Throughout the Triassic, E North America, as a result of the mountain-building episode that formed the Appalachians in the late Paleozoic era, was elevated above sea level. California and Nevada, however, were submerged. In the Lower Triassic the sea extended E to Idaho, Colorado, and Wyoming; in the Middle Triassic it submerged British Columbia; in the Upper Triassic it extended into Alaska. In Lower and Upper Triassic time the west coast, from Alaska to British Columbia, was disturbed by violent and widespread volcanic activity. The Triassic formations of W North America are chiefly marine shale and limestone, with considerable igneous intrusions.
Near the end of the period, the only Triassic formation of E North America was deposited in downfaulted troughs, parallel to the Appalachians, from Nova Scotia to North Carolina. Composed of shale, conglomerate, and sandstone, this Newark series is comprised of sediments from the Appalachians. It is widely interrupted by so-called traprock—diabase dikes and sills—which forms ridges and cliffs, such as the Palisades of the Hudson near New York City. The end of the Triassic in North America was marked by extensive faulting and tilting of the Newark series, called the Palisade disturbance, and by the emergence of W North America.
The Triassic deposits of Germany form three series. In the Bunter series, the land was emergent, and red sandstone and sandy shale, with some salt and gypsum, were deposited. The Muschelkalk series saw the transgression of the land by the sea and the deposition of marine shale and limestone; the Keuper series saw the land again emergent and shale, sandstone, and gypsum being formed. In England there was no marine phase corresponding to the Muschelkalk; the Triassic of England is commonly called the New Red Sandstone. The Tethys, a great seaway, extended through the Mediterranean region E through the Middle East to the Himalayas and to E India. During the Triassic a subduction complex including an elongate volcanic arc system developed along the N American west coast. N Africa and Europe were still attached to N America as part of the supercontinent Pangaea.
The climate of the Triassic was semiarid to arid. In the plant life, marine algae were abundant, ferns and tree ferns less important than in the Paleozoic, conifers dominant among the trees, and a new group, the cycads, appeared. Many Paleozoic invertebrates appeared for the last time in the Triassic. The ammonites became very important, then were reduced at the end of the Triassic to one species, but were destined to become numerous again in the succeeding Jurassic period. Amphibians were apparently not as numerous as in the Paleozoic, but some types were more highly developed. The dominant animals of the Triassic were the reptiles; although the Triassic reptiles were less specialized than those of the Jurassic, there were already a number of types of dinosaurs, pterosaurs, and marine reptiles. The Triassic rocks also contain the fossils of the earliest known mammals.
During the Permian period, changes in the earth's surface that had begun in the preceding Carboniferous period reached a climax. At the close of the Carboniferous, large areas of E North America were dry land. In the Lower Permian, sandy shales, sandstones, and thin limestones of the Dunkard formation (formerly called the Upper Barren measures) were deposited in the remaining submerged areas of West Virginia, Pennsylvania, and Ohio, but the continued rising of the land soon put an end to deposition. The Dunkard is the last Paleozoic formation of the E United States. More extensive deposits were formed in the West. Parts of Texas, Oklahoma, Kansas, and Nebraska were covered by an arm of the sea or possibly by one or more salt lakes or lagoons, now represented by masses of salt or gypsum in layers separated and overlaid by red beds. There are important Permian salt mines at Hutchinson and Lyons in Kansas and gypsum mines in Oklahoma, Texas, and Kansas. The longest marine submergence of the Lower Permian in North America was in W Texas and SE New Mexico, where there is a system of marine limestones and sandstones 4,000 to 6,000 ft (1,200-1,800 m) thick. The Cordilleran region was also submerged; here marine beds are more common toward the west, and land sediments, especially red beds, toward the east. The red beds are generally considered to be indicative of increasingly arid conditions in Permian times.
In Europe, the Lower Permian, or Rotliegendes [red layers], was marked principally by erosion from the Paleozoic Alps of the Carboniferous into the low-lying land to the north; the formations are chiefly shale and sandstone, with some conglomerate and breccia. Red is a prominent color for the beds. The Pangaea supercontinent formed from an aggregation of all continents at this time.
The Permian and late Carboniferous of the Southern Hemisphere were radically different from those of the Northern Hemisphere. Australia, S Africa, and South America experienced a series of glacial periods, as is shown by the presence of tillite and of conspicuous striations of the underlying rock formations. This condition prevailed also in India. Paleozoic glaciation in North America is suggested by the Squantum tillite near Boston, Mass. This glaciation and the aridity of which the red beds seem to be the result are the two most strongly marked characteristics of the Permian period.
The Upper PermianIn the Upper Permian practically all of North America was above sea level, and the continent was larger than at present. Toward the close of the Upper Permian the greatest earth disturbance of the Paleozoic era thrust up the Appalachian Mts. In Europe, the Upper Permian was a period of more extensive marine invasion; the Zechstein formation is predominantly limestone, though it includes rich deposits of copper, salt, gypsum, and potash. The Upper Permian beds of Germany were long the chief source of the world's potash.
Many marine animals became extinct during the Permian, but there was at the same time an evolution to more modern types, a marked change in the insects, and a notable increase in numbers and varieties of reptiles mainly because of the continental changes. Among plants, Lepidodendron and Sigillaria became rare, but ferns and conifers persisted. The widely distributed "seed fern," Glossopteris, which was apparently successful in resisting glacial conditions, was the most conspicuous development in the Permian flora. The presence of Glossopteris in South America, Antarctica, Australia, and S Africa is a strong argument favoring the interconnection of these land masses in a large supercontinent during Permian time. The end of the Permian is marked in the fossil record by a mass extinction.
The oldest recognizable tools made by members of the family of man are simple stone choppers, such as those discovered at Olduvai Gorge in Tanzania. These tools may have been made over 1 million years ago by Australopithecus, ancestor of modern humans. Fractured stones called eoliths have been considered the earliest tools, but it is impossible to distinguish man-made from naturally produced modifications in such stones. Lower Paleolithic stone industries of the early species of humans called Homo erectus include the Choukoutienian of China and the Clactonian, Chellean-Abbevillian, Acheulian and Levalloisian represented at various sites in Europe, Africa, and Asia, from 100,000 to 500,000 years ago. Stone tools of this period are of the core type, made by chipping the stone to form a cutting edge, or of the flake type, fashioned from fragments struck off a stone. Hand axes were the typical tool of these early hunters and food-gatherers.
The Middle Paleolithic period includes the Mousterian culture, often associated with Neanderthal man, an early form of humans, living between 100,000 and 40,000 years ago. Neanderthal remains are often found in caves with evidence of the use of fire. Neanderthals were hunters of prehistoric mammals, and their cultural remains, though unearthed chiefly in Europe, have been found also in N Africa, Palestine, and Siberia. Stone tools of this period are of the flake tradition, and bone implements, such as needles, indicate that crudely sewn furs and skins were used as body coverings. Since the dead were painted before burial, a kind of primitive religion may have been practiced.
In the Upper Paleolithic period Neanderthal man disappears and is replaced by a variety of Homo sapiens such as Cro-Magnon man and Grimaldi man. This, the flowering of the Paleolithic period, saw an astonishing number of human cultures, such as the Aurignacian, Gravettian, Perigordian, Solutrean, and Magdalenian, rise and develop in the Old World. The beginnings of communal hunting and extensive fishing are found here, as is the first conclusive evidence of belief systems centering on magic and the supernatural. Pit houses, the first man-made shelters, were built, sewn clothing was worn, and sculpture and painting originated. Tools were of great variety, including flint and obsidian blades and projectile points. It is probable that the people of the Aurignacian culture migrated to Europe after developing their distinctive culture elsewhere, perhaps in Asia. Their stone tools are finely worked, and they made a typical figure eight-shaped blade. They also used bone, horn, and ivory and made necklaces and other personal ornaments. They carved the so-called Venus figures, ritual statuettes of bone, and made outline drawings on cave walls.
The hunters of the Solutrean phase of the Upper Paleolithic entered Europe from the east and ousted many of their Aurignacian predecessors. The Solutrean wrought extremely fine spearheads, shaped like a laurel leaf. The wild horse was their chief quarry. The Solutrean as well as remnants of the Aurignacian were replaced by the Magdalenian, the final, and perhaps most impressive, phase of the Paleolithic period. Here artifacts reflect a society made up of communities of fishermen and reindeer hunters. Surviving Magdalenian tools, which range from tiny microliths to implements of great length and fineness, indicate an advanced technique. Weapons were highly refined and varied, the atlatl first came into use, and along the southern edge of the ice sheet boats and harpoons were developed. However, the crowning achievement of the Magdalenian was its cave paintings, the culmination of Paleolithic art.
See L. S. B. Leakey, Adam's Ancestors (4th ed. 1960); M. C. Burkitt, The Old Stone Age (4th ed. 1963); K. P. Oakley, Man the Tool-Maker (5th ed. 1963); F. Bordes, The Old Stone Age (tr. 1968).
See V. G. Childe, New Light on the Most Ancient East (4th ed. 1953, repr. 1968); G. Clark and S. Piggott, Prehistoric Societies (1965); R. J. Braidwood, Prehistoric Men (7th ed. 1967); S. M. Cole, The Neolithic Revolution (4th ed. 1967); A. Whittle, Problems in Neolithic Archaeology (1989).
See study by J. G. D. Clark (1953, repr. 1970).
During the reign of Louis XIII (1610-43) there was a transition from the baroque style, strongly influenced by Italy, to the classical dignity of the period of Louis XIV (1643-1715). The Louis XIV [Louis Quatorze] style, established after the king took personal control of the government in 1661, was molded by the chief minister, Colbert. He established manufactories of tapestries, textiles, furniture, and ornaments; assembled leading artists and artisans in the royal service; and appointed Charles Le Brun director of the Gobelins manufactory and decorator of the palace of Versailles.
Colbert worked in close cooperation with J. H. Mansart, achieving interiors of great splendor, in which the decoration was closely integrated with the architectural framework. Neutral backgrounds were often used to emphasize the strong, rich colors of Gobelin, Aubusson, and Beauvais tapestries, Savonnerie and Oriental rugs, velvet or brocade upholstery, hangings, and large paintings on walls and ceilings. Such ornaments as scrolls, acanthus leaves, caryatids, busts, and full figures with festoons of flowers and fruit were employed. Large mirrors decorated the walls. Furniture scaled to the huge proportions of the rooms was made of ebony or covered with silver, gilt, or lacquer and decorated with carving and with marquetry in the manner of A. C. Boulle.
In contrast to the heavy, massive members and curves used in the period of Louis XIV, the régence style, established during the regency of Philippe II, duc d'Orléans (1715-23), began to employ delicate lines and intricate curves. Finely sculptured bronze reliefs became the outstanding mode of furniture decoration under the leadership of the cabinetmaker Charles Cressent.
The Louis XV [Louis Quinze] (1723-74) style was characterized by free curves and the use of rococo ornament and chinoiserie. Rooms were smaller, specialized, and arranged for convenient use. Colors were delicate. Tinted wood, veneer, lacquer panels, marquetry, mounts by Caffieri and Pierre Gouthière, and porcelain plaques of Sèvres ware distinguish the designs. The style in its later phase was more restrained.
The restraint of the later Louis XV style presaged the strong reaction of the Louis XVI [Louis Seize] (1774-93) period, during which simplicity replaced excess and the classic revival influenced decorative motifs and brought a return to straight lines and symmetry. Slenderness of proportion was emphasized in furniture. Colors were light in tone; ornament was delicate and in low relief, embossed, or painted. Furniture details included slender fluted legs, convex moldings, and rosette, leaf, and flower motifs in the carved frames often painted white and touched with gilt. Upholstery and hangings used varied fabrics. The Revolution abolished the guilds, which had maintained high standards of craftsmanship, and weakened the practice, instituted under Louis XIV, of cooperation between artists and masters of the various crafts in producing fine furniture and decorative accessories.
See S. de Ricci, Louis XIV and Regency Furniture and Decoration (1929); G. Souchal, French Eighteenth-Century Furniture (tr. 1961); J. Viaux, French Furniture (tr. 1964).
At the beginning of the Lower Cretaceous in North America, the Mexican Sea of the late Jurassic period spread over Texas, Oklahoma, New Mexico, and parts of Arizona, Kansas, and Colorado. Deposits from this inland sea, known as the Comanchean Sea, were chiefly limestone (up to 1,500 ft/457 m thick in Texas) but some continental sediments (i.e., sandstone, shale, and conglomerate) mark the reemergence of land, which brought the Lower Cretaceous to a close. The Comanchean Sea was probably separated by a land barrier from contemporaneous seas in the California areas, where 26,000 ft (7,925 m) of Shastan shales, with sandstone and thin limestone, were laid down. The sediments were derived by rapid erosion from the recently elevated Sierra Nevada and Klamath mts. In Montana, Alberta, and British Columbia the Kootenai deposits of sandstone and sandy shale, which contain workable deposits of good coal, were formed; along the Atlantic coast the unconsolidated sandy clay, gravel, and sand of the Potomac series were deposited.
The Lower Cretaceous opened in NW Europe with the deposition of a continental and freshwater formation, the Wealden sand and clay, best displayed in England. The sea, meanwhile, expanded from the Mediterranean, finally overlaying successive Wealden strata with limestone. There was at the same time an extensive sea in N Europe. At the close of the Lower Cretaceous, there was some recession of the seas; by the Upper Cretaceous, the great transgression of seas submerged lands that had been open since the Paleozoic.
The Upper Cretaceous PeriodThe Upper Cretaceous opened in W North America with the deposition of continental sands (now the Dakota sandstone), which, however, were covered by the ensuing rise of the Colorado Sea. The Colorado Sea was the greatest of the North American Mesozoic seas and extended all the way from Mexico up into the Arctic, covering most of central North America. The Colorado deposits were composed chiefly of shales, limestone, and some chalk in Kansas and South Dakota. Slight shifting of the sea was followed by the deposition of the Montana shale and sandstone and then by withdrawal of the sea. Near the end of the Upper Cretaceous, conditions in the west were similar to those of the Carboniferous period in other regions; swamps and bogs were formed that later became valuable deposits of coal.
At the close of the Cretaceous the Laramide revolution occurred—at least two different epochs of mountain building and one of relative quiet. In this disturbance the Rockies and the E Andes were first elevated, and there were extensive flows of lava. The Appalachians, which had been reduced almost to base level by erosion, were rejuvenated, and the seas retreated from all parts of the continent. The intermittent character of the Laramide disturbance makes difficult the demarcation of the Mesozoic and the succeeding Cenozoic era.
The striking feature of the European Upper Cretaceous are great chalk deposits from small carbonate-bearing marine algae and calcareous fauna, now exposed in the cliffs of the English Channel. In India the late Upper Cretaceous was marked by an overflow of lava in the Deccan plateau. The area covered by igneous rocks dating from this period now comprises over 200,000 sq mi (518,000 sq km) and was formerly much larger, having been reduced by erosion. Near Mumbai the formation is 10,000 ft (3,000 m) thick.
Movement of the ContinentsDuring the Cretaceous period the massive continents of Gondwanaland and Laurasia continued to separate. South America and Africa had separated, with the consequent widening of the S Atlantic. The N Atlantic continued to expand, although it appears that Europe, Greenland, and North America were still connected. Madagascar had separated from Africa, while India was still drifting northward toward Asia. The Tethys Sea was disappearing as Africa moved north toward Eurasia. Antarctica and Australia had yet to separate.
The Lower Cretaceous is characterized by a revolution in the plant life, with the sudden appearance of flowering plants (angiosperms) such as the ancestors of the beech, fig, magnolia, and sassafras. By the end of the Cretaceous such plants became dominant. Willow, elm, grape, laurel, birch, oak, and maple also made their appearance, along with grass and the sequoias of California. Closely associated with the angiosperms were insects, including a form of the dragonfly, and most were similar to today's insects. This prepared the way for the increase in mammals in the late Cenozoic. The marine invertebrates of the Cretaceous included nautiluses, barnacles, lobsters, crabs, sea urchins, ammonites, and foraminifers. Reptiles reached their zenith, including the dinosaurs Triceratops, Tyrannosaurus, Stegosaurus, Apatosaurus (Brontosaurus), and Iguanodon, and ranged from herbivores to carnivores. Flying reptiles such as the pterosaurs were highly developed, while in the sea there were ichthyosaurs, plesiosaurs, and mosasaurs. Other reptiles living in this period include crocodiles and giant turtles; snakes and lizards made their first appearance at this time. True mammals, which had already appeared in the Triassic period, were rare, as the Cretaceous reptiles dominated.
The climate of the Cretaceous was apparently fairly mild and uniform, but it is possible that toward the end of the period some variant zones of climate had appeared, making the overall climate cooler. Such changes, along with changes in both the earth's surface and its flora and fauna, brought the Mesozoic to a close.
By the end of the Cretaceous, about 75% of all species, including marine, freshwater, and terrestrial organisms, became extinct. The rather abrupt disappearance of Cretaceous life remains a mystery. Theories for the extinctions include one or a mixture of the following: drastic cooling of the globe, retreat of the seas, breakup of the continents (see continental drift), biological disease, reversals of the earth's magnetic field, or a change in atmospheric carbon dioxide and oxygen. Another popular theory was introduced in 1980 by Luis Alvarez and colleagues at the Univ. of California. Alvarez proposed that the earth was struck by an asteroid or comet about 6 mi (10 km) in diameter around 65 million years ago. Such an impact (or collection of impacts) would spread dust into the atmosphere, suppressing photosynthesis and changing the food chain. Evidence for an impact includes an anomalous iridium layer, typical of meteorites, and some probable impact craters dated to the late Cretaceous.
The Carboniferous period was marked by vast, coal-forming swamps (see also bog) and a succession of changes in the earth's surface that, continuing into the Permian period, ended the Paleozoic era. The Carboniferous is often split into two divisions, the Mississippian and the Pennsylvanian; in the United States the break in the geologic sequence is so sharp that each division is commonly considered an independent period.
The Lower Carboniferous PeriodIn the Lower Carboniferous, or Mississippian, period, the submersion—on several occasions—of the interior of North America under shallow seas resulted in the formation of limestone, shale, and sandstone. In the Appalachian region, especially in Pennsylvania, great deposits of sandstone and shale were laid down by the erosion products from the eastern coastal highlands. In the far west the Rocky Mt. region was covered by shallow seas that deposited the Madison and Redwall limestones of the Grand Canyon.
The Lower Carboniferous in Europe was a period of submergence and great volcanic activity. E of the Rhine, shales, sandstones, and conglomerates were deposited; and in Russia, the Coal Measures formed. The close of the Lower Carboniferous was marked by mountain building in New Brunswick, Nova Scotia, the S Appalachian region, the SW United States, and Europe.
The Upper Carboniferous PeriodIn the Upper Carboniferous, or Pennsylvanian, period, there was at least one great submergence. In the E United States great deltas of sediments, now represented by the Pottsville conglomerate, were formed during the early Pennsylvanian. In Kansas, Nebraska, Arkansas, and Texas, the Pennsylvanian beds are chiefly shale, sandstone, and coal; over the Cordilleran (Rocky Mountain) region, marine limestone, with little coal; on the Pacific coast from California to Alaska, limestone and shale. The sea level also oscillated during the period and caused the formation of great marshes with extensive vegetation that was later transformed into coal, with Pennsylvanian strata containing the largest U.S. coal deposits. The Pennsylvanian coal fields of North America include the anthracite field of E Pennsylvania; the Appalachian field, from Pennsylvania to Alabama; the Michigan field; the eastern interior field, in Indiana, Illinois, and Kentucky; the western interior and southwestern field, stretching from Iowa to Texas; the Rhode Island field; and the Acadian field of SE Canada.
In the Upper Carboniferous of Western Europe, the Millstone Grit (the equivalent to the Pottsville conglomerate) is followed by the Coal Measures, which include the Welsh, English, Belgian, Westphalian, and Saar Basin fields. In the Mediterranean region and parts of Asia, the Upper Carboniferous environment resembled that of W North America.
The Upper Carboniferous was a period of marked disturbances caused by collisions of crustal plates. Gondwanaland, the supercontinent containing the continents of Africa and S America, had formed; Euramerica, part of Europe and N America, had fused into a continent to the north; and Angara, today's Asia, was also to the north of Gondwanaland. In Europe the Paleozoic Alps were thrust up; in Asia, the Altai and the Tian Shan; in North America, the Arbuckle and Wichita mts. and the ancestral S Rockies. The Indian peninsula became an active site of deposition; in the Himalayan geosyncline and much of China, mountain building was dominant. Crustal movements in the Andean geosyncline of South America affected the pattern of sedimentation over much of the continent.
The plant life of the Carboniferous period was extensive and luxuriant, especially during the Pennsylvanian. It included ferns and fernlike trees; giant horsetails, called calamites; club mosses, or lycopods, such as Lepidodendron and Sigillaria; seed ferns; and cordaites, or primitive conifers. Land animals included primitive amphibians, reptiles (which first appeared in the Upper Carboniferous), spiders, millipedes, land snails, scorpions, enormous dragonflies, and more than 800 kinds of cockroaches. The inland waters were inhabited by fishes, clams, and various crustaceans; the oceans, by mollusks, crinoids, sea urchins, and one-celled foraminifera.
Time required for a body in the solar system to return to the same or about the same position relative to the Sun as seen from Earth. The Moon's synodic period is the time between successive recurrences of the same phase (e.g., the period between one full moon and the next). A planet's synodic period is the time required for Earth to overtake it as both go around the Sun or (in the case of fast-moving Mercury or Venus) for the other planet to overtake Earth. Seealso sidereal period.
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Time required for a celestial body in the solar system to complete one revolution with respect to the fixed stars (as observed from a fixed point outside the system). A planet's sidereal period can be calculated from its synodic period. The sidereal period of the Moon or an artificial satellite of Earth is the time it takes to return to the same position against the background of stars. Seealso day.
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In geology, the basic unit of the geologic time scale. During these spans of time, specific systems of rocks were formed. Originally, the method for defining the sequence of periods was relative; it was based on stratigraphy and paleontology. Carbon-14 dating and similar methods are now used to determine absolute ages for various periods.
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Musical genre incorporating diverse styles from Africa, eastern Europe, Asia, South and Central America, the Caribbean, and nonmainstream Western folk sources. The term was first coined largely in response to the sudden increase of recordings in non-English languages that were released in Great Britain and the United States in the 1980s, but by the early 1990s world music had become a bona fide musical genre and counterpoint to the increasingly synthetic sounds of Western pop music. Initially, African popular music and world music were virtually synonymous, and the genre's biggest stars included the Nigerians King Sunny Ade and Fela Anikulapo Kuti and the Senegalese Youssou N'Dour. Moreover, one of its earliest advocates was the Cameroonian-born Frenchman Francis Bebey. By the 21st century world music encompassed everything from Pakistani singer Nusrat Fateh Ali Khan and the pop-flamenco of the French group the Gipsy Kings to “ambient-global” projects that merged so-called ethnic voice samples with state-of-the-art rhythm programming.
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Style of U.S. popular music sung and performed primarily by African American musicians, having its roots in gospel music and rhythm and blues. The term was first used in the 1960s to describe music that combined rhythm and blues, gospel, jazz, and rock music and that was characterized by intensity of feeling and earthiness. In its earliest stages, soul music was found most commonly in the South, but many of the young singers who were to popularize it migrated to cities in the North. The founding of Motown in Detroit, Mich., and Stax-Volt in Memphis, Tenn., did much to encourage the style. Its most popular performers include James Brown, Ray Charles, Sam Cooke, and Aretha Franklin.
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Musical style that arose in the U.S. in the mid-1950s and became the dominant form of popular music in the world. Though rock has used a wide variety of instruments, its basic elements are one or several vocalists, heavily amplified electric guitars (including bass, rhythm, and lead), and drums. It began as a simple style, relying on heavy, dance-oriented rhythms, uncomplicated melodies and harmonies, and lyrics sympathetic to its teenage audience's concerns—young love, the stresses of adolescence, and automobiles. Its roots lay principally in rhythm and blues (R&B) and country music. Both R&B and country existed outside the mainstream of popular music in the early 1950s, when the Cleveland disc jockey Alan Freed (1921–65) and others began programming R&B, which until then had been played only to black audiences. Freed's success gave currency to the term rock and roll. The highly rhythmic, sensual music of Chuck Berry, Bill Haley and the Comets, and particularly Elvis Presley in 1955–56 struck a responsive chord in the newly affluent postwar teenagers. In the 1960s several influences combined to lift rock out of what had already declined into a bland and mechanical format. In England, where rock's development had been slow, the Beatles and the Rolling Stones were found to have retained the freshness of its very early years and achieved enormous success in the U.S., where a new generation had grown up unaware of the musical influences of the new stars. At the same time, Bob Dylan, Joni Mitchell, the Byrds, and others were blending the traditional ballads and verse forms of folk music with rock, and musicians began to explore social and political themes. Performers such as the Grateful Dead, Jim Morrison of the Doors, and Frank Zappa of the Mothers of Invention combined imaginative lyrics with instrumental virtuosity, typically featuring lengthy solo improvisation. Janis Joplin and Jimi Hendrix won large followings with their exotic elaborations on R&B. The 1970s saw the rise of singer-songwriters such as Paul Simon, Neil Young, Elton John, David Bowie, and Bruce Springsteen, and rock assimilated other forms to produce jazz-rock, heavy metal, and punk rock. In the 1980s the disco-influenced rock of Madonna, Michael Jackson, and Prince was balanced by the post-punk “new wave” music of performers such as Laurie Anderson, Talking Heads (led by David Byrne), and the Eurythmics—all of whom illustrated their songs with music videos. By the 1990s rock music had incorporated grunge, rap, techno, and other forms.
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Popular entertainment that featured successive acts by singers, comedians, dancers, and actors. The form derived from the taproom concerts given in city taverns in England in the 18th–19th centuries. To meet the demand for entertainment for the working class, tavern owners often annexed nearby buildings as music halls, where drinking and smoking were permitted. The originator of the English music hall as such was Charles Morton, who built Morton's Canterbury Hall (1852) and Oxford Hall (1861) in London. Leading performers included Lillie Langtry, Harry Lauder (1870–1950), and Gracie Fields. Music halls evolved into larger, more respectable variety theatres, such as London's Hippodrome and the Coliseum. Variety acts combined music, comedy acts, and one-act plays and featured celebrities such as Sarah Bernhardt and Herbert Tree. Seealso vaudeville.
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German music box, with disk in playing position, from Leipzig, c. 1900
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Art concerned with combining vocal or instrumental sounds for beauty of form or emotional expression, usually according to cultural standards of rhythm, melody, and, in most Western music, harmony. Music most often implies sounds with distinct pitches that are arranged into melodies and organized into patterns of rhythm and metre. The melody will usually be in a certain key or mode, and in Western music it will often suggest harmony that may be made explicit as accompanying chords or counterpoint. Music is an art that, in one guise or another, permeates every human society. It is used for such varied social purposes as ritual, worship, coordination of movement, communication, and entertainment.
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Traditional music played by professional musicians (klezmorim) in the Jewish ghettos of eastern Europe, especially for weddings and other ceremonies. The klezmer tradition has its roots in medieval Europe. By the 19th century its style was well-developed, influenced not only by the liturgical music of the synagogue (which allows only unaccompanied singing), but also that of the local non-Jewish cultures. It is primarily lively dance music. Klezmer ensembles have varied considerably; in the U.S., where a klezmer revival began in the 1980s, a typical band consists of four to six musicians playing some combination of violin, clarinet, trumpet, trombone, tuba, accordion, double bass, and percussion.
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Music composed to accompany a play. The practice dates back to ritualistic Greek drama, and it is thus connected to the use of music in other kinds of ritual. Sometimes limited to the role of introduction or interlude (setting a mood or a historical period, for example), it may also accompany spoken dialogue (see melodrama). Film and television music is sometimes considered incidental music.
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Form of black American music derived from Pentecostal church worship services and from spiritual and blues singing. Recordings of Pentecostal preachers' sermons were immensely popular among African Americans in the 1920s. Taking the scriptural direction “Let everything that breathes praise the Lord” (Psalm 150), Pentecostal churches welcomed timbrels, pianos, banjos, guitars, other stringed instruments, and even brass into their services. Choirs often featured the extremes of female vocal range in antiphonal counterpoint with the preacher's sermon. Other forms of gospel music have included the singing and acoustic guitar playing of itinerant street preachers; individual secular performers; and harmonizing male quartets, whose acts included dance routines and stylized costumes. Gospel music's principal composers and practitioners included Thomas A. Dorsey, who coined the term; the Rev. C.A. Tindley (1851–1933); the blind wandering preacher Rev. Gary Davis (1896–1972); Sister Rosetta Tharpe (1915–73), whose performances took gospel into nightclubs and theatres in the 1930s; and Mahalia Jackson. Gospel music was a significant influence on rhythm and blues and soul music, which have in turn strongly influenced contemporary gospel music.
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Music held to be typical of a nation or ethnic group, known to all segments of its society, and preserved usually by oral tradition. Knowledge of the history and development of folk music is largely conjectural. Musical notation of folk songs and descriptions of folk music culture are occasionally encountered in historical records, but these tend to reflect primarily the literate classes' indifference or even hostility. As Christianity expanded in medieval Europe, attempts were made to suppress folk music because of its association with heathen rites and customs, and uncultivated singing styles were denigrated. During the Renaissance, new humanistic attitudes encouraged acceptance of folk music as a genre of rustic antique song, and composers made extensive use of the music; folk tunes were often used as raw material for motets and masses, and Protestant hymns borrowed from folk music. In the 17th century folk music gradually receded from the consciousness of the literate classes, but in the late 18th century it again became important to art music. In the 19th century, folk songs came to be considered a “national treasure,” on a par with cultivated poetry and song. National and regional collections were published, and the music became a means of promoting nationalistic ideologies. Since the 1890s, folk music has been collected and preserved by mechanical recordings. Publications and recordings have promoted wide interest, making possible the revival of folk music where traditional folk life and folklore are moribund. After World War II, archives of field recordings were developed throughout the world. While research has usually dealt with “authentic” (i.e., older) material not heavily influenced by urban popular music and the mass media, the influence of singer-songwriters such as Woody Guthrie, Pete Seeger, Joan Baez, and Bob Dylan expanded the genre to include original music that largely retains the form and simplicity of traditional compositions.
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Any music involving electronic processing (e.g., recording and editing on tape) and whose reproduction involves the use of loudspeakers. In the late 1940s, magnetic tape began to be used, especially in France, to modify natural sounds (playing them backward, at different speeds, etc.), creating the genre known as musique concrète. By the early 1950s, composers in Germany and the U.S. were employing assembled conglomerations of oscillators, filters, and other equipment to produce entirely new sounds. The development of voltage-controlled oscillators and filters led, in the 1950s, to the first synthesizers, which effectively standardized the assemblages and made them more flexible. No longer relying on tape editing, electronic music could now be created in real time. Since their advent in the late 1970s, personal computers have been used to control the synthesizers. Digital sampling—composing with music and sounds electronically extracted from other recordings—has largely replaced the use of oscillators as a sound source.
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Musical style that originated among whites in rural areas of the southern and western U.S. The term country and western music was adopted by the music industry in 1949 to replace the derogatory hillbilly music. Its roots lie in the music of the European settlers of the Appalachians and other areas. In the early 1920s the genre began to be commercially recorded; Fiddlin' John Carson recorded its first hit. Radio programs such as Nashville's
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Music composed for small instrumental ensembles and performed without a conductor. Traditionally intended for performance in a room or reception hall, often solely for the performers' own pleasure, chamber music is now often heard in concert halls. It began with the 16th-century instrumental consort, and long continued to be associated with aristocratic households. The duo sonata (usually for violin and continuo) and trio sonata appeared in early 17th-century Italy. The string quartet arose in the 1750s and remains the best-known chamber genre and ensemble. The serenade, nocturne, and divertimento were Classical genres for varying instrumental forces, often intended to accompany meals and other activities. Standard ensembles include the string trio (violin, viola, cello), string quintet (two violins, two violas, cello), and piano trio (piano, violin, cello). The chamber orchestra, usually with fewer than 25 musicians, is often used for 18th-century music and usually requires a conductor. Seealso sonata.
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(from Latin, alea: “dice game”) Any 20th-century music, particularly that of the 1950s and '60s, the composition or performance of which incorporates elements of chance. In aleatory music aspects such as the ordering of a piece's sections, its rhythms, and even its pitches are decided at the moment of performance. When not purely improvising, players follow lists of arbitrary rules or interpreted “graphic” notation that merely suggest the sounds. Charles Ives and Henry Cowell had used such techniques, but John Cage became the principal figure in aleatory; other aleatory composers include Earle Brown (1926–2002), Morton Feldman (1926–87), and Pierre Boulez.
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Conservatory of music in Philadelphia, Pa., U.S. It was founded in 1924 by Mary Louise Curtis Bok (1876–1970), wife of the editor Edward Bok, and named for her father, the inventor Charles Gordon Curtis. Her endowment was adequate to assure scholarships for gifted students throughout the world. Many eminent musicians have served on its faculty, including Wanda Landowska, Bohuslav Martinů, and Rudolf Serkin. Graduates include Samuel Barber, Leonard Bernstein, and Gian Carlo Menotti.
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Period in European history traditionally dated from the fall of the Roman Empire to the dawn of the Renaissance. In the 5th century the Western Roman Empire endured declines in population, economic vitality, and the size and prominence of cities. It also was greatly affected by a dramatic migration of peoples that began in the 3rd century. In the 5th century these peoples, often called barbarians, carved new kingdoms out of the decrepit Western Empire. Over the next several centuries these kingdoms oversaw the gradual amalgamation of barbarian, Christian, and Roman cultural and political traditions. The longest-lasting of these kingdoms, that of the Franks, laid the foundation for later European states. It also produced Charlemagne, the greatest ruler of the Middle Ages, whose reign was a model for centuries to come. The collapse of Charlemagne's empire and a fresh wave of invasions led to a restructuring of medieval society. The 11th–13th centuries mark the high point of medieval civilization. The church underwent reform that strengthened the place of the pope in church and society but led to clashes between the pope and emperor. Population growth, the flourishing of towns and farms, the emergence of merchant classes, and the development of governmental bureaucracies were part of cultural and economic revival during this period. Meanwhile, thousands of knights followed the call of the church to join the Crusades. Medieval civilization reached its apex in the 13th century with the emergence of Gothic architecture, the appearance of new religious orders, and the expansion of learning and the university. The church dominated intellectual life, producing the Scholasticism of St. Thomas Aquinas. The decline of the Middle Ages resulted from the breakdown of medieval national governments, the great papal schism, the critique of medieval theology and philosophy, and economic and population collapse brought on by famine and disease.
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Ancient technological or cultural stage characterized by the use of rudimentary chipped stone tools. During the Lower Paleolithic (circa 2,500,000–200,000 years ago), simple pebble tools and crude stone choppers were made by the earliest humans. About 700,000 years ago, the first rough hand ax appeared; it was later refined and used with other tools in the Acheulean industry. A flake-tool tradition emerged in the Middle Paleolithic, as exemplified by implements of the Mousterian industry. The Upper Paleolithic (40,000–10,000 BC) saw the emergence of more complex, specialized, and diverse regional stone-tool industries, such as the Aurignacian, Solutrean, and Magdalenian. The two principal forms of Paleolithic art are small sculptures—such as the so-called Venus figurines and various carved or shaped animal and other figures—and monumental paintings, incised designs, and reliefs on the walls of caves such as Altamira (in Spain) and Lascaux Grotto (in France). The end of the Paleolithic is marked by the emergence of the settled agricultural villages of the Neolithic Period.
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Final stage of technological development or cultural evolution among prehistoric humans. It is characterized by the use of stone tools shaped by polishing or grinding, the domestication of plants or animals, the establishment of permanent villages, and the practice of such crafts as pottery and weaving. The Neolithic followed the Paleolithic Period (and in northwestern Europe the Mesolithic) and preceded the Bronze Age. Its beginning is associated with the villages that emerged in South Asia circa 9000 BC and flourished in the Tigris and Euphrates river valleys from circa 7000 BC. Farming spread northward throughout Eurasia, reaching Britain and Scandinavia only after 3000 BC. Neolithic technologies also spread to the Indus River valley of India by 5000 BC and to the Huang Ho valley of China by circa 3500 BC. The term is not applied to the New World, though Neolithic modes of life were achieved independently there by circa 2500 BC.
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