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https://en.wikipedia.org/w/index.php?title=Krautrocksampler&diff=114370489&oldid=114370329	Krautrocksampler: One Head's Guide to the Great Kosmische Musik - 1968 Onwards. By [[Julian Cope]], published in the UK by Head Heritage, first edition 1995, further editions followed. ISBN 0-9526719-1-3. Also translated into German. This book gives a subjective and very animated account of the phenomenon of [[krautrock]] from the perspective of the former [[Teardrop Explodes]] singer: "I wrote this short history because of the way I feel about the music, that its supreme Magic & Power has lain Unrecognised for too long" (p. 1, orthographical quirks in the original). Comprises a narrative of rock and roll culture in general in post-WWII [[West Germany]], along with chapters focusing on individual major artists ([[Faust]], [[Tangerine Dream]], [[Neu!]], [[Amon Düül]] I and II, [[Timothy Leary]] and [[Ash Ra Tempel]], and [[Rolf-Ulrich Kaiser]] and the [[Cosmic Couriers]]. Also an annotated appendix of "50 Kosmische Classics." Some chapters appeared previously in the UK music magazine [[The Wire]] or in the German music magazine [[Spex]].	2007-03-11T20:19:57Z	Krautrocksampler: One Head's Guide to the Great Kosmische Musik - 1968 Onwards. By [[Julian Cope]], published in the UK by Head Heritage, first edition 1995, further editions followed. ISBN 0-9526719-1-3. Also translated into German. This book gives a subjective and very animated account of the phenomenon of [[krautrock]] from the perspective of the former [[Teardrop Explodes]] singer: "I wrote this short history because of the way I feel about the music, that its supreme Magic & Power has lain Unrecognised for too long" (p. 1, orthographical quirks in the original). Comprises a narrative of rock and roll culture in general in post-WWII [[West Germany]], along with chapters focusing on individual major artists ([[Faust]], [[Tangerine Dream]], [[Neu!]], [[Amon Düül]] I and II, [[Timothy Leary]] and [[Ash Ra Tempel]], and [[Rolf-Ulrich Kaiser]] and the [[Cosmic Couriers]]. Also an annotated appendix of "50 Kosmische Classics." Some chapters appeared previously in the UK music magazine [[The Wire]] or in the German music magazine [[Spex (magazine)\|Spex]].	2007-03-11T20:20:37Z
https://en.wikipedia.org/w/index.php?title=Notations&diff=143646595&oldid=143646525	{{music-publication-stub}} * [[http://www.notations21.net/\|Notations21, an anthology of innovative musical notation]], a anthology inspired by John Cage's Notations	2007-07-10T03:15:09Z	* [http://www.notations21.net/\|Notations21, an anthology of innovative musical notation], a anthology inspired by John Cage's Notations {{music-publication-stub}}	2007-07-10T03:15:41Z
https://en.wikipedia.org/w/index.php?title=The_Oxford_Book_of_Carols&diff=85035719&oldid=85035593	Influential [carol] anthology first published in 1928, edited by [Percy Dearmer], [Ralph Vaughan Williams] and [Martin Shaw]. Thoroughly revised as the [New Oxford Book of Carols] in 1992, the original still has value in its own right, and is still in print.	2006-11-01T14:07:11Z	Influential [[carol]] anthology first published in 1928, edited by [[Percy Dearmer]], [[Ralph Vaughan Williams]] and [[Martin Shaw]]. Thoroughly revised as the [[New Oxford Book of Carols]] in 1992, the original still has value in its own right, and is still in print.	2006-11-01T14:08:05Z
https://en.wikipedia.org/w/index.php?title=Psalter_(Bamberg,_Staatsbibliothek,_MS_A._I._14)&diff=14025517&oldid=14022946	'''Bamberg, Staatsbibliothek, MS A. I. 14''' is ae early [[10th century]] [[Psalter]] made for [Salomo III]], the Abbot of St. Gall in 909. The psalter has parrallel texts with texts in two [[Latin language\|Latin]], [[Hebrew language\|Hebrew]], and [[Greek language\|Greek]] versions. In 972, it was given to the future [[Otto II]] when he, at the age of seventeen had visited the monastery with his father, [[Otto I]], and had found the manuscript in a loccked chest, which he had demanded opened.	2005-05-21T14:20:48Z	'''Bamberg, Staatsbibliothek, MS A. I. 14''' is ae early [[10th century]] [[Psalter]] made for [[Salomo III]], the Abbot of St. Gall in 909. The psalter has parrallel texts with texts in two [[Latin language\|Latin]], [[Hebrew language\|Hebrew]], and [[Greek language\|Greek]] versions. In 972, it was given to the future [[Otto II]] when he, at the age of seventeen had visited the monastery with his father, [[Otto I]], and had found the manuscript in a loccked chest, which he had demanded opened.	2005-05-21T14:22:00Z
https://en.wikipedia.org/w/index.php?title=Sounds_Like_London&diff=665099058&oldid=662382036	\| country = [[United Kingdom]]	2015-05-15T01:06:54Z	\| country = United Kingdom	2015-06-02T01:03:07Z
https://en.wikipedia.org/w/index.php?title=Veronese_bell_ringing&diff=490097887&oldid=490097809	Since the XVI century the churches of Verona started dotating their belltowers of sets of bells tuned in the musical diatonic scale. Usually bells were ringed with the [[Chimes]]method.	2012-05-01T09:42:40Z	Since the XVI century the churches of Verona started dotating their belltowers of sets of bells tuned in the musical diatonic scale. Usually bells were ringed with the [[Chimes]] method.	2012-05-01T09:43:17Z
https://en.wikipedia.org/w/index.php?title=Watkins_Family_Hour&diff=742016659&oldid=742016608	\| years_active = {{start date\|2002}}–present)	2016-10-01T04:16:32Z	\| years_active = {{start date\|2002}}–present	2016-10-01T04:16:59Z
https://en.wikipedia.org/w/index.php?title=Atlantis_Music_Conference&diff=192976092&oldid=192975818	(1) www.atlantismusic.com	2008-02-21T05:18:24Z	(1) [[www.atlantismusic.com]]	2008-02-21T05:20:25Z
https://en.wikipedia.org/w/index.php?title=Halifax_Pop_Explosion&diff=20585727&oldid=20546424	Featuring the very best in new and innovative music from Halifax, Canada and around the world, the Halifax Pop Explosion a small annual music festival that takes place every fall in [[Halifax, Nova Scotia]], Canada	2005-08-08T14:42:58Z	Featuring the very best in new and innovative music from Halifax, [[Canada]] and around the world, the Halifax Pop Explosion a small annual music festival that takes place every fall in [[Halifax, Nova Scotia]], Canada	2005-08-09T01:15:53Z
https://en.wikipedia.org/w/index.php?title=International_Rostrum_of_Composers&diff=42480970&oldid=42480946	<!--Categories	2006-03-06T14:13:41Z	<!--Categories-->	2006-03-06T14:13:57Z
https://en.wikipedia.org/w/index.php?title=Japan_Music_Week&diff=454994987&oldid=454970105	JMW first began in 2009 and is centered on the downtown music hub of [[Shibuya]] . Originally spanning a week, in 2011, the events will for last for ten days from Nov. 4-13. <ref> http://http://www.japanmusicweek.com/</ref> JMW has attracted a strong following among local musicians and entrepreneurs, as well as bands from abroad. Its focus on emerging talent has earned the festival a burgeoning reputation as a breeding ground for music networking in the region. According to festival co-organizer Jon Lynch, "JMW is Tokyo's biggest international music showcase festival," he says. "There aren't really any others that aspire to be truly international, like Osaka's Minami Wheel, which has about 20 live houses join, lots of really strong, big (Japanese) artists, but they're not very open to other countries. <ref name="Japan Music Week sets lofty goals">[http://search.japantimes.co.jp/cgi-bin/fm20101105a1.html], ''[[The Japan Times]]''</ref> Japan Music Week kicked off with a big networking party at the well-known Shibuya club, O-East <ref> http://http://www.virtualjapan.com/wiki/Shibuya_O-East/</ref>, on November 9, 2009. It was accompanied by panel discussions and seminars, and immediately followed by “Best of Japan,” a concert that aimed to showcase Japanese artists <ref> http://metropolis.co.jp/arts/japan-beat/kansai-music-conference-japan-music-week//</ref>. Bands from abroad included the popular New Zealand rap-fusion outfit, [[Nesian Mystic]]. However, a lack of funding and the mixed reviews of 2009, saw serious organizational problems for 2010 <ref> http://japanmusicweekartists.ning.com/</ref><ref>http://search.japantimes.co.jp/cgi-bin/fm20101105a1.html] ''[[The Japan Times]]''</ref> . Comments on the JMW-related forums criticized the event for its lack of organization and overkill of events, with music ranging from Afghanistan Night to Hong Kong Night, which some musicians felt was clogging up the schedule with empty events for the sake of diversity. The finite number of guests and venues also meant audience figures was split too thinly with some clubs allegedly complaining of low turnouts <ref> http://japanmusicweekartists.ning.com/</ref>. After co-managing with Tokyo music promoter, Jhoana Mendieta, Lynch has since secured sponsorship for 2011 that enables substantial funding for artists that offer free downloads and set up events <ref> http://http://www.japanmusicweek.com/</ref>. Lynch has stated, “We aim to provide a showcase for emerging artists, and to stimulate the local and international music industry to find strong new directions in the face of its many challenges.” <ref> http://metropolis.co.jp/arts/japan-beat/kansai-music-conference-japan-music-week//</ref>. He clearly stands by his vision, "I believe next year we could have 100 or 200 cities in Japan Music Week." <ref>http://search.japantimes.co.jp/cgi-bin/fm20101105a1.html], ''[[The Japan Times]]''</ref>	2011-10-11T01:48:10Z	JMW first began in 2009 and is centered on the downtown music hub of [[Shibuya]] . Originally spanning a week, in 2011, the events will for last for ten days from Nov. 4-13.<ref> http://www.japanmusicweek.com/</ref> JMW has attracted a strong following among local musicians and entrepreneurs, as well as bands from abroad. Its focus on emerging talent has earned the festival a burgeoning reputation as a breeding ground for music networking in the region. According to festival co-organizer Jon Lynch, "JMW is Tokyo's biggest international music showcase festival," he says. "There aren't really any others that aspire to be truly international, like Osaka's Minami Wheel, which has about 20 live houses join, lots of really strong, big (Japanese) artists, but they're not very open to other countries.<ref name="Japan Music Week sets lofty goals">[http://search.japantimes.co.jp/cgi-bin/fm20101105a1.html], ''[[The Japan Times]]''</ref> Japan Music Week kicked off with a big networking party at the well-known Shibuya club, O-East<ref> http://www.virtualjapan.com/wiki/Shibuya_O-East/</ref>, on November 9, 2009. It was accompanied by panel discussions and seminars, and immediately followed by “Best of Japan,” a concert that aimed to showcase Japanese artists<ref> http://metropolis.co.jp/arts/japan-beat/kansai-music-conference-japan-music-week//</ref>. Bands from abroad included the popular New Zealand rap-fusion outfit, [[Nesian Mystic]]. However, a lack of funding and the mixed reviews of 2009, saw serious organizational problems for 2010<ref> http://japanmusicweekartists.ning.com/</ref><ref>http://search.japantimes.co.jp/cgi-bin/fm20101105a1.html] ''[[The Japan Times]]''</ref>. Comments on the JMW-related forums criticized the event for its lack of organization and overkill of events, with music ranging from Afghanistan Night to Hong Kong Night, which some musicians felt was clogging up the schedule with empty events for the sake of diversity. The finite number of guests and venues also meant audience figures was split too thinly with some clubs allegedly complaining of low turnouts<ref> http://japanmusicweekartists.ning.com/</ref>. After co-managing with Tokyo music promoter, Jhoana Mendieta, Lynch has since secured sponsorship for 2011 that enables substantial funding for artists that offer free downloads and set up events<ref> http://www.japanmusicweek.com/</ref>. Lynch has stated, “We aim to provide a showcase for emerging artists, and to stimulate the local and international music industry to find strong new directions in the face of its many challenges.”<ref> http://metropolis.co.jp/arts/japan-beat/kansai-music-conference-japan-music-week//</ref>. He clearly stands by his vision, "I believe next year we could have 100 or 200 cities in Japan Music Week."<ref>http://search.japantimes.co.jp/cgi-bin/fm20101105a1.html], ''[[The Japan Times]]''</ref>	2011-10-11T06:00:31Z
https://en.wikipedia.org/w/index.php?title=Midwest_Music_Summit&diff=122142993&oldid=122142928	[[http://www.midwestmusicsummit.com/ Midwest Music Summit]] [[http://www.wthr.com/Global/story.asp?S=5194108&nav=menu188_8_2 WTHR: MMS Keeps the Beat in Indy]] (2006)	2007-04-12T04:26:58Z	[[http://www.midwestmusicsummit.com/ Midwest Music Summit]] [[http://www.wthr.com/Global/story.asp?S=5194108&nav=menu188_8_2 WTHR: MMS Keeps the Beat in Indy]] (2006)	2007-04-12T04:27:23Z
https://en.wikipedia.org/w/index.php?title=ROCKRGRL&diff=129338265&oldid=129338138	'''''ROCKRGRL''''' is a [[magazine]] started by Carla DeSantis in [[1994]] in [[Seattle, Washington]] as part of the 'zine movement to provide a [[third-wave feminist]] perspective on women in music. Many famous and influential women have appeared on the cover, including [[Justine Frischmann]], [[]Shirley Manson]] , [[Tori Amos]], [[Johnette Napolitano]], [[Courtney Love]], [[Kathleen Hanna]], [[Joan Jett]], [[Kat Bjelland]], [[Maloney]], [[Tegan & Sara]], [[Jessicka]], [[Aimee Mann]], [[Sleater-Kinney]] and [[Marianne Faithfull]].	2007-05-08T20:27:49Z	'''''ROCKRGRL''''' is a [[magazine]] started by Carla DeSantis in [[1994]] in [[Seattle, Washington]] as part of the 'zine movement to provide a [[third-wave feminist]] perspective on women in music. Many famous and influential women have appeared on the cover, including [[Justine Frischmann]], [[Shirley Manson]] , [[Tori Amos]], [[Johnette Napolitano]], [[Courtney Love]], [[Kathleen Hanna]], [[Joan Jett]], [[Kat Bjelland]], [[Maloney]], [[Tegan & Sara]], [[Jessicka]], [[Aimee Mann]], [[Sleater-Kinney]] and [[Marianne Faithfull]].	2007-05-08T20:28:13Z
https://en.wikipedia.org/w/index.php?title=Music_education&diff=591647694&oldid=587909194	*[[American Orff Schulwerk Association]]	2013-12-27T13:11:16Z	*[[American Orff-Schulwerk Association]]	2014-01-21T01:06:16Z
https://en.wikipedia.org/w/index.php?title=Popular_music_pedagogy&diff=219531237&oldid=219530028	*[http://cust.educ.ubc.ca/faculty/gouzouasis.html\ Peter Gouzouasis]	2008-06-15T17:50:20Z	*[http://cust.educ.ubc.ca/faculty/gouzouasis.html Peter Gouzouasis]	2008-06-15T17:57:06Z
https://en.wikipedia.org/w/index.php?title=Bläserklasse&diff=57165435&oldid=57164378	As a somewhat trivial yet amusing note of likeness between two Germanic languages, when translated word for word, Bläserklasse literally means "blowing class". Like the english language, this also has sexual connotations in the german language in its own right (as opposed to germans having knowledge of the english literal translation).	2006-06-06T11:59:35Z	As a somewhat trivial yet amusing note of likeness between two Germanic languages, when translated word for word, Bläserklasse literally means "blowing class". Like the english language, this also has sexual connotations in the german language in its own right (as opposed to germans having knowledge of the literal english translation).	2006-06-06T12:08:48Z
https://en.wikipedia.org/w/index.php?title=Master_class&diff=9983727&oldid=8751410	A class given to students of a paticular discipline by an expert of that discipline (usually used in reference to music).	2004-12-23T18:45:47Z	A [[class]] given to [[students]] of a paticular [[discipline]] by an [[expert]] of that discipline (usually used in reference to [[music]]).	2004-12-23T18:46:12Z
https://en.wikipedia.org/w/index.php?title=Musica_Viva&diff=53625000&oldid=53624847	** Concerts are staged in: [[[[Adelaide, South Australia]]; [[Brisbane, Queensland]]; [[Canberra, Australian Capital Territory]]; [[Melbourne, Victoria]]; [[Sydney, New South wales\|Sydney]] and [[Newcastle, New South Wales]]; and, [[Perth, Western Australia]].	2006-05-17T03:09:36Z	** Concerts are staged in: [[Adelaide, South Australia]]; [[Brisbane, Queensland]]; [[Canberra, Australian Capital Territory]]; [[Melbourne, Victoria]]; [[Sydney, New South wales\|Sydney]] and [[Newcastle, New South Wales]]; and, [[Perth, Western Australia]].	2006-05-17T03:10:56Z
https://en.wikipedia.org/w/index.php?title=Playing_by_ear&diff=263480&oldid=968732552	Music can be learned by direct imitation of what one hears. This is typically how [[traditional music]], as distinguished from [[classical music]], is passed on from generation to generation.	2001-03-14T23:12:30Z	[[Music]] can be learned by direct imitation of what one hears. This is typically how [[traditional music]], as distinguished from [[classical music]], is passed on from generation to generation.	2001-03-14T23:12:45Z
https://en.wikipedia.org/w/index.php?title=Singing_school&diff=2643709&oldid=2638653	Singing schools were often taught by travelling singing masters who would stay in a location for a few weeks and teach a singing school. A singing school would be a large social event for a town; sometimes nearly everyone in the town would attend and people would come for miles. Many young men and women saw singing schools as important to their [[courtship\|courtship traditions]]. Sometimes the entire life of a town would be put on hold as everyone came out to singing school. In this way, singing schools resembled [[tent revivals]].	2004-03-05T15:36:12Z	Singing schools were often taught by travelling [[singing masters]] who would stay in a location for a few weeks and teach a singing school. A singing school would be a large social event for a town; sometimes nearly everyone in the town would attend and people would come for miles. Many young men and women saw singing schools as important to their [[courtship\|courtship traditions]]. Sometimes the entire life of a town would be put on hold as everyone came out to singing school. In this way, singing schools resembled [[tent revivals]].	2004-03-05T15:45:17Z
https://en.wikipedia.org/w/index.php?title=Cybergoth&diff=239475264&oldid=239475203	<ref>[http://www.sykospark.net/goth/cyber/"]"Sykospark.net \| CyberGoth Fashion"</ref>Two popular Nightclubs in North America for Cybergoth fans are Toronto's Savage Garden Nightclub, and [[Death Guild]] in San Francisco.	2008-09-19T04:59:50Z	<ref>[http://www.sykospark.net/goth/cyber/"]"Sykospark.net \| CyberGoth Fashion"</ref> Two popular Nightclubs in North America for Cybergoth fans are Toronto's Savage Garden Nightclub, and [[Death Guild]] in San Francisco.	2008-09-19T05:00:06Z
https://en.wikipedia.org/w/index.php?title=Rocker_(subculture)&diff=364890719&oldid=364079889	[[File:Trtion Peter Ritzen.jpg\|thumb\|300px\|right\|A vintage [[Triton]] [[Cafe Racer]] consisting of a [[Triumph Engineering Co Ltd\|Triumph]] twin motorcycle engine in a [[Norton Motorcycle Company\|Norton]] [[Featherbed frame]] built in a street legal racer style with single seat, [[clip-ons]]-style lower handlebars and racing exhausts.]]	2010-05-25T08:47:07Z	[[File:Trtion Peter Ritzen.jpg\|thumb\|300px\|right\|A vintage [[Triton motorcycle\|Triton]] [[Cafe Racer]] consisting of a [[Triumph Engineering Co Ltd\|Triumph]] twin motorcycle engine in a [[Norton Motorcycle Company\|Norton]] [[Featherbed frame]] built in a street legal racer style with single seat, [[clip-ons]]-style lower handlebars and racing exhausts.]]	2010-05-29T18:56:59Z
https://en.wikipedia.org/w/index.php?title=Contemporary_commercial_music&diff=176339543&oldid=176339509	Contemporary Commercial Music or CCM is a term used by some vocal pedagogists in the United States of America to refer to the non-classical music. This encompasses jazz, pop, blues, soul, country, folk, and rock styles.<ref>http://www.speech.kth.se/prod/publications/files/3003.pdf</ref>	2007-12-07T10:04:54Z	Contemporary Commercial Music or CCM is a term used by some vocal pedagogists in the United States of America to refer to non-classical music. This encompasses jazz, pop, blues, soul, country, folk, and rock styles.<ref>http://www.speech.kth.se/prod/publications/files/3003.pdf</ref>	2007-12-07T10:05:20Z
https://en.wikipedia.org/w/index.php?title=Dadakuada&diff=843171434&oldid=843171291	It's singers are always in a band or what seems like a band, it contains a lead singer and others who support him as he's singing. The supporters are the accompanist, lead drummer, drummer, drummer, money keeper and assistant vocalist. They're always seated in a semi-circle and they perform in any event, ranging from naming ceremonies to funeral. Later on the music genre spread to other south western part of [[Nigeria]]. They have apprenticeship program where an upcoming dadakuada singer follows a proffesional singer to any function he has.<ref>Dadakuada:A Socio-musical study; LAP LAMBERT Academic Publishing. August 4, 2011 by Taye Adeola</ref>.<ref>Dadakuada; The trends in the development of ilorin traditional oral poetry. 1988. Abd-Rasheed Na'allah.</ref>.	2018-05-27T10:49:05Z	It's singers are always in a band or what seems like a band, it contains a lead singer and others who support him as he's singing. The supporters are the accompanist, lead drummer, drummer, money keeper and assistant vocalist. They're always seated in a semi-circle and they perform in any event, ranging from naming ceremonies to funeral. Later on the music genre spread to other south western part of [[Nigeria]]. They have apprenticeship program where an upcoming dadakuada singer follows a proffesional singer to any function he has.<ref>Dadakuada:A Socio-musical study; LAP LAMBERT Academic Publishing. August 4, 2011 by Taye Adeola</ref>.<ref>Dadakuada; The trends in the development of ilorin traditional oral poetry. 1988. Abd-Rasheed Na'allah.</ref>.	2018-05-27T10:51:07Z
https://en.wikipedia.org/w/index.php?title=Eclecticism_in_music&diff=106897227&oldid=106897083	Eclecticism plays an important role in critical discussions and evaluations but is somehow distant from the actual forms of the artefacts to which it is applied, and its meaning is thus rather indistinct. The simplest definition of the term—that every work of art represents the combination of a variety of influences—is so basic as to be of little use. In some ways Eclecticism is reminiscent of Mannerism in that the term was used pejoratively for much of the period of its currency, although, unlike Mannerism, Eclecticism never amounted to a movement or constituted a specific style: it is characterized precisely by the fact that it was not a particular style.Eclecticism in Music is popular among Alternative and Experimental Artists like [[Beck]],[[Alex Ross-Iver]], [[Jimi Tenor]] and others.	2007-02-09T19:07:58Z	Eclecticism plays an important role in critical discussions and evaluations but is somehow distant from the actual forms of the artefacts to which it is applied, and its meaning is thus rather indistinct. The simplest definition of the term—that every work of art represents the combination of a variety of influences—is so basic as to be of little use. In some ways Eclecticism is reminiscent of Mannerism in that the term was used pejoratively for much of the period of its currency, although, unlike Mannerism, Eclecticism never amounted to a movement or constituted a specific style: it is characterized precisely by the fact that it was not a particular style.Eclecticism in Music is popular among Alternative and Experimental Artists like [[Beck]], [[Alex Ross-Iver]], [[Jimi Tenor]] and others.	2007-02-09T19:08:38Z
https://en.wikipedia.org/w/index.php?title=Heavy_metal_music&diff=971550024&oldid=971390864	{{Timeline of heavy metal and hard rock music}} {{Authority control}}	2020-08-05T20:58:15Z	{{Timeline of heavy metal and hard rock music}}{{Authority control}}	2020-08-06T20:59:55Z
https://en.wikipedia.org/w/index.php?title=Jaiva&diff=437300650&oldid=437300582	}}Township Jive is a sub-genre of South African [[Township music]] which emerged from the [[shebeen]] culture of the apartheid era [[Township (South Africa)\|townships]] and obtained international prominence with the 1986 release of [[Paul Simon]]'s "[[Graceland]]" album which featured the track Township Jive with [[Mirian Makeba]] and Ladysmith Black Mamba]].	2011-07-01T22:06:26Z	}}Township Jive is a sub-genre of South African [[Township music]] which emerged from the [[shebeen]] culture of the apartheid era [[Township (South Africa)\|townships]] and obtained international prominence with the 1986 release of [[Paul Simon]]'s "[[Graceland]]" album which featured the track Township Jive with [[Mirian Makeba]] and [[Ladysmith Black Mamba]].	2011-07-01T22:06:54Z
https://en.wikipedia.org/w/index.php?title=New_acoustic_music&diff=399769471&oldid=399768884	'''New Acoustic Music''' is a music genre that blends influences from [[folk]], [[bluegrass]], [[jazz]] and [[world music]] and uses only acoustic instruments. It has been championed by artists such as [[Tim Ware]], [[Tony Rice]], [[Mike Marshall]], [[Darol Anger]] and others. [http://www.hyperarts.com/mandolin-music/new-acoustic-music.html][www.tonyrice.com]	2010-11-30T18:44:22Z	'''New Acoustic Music''' is a music genre that blends influences from [[folk]], [[bluegrass]], [[jazz]] and [[world music]] and uses only acoustic instruments. It has been championed by artists such as [[Tim Ware]], [[Tony Rice]], [[Mike Marshall]], [[Darol Anger]] and others. [http://www.hyperarts.com/mandolin-music/new-acoustic-music.html][http://www.tonyrice.com]	2010-11-30T18:47:44Z
https://en.wikipedia.org/w/index.php?title=History_of_music_in_the_biblical_period&diff=310669678&oldid=310669352	Knowledge of the Biblical period is mostly from literary references in the Bible and post-Biblical sources. Religion and music historian Herbert Lockyer, Jr. writes that "music, both vocal and instrumental, was well cultivated among the [[Hebrews]], the [[New Testament]] [[Christians]], and the [[Christian church]] through the centuries." <ref name=Lockyer>Lockyer, Herbert Jr. ''All the Music of the Bible'', Hendrickson Publ. (2004)</ref> He adds that "a look at the [[Old Testament]] reveals how God's ancient people were devoted to the study and practice of music, which holds a unique place in the historical and prophetic books, as well as the Psalter." The music of religious ritual was first used by [[King David]], and, according to the ''Larousse Encyclopedia of Music'', he is credited with confirming the men of the [[tribe of Levi]] as the "custodians of the music of the divine service," .<ref name=Hindley>Hindley, Geoffrey. ''Larousse Encyclopedia of Music'', Chartwell (1971), Ch. "Jewish Music"</ref>	2009-08-29T05:49:39Z	Knowledge of the Biblical period is mostly from literary references in the Bible and post-Biblical sources. Religion and music historian Herbert Lockyer, Jr. writes that "music, both vocal and instrumental, was well cultivated among the [[Hebrews]], the [[New Testament]] [[Christians]], and the [[Christian church]] through the centuries." <ref name=Lockyer>Lockyer, Herbert Jr. ''All the Music of the Bible'', Hendrickson Publ. (2004)</ref> He adds that "a look at the [[Old Testament]] reveals how God's ancient people were devoted to the study and practice of music, which holds a unique place in the historical and prophetic books, as well as the Psalter." The music of religious ritual was first used by [[King David]], and, according to the ''Larousse Encyclopedia of Music'', he is credited with confirming the men of the [[tribe of Levi]] as the "custodians of the music of the divine service," .<ref name=Hindley>Hindley, Geoffrey. ''Larousse Encyclopedia of Music'', Chartwell (1971), Ch. "Jewish Music"</ref>	2009-08-29T05:53:05Z
https://en.wikipedia.org/w/index.php?title=Great_American_Songbook_Foundation&diff=610820301&oldid=610819782	: # Legend: “Awarded posthumously to an artist who made a significant contribution to the Golden Age of American popular music, typically defined as the period from the early years of the 20th century through the 1960s.” Recipients: Cole Porter, 2012; Frank Sinatra, 2013. : # Songbook: “Awarded to living songwriters, both lyricists and composers, who have made a significant impact on American pop culture by creating the most beloved songs from the American popular songbook.” Recipients: Alan and Marilyn Bergman, 2012; Jimmy Webb, 2013. : # New Standard: “Awarded to the artist, songwriter and/or performer, who continues to create the soundtrack of our lives by writing and/or performing music that will stand the test of time and become the pop standards of tomorrow.” Recipients: Barry Manilow, 2012; Liza Minnelli, 2013; Rita Moreno, 2013.<ref>“Songbook Hall of Fame Names 2013 Honorees”, 2013.</ref>	2014-05-30T18:00:13Z	: * Legend: “Awarded posthumously to an artist who made a significant contribution to the Golden Age of American popular music, typically defined as the period from the early years of the 20th century through the 1960s.” Recipients: Cole Porter, 2012; Frank Sinatra, 2013. : * Songbook: “Awarded to living songwriters, both lyricists and composers, who have made a significant impact on American pop culture by creating the most beloved songs from the American popular songbook.” Recipients: Alan and Marilyn Bergman, 2012; Jimmy Webb, 2013. : * New Standard: “Awarded to the artist, songwriter and/or performer, who continues to create the soundtrack of our lives by writing and/or performing music that will stand the test of time and become the pop standards of tomorrow.” Recipients: Barry Manilow, 2012; Liza Minnelli, 2013; Rita Moreno, 2013.<ref>“Songbook Hall of Fame Names 2013 Honorees”, 2013.</ref>	2014-05-30T18:04:28Z
https://en.wikipedia.org/w/index.php?title=Music_technology_(electric)&diff=701003259&oldid=701003200	1929 : [[Nikolay Obukhov]] commissioned Michel Billaudot and Pierre Duvalie to design the [[Sonorous Cross]] 1929 : Peter Lertes and Bruno Helberger developed the [[Hellertion]] *1930 : Robert Hitcock comletes the [[Westinghouse Organ]]	2016-01-21T22:19:02Z	1929 : [[Nikolay Obukhov]] commissioned Michel Billaudot and Pierre Duvalie to design the Sonorous Cross 1929 : Peter Lertes and Bruno Helberger developed the Hellertion *1930 : Robert Hitcock comletes the Westinghouse Organ	2016-01-21T22:19:31Z
https://en.wikipedia.org/w/index.php?title=Musicology&diff=267630053&oldid=267628612	Traditionally, historical musicology is considered the largest and most important subdiscipline of musicology. Today, musicology (in the broad definition) has three approximately equal subdisciplines: historical musicology, ethnomusicology and systematic musicology. Systematic musicology is often considered to include music acoustics, physiology, psychology, sociology, philosophy and computing.	2009-01-31T14:57:00Z	Traditionally, historical musicology is considered the largest and most important subdiscipline of musicology. Today, musicology (in the broad definition) has three approximately equal subdisciplines: historical musicology, ethnomusicology and systematic musicology. [[Systematic musicology] is often considered to include music acoustics, physiology, psychology, sociology, philosophy and computing.	2009-01-31T15:06:35Z
https://en.wikipedia.org/w/index.php?title=The_Ongoing_History_of_New_Music&diff=687216079&oldid=686320943	EP 731 (2015-10-25) The History of the Modern Drumkit EP 733 (2015-11-08) Bands With Weird Outlooks	2015-10-18T12:31:46Z	EP 731 (2015-10-25) Bands With Weird Outlooks EP 733 (2015-11-08) The History of the Modern Drumkit	2015-10-24T02:14:20Z
https://en.wikipedia.org/w/index.php?title=A-side_and_B-side&diff=437665206&oldid=437159476	Additionally, it was common in the 1960s and 1970s for longer songs by soul, funk or R&B acts to be broken into two parts for single release. Examples of this include the [[Isley Brothers]] "Shout" (Parts 1 and 2), and a number of records by [[James Brown]], including ("[[Papa's Got a Brand New Bag]]" (Parts 1 & 2) and "[[Say It Loud - I'm Black and I'm Proud]] (Parts 1 & 2). "Part 1" would be the chart hit, while "Part 2" would be a continuation of the same recording. A notable example of a non-R&B hit with parts 1 & 2 was the single release of [[Don McLean]]'s "[[American Pie (song)\|American Pie]]". With the advent of the 12" single in the late 1970s, the Part 1/Part 2 method of recording was largely abandoned.	2011-07-01T02:17:38Z	Additionally, it was common in the 1960s and 1970s for longer songs by soul, funk or R&B acts to be broken into two parts for single release. Examples of this include the [[Isley Brothers]] "Shout" (Parts 1 and 2), and a number of records by [[James Brown]], including "[[Papa's Got a Brand New Bag]]" (Parts 1 & 2) and "[[Say It Loud - I'm Black and I'm Proud]] (Parts 1 & 2). "Part 1" would be the chart hit, while "Part 2" would be a continuation of the same recording. A notable example of a non-R&B hit with parts 1 & 2 was the single release of [[Don McLean]]'s "[[American Pie (song)\|American Pie]]". With the advent of the 12" single in the late 1970s, the Part 1/Part 2 method of recording was largely abandoned.	2011-07-04T06:15:18Z
https://en.wikipedia.org/w/index.php?title=Record_chart&diff=12802663&oldid=12802538	A [[record chart]] is a list of popular records, based on data such as sales of [[Single (music) \| singles] and requests to radio [disk jockeys].	2005-04-25T18:38:41Z	A [[record chart]] is a list of popular records, based on data such as sales of [[Single (music) \| singles]] and requests to radio [[disk jockeys]].	2005-04-25T18:39:59Z
https://en.wikipedia.org/w/index.php?title=Archives_Service_Center&diff=691678498&oldid=691677998	* Labor<ref>{{cite web\|url=http://digital.library.pitt.edu/cgi-bin/f/findaid/findaid-idx?c=ascead&cc=ascead&type=simple&rgn=Category&q1=Labor&Submit=Search\|title=Guides to Archives and Manuscript Collections at the University of Pittsburgh Library System\|work=pitt.edu}}</ref><ref nsmr= Hayes1989/>	2015-11-21T13:52:19Z	* Labor<ref>{{cite web\|url=http://digital.library.pitt.edu/cgi-bin/f/findaid/findaid-idx?c=ascead&cc=ascead&type=simple&rgn=Category&q1=Labor&Submit=Search\|title=Guides to Archives and Manuscript Collections at the University of Pittsburgh Library System\|work=pitt.edu}}</ref><!--<ref nsmr= Hayes1989/>-->	2015-11-21T13:57:47Z
https://en.wikipedia.org/w/index.php?title=Diaz_Ayala_Cuban_and_Latin_American_Popular_Music_Collection&diff=604662210&oldid=604662179	The Diaz Ayala Cuban and Latin American Popular Music Collection (DAC) was donated to the Florida International University Libraries in 2001 by the Cuban discographer Cristobal Diaz Ayala. The archive supports the Florida International University's mission of teaching, research, and service by providing means for the discovery and the pursuit of knowledge.	2014-04-17T23:15:02Z	The Diaz Ayala Cuban and Latin American Popular Music Collection (DAC) was donated to the Florida International University Libraries in 2001 by the Cuban discographer Cristobal Diaz Ayala. The archive supports the Florida International University's mission of teaching, research, and service by providing means for the discovery and the pursuit of knowledge.	2014-04-17T23:15:21Z
https://en.wikipedia.org/w/index.php?title=Musical_Electronics_Library&diff=633907481&oldid=633895746	MEL is run by volunteers and curated by musician and device-builder [[Kraus (musician)\|Kraus]].<ref>{{cite web\|last1=Silver\|first1=Harry\|title=May Creative Technologists Meetup\|url=http://colab.aut.ac.nz/events/may-creative-technologists-meetup/\|website=Colab\|publisher=[[Auckland University of Technology]]\|accessdate=15 July 2014}}</ref><ref>{{cite web\|title=Musical Electronics Library\|url=http://www.sonorouscircle.com/2014/05/musical-electronics-library/\|website=Sonorous Circle\|accessdate=15 July 2014}}</ref> The library was inspired by the work of [[Nicolas Collins]] and [[Bob Widlar]].<ref>{{cite web\|last1=Kraus\|first1=Pat\|title=MEL prehistory 1\|url=https://musicalelectronicslibrary.wordpress.com/2014/03/24/mel-prehistory-1/\|website=Musical Electronics Library\|publisher=Musical Electronics Library\|accessdate=15 July 2014}}</ref><ref>{{cite journal\|title=Bob Widlar\|journal=Space Surveillance Network\|date=July 2014\|issue=July 2014\|page=5}}</ref> Musicians using equipment from MEL include Hermione Johnson, Kraus, Pumice, Diana Tribute, Piece War, [[Futurians_(band)#Other_activities\|Ducklingmonster]], the Biscuits, Powernap, Herriot Row, Chronic Fatigue Sindrome.<ref>{{cite journal\|title=MELtastic Auckland Artists\|journal=Space Surveillance Network\|date=July 2014\|issue=July 2014\|page=26}}</ref>	2014-11-15T03:26:45Z	MEL is run by volunteers and curated by musician and device-builder [[Kraus (musician)\|Kraus]].<ref>{{cite web\|last1=Silver\|first1=Harry\|title=May Creative Technologists Meetup\|url=http://colab.aut.ac.nz/events/may-creative-technologists-meetup/\|website=Colab\|publisher=[[Auckland University of Technology]]\|accessdate=15 July 2014}}</ref><ref>{{cite web\|title=Musical Electronics Library\|url=http://www.sonorouscircle.com/2014/05/musical-electronics-library/\|website=Sonorous Circle\|accessdate=15 July 2014}}</ref> The library was inspired by the work of [[Nicolas Collins]] and [[Bob Widlar]].<ref>{{cite web\|last1=Kraus\|first1=Pat\|title=MEL prehistory 1\|url=https://musicalelectronicslibrary.wordpress.com/2014/03/24/mel-prehistory-1/\|website=Musical Electronics Library\|publisher=Musical Electronics Library\|accessdate=15 July 2014}}</ref><ref>{{cite journal\|title=Bob Widlar\|journal=Space Surveillance Network\|date=July 2014\|issue=July 2014\|page=5}}</ref> Musicians using equipment from MEL include Hermione Johnson, Kraus, Pumice, Diana Tribute, Piece War, [[Futurians_(band)#Other_activities\|Ducklingmonster]], the Biscuits, Powernap, Herriot Row, and Chronic Fatigue Sindrome.<ref>{{cite journal\|title=MELtastic Auckland Artists\|journal=Space Surveillance Network\|date=July 2014\|issue=July 2014\|page=26}}</ref>	2014-11-15T06:22:11Z
https://en.wikipedia.org/w/index.php?title=The_Traditional_Tune_Archive&diff=1053056385&oldid=1053007858	[[File:JackyLayton.png\|thumb\|left\|250px\|Jacky Layton with variations]]‘Traditional music’ is loosely defined as historical and contemporary melodies that are folk-based, either in original derivation or in practical usage, and have been primarily used for folk-based activities, such as folk dance and folk song, and are also currently enjoyed by amateur players for personal enjoyment and for group playing in sessions. The body of ‘traditional music’ also provides foundational material for a thriving music industry based on interpretation and performance, adaptation, imitation and innovation in its various subgenres, supporting semi-professional and professional musicians. The TTA is organized alphabetically, by tune title, with alternate or additional titles and variants cross-referenced . Each tune has two pages, the first for music and bibliographic/demographic information, and the second featuring annotations on history, context, and more in-depth bibliographic and discographic information. Tune information is recorded in individual data fields of which twelve elements are relationally organized and reportable via the “Query the Archive” function found under the “The Archive” menu to the left of the index page. Queries can be selected using the available fields. Meter/Rhythm Time signature Key (Tonic note, accidentals, Key/mode Tune structure Region Genre/Style Composer/core source Historical/Geographical allegiances Alternate titles, closely related tunes '''Tune Book''' Citation of the earliest published or manuscript where the tune can be found. A PDF standard notation transcription, when available. Citation of the earliest sound recording of the tune extent. An mp3 version of the recording, when available. '''Theme Code Index''' Theme codes of the first two measures of each tune according to the Brendan Breathnach system [https://tunearch.org/wiki/Theme_Code_Index]. Tune annotations – A section for narrative comments about the tune, focusing on history, dissemination, tune family relationships, and contextual information such as influential popularizers and recordings, and remarks on ‘placement in the tradition’. Information is factual with supporting citations but ‘tune lore’ (i.e. non-factual, conjectural and/or speculative remarks should be identified as such. Source for notated version – The source for the tune cited in printed or manuscript collections. Printed Sources – A list of all known published sources for the tune. Recorded Sources – A list of all known sound recordings of the tune. ‘See also listing at’— Internet links for further information. By entering keywords in the “Search Traditional Tune Archive” bar at the top right of each index page. *By clicking on “The Index” under the “The Archive Menu” on the left hand side of each page. Clicking on “The Index” will reveal an alphabetically arranged list of tunes, with an alphabetical short cut at the top of the page for easier navigation. Tunes are listed by title, sans any article words (A, An, The, La, Le, Les etc.) at the beginning of the title.	2021-11-01T10:51:52Z	[[File:JackyLayton.png\|thumb\|left\|250px\|Jacky Layton with variations]]‘Traditional music’ is loosely defined as historical and contemporary melodies that are folk-based, either in original derivation or in practical usage, and have been primarily used for folk-based activities, such as folk dance and folk song, and are also currently enjoyed by amateur players for personal enjoyment and for group playing in sessions. The body of ‘traditional music’ also provides foundational material for a thriving music industry based on interpretation and performance, adaptation, imitation and innovation in its various subgenres, supporting semi-professional and professional musicians. The TTA is organized alphabetically, by tune title, with alternate or additional titles and variants cross-referenced . Each tune has two pages, the first for music and bibliographic/demographic information, and the second featuring annotations on history, context, and more in-depth bibliographic and discographic information. Tune information is recorded in individual data fields of which twelve elements are relationally organized and reportable via the “Query the Archive” function found under the “The Archive” menu to the left of the index page. Queries can be selected using the available fields. * Meter/Rhythm * Time signature * Key (Tonic note, accidentals, Key/mode * Tune structure * Region * Genre/Style * Composer/core source * Historical/Geographical allegiances * Alternate titles, closely related tunes '''Tune Book''' * Citation of the earliest published or manuscript where the tune can be found. * A PDF standard notation transcription, when available. * Citation of the earliest sound recording of the tune extent. * An mp3 version of the recording, when available. '''Theme Code Index''' * Theme codes of the first two measures of each tune according to the Brendan Breathnach system [https://tunearch.org/wiki/Theme_Code_Index]. * Tune annotations – A section for narrative comments about the tune, focusing on history, dissemination, tune family relationships, and contextual information such as influential popularizers and recordings, and remarks on ‘placement in the tradition’. Information is factual with supporting citations but ‘tune lore’ (i.e. non-factual, conjectural and/or speculative remarks should be identified as such. * Source for notated version – The source for the tune cited in printed or manuscript collections. * Printed Sources – A list of all known published sources for the tune. * Recorded Sources – A list of all known sound recordings of the tune. * ‘See also listing at’— Internet links for further information. * By entering keywords in the “Search Traditional Tune Archive” bar at the top right of each index page. * By clicking on “The Index” under the “The Archive Menu” on the left hand side of each page. Clicking on “The Index” will reveal an alphabetically arranged list of tunes, with an alphabetical short cut at the top of the page for easier navigation. Tunes are listed by title, sans any article words (A, An, The, La, Le, Les etc.) at the beginning of the title.	2021-11-01T17:04:40Z
https://en.wikipedia.org/w/index.php?title=Supergroup_(music)&diff=540665221&oldid=539983017	\| rowspan=5 \| 2007 \|rowspan=11\| 2009 \|rowspan=9 \|2010 \| rowspan=7 \|2011	2013-02-24T01:05:13Z	\| rowspan=5 \| 2007 \|rowspan=11\| 2009 \|rowspan=9 \|2010 \| rowspan=7 \|2011	2013-02-26T16:17:35Z