familial and social forces whose standards of value they have attempted to circumvent. Despite all the misgivings an Elizabethan or modern audience might feel about the prudence of the young lovers’ actions, Shakespeare enlists our sympathies by depicting their love as a potential force of change in a society paralyzed by self-consuming passions. In the first part of the play, both Romeo’s infatuation with Rosaline and the recursive violence of the feud are driven by passions that are paradoxically self-sustaining and self-defeating. The opening scene encapsulates the ethos of the feud through the aimless banter of two idle servants, whose bawdy puns on “stand,” “tool,” and “naked weapon” sexualize the violent encounters between Verona’s young men (1.1.10, 29, 31). Charged by the erotic energy of aggressive masculinity, the feud continues to run on its own juices, detached from any evident origin or goal. Although Romeo has removed himself from the feud’s sterile cycle of violence, he is stuck in a no less sterile identity as a Petrarchan lover. In the literary tradition derived from the fourteenth-century Italian poet Petrarch, the lover uses antithetical phrases such as “bright smoke,” “cold fire,” and “sick health” to express the paradoxical mixture of joy and sorrow he feels in devoting himself to a woman who does not return his affection (1.1.174). Caught in a highly stylized representation of love that prevents him from experiencing desire as an immediate, deeply felt emotion, Romeo languishes in melancholy solitude. Montague worries that his sole heir will fail to blossom into a healthy and prosperous young man, that he will wither like “the bud bit with an envious worm / Ere he can spread his sweet leaves to the air / Or dedicate his beauty to the same” (1.1.145–147). This image of thwarted love as a withering bud will later be replaced by Juliet’s hopeful image of love’s flourishing: “This bud of love, by summer’s ripening breath, / May prove a beauteous flower when next we meet” (2.2.121–122). Rosaline, impervious to love’s “ripening” powers, will remain an unopened bud frozen in time; in dedicating his life to her service, Romeo must therefore “live dead” (1.1.218). Encouraging Romeo to regard Rosaline as an object of sexual desire, not a subject of poetic adoration, Mercutio attempts to return his lovesick friend to the social world of aggressive masculinity from which he has strayed. In Shakespeare’s primary source for Romeo and Juliet, Arthur Brooke’s narrative poem The Tragical History of Romeus and Juliet (1562), Mercutio appears in a single passage as a courtier who competes with Romeus for Juliet’s love. In Romeo and Juliet, Mercutio competes with women for Romeo’s love, trying to cure his friend of the romantic infatuations that keep him from male society. Echoing Sampson and Gregory’s punning associations between sex and violence in the play’s first scene, Mercutio claims that Romeo can only be “move[d]” or “stirre[d]” out of his amorous lethargy by taking sexual possession of his mistress (2.1.16). Whereas Petrarchan poetry bestows a unique value on the chaste mistress, Mercutio believes that Romeo should understand Rosaline as a collection of body parts—“bright eyes,” “scarlet lip,” “fine foot, straight leg, and quivering thigh”—that are conveniently available “to raise [him] up,” or stimulate him into an erection (2.1.18–20, 30). Romeo’s idealistic Petrarchanism and Mercutio’s coarse anti-Petrarchanism seem to represent antithetical positions on love. Yet both attitudes devalue the mutuality of love, and hence love’s transformative capacities, by erasing the woman’s role as an actively desiring partner. For Romeo, Rosaline is to be praised from afar; for Mercutio, Rosaline is to be enjoyed in the flesh. That Rosaline apparently desires only to protect herself from the “siege of loving terms” and the lover’s “assailing eyes” seems not to matter much to either man (1.1.206–207). Living up to the “good will” of his name, Benvolio offers Romeo an escape from the narcissistic sterility of Petrarchan love. He does so, surprisingly, by introducing an analogy between love and commerce. Earlier, Romeo had drawn a different analogy between sexuality and economics in describing Rosaline’s preservation of her virginity as a hoarding of riches. By preserving her virginity, Rosaline paradoxically “makes huge waste” of her beauty, because she will not have any children that might inherit and preserve that beauty (1.1.212). This language of hoarding associates Rosaline with the repellent figure of the miser or usurer, later described by Friar Laurence as one who “abound’st in all” and fails to make “true use” of his riches (3.3.123–124). Significantly, Benvolio evokes a very different model of financial exchange when he promises to help Romeo to forget Rosaline: “I’ll pay that doctrine or else die in debt” (1.1.232). By playfully “indebting” his life to Romeo, Benvolio challenges himself to fulfill his promise to teach Romeo a new “doctrine” of love. Benvolio’s view of economics as a risky venture that can produce profit (“pay”) as well as loss (“debt”) describes the quality of mutual exchange that will characterize the love between Romeo and Juliet. Shakespeare would develop this metaphor of love as economic exchange at greater length in The Merchant of Venice, but in Romeo and Juliet it serves to suggest the rewards and risks, and hence the value, of the “true use” of love. Both the rewards and risks of love are apparent in Romeo and Juliet’s first conversation. When they meet at the Capulet feast, Romeo and Juliet speak to each other in alternating lines of dialogue that combine to form a fourteen-line sonnet. While their dialogue produces a conventional poetic form, their mutual authorship of this poem significantly moves beyond Petrarchan convention in giving the woman an active voice of desire. By putting Petrarchan language to a less narcissistic use, Romeo reaches out across the borders that are everywhere constructed in Verona: significantly, the topic of the sonnet is a pilgrimage, a healing journey to a new land. Moreover, the sonnet’s religious imagery of giving and taking sin echoes Benvolio’s economic imagery of giving and taking payment. Romeo offers Juliet a kiss as amends for any offense done by his hand; when Juliet grants his prayer with a kiss, Romeo claims that his lips have purged or paid for the sin of his hand. Juliet, however, keeps the exchange going. She protests that Romeo’s kiss has transferred his sin to her lips, tacitly inviting him to take back his sin through another kiss. Hence both have sinned, and both have pardoned each other’s sin: as Romeo will later explain to the Friar, “one hath wounded [him] / That’s by [him] wounded” (2.3.50–51). When Romeo and Juliet discover each other’s true identity, they express their shock through a paradoxical language of simultaneous loss and gain. Romeo exclaims, “O dear account! My life is my foe’s debt”; Juliet laments, “My only love sprung from my only hate” (1.5.116, 136). Although the imagery of death and hatred in these lines seems to foreshadow the lovers’ demise, Romeo and Juliet must acknowledge the mutual risk and sacrifice involved in love before they can begin to fashion their new identities as lovers. If Juliet appears to demonstrate greater emotional maturity about love and more courage in the face of adversity than Romeo, it might well be because she faces greater risks by engaging in a clandestine romance. In the Renaissance, much greater value was placed on female chastity than male chastity, since the orderly legal transmission of a man’s name and property to his heirs was dependent on the secure knowledge that his children were really his own. Even for a woman to speak openly about her sexual desires could earn her a reputation as a whore. The play’s famous balcony scene significantly focuses on the risks Juliet takes in expressing her sexual desires to a young man she has just met. Since Romeo has overheard her confession of love, Juliet cannot take shelter in the conventional postures of female modesty. Thus, she rightly worries that Romeo might perceive her behavior as “light”—that is, whorish (2.2.99). Whereas Romeo rather insouciantly anticipates that Juliet will simply “cast . . . off” her virginity, it is left to Juliet to raise the issue of marriage in response to his complaint about being left “unsatisfied,” a word with strong sexual connotations (2.2.125). It is not that Romeo pressures Juliet into a sexual relationship. Juliet powerfully articulates her sexual desires in a soliloquy that calls upon night to veil the world in darkness so that she and Romeo might secretly perform their “amorous rites” (3.2.8). Juliet’s gorgeously sensuous language of passion imparts great seriousness and depth to her feelings, a view of female sexuality not always found in Shakespeare. For instance, in the contemporary narrative poem Venus and Adonis, Venus, the goddess of love, demonstrates little of Julit’s solemn grace in her attempt to seduce the beautiful mortal boy Adonis. Like Juliet, Venus believes that acts of love are best performed in the dark, yet Venus’s attitude toward sex is unabashedly “light”: “Art thou ashamed to kiss? Then wink again, / And I will wink. So shall the day seem night. / Love keeps his revels where there are but twain. /Be bold to play—our sport is not in sight” (121–124). For the audience to find value in Juliet’s passion, and in her willingness to die for that passion, she must neither speak nor act like the aggressively frolicsome Venus. Moreover, Juliet must acknowledge the importance of marriage as the social institution that legitimizes sexuality. Marriage has been Juliet’s destiny from the beginning of the play. The various episodes of consultation (1.2), persuasion (1.3), dispute (3.5), and courtship (4.1) that precede her arranged marriage to Paris reveal the collective effort spent on verbally negotiating the precise conditions under which that destiny will be fulfilled. Juliet accepts her destiny to become a wife. Nonetheless, she bypasses the judgment of the familial and social authorities that give marriage its public validity when she independently determines, from an argument that she conducts with herself, that Romeo is worthy to be her husband. Affirming that a rose “[b]y any other word would smell as sweet,” Juliet concludes that Romeo’s value derives from his inherent “perfection,” not from the familial or social identity signified by his name (2.2.44, 46). As their secret relationship brings the lovers into open conflict with familial and social authorities, Juliet’s belief that he and Romeo can simply refuse their inherited identities is revealed to be an untenable, if appealing, fantasy. Through its focus on the power of language to shape experience, the play suggests that Romeo and Juliet cannot escape from conventional “names” (or social identities) because, as social beings, they cannot escape from conventional “words” (or names). Even the intensely personal and poetic language through which Romeo and Juliet fashion their secret romance depends on a common understanding of words such as “rose” and “sweet” (2.2.43, 72). Words and their meanings are determined by social convention, not by individuals; and though individuals have a certain freedom in how they use and interpret language, that freedom is also circumscribed by the particular contexts in which communication occurs. Thus the sweetness of the rose’s smell to Juliet is not necessarily the same sweetness that she experiences in the “sweet sorrow” of parting from Romeo or that she attributes to the “sweet Nurse” who bears “sweet news” (2.2.187; 2.5.21, 23); or that Romeo mocks in the “sweet goose” Mercutio (2.4.76); or that Paris values in the “sweet water” that he sprinkles on the tomb of his “[s]weet flower” (5.3.14, 12). Just as Juliet cannot control the multiple meanings that the word “sweet” might acquire as it travels through the play, so she cannot control the meanings of Romeo’s “name” or social identity as he travels through Verona in his multiple roles as son, friend, husband, subject, and enemy. Juliet’s insistence on determining for herself the value of Romeo’s “perfection” suggests both the appeal and the danger of their love. Romeo and Juliet assume that they have the power to negotiate their love privately, to remove it from the realm of public knowledge and authorization. This assumption leads Juliet to conclude her meditation on naming with a fantasy in which Romeo gets everything for giving up nothing: “Romeo, doff thy name, / And for thy name, which is no part of thee, / Take all myself” (2.2.47–49). Juliet will later claim that her “bounty is as boundless” and her “love as deep” as the sea; consequently, “The more I give to thee, / The more I have, for both are infinite” (2.2.134–135). In this formulation, love no longer involves giving and taking, gaining and losing; instead, it has the miraculous power to produce infinite gain from infinite giving. It is this view of a constant, bountiful, and mutually transformative love that readers and playgoers have celebrated in Romeo and Juliet. Yet this view of love also involves a miscalculation about the relationship between the private and the public that sets in motion the lovers’ demise. The play’s action overtly shifts to tragedy with Mercutio’s death, for which Romeo must bear some responsibility. Having married Juliet, Romeo finds himself in a paradoxical position: he has altered his social status through an alliance with the Capulet family, but he cannot give that alteration in status a social meaning by naming his kinship to Tybalt. In response to Tybalt’s challenge, Romeo’s cryptic assurance that he “love[s]” Tybalt and “tender[s]” the name of Capulet as “dearly as [his] own” thus cannot help but be misunderstood (3.1.66, 68–69). Unaware of Romeo’s new kinship with the Capulets, Mercutio regards Romeo’s tranquil response to Tybalt’s insults as a “dishonorable, vile submission” (3.1.70). Romeo’s submission is “vile” because in failing to refute Tybalt’s charge of “villainy” he dishonors his own name and, by association, Mercutio’s name. The highly rhetorical, equivocal language that serves Romeo and Juliet so well in expressing the bittersweet emotions of love fails dismally in charged social situations. Romeo discovers that painful truth here, as Juliet will discover it when her father flatly rejects the “[c]hopped logic” she uses to reject his offer of Paris (3.5.148). Racked with guilt, grief, and anger over Mercutio’s death, Romeo challenges Tybalt to a duel by returning to him the name of “villain” (3.1.122). With tragic consequences, Romeo finally acts in accordance with the violent code of masculine honor he has heretofore resisted. Ironically, by dueling Tybalt, Romeo only confirms his dishonorable reputation as a “villain.” Not only do Capulet’s wife, Paris, and even Juliet identify Romeo as a “villain,” but the Prince, whose words have the power to determine social identity, new baptizes and banishes him as a “vile” participant in “rude brawls” (3.1.138,186). Romeo’s and Juliet’s tormented reiterations of the word “banishèd,” which Romeo calls “death mistermed” (3.3.21), point up the tragic irony that their private attempt to redefine their own identities has resulted in the highly public imposition of a stigmatized criminal identity. Less publicly, but with no less disastrous an impact on the choices Juliet will make, Capulet new baptizes his daughter as a “[d]isobedient wretch,” “green sickness carrion,” “young baggage,” “wretched, puling fool,” and so on (3.5.159, 155, 159, 183). Recalling the Prince’s sentence upon Romeo, Capulet threatens forever to banish Juliet from his care should she refuse her new identity as Paris’s bride. As they make the decisions that rush them toward their violent deaths, Romeo and Juliet provide little indication that they have acquired any deeper insight into the causes of their tragic demise. In Shakespeare’s later love tragedies, protagonists such as Othello and Cleopatra reveal an acute concern for how they will be remembered after their deaths. Through moving final speeches and highly theatrical suicides, they attempt to demonstrate to those who will report their deaths that they have achieved a complex understanding of their tragic circumstances and of the social and moral impact of their actions. Late in the play, Romeo comes to refer to himself as a “man,” as if to acknowledge the maturity that accompanies suffering (5.3.59). Yet neither Romeo nor Juliet overtly ponders the social or moral implications of the circumstances and choices that have brought about their shared tragedy. Denying Romeo and Juliet the privacy that might encourage such self-reflection, the social world of Verona relentlessly impinges upon the isolation of the tomb in which they spend their last moments. Although Paris and Romeo each approach the Capulet tomb alone and in secret, their unfortunate encounter results in the second mortal duel that Romeo has unsuccessfully tried to avoid. Once in the tomb, Romeo addresses not only Juliet but also Paris, Tybalt, and Death, the male rivals and enemies who silently witness the act of fidelity he undertakes with the aid of the “true apothecary[’s]” poison (5.3.119). Prior to ingesting the Friar’s sleeping potion, Juliet, too, had imagined the tomb as a crowded place, packed with the bones of her ancestors and stalked by Tybalt’s ghost. Juliet awakens to find herself in the cold company not of the silent dead, as she had initially feared, but of Friar Laurence, who hurriedly indicates Romeo’s lifeless body slumped at her side and recommends that she spend the rest of her days in a convent. In the few moments of solitude between the Friar’s furtive departure and the watch’s clamorous arrival, Juliet has time only to reject the new identity that social authority would determine for her, choosing instead to share Romeo’s fate. Shakespearean tragedies typically close with a reconstitution of social order around the slain bodies of the protagonists. In the face of so much suffering and death, the survivors’ attempts to draw a moral, to assert that justice (whether human or divine) has been served, or to affirm a brighter future are always vulnerable to the undercutting forces of irony and skepticism. The conclusion of each Shakespearean tragedy achieves a different tension between hope and despair, a different accounting of the price paid for the recognition of error and the resolution of conflict. The deaths of Romeo and Juliet end the feud, thus implying that a social value or “true use” might be made of even the most intensely antisocial romantic love. Yet we are left to ponder exactly what kind of value has been attributed to these “[p]oor sacrifices” (5.3.304). By promising to erect gold statues of each other’s children, do Montague and Capulet prove that former enemies can “tender” each other’s names as “dearly as [their] own,” as Romeo had failed to assure Tybalt (3.1.68, 69)? Or are they still competing for social preeminence, crudely associating the value of their children’s lives with the value of gold? The Prince locates the lasting value of the couple’s “true and faithful” love not in their golden statues, but in the legacy of their tragic narrative: “For never was a story of more woe / Than this of Juliet and her Romeo” (5.3.302, 309–310). Although sympathetic to the couple’s suffering, the Prince’s closing statement attempts to mold the play’s messily concatenated series of errors, accidents, deceptions, and rash actions into an artfully shaped, purposeful, and thereby consoling “story of . . . woe.” The Prince, that is, directs us to find the meaning of the tragedy in the deaths of Romeo and Juliet, not in the deaths of his own kinsmen, Mercutio and Paris, or of Tybalt, or of Montague’s wife. Yet it should not escape our notice that, in a significant departure from his source, Shakespeare has loaded this final scene of carnage with not two but three dead bodies: “the County Paris slain, / And Romeo dead, and Juliet, dead before, / Warm and new killed” (5.3.195–197). Capulet’s wife has begun to tell the much less artful story of social chaos and pointless loss that this bloody spectacle seems to demand: “Oh, the people in the street cry ‘Romeo,’ / Some ‘Juliet,’ and some ‘Paris,’ and all run / With open outcry toward our monument” (5.3.191–193). The authoritative Prince, however, has the last word. And it is his more palatable romantic version of the woeful story that most of us have preferred to regard as Shakespeare’s own. Posted July 7, 2007 I am in High School, and we used this edition in class, and it was extremely helpful. Not only is it very clear to read, explains well the words you don't know, but it also gives an indepths explanations, on the puns, and etc. which enchances your understanding of the play and your reading experience. 49 out of 51 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted December 4, 2006 I firmly believe that Romeo and Juliet is something everyone should read in their lifetime. It's a beautiful love story and though, yes, it all happened really quickly, it added to the passion of the whole thing. I will always, always, love this play, and I would reccomend it to anyone looking for a great and tragic love story! 9 out of 9 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted March 13, 2009 I thought this was a good book, but I needed some explanation on the difficult Shakespearean dialect. I liked the plot and the characters, the only thing was that this story was a legend of sorts that Shakespeare simply wrote down; it wasn't his original idea. Other than that, I thought that it was well done. 4 out of 4 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted August 26, 2013 A great classic Shakespeare tale of love and tragedy, but this book takes each part, and translates it into modern, easy-to-read English. What struck me while reading is how little people have changed in 500 years, obsessed with sex appeal, status, and envy of their neighbors. 2 out of 2 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted February 21, 2011 Posted May 16, 2004 I read Romeo and Juliet twice; once on my own and once for my freshman English class. It's a little bit hard to understand (make sure you get a copy with footnotes on old language), but an okay story in the end. I love the ending! 2 out of 3 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted May 7, 2013 Numerated footnotes and explanations on the opposite page made the text easy to follow. My only little complaint is that the tiny font of this series got annoying sometimes. To enlarge it on the nook color, you have to enlarge the page, which becomes bothersome when you have to swipe back-and-forth from one line to the next. All in all, a good version of Romeo and Juliet, whether for the scholar or casual reader. 1 out of 1 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted March 10, 2011 Posted November 7, 2007 Romeo and Juliet is a great way to get hooked on reaing Shakespeare. This play is about the tragic tale of two lovers who's parents are enemys and the parents raise their children to despise eachother. But little do they know that their children have fallen in love till death do them part. The ending is both happy and sad. 1 out of 2 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted May 13, 2007 Posted March 20, 2015 Posted March 13, 2014 Posted November 19, 2013 I enjoyed reading Romeo and Juliet (Shakespeare Made Clear). Garamond Press has done a good job of creating an informative and readable guide to Shakespeare’s play. I learned some interesting background information on Shakespearean England as well. This would be especially helpful for students who want a modern-day explanation of Romeo and Juliet. The one thing I would have done differently is create footnotes instead of using in-text notes. This would have made the text even easier to follow.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted October 29, 2013 Don't understand Shakespeare's play ? This review will spell it all out for you in easy terms. It not only tells you in the chapter summary what each act is about but it also explains the characters, the words and why they were used and the history of the town and culture of the people. It also explains the dialect of the time and what the slang or pun terms of the words mean. Throw away your cliff notes, this review is way better than notes, its as if there is someone right next to you talking to you about what the play means in easy detail. Definitely worth buying!! Posted October 3, 2013 This is a time-saver for sure and will spare students a great deal of confusion. The layout is great, will help introduce younger readers to Shakespeare in a way they can relate to. Even Shakespeare veterans will learn a lot through helpful comments in the text (e.g., definitions, performance notes, historical commentary), although the tone is slightly patronizing.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted October 2, 2013 This little booklet provides a hearty synopsis of a dense and sometimes confusing masterpiece. It’s pretty much a godsend for anyone reading a Shakespeare drama for the first time while also being a fun and informative (but maybe light) read for folks who are familiar with the work. Worth keeping side-by-side while you’re reading the play itself.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted October 1, 2013 This semester I was assigned Romeo and Juliet in my introduction to Shakespeare class. I wanted to do well so I asked a friend of mine who has previously taken this course to give me some advice. Very simply she said, “Read Romeo and Juliet (Shakespeare Made Clear); it’s a great supplemental text and will help you understand Shakespeare so well it will be like night and day!” She was right because after getting this book I’ve understood all the underlying messages, poetry and themes so well that I have aced my essay recently!Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged. Posted October 1, 2013 Romeo and Juliet (Shakespear Made Clear) was written for folks that do not pick up Shakespeare to read for pleasure on a quiet afternoon. This book was written for the vast majority of us that find Shakespeare a chore, not a joy. The author not only provides clear, succinct translations of the text as it was originally written, but provides brief, entertaining descriptions of the culture, setting, and history of eatre theatre in the 1500's. I strongly recommend this book for anyone struggling with the Elizabethan language and the sonnet form. I think you will be pleasantly surprised and may find yourself actually reading Shakespeare on a quiet afternoon. Posted October 1, 2013 Shakespeare Made Clear’s “Romeo and Juliet” contains Shakespeare’s full original text. Alongside the original, there is a modern day translation that clarifies what’s going on for the 21st century reader. It also comes with an in-depth analysis of the play’s themes, characters, and scenes, along with a specific overview of the story and important facts. If you haven’t read the play, or you’ve read it a million times, this guide will surely provide new insight and pleasant reading. Posted October 1, 2013 Shakespeare’s Romeo and Juliet in American Lingo It can’t be disputed that there is no substitute for the classic Shakespeare work, Romeo and Juliet. According to the book, Romeo and Juliet Shakespeare made clear by Garamond Press, other versions of this story existed before Shakespeare wrote his, and certainly this story moved through time with other versions . These included the 1957 West Side Story musical stage production and the 1961 film which garnered the Academy Award for best picture. This book offers a wealth of information about the history of the era, the traditions and customs of the times, the previous and post versions of Shakespeare work, a synopsis of the play, summaries of each act, explanations of the way the language was used, and a full translation of every set of lines into the American vernacular. This book is an excellent tool for any student assigned to read this work, and for anyone else who really wants to know what the characters in this story are saying.	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 5 multiple choice questions and 5 short answer questions. Multiple Choice Questions 1. Where does Qfwfq want Lll to come away with him to? (a) An underwater garden. (b) A system of caverns in the forest. (c) A plain beyond the mountain. (d) An island in the river. 2. What is the second sign the narrator sees, when he is looking for reactions to his magnanimous and generous actions? (a) You have a shoe untied. (b) You have a flannel undershirt. (c) You have forgotten your gloves. (d) You have a hole in your sock. 3. How do the New Ones subsist? (a) They grow vegetables in gardens. (b) They gather berries, mushrooms, and vegetables from the woods. (c) They hunt deer in the woods. (d) They catch fish from the river. 4. How does Lieutenant Fenimore react when the narrator indicates he's seen a universe? (a) He is irritated. (b) He is contemptuous. (c) He is thrilled. (d) He is horrified. 5. How does the narrator feel about the female he comes to notice? (a) He doesn't care about her. (b) He loves her. (c) He is irritated by her. (d) He hates her. Short Answer Questions 1. When Fern-flower dreams of a dinosaur being teased, what does she do in the dream? 2. What unplanned benefit does the shell give the narrator? 3. Where is a dinosaur body uncovered? 4. What does the second sign that the narrator sees through his telescope say? 5. What does Qfwfq think of N'ba N'ga's way of speaking? This section contains 285 words (approx. 1 page at 300 words per page)	2
5 Written questions 5 Matching questions - Low Comedy - Picture-frame stage - closet drama - a Developed in the 16th century Italian playhouses, it held the action within an arch, a gateway standing "in front of the scenery". It framed painted scene panels to give the illusion of 3-dimensional perspective although only one seat in the auditorium fully experienced the complete perspective illusion and that seat was reserved for royal patrons. This stage was the norm until the 20th century in Europe. - b In classical Greek theater architecture, "the place for dancing", a circular, level performance space at the base of a horseshoe-shaped ampitheater, where twelve, then later fifteen, young, masked, male chorus members sang and danced the odes interspersed between dramatic episodes in a play. Today, it is the ground floor seats in a theater or concert hall. - c a play or dramatic poem designed to be read aloud rather than performed. - d A comic style arousing laughter through jokes, slapstick humor, sight gags, and boisterous clowning. Little intellectual appeal. - e A literary work aimed at amusing an audience. One of the basic modes of storytelling and can be adapted to most literary forms-from poetry to flim. Action often involves the adventures of young lovers, who face obstacles and complications that threaten disaster but are overturned at the last moment to produce a happy ending. 5 Multiple choice questions - personae; the source of our word person, "a thing through which sound comes" - causes hero's downfall; his error or transgression or his flaw or weakness of character. - A kind of farce, featuring pratfalls, pie throwing, fisticuffs, and other violent action. It takes its name originally from the slapstick carried by the main servant type. - A form of comic drama in which the plot focuses on one or more pairs of young lovers who overcome difficulties to achieve a happy ending (usually marraige). - Separating the auditorium from the raised stage and the world of the play, the architectural picture from or gateway "standing in front of the scenery" in traditional European theaters from the 16th century on. 5 True/False questions stage business → In classical Greek staging of 5th century BC, the temporary wooden stage building in which actors changed masks and costumes when changing roles. It served as part of the set. Farce → A type of comedy featuring exaggerated character types in ludricrous and improbable situations, provoking belly laughs with sexual mix-ups, crude verbal jokes, pratfalls, and knockabout horseplay. purgation → katharsis; feeling of relief of pent-up emotions tragic flaw → A type of drama that combines elements of both tradegy and comedy. Usually, it creates potentially tragic situations that bring the protagonists to the brink of disaster but then ends happily. Can be traced as far back as the Renaissance. theater in the round → arena theater	2
This text is part of: Table of Contents: in the country but those imitative versifiers of an already antiquated English fashion whom Bryant was himself to characterize1 with quiet justice in the first critical appraisal of our “literature,” the first declaration of intellectual independence, antedating Emerson's American scholar by nineteen years. He compassed the generations of all that was once or is still most reputed in American poetry: the generations of Paulding, Percival, Halleck, Drake, Willis, Poe, Longfellow, Whittier, Emerson, Lowell, Whitman, Bret Harte. Yet he was from very early, in imagination and expression, curiously detached from what was going on in poetry around him. The embargo is a boy's echo, significant only for precocious facility and for the twofold interest in verse and politics that was to be lifelong. Byron's voice is audible in the Spenserian stanzas and subject matter of the Phi Beta Kappa poem of 1821, The ages;2 the New York verses, so painfully facetious on Rhode Island coal and a mosquito, are less after Byron than after the town wit Halleck and his coterie. Wordsworth, at the reading of whose Lyrical ballads in 1811 , “a thousand springs,” Bryant said to Dana, “seemed to gush up at once in his heart, and the face of Nature of a sudden to change into a strange freshness and life,” was the companion into the woods and among the flowers who more than all others helped him to find himself; but Thanatopsis, so characteristic of Bryant, was written almost certainly some weeks before he had seen the Lyrical ballads,3 and, even if Bryant's eminence as poet of nature owed much to this early reinforcement, his poetry is not Wordsworthian either in philosophy or in mood or in artistry. Wordsworth never left the impress on Bryant's work that the realms of gold made upon the surprised and spellbound boy Keats. No later prophets and craftsmen, 3 1 North American review, July, 1818. 3 The time relations seem to have been as follows. Bryant's father purchased the Lyrical ballads in Boston during 1801, when the son was at college (till May, 1811); Bryant “had picked it up at home” (Godwin, Life, vol. I, p. 104) to take with him to Worthington (Dec., 81 I), where it was that, as a young law student, he first read it with such surprised delight. Thanatopsis had been written between May and December, apparently in the autumn (Godwin, Life, vol. I, pp. 97-99), and if (as likely) before 3 November, then written when Bryant was still a lad of sixteen. See Van Doren, C., The growth of “Thanatopsis,” nation, 7 October, This work is licensed under a Creative Commons Attribution-ShareAlike 3.0 United States License. An XML version of this text is available for download, with the additional restriction that you offer Perseus any modifications you make. Perseus provides credit for all accepted changes, storing new additions in a versioning system.	2
\|Name: _________________________\|\|Period: ___________________\| This quiz consists of 5 multiple choice and 5 short answer questions through Act 2, Part 2. Multiple Choice Questions 1. What does she tell Figaro to tell "Lindor?" (a) She wants to marry him. (b) All she wants is his love. (c) All she wants is friendship. (d) She never wants to see him again. 2. What does Figaro tell the Count about Rosine's music teacher? (a) He is in love with Rosine. (b) He is self-absorbed and greedy. (c) He is Bartholo's brother. (d) He is kind and gentle. 3. What happens when Figaro makes an attempt at writing for the theatre? (a) Even though audiences enjoyed his writing, the critics condemned him. (b) The audiences did not enjoy his work. (c) He ended up with writer's block and could not write a single line. (d) He greated several great works, but could not find someone to publish them. 4. How does the Count meet Rosine? (a) At his home. (b) By chance at the store. (c) By chance on a street in Madrid. (d) At a party help in Madrid. 5. What would Rosine prefer the man to do? (a) She would prefer that the man would excitedly tell her how he feels. (b) She would prefer it that he leave the property. (c) She would prefer it if he would be calm when he tells her he loves her. (d) She would prefer that he go back to Madrid. Short Answer Questions 1. What does Figaro say is the man's only defect? 2. What does Figaro suggest is impossible? 3. For whom is Rosine's paper? 4. How do Bartholo's servants respond when he asks them why they did not tell him that Figaro had been in to see Rosine? 5. What does Rosine do in her free time? This section contains 348 words (approx. 2 pages at 300 words per page)	2
\|Name: _________________________\|\|Period: ___________________\| This quiz consists of 5 multiple choice and 5 short answer questions through Chapter 10. Multiple Choice Questions 1. Of what caste level was the girl who the director took to the savage reservation? 2. Who was Lenina going to the north pole with? 3. Why did the director and the girl have to stay in the mountains overnight? (a) A storm overtook them (b) The helicopter broke (c) They crashed in the mountains (d) She requested they stay there overnight 4. Which of the following is the result of the second lever thrown as the infants touch the materials put out by the nurses? (a) Loud, shrieking alarm (b) Hypnopaedia lessons (c) Moral education lessons (d) Electric shock along the floor 5. What worried Lenina when she was in Bernard's room with him? (a) That they did not have enough soma (b) That he was too gloomy (c) That she was feeling too much (d) That she was too plump Short Answer Questions 1. Which of the following is the best definition of precipice as it is used in this chapter? 2. Which of the following is considered a threat to the State? 3. Where is the savage reservation located? 4. Why are the masses conditioned to hate the country but love all country sports? 5. What did John do to Pope when he found Pope stretched out on the bed beside his mother? This section contains 261 words (approx. 1 page at 300 words per page)	2
The two chief families in Verona were the rich Capulets and the Montagues. There had been an old quarrel between these families, which was grown to such a height, and so deadly was the enmity between them, that it extended to the remotest kindred, to the followers and retainers of both sides, insomuch that a servant of the house of Montague could not meet a servant of the house of Capulet, nor a Capulet encounter with a Montague by chance, but fierce words and sometimes bloodshed ensued; and frequent were the brawls from such accidental meetings, which disturbed the happy quiet of Verona's streets. Old Lord Capulet made a great supper, to which many fair ladies and many noble guests were invited. All the admired beauties of Verona were present, and all comers were made welcome if they were not of the house of Montague. At this feast of Capulets, Rosaline, beloved of Romeo, son to the old Lord Montague, was present; and though it was dangerous for a Montague to be seen in this assembly, yet Benvolio, a friend of Romeo, persuaded the young lord to go to this assembly in the disguise of a mask, that he might see his Rosaline, and seeing her, compare her with some choice beauties of Verona, who (he said) would make him think his swan a crow. Romeo had small faith in Benvolio's words; nevertheless, for the love of Rosaline, he was persuaded to go. For Romeo was a sincere and passionate lover, and one that lost his sleep for love, and fled society to be alone, thinking on Rosaline, who disdained him, and never requited his love, with the least show of courtesy or affection; and Benvolio wished to cure his friend of this love by showing him diversity of ladies and company. To this feast of Capulets then young Romeo with Benvolio and their friend Mercutio went masked. Old Capulet bid them welcome, and told them that ladies who had their toes unplagued with corns would dance with them. And the old man was light hearted and merry, and said that he had worn a mask when he was young, and could have told a whispering tale in a fair lady's ear. And they fell to dancing, and Romeo was suddenly struck with the exceeding beauty of a lady who danced there, who seemed to him to teach the torches to burn bright, and her beauty to show by night like a rich jewel worn by a blackamoor; beauty too rich for use, too dear for earth! like a snowy dove trooping with crows (he said), so richly did her beauty and perfections shine above the ladies her companions. While he uttered these praises, he was overheard by Tybalt, a nephew of Lord Capulet, who knew him by his voice to be Romeo. And this Tybalt, being of a fiery and passionate temper, could not endure that a Montague should come under cover of a mask, to fleer and scorn (as he said) at their solemnities. And he stormed and raged exceedingly, and would have struck young Romeo dead. But his uncle, the old Lord Capulet, would not suffer him to do any injury at that time, both out of respect to his guests, and because Romeo had borne himself like a gentleman, and all tongues in Verona bragged of him to be a virtuous and well-governed youth. Tybalt, forced to be patient against his will, restrained himself, but swore that this vile Montague should at another time dearly pay for his intrusion. The dancing being done, Romeo watched the place where the lady stood; and under favour of his masking habit, which might seem to excuse in part the liberty, he presumed in the gentlest manner to take her by the hand, calling it a shrine, which if he profaned by touching it, he was a blushing pilgrim, and would kiss it for atonement. "Good pilgrim," answered the lady, "your devotion shows by far too mannerly and too courtly: saints have hands, which pilgrims may touch, but kiss not.""Have not saints lips, and pilgrims too?" said Romeo. "Ay," said the lady, "lips which they must use in prayer.""O then, my dear saint," said Romeo, "hear my prayer, and grant it, lest I despair." In such like allusions and loving conceits they were engaged, when the lady was called away to her mother. And Romeo inquiring who her mother was, discovered that the lady whose peerless beauty he was so much struck with, was young Juliet, daughter and heir to the Lord Capulet, the great enemy of the Montagues; and that he had unknowingly engaged his heart to his foe. This troubled him, but it could not dissuade him from loving. As little rest had Juliet, when she found that the gentleman that she had been talking with was Romeo and a Montague, for she had been suddenly smit with the same hasty and inconsiderate passion for Romeo, which he had conceived for her; and a prodigious birth of love it seemed to her, that she must love her enemy, and that her affections should settle there, where family considerations should induce her chiefly to hate. It being midnight, Romeo with his companions departed; but they soon missed him, for, unable to stay away from the house where he had left his heart, he leaped the wall of an orchard which was at the back of Juliet's house. Here he had not been long, ruminating on his new love, when Juliet appeared above at a window, through which her exceeding beauty seemed to break like the light of the sun in the east; and the moon, which shone in the orchard with a faint light, appeared to Romeo as if sick and pale with grief at the superior lustre of this new sun. And she, leaning her cheek upon her hand, he passionately wished himself a glove upon that hand, that he might touch her cheek. She all this while thinking herself alone, fetched a deep sigh, and exclaimed, "Ah me!" Romeo, enraptured to hear her speak, said softly, and unheard by her, "O speak again, bright angel, for such you appear, being over my head, like a winged messenger from heaven whom mortals fall back to gaze upon." She, unconscious of being overheard, and full of the new passion which that night's adventure had given birth to, called upon her lover by name (whom she supposed absent): "O Romeo, Romeo!" said she, "wherefore art thou Romeo? Deny thy father, and refuse thy name, for my sake; or if thou wilt not, be but my sworn love, and I no longer will be a Capulet." Romeo, having this encouragement, would fain have spoken, but he was desirous of hearing more; and the lady continued her passionate discourse with herself (as she thought), still chiding Romeo for being Romeo and a Montague, and wishing him some other name, or that he would put away that hated name, and for that name which was no part of himself, he should take all herself. At this loving word Romeo could no longer refrain, but taking up the dialogue as if her words had been addressed to him personally, and not merely in fancy, he bade her call him Love, or by whatever other name she pleased, for he was no longer Romeo, if that name was displeasing to her. Juliet, alarmed to hear a man's voice in the garden, did not at first know who it was, that by favour of the night and darkness had thus stumbled upon the discovery of her secret; but when he spoke again, though her ears had not yet drunk a hundred words of that tongue's uttering, yet so nice is a lover's hearing, that she immediately knew him to be young Romeo, and she expostulated with him on the danger to which he had exposed himself by climbing the orchard walls, for if any of her kinsmen should find him there, it would be death to him being a Montague. "Alack," said Romeo, "there is more peril in your eye, than in twenty of their swords. Do you but look kind upon me, lady, and I am proof against their enmity. Better my life should be ended by their hate, than that hated life should be prolonged, to live without your love.""How came you into this place," said Juliet, "and by whose direction?""Love directed me," answered Romeo: "I am no pilot, yet wert thou as far apart from me, as that vast shore which is washed with the farthest sea, I should venture for such merchandise." A crimson blush came over Juliet's face, yet unseen by Romeo by reason of the night, when she reflected upon the discovery which she had made, yet not meaning to make it, of her love to Romeo. She would fain have recalled her words, but that was impossible: fain would she have stood upon form, and have kept her lover at a distance, as the custom of discreet ladies is, to frown and be perverse, and give their suitors harsh denials at first; to stand off, and affect a coyness or indifference, where they most love, that their lovers may not think them too lightly or too easily won; for the difficulty of attainment increases the value of the object. But there was no room in her case for denials, or puttings off, or any of the customary arts of delay and protracted courtship. Romeo had heard from her own tongue, when she did not dream that he was near her, a confession of her love. So with an honest frankness, which the novelty of her situation excused, she confirmed the truth of what he had before heard, and addressing him by the name of fair Montague (love can sweeten a sour name), she begged him not to impute her easy yielding to levity or an unworthy mind, but that he must lay the fault of it (if it were a fault) upon the accident of the night which had so strangely discovered her thoughts. And she added, that though her behaviour to him might not be sufficiently prudent, measured by the custom of her sex, yet that she would prove more true than many whose prudence was dissembling, and their modesty artificial cunning. Romeo was beginning to call the heavens to witness, that nothing was farther from his thoughts than to impute a shadow of dishonour to such an honoured lady, when she stopped him, begging him not to swear; for although she joyed in him, yet she had no joy of that night's contract: it was too rash, too unadvised, too sudden. But he being urgent with her to exchange a vow of love with him that night, she said that she already had given him hers before he requested it; meaning, when he overheard her confession; but she would retract what she then bestowed, for the pleasure of giving it again, for her bounty was as infinite as the sea, and her love as deep. From this loving conference she was called away by her nurse, who slept with her, and thought it time for her to be in bed, for it was near to daybreak; but hastily returning, she said three or four words more to Romeo, the purport of which was, that if his love was indeed honourable, and his purpose marriage, she would send a messenger to him to-morrow, to appoint a time for their marriage, when she would lay all her fortunes at his feet, and follow him as her lord through the world. While they were settling this point, Juliet was repeatedly called for by her nurse, and went in and returned, and went and returned again, for she seemed as jealous of Romeo going from her, as a young girl of her bird, which she will let hop a little from her hand, and pluck it back with a silken thread; and Romeo was as loath to part as she; for the sweetest music to lovers is the sound of each other's tongues at night. But at last they parted, wishing mutually sweet sleep and rest for that night. The day was breaking when they parted, and Romeo, who was too full of thoughts of his mistress and that blessed meeting to allow him to sleep, instead of going home, bent his course to a monastery hard by, to find Friar Lawrence. The good friar was already up at his devotions, but seeing young Romeo abroad so early, he conjectured rightly that he had not been abed that night, but that some distemper of youthful affection had kept him waking. He was right in imputing the cause of Romeo's wakefulness to love, but he made a wrong guess at the object, for he thought that his love for Rosaline had kept him waking. But when Romeo revealed his new passion for Juliet, and requested the assistance of the friar to marry them that day, the holy man lifted up his eyes and hands in a sort of wonder at the sudden change in Romeo's affections, for he had been privy to all Romeo's love for Rosaline, and his many complaints of her disdain: and he said, that young men's love lay not truly in their hearts, but in their eyes. But Romeo replying, that he himself had often chidden him for doting on Rosaline, who could not love him again, whereas Juliet both loved and was beloved by him, the friar assented in some measure to his reasons; and thinking that a matrimonial alliance between young Juliet and Romeo might happily be the means of making up the long breach between the Capulets and the Montagues; which no one more lamented than this good friar, who was a friend to both the families and had often interposed his mediation to make up the quarrel without effect; partly moved by policy, and partly by his fondness for young Romeo, to whom he could deny nothing, the old man consented to join their hands in marriage. Now was Romeo blessed indeed, and Juliet, who knew his intent from a messenger which she had despatched according to promise, did not fail to be early at the cell of Friar Lawrence, where their hands were joined in holy marriage; the good friar praying the heavens to smile upon that act, and in the union of this young Montague and young Capulet to bury the old strife and long dissensions of their families. The ceremony being over, Juliet hastened home, where she stayed impatient for the coming of night, at which time Romeo promised to come and meet her in the orchard, where they had met the night before; and the time between seemed as tedious to her, as the night before some great festival seems to an impatient child, that has got new finery which it may not put on till the morning. That same day, about noon, Romeo's friends, Benvolio and Mercutio, walking through the streets of Verona, were met by a party of the Capulets with the impetuous Tybalt at their head. This was the same angry Tybalt who would have fought with Romeo at old Lord Capulet's feast. He, seeing Mercutio, accused him bluntly of associating with Romeo, a Montague. Mercutio, who had as much fire and youthful blood in him as Tybalt, replied to this accusation with some sharpness; and in spite of all Benvolio could say to moderate their wrath, a quarrel was beginning, when Romeo himself passing that way, the fierce Tybalt turned from Mercutio to Romeo, and gave him the disgraceful appellation of villain. Romeo wished to avoid a quarrel with Tybalt above all men, because he was the kinsman of Juliet, and much beloved by her; besides, this young Montague had never thoroughly entered into the family quarrel, being by nature wise and gentle, and the name of a Capulet, which was his dear lady's name, was now rather a charm to allay resentment, than a watchword to excite fury. So he tried to reason with Tybalt, whom he saluted mildly by the name of good Capulet, as if he, though a Montague, had some secret pleasure in uttering that name: but Tybalt, who hated all Montagues as he hated hell, would hear no reason, but drew his weapon; and Mercutio, who knew not of Romeo's secret motive for desiring peace with Tybalt, but looked upon his present forbearance as a sort of calm dishonourable submission, with many disdainful words provoked Tybalt to the prosecution of his first quarrel with him; and Tybalt and Mercutio fought, till Mercutio fell, receiving his death's wound while Romeo and Benvolio were vainly endeavouring to part the combatants. Mercutio being dead, Romeo kept his temper no longer, but returned the scornful appellation of villain which Tybalt had given him; and they fought till Tybalt was slain by Romeo. This deadly broil falling out in the midst of Verona at noonday, the news of it quickly brought a crowd of citizens to the spot, and among them the old Lords Capulet and Montague, with their wives; and soon after arrived the prince himself, who being related to Mercutio, whom Tybalt had slain, and having had the peace of his government often disturbed by these brawls of Montagues and Capulets, came determined to put the law in strictest force against those who should be found to be offenders. Benvolio, who had been eye-witness to the fray, was commanded by the prince to relate the origin of it; which he did, keeping as near the truth as he could without injury to Romeo, softening and excusing the part which his friends took in it. Lady Capulet, whose extreme grief for the loss of her kinsman Tybalt made her keep no bounds in her revenge, exhorted the prince to do strict justice upon his murderer, and to pay no attention to Benvolio's representation, who, being Romeo's friend and a Montague, spoke partially. Thus she pleaded against her new son-in-law, but she knew not yet that he was her son-in-law and Juliet's husband. On the other hand was to be seen Lady Montague pleading for her child's life, and arguing with some justice that Romeo had done nothing worthy of punishment in taking the life of Tybalt, which was already forfeited to the law by his having slain Mercutio. The prince, unmoved by the passionate exclamations of these women, on a careful examination of the facts, pronounced his sentence, and by that sentence Romeo was banished from Verona. Heavy news to young Juliet, who had been but a few hours a bride, and now by this decree seemed everlastingly divorced! When the tidings reached her, she at first gave way to rage against Romeo, who had slain her dear cousin, she called him a beautiful tyrant, a fiend angelical, a ravenous dove, a lamb with a wolf's nature, a serpent-heart hid with a flowering face, and other like contradictory names, which denoted the struggles in her mind between her love and her resentment: but in the end love got the mastery, and the tears which she shed for grief that Romeo had slain her cousin, turned to drops of joy that her husband lived whom Tybalt would have slain. Then came fresh tears, and they were altogether of grief for Romeo's banishment. That word was more terrible to her than the death of many Tybalts. Romeo, after the fray, had taken refuge in Friar Lawrence's cell, where he was first made acquainted with the prince's sentence, which seemed to him far more terrible than death. To him it appeared there was no world out of Verona's walls, no living out of the sight of Juliet. Heaven was there where Juliet lived, and all beyond was purgatory, torture, hell. The good friar would have applied the consolation of philosophy to his griefs: but this frantic young man would hear of none, but like a madman he tore his hair, and threw himself all along upon the ground, as he said, to take the measure of his grave. From this unseemly state he was roused by a message from his dear lady, which a little revived him; and then the friar took the advantage to expostulate with him on the unmanly weakness which he had shown. He had slain Tybalt, but would he also slay himself, slay his dear lady, who lived but in his life? The noble form of man, he said, was but a shape of wax, when it wanted the courage which should keep it firm. The law had been lenient to him, that instead of death, which he had incurred, had pronounced by the prince's mouth only banishment. He had slain Tybalt, but Tybalt would have slain him: there was a sort of happiness in that. Juliet was alive, and (beyond all hope) had become his dear wife; therein he was most happy. All these blessings, as the friar made them out to be, did Romeo put from him like a sullen misbehaved wench. And the friar bade him beware, for such as despaired (he said) died miserable. Then when Romeo was a little calmed, he counselled him that he should go that night and secretly take his leave of Juliet, and thence proceed straightways to Mantua, at which place he should sojourn, till the friar found fit occasion to publish his marriage, which might be a joyful means of reconciling their families; and then he did not doubt but the prince would be moved to pardon him, and he would return with twenty times more joy than he went forth with grief. Romeo was convinced by these wise counsels of the friar, and took his leave to go and seek his lady, proposing to stay with her that night, and by daybreak pursue his journey alone to Mantua; to which place the good friar promised to send him letters from time to time, acquainting him with the state of affairs at home. That night Romeo passed with his dear wife, gaining secret admission to her chamber, from the orchard in which he had heard her confession of love the night before. That had been a night of unmixed joy and rapture; but the pleasures of this night, and the delight which these lovers took in each other's society, were sadly allayed with the prospect of parting, and the fatal adventures of the past day. The unwelcome daybreak seemed to come too soon, and when Juliet heard the morning song of the lark, she would have persuaded herself that it was the nightingale, which sings by night; but it was too truly the lark which sang, and a discordant and unpleasing note it seemed to her; and the streaks of day in the east too certainly pointed out that it was time for these lovers to part. Romeo took his leave of his dear wife with a heavy heart, promising to write to her from Mantua every hour in the day; and when he had descended from her chamber-window, as he stood below her on the ground, in that sad foreboding state of mind in which she was, he appeared to her eyes as one dead in the bottom of a tomb. Romeo's mind misgave him in like manner: but now he was forced hastily to depart, for it was death for him to be found within the walls of Verona after daybreak. This was but the beginning of the tragedy of this pair of star-crossed lovers. Romeo had not been gone many days, before the old Lord Capulet proposed a match for Juliet. The husband he had chosen for her, not dreaming that she was married already, was Count Paris, a gallant, young, and noble gentleman, no unworthy suitor to the young Juliet, if she had never seen Romeo. The terrified Juliet was in a sad perplexity at her father's offer. She pleaded her youth unsuitable to marriage, the recent death of Tybalt, which had left her spirits too weak to meet a husband with any face of joy, and how indecorous it would show for the family of the Capulets to be celebrating a nuptial feast, when his funeral solemnities were hardly over: she pleaded every reason against the match, but the true one, namely, that she was married already. But Lord Capulet was deaf to all her excuses, and in a peremptory manner ordered her to get ready, for by the following Thursday she should be married to Paris: and having found her a husband, rich, young, and noble, such as the proudest maid in Verona might joyfully accept, he could not bear that out of an affected coyness, as he construed her denial, she should oppose obstacles to her own good fortune. In this extremity Juliet applied to the friendly friar, always her counsellor in distress, and he asking her if she had resolution to undertake a desperate remedy, and she answering that she would go into the grave alive rather than marry Paris, her own dear husband living; he directed her to go home, and appear merry, and give her consent to marry Paris, according to her father's desire, and on the next night, which was the night before the marriage, to drink off the contents of a phial which he then gave her, the effect of which would be that for two-and-forty hours after drinking it she should appear cold and lifeless; and when the bridegroom came to fetch her in the morning, he would find her to appearance dead; that then she would be borne, as the manner in that country was, uncovered on a bier, to be buried in the family vault; that if she could put off womanish fear, and consent to this terrible trial, in forty-two hours after swallowing the liquid (such was its certain operation) she would be sure to awake, as from a dream; and before she should awake, he would let her husband know their drift, and he should come in the night, and bear her thence to Mantua. Love, and the dread of marrying Paris, gave young Juliet strength to undertake this horrible adventure; and she took the phial of the friar, promising to observe his directions. Going from the monastery, she met the young Count Paris, and modestly dissembling, promised to become his bride. This was joyful news to the Lord Capulet and his wife. It seemed to put youth into the old man; and Juliet, who had displeased him exceedingly, by her refusal of the count, was his darling again, now she promised to be obedient. All things in the house were in a bustle against the approaching nuptials. No cost was spared to prepare such festival rejoicings as Verona had never before witnessed. On the Wednesday night Juliet drank off the potion. She had many misgivings lest the friar, to avoid the blame which might be imputed to him for marrying her to Romeo, had given her poison; but then he was always known for a holy man: then lest she should awake before the time that Romeo was to come for her; whether the terror of the place, a vault full of dead Capulets' bones, and where Tybalt, all bloody, lay festering in his shroud, would not be enough to drive her distracted: again she thought of all the stories she had heard of spirits haunting the places where their bodies were bestowed. But then her love for Romeo, and her aversion for Paris returned, and she desperately swallowed the draught, and became insensible. When young Paris came early in the morning with music to awaken his bride, instead of a living Juliet, her chamber presented the dreary spectacle of a lifeless corse. What death to his hopes! What confusion then reigned through the whole house! Poor Paris lamenting his bride, whom most detestable death had beguiled him of, had divorced from him even before their hands were joined. But still more piteous it was to hear the mournings of the old Lord and Lady Capulet, who having but this one, one poor loving child to rejoice and solace in, cruel death had snatched her from their sight, just as these careful parents were on the point of seeing her advanced (as they thought) by a promising and advantageous match. Now all things that were ordained for the festival were turned from their properties to do the office of a black funeral. The wedding cheer served for a sad burial feast, the bridal hymns were changed for sullen dirges, the sprightly instruments to melancholy bells, and the flowers that should have been strewed in the bride's path, now served but to strew her corse. Now, instead of a priest to marry her, a priest was needed to bury her; and she was borne to church indeed, not to augment the cheerful hopes of the living, but to swell the dreary numbers of the dead. Bad news, which always travels faster than good, now brought the dismal story of his Juliet's death to Romeo, at Mantua, before the messenger could arrive, who was sent from Friar Lawrence to apprise him that these were mock funerals only, and but the shadow and representation of death, and that his dear lady lay in the tomb but for a short while, expecting when Romeo would come to release her from that dreary mansion. Just before, Romeo had been unusually joyful and light-hearted. He had dreamed in the night that he was dead (a strange dream, that gave a dead man leave to think), and that his lady came and found him dead, and breathed such life with kisses in his lips, that he revived, and was an emperor! And now that a messenger came from Verona, he thought surely it was to confirm some good news which his dreams had presaged. But when the contrary to this flattering vision appeared, and that it was his lady who was dead in truth, whom he could not revive by any kisses, he ordered horses to be got ready, for he determined that night to visit Verona, and to see his lady in her tomb. And as mischief is swift to enter into the thoughts of desperate men, he called to mind a poor apothecary, whose shop in Mantua he had lately passed, and from the beggarly appearance of the man, who seemed famished, and the wretched show in his show of empty boxes ranged on dirty shelves, and other tokens of extreme wretchedness, he had said at the time (perhaps having some misgivings that his own disastrous life might haply meet with a conclusion so desperate), "If a man were to need poison, which by the law of Mantua it is death to sell, here lives a poor wretch who would sell it him." These words of his now came into his mind, and he sought out the apothecary, who after some pretended scruples, Romeo offering him gold, which his poverty could not resist, sold him a poison, which, if he swallowed, he told him, if he had the strength of twenty men, would quickly despatch him. With this poison he set out for Verona, to have a sight of his dear lady in her tomb, meaning, when he had satisfied his sight, to swallow the poison, and be buried by her side. He reached Verona at midnight, and found the churchyard, in the midst of which was situated the ancient tomb of the Capulets. He had provided a light, and a spade, and wrenching iron, and was proceeding to break open the monument, when he was interrupted by a voice, which by the name of vile Montague, bade him desist from his unlawful business. It was the young Count Paris, who had come to the tomb of Juliet at that unseasonable time of night, to strew flowers and to weep over the grave of her that should have been his bride. He knew not what an interest Romeo had in the dead, but knowing him to be a Montague, and (as he supposed) a sworn foe to all the Capulets, he judged that he was come by night to do some villanous shame to the dead bodies; therefore in an angry tone he bade him desist; and as a criminal, condemned by the laws of Verona to die if he were found within the walls of the city, he would have apprehended him. Romeo urged Paris to leave him, and warned him by the fate of Tybalt, who lay buried there, not to provoke his anger, or draw down another sin upon his head, by forcing him to kill him. But the count in scorn refused his warning, and laid hands on him as a felon, which Romeo resisting, they fought, and Paris fell. When Romeo, by the help of a light, came to see who it was that he had slain, that it was Paris, who (he learned in his way from Mantua) should have married Juliet, he took the dead youth by the hand, as one whom misfortune had made a companion, and said that he would bury him in a triumphal grave, meaning in Juliet's grave, which he now opened: and there lay his lady, as one whom death had no power upon to change a feature or complexion, in her matchless beauty; or as if Death were amorous, and the lean abhorred monster kept her there for his delight; for she lay yet fresh and blooming, as she had fallen to sleep when she swallowed that benumbing potion; and near her lay Tybalt in his bloody shroud, whom Romeo seeing, begged pardon of his lifeless corse, and for Juliet's sake called him cousin, and said that he was about to do him a favour by putting his enemy to death. Here Romeo took his last leave of his lady's lips, kissing them; and here he shook the burden of his cross stars from his weary body, swallowing that poison which the apothecary had sold him, whose operation was fatal and real, not like that dissembling potion which Juliet had swallowed, the effect of which was now nearly expiring, and she about to awake to complain that Romeo had not kept his time, or that he had come too soon. For now the hour was arrived at which the friar had promised that she should awake; and he, having learned that his letters which he had sent to Mantua, by some unlucky detention of the messenger, had never reached Romeo, came himself, provided with a pickaxe and lantern, to deliver the lady from her confinement; but he was surprised to find a light already burning in the Capulets' monument, and to see swords and blood near it, and Romeo and Paris lying breathless by the monument. Before he could entertain a conjecture, to imagine how these fatal accidents had fallen out, Juliet awoke out of her trance, and seeing the friar near her, she remembered the place where she was, and the occasion of her being there, and asked for Romeo, but the friar, hearing a noise, bade her come out of that place of death, and of unnatural sleep, for a greater power than they could contradict had thwarted their intents; and being frightened by the noise of people coming, he fled: but when Juliet saw the cup closed in her true love's hands, she guessed that poison had been the cause of his end, and she would have swallowed the dregs if any had been left, and she kissed his still warm lips to try if any poison yet did hang upon them; then hearing a nearer noise of people coming, she quickly unsheathed a dagger which she wore, and stabbing herself, died by her true Romeo's side. The watch by this time had come up to the place. A page belonging to Count Paris, who had witnessed the fight between his master and Romeo, had given the alarm, which had spread among the citizens, who went up and down the streets of Verona confusedly exclaiming, A Paris! a Romeo! a Juliet! as the rumour had imperfectly reached them, till the uproar brought Lord Montague and Lord Capulet out of their beds, with the prince, to inquire into the causes of the disturbance. The friar had been apprehended by some of the watch, coming from the churchyard, trembling, sighing, and weeping, in a suspicious manner. A great multitude being assembled at the Capulets' monument, the friar was demanded by the prince to deliver what he knew of these strange and disastrous accidents. And there, in the presence of the old Lords Montague and Capulet, he faithfully related the story of their children's fatal love, the part he took in promoting their marriage, in the hope in that union to end the long quarrels between their families: how Romeo, there dead, was husband to Juliet; and Juliet, there dead, was Romeo's faithful wife; how before he could find a fit opportunity to divulge their marriage, another match was projected for Juliet, who, to avoid the crime of a second marriage, swallowed the sleeping draught (as he advised), and all thought her dead; how meantime he wrote to Romeo, to come and take her thence when the force of the potion should cease, and by what unfortunate miscarriage of the messenger the letters never reached Romeo: further than this the friar could not follow the story, nor knew more than that coming himself, to deliver Juliet from that place of death, he found the Count Paris and Romeo slain. The remainder of the transactions was supplied by the narration of the page who had seen Paris and Romeo fight, and by the servant who came with Romeo from Verona, to whom this faithful lover had given letters to be delivered to his father in the event of his death, which made good the friar's words, confessing his marriage with Juliet, imploring the forgiveness of his parents, acknowledging the buying of the poison of the poor apothecary, and his intent in coming to the monument, to die, and lie with Juliet. All these circumstances agreed together to clear the friar from any hand he could be supposed to have in these complicated slaughters, further than as the unintended consequences of his own well meant, yet too artificial and subtle contrivances. And the prince, turning to these old lords, Montague and Capulet, rebuked them for their brutal and irrational enmities, and showed them what a scourge Heaven had laid upon such offences, that it had found means even through the love of their children to punish their unnatural hate. And these old rivals, no longer enemies, agreed to bury their long strife in their children's graves; and Lord Capulet requested Lord Montague to give him his hand, calling him by the name of brother, as if in acknowledgment of the union of their families, by the marriage of the young Capulet and Montague; and saying that Lord Montague's hand (in token of reconcilement) was all he demanded for his daughter's jointure: but Lord Montague said he would give him more, for he would raise her a statue of pure gold, that while Verona kept its name, no figure should be so esteemed for its richness and workmanship as that of the true and faithful Juliet. And Lord Capulet in return said that he would raise another statue to Romeo. So did these	2
\|Name: _________________________\|\|Period: ___________________\| This test consists of 15 multiple choice questions and 5 short answer questions. Multiple Choice Questions 1. What does Woody bring as a gift to his father's family? (b) A radio 2. Why is there a housing shortage on the West Coast? (a) Japanese American houses are burned after the evacuation (b) Most of the available land is already used up (c) People move there to help with the war effort (d) Many houses are bombed 3. What would Jeanne be horrified about if anyone asked her out on a date? (a) Papa's behavior (b) The apartment the family lives in (c) Her Japanese ancestry (d) Her lack of money 4. To what area does most of the family move? (a) The East Coast (d) The South 5. When does the Supreme Court vote that loyal citizens cannot be detained against their will by the government? 6. Jeanne's family moves closer to what in the camp? (a) The reservoir shack (b) The mess hall (c) The main gate (d) The hospital 7. Jeanne becomes the first person in her family to _________. (a) Get married to a Caucasian (b) Graduate from college (c) Get a divorce (d) Have twins 8. What worries Papa after the bombing of Hiroshima? (a) He fears all of his family is lost (b) He worries that he will be drafted into the military (c) He fears that Japan will retaliate (d) He worries about having to stay in the camp 9. Who breaks the dam of Jeanne's memories about Manzanar? (a) A camp official (b) Jeanne's husband (c) A Caucasian photographer from the camps 10. What does the experience of visiting the family show Woody? (a) That his father lied about his family (b) That Woody belongs in Japan (c) That his family in America is nothing like his family in Japan (d) That he is proud of his father 11. How many rooms does the family's new unit have? 12. What does Papa grow on the land he leases? 13. Who does Jeanne go to more and more when she needs comfort? (a) Woody and his wife (b) Kiyo and Ryan 14. What date does the government set for final closure of the camp? (a) April 15 (b) October 31 (c) June 21 (d) December 1 15. What does Papa sketch? (a) His children (b) The mountains (c) The barbed wire fence (d) The orchard Short Answer Questions 1. At what lessons does Jeanne succeed? 2. Who tells Woody that he looks like his father? 3. How many members of the family go to Los Angeles? 4. Who is Woody's wife? 5. What is Jeanne named during her senior year? This section contains 410 words (approx. 2 pages at 300 words per page)	2
discussed in biographyDryden’s longest poem to date, Annus Mirabilis (1667), was a celebration of two victories by the English fleet over the Dutch and the Londoners’ survival of the Great Fire of 1666. In this work Dryden was once again gilding the royal image and reinforcing the concept of a loyal nation united under the best of kings. It was hardly surprising that when the poet laureate, Sir William... Poem by Dryden Simply begin typing or use the editing tools above to add to this article. Once you are finished and click submit, your modifications will be sent to our editors for review.	2
Quiz: Remember the definition of mal de mer? late 12c., a shortening of Old English adrædan, contraction of ondrædan "counsel or advise against," also "to dread, fear, be afraid," from on- "against" + rædan "to advise" (see read (v.)). Cognate of Old Saxon andradon, Old High German intraten. Related: Dreaded; dreading. As a noun from 12c. a fundamental category of existentialism. According to the 19th-century philosopher Soren Kierkegaard, dread, or angst, is a desire for what one fears and is central to his conception of original sin. For the 20th-century German philosopher Martin Heidegger, anxiety is one of the distinctive ways through which Dasein (the historical person) is disclosed as a contingent being, and thus anxiety is that through which fear first becomes possible	3
Quiz: Remember the definition of mal de mer? "crescent-shaped body," 1690s in reference to lenses, c.1812 in reference to liquid surfaces, Modern Latin meniscus, from Greek meniskos "lunar crescent," diminutive of mene "moon" (see moon (n.)). Related: Meniscoid. meniscus me·nis·cus (mə-nĭs'kəs) n. pl. me·nis·cus·es or me·nis·ci (-nĭs'ī, -kī, -kē) A crescent-shaped body. A concavo-convex lens. The curved upper surface of a nonturbulent liquid in a container that is concave if the liquid wets the walls and convex if it does not. A disk of cartilage that acts as a cushion between the ends of bones in a joint. Plural menisci (mə-nĭs'ī, -kī, -kē) or meniscuses	3
Quiz: Remember the definition of mal de mer? 1590s, "putting forth activity," present participle adjective from act (v.). Meaning "performing temporary duties" is from 1797. c.1600, "performance of deeds;" 1660s, "performance of plays;" verbal noun from present participle of act (v.). Acting out in psychology is from 1945.	3
Quiz: Remember the definition of mal de mer? 1777, from Portuguese or Spanish curare, a corruption of the name in the Carib language of the Macusi Indians of Guyana, wurali or wurari, which had a sort of click sound at the beginning, and is said to mean "he to whom it comes falls." curare cu·ra·re or cu·ra·ri (ku-rä'rē, kyu-) An extract obtained from several tropical American woody plants, especially Chondrodendron tomentosum, used as an arrow poison by some Indian peoples of South America. A purified preparation or alkaloid obtained from Chondrodendron tomentosum, used to relax skeletal muscles.	3
Quiz: Remember the definition of mal de mer? peritoneum per·i·to·ne·um or per·i·to·nae·um (pěr'ĭ-tn-ē'əm) n. pl. per·i·to·ne·a or per·i·to·nae·a (-tn-ē'ə) The serous sac consisting of mesothelium and a thin layer of irregular connective tissue that lines the abdominal cavity, covers most of the viscera contained therein, and itself forms two cavities, the peritoneal and the omental bursa, which are connected by the epiploic foramen. The membrane that lines the walls of the abdomen and the pelvis (called the parietal peritoneum) and encloses the abdominal and pelvic organs (called the visceral peritoneum.) The space between the two, the peritoneal cavity, fills with inflammatory cells and pus when the peritoneum becomes infected. large membrane in the abdominal cavity that connects and supports internal organs. It is composed of many folds that pass between or around the various organs. Two folds are of primary importance: the omentum, which hangs in front of the stomach and intestine; and the mesentery, which attaches the small intestine and much of the large intestine to the posterior abdominal cavity.	3
Quiz: Remember the definition of mal de mer? A file transfer protocol used between modems. YMODEM was developed by Chuck Forsberg as the successor to XMODEM and was itself succeeded by ZMODEM. XMODEM used 128-byte packets, YMODEM can also use 1 kilobyte packets. Whereas YMODEM is a batch protocol, YMODEM-G is a non-stop version. File sizes are included in the YMODEM header when sending both binary and text files. Thus files transferred via YMODEM should preserve their exact length. File modification times may also be present in the YMODEM header. YModem can fall back to smaller packets when necessary but there is no backward compatibility with XModem's error detection. [Chuck Forsberg, "XMODEM/YMODEM Protocol Reference"].	3
Quiz: Remember the definition of mal de mer? 1706, respelling of croisade (1570s), from Middle French croisade (16c.), Spanish cruzada, both from Medieval Latin cruciata, past participle of cruciare "to mark with a cross," from Latin crux (genitive crucis) "cross." Other Middle English forms were croiserie, creiserie. Figurative sense of "campaign against a public evil" is from 1786. 1732, from crusade (n.). Related: Crusaded; crusading. A series of wars fought from the late eleventh through the thirteenth centuries, in which European kings and warriors set out to gain control of the lands in which Jesus lived, known as the Holy Land. At that time, these areas were held by Muslims. The Crusaders conquered Jerusalem in 1099 but failed to secure the Holy Land, and they were driven out by the late thirteenth century. Nevertheless, the Crusades had several lasting results, including the exposure of Europeans to the goods, technology, and customs of Asia. Note: The Crusades left a legacy of bitterness against Europeans and Christians among Muslims.	3
Quiz: Remember the definition of mal de mer? biblical masc. proper name, Greek Barabbas, from Aramaic barabba, "son of the father," or "son of the master." In Hebrew, it would be ben abh. i.e., son of Abba or of a father, a notorious robber whom Pilate proposed to condemn to death instead of Jesus, whom he wished to release, in accordance with the Roman custom (John 18:40; Mark 15:7; Luke 23:19). But the Jews were so bent on the death of Jesus that they demanded that Barabbas should be pardoned (Matt. 27:16-26; Acts 3:14). This Pilate did.	3
Quiz: Remember the definition of mal de mer? "to loll idly," c.1500, Scottish, of uncertain origin, perhaps [Barnhart] from French s'allonger (paresseusement) "to lounge about, lie at full length," from Old French alongier "lengthen," from Latin longus "long" (see long (adj.)). Another etymology traces it through obsolete lungis (n.) "slow, lazy person" (c.1560), from Middle French longis, a generic application of Longinus, supposed to be the name of the centurion who pierced Christ's side with a spear in John xix:34. Popular etymology associated the name directly with long (adj.). Related: Lounged; lounging. "comfortable drawing room," 1881, from lounge (v.); in the sense of "couch on which one can lie at full length," it is attested from 1830. Lounge lizard is by 1917, perhaps from 1912, a term of contempt, originally in reference to men who hung around in tea rooms to flirt.	3
Quiz: Remember the definition of mal de mer? 1530s, from Middle French réhabilitation and directly from Medieval Latin rehabilitationem (nominative rehabilitatio) "restoration," noun of action from past participle stem of rehabilitare, from re- "again" (see re-) + habitare "make fit," from Latin habilis "easily managed, fit" (see able). Specifically of criminals, addicts, etc., from 1940. 1570s, "to bring back to a former condition after decay or damage," back-formation from rehabilitation and in part from Medieval Latin rehabilitatus, past participle of rehabilitare. Meaning "to restore one's reputation or character in the eyes of others" is from 1847. Related: Rehabilitated; rehabilitating. rehabilitate re·ha·bil·i·tate (rē'hə-bĭl'ĭ-tāt') v. re·ha·bil·i·tat·ed, re·ha·bil·i·tat·ing, re·ha·bil·i·tates To restore to good health or useful life, as through therapy and education. To restore to good condition, operation, or capacity. In politics, the restoration to favor of a political leader whose views or actions were formerly considered unacceptable. (Compare nonperson.)	3

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