QMRThis is a list of four-dimensional games.
Games[edit]
Title Genre Author First public release date Software license Programming language 4D visualization stereoscopic view
2048 4D[1] puzzle Huon Wilson, based on 2048 by Gabriele Cirulli 2014 MIT Javascript 2D sections No
4D Building Blocks[2] puzzle Henryk Trappmann 2006 ? Java parallel projection Yes
4D Maze[3] maze Jeff Weeks 2015 GPL C 3D + color No
4D Maze maze ? 2010 ? C# text No
4D Maze Game[4] Maze John McIntosh 2002 ? Java perspective projection Yes
4D Blocks[5] Building blocks and trains John McIntosh 2013 ? Java perspective projection Yes
4D Tic-Tac-Toe table Sean Bridges 1998 ? Java 2D sections No
4D-Tris puzzle Laszlo Simon 1999 GPL C perspective projection Yes
Adanaxis FPS Mushware Ltd. 2005 Proprietary C++ 3D section No
AdanaxisGPL FPS Mushware Ltd. 2005 GPL C++ 3D section No
Chesseract[6] table Jim Aikin, Robert Price 2000 Proprietary zrf 2D section No
Daedalus (4D maze)[7] maze Walter D. Pullen 2003 GPL C++ 3D section No
Daedalus (5D maze)[7] maze Walter D. Pullen 2005 GPL C++ parallel projection No
Dascant FPS Alem Dain, Jeremy Holman 2005 GPL C++, Java 3D section No
Four-Dimensional Maze maze Christos Jonathan Seth Hayward 1989 ? Java 2D sections No
Frac4d puzzle Per Bergland, Max Tegmark 1990 Proprietary ? 3D sections No
Hyper FPS Greg Seyranian, Barb Krug, Geraldine Laurent, Scott Richman, Philippe Colantoni, Mike D'Zmura 1998 ? C++ 3D section No
Hypercube skill Harmen van der Wal 1998 GPL Java perspective projection Yes
Hypercubo puzzle Studio Avante 2009 Proprietary ? perspective projection No
Hyperspace Invaders FPS Wyley Dai 2003 ? C++ ? No
HyperLatin table Chris Moss ? ? C 3D sections No
HyperTetris puzzle Greg Kaiser 1996 ? C 3D sections No
Magic120cell puzzle Roice Nelson 2008 ? ? perspective projection No
Magic Cube 4D puzzle Don Hatch, Melinda Green ~1988 Public Domain Java perspective projection No
Miegakure platform Marc ten Bosch under development ? ? 3D section No
Pacman 5D[8] maze ? ? ? ? chromatic/perspective projection No
Polytope Tetris puzzle David Risney 2003 ? Java 3D sections No
Tesseract Explorer FPS Jason Hise 2008 ? C++ unfolding to 3D No
Tesseract! puzzle Anthony Grahn 2013 Proprietary ? perspective projection No
Tetraspace [9] puzzle Riccardo Antonelli 2015 (demo) ? Unity3D 3D sections No
Title Genre Author First public release date Software license Programming language 4D visualization stereoscopic view
QMRThe Big Four House is a historic 19th-century building in Downtown Sacramento, California. It is now located within Old Sacramento State Historic Park and the Old Sacramento National Historic District.
QMREngineering is often characterized as having four main branches:[18][19][20]
Chemical engineering – The application of physics, chemistry, biology, and engineering principles in order to carry out chemical processes on a commercial scale, such as petroleum refining, microfabrication, fermentation, and biomolecule production.
Civil engineering – The design and construction of public and private works, such as infrastructure (airports, roads, railways, water supply and treatment etc.), bridges, dams, and buildings.
Electrical engineering – The design, study and manufacture of various electrical and electronic systems, such as electrical circuits, generators, motors, electromagnetic/electromechanical devices, electronic devices, electronic circuits, optical fibers, optoelectronic devices, computer systems, telecommunications, instrumentation, controls, and electronics.
Mechanical engineering – The design and manufacture of physical or mechanical systems, such as power and energy systems, aerospace/aircraft products, weapon systems, transportation products, engines, compressors, powertrains, kinematic chains, vacuum technology, and vibration isolation equipment.
QMrVirtual taste refers to a taste experience generated by a digital taste simulator. In 2012 a team of researchers at the National University of Singapore developed the digital lollipop, an electronic device capable of transmitting four major taste sensations (salty, sour, sweet and bitter) to the tongue.[1][2][3][4][5][6][7]
QMRIn the 1990s, when Breyers produced all-natural ice cream, the company ran a television advertising campaign in North America featuring a child who attempted to read an ingredients list from another ice cream brand and experienced extreme difficulty pronouncing several listed artificial additives. The child then turned to the Breyers list and quickly rattled off the four ingredients on the label of their vanilla ice cream: milk, cream, sugar, and vanilla.[12]
QMRFluorescent crayons[edit]
In 1972, Binney & Smith introduced eight Crayola fluorescent crayons, designed to fluoresce under black light. The following year, they were added to the 72-count box, in place of the duplicate colors. These crayons remained steady until 1990, when all eight were renamed, and eight more were added, for a total of sixteen fluorescent crayons. One of the new colors, Hot Magenta, shared a name with one of the original colors, now Razzle Dazzle Rose. For some reason, two of the original eight fluorescent crayons have the same color as two of the newer crayons. In 1992, the fluorescent colors were added to the new No. 96 box, becoming part of the standard lineup. When four new crayons were added to the No. 96 assortment in 2003, four existing colors were discontinued, including two of the fluorescents. Also beginning in 1993, packs of fluorescent crayons were regularly labeled "neon" or "neons"
Notice how before he draws this he makes a quadrant grid in order to gauge where he is to draw
QMRBush are a British rock band formed in London in 1992. The band found immediate success with the release of their debut album Sixteen Stone in 1994, which is certified 6× multi-platinum by the RIAA.[6] Bush went on to become one of the most commercially successful rock bands of the 1990s, selling over 10 million records in the United States.
members
Gavin Rossdale
Robin Goodridge
Chris Traynor
Corey Britz
Ryan Merkle QMRSixteen Stone is the debut album of British rock band Bush, released on 6 December 1994, through Trauma Records. Widely regarded as the band's most popular album, it peaked at number four on the Billboard 200 and boasted numerous successful singles. "Comedown" and "Glycerine" remain two of the band's biggest hits to date, each reaching number one on the Billboard Modern Rock Tracks chart.[3] "Comedown," "Machinehead," and "Glycerine" were the three songs from the album to enter the Billboard Hot 100, reaching number thirty, number forty-three, and number twenty-eight, respectively.[4] To mark its 20th anniversary, on 14 October 2014 a remastered edition of the album's original recordings was released.[5]
Sixteen is the squares of the quadrant model
QMRZen X Four is a 2005 live CD with a DVD containing most of the music videos of British grunge band Bush. The album cover photography and band logo were originally featured on their second album, Razorblade Suitcase.
All four of the cultivated cocas were domesticated in pre-Columbian times and are more closely related to each other than to any other species.[2]
Painting Chapter
QMRChrist as Man of Sorrows between Four Angels, engraving by Master E. S., c. 1460.
QMRRelics that are claimed to be the Holy Nails with which Christ was crucified are objects of veneration among some Christians, i.e., among Catholics and the Eastern Orthodox. In Christian symbolism and art they figure among the Instruments of the Passion or Arma Christi, the objects associated with Jesus' Passion. Like the other Instruments the Holy Nails have become an object of veneration among many Christians and have been pictured in paintings and supposedly recovered.
When Helena, mother of Constantine the Great discovered the True Cross in Jerusalem, the legend was told by and repeated by Sozomen and Theodoret that the Holy Nails had been recovered too. Helena left all but a few fragments of the Cross in the Basilica of the Holy Sepulchre in Jerusalem, but returned with the nails to Constantinople. As Theodoret tells it in his Ecclesiastical History, chapter xvii,
The mother of the emperor, on learning the accomplishment of her desire, gave orders that a portion of the nails should be inserted in the royal helmet, in order that the head of her son might be preserved from the darts of his enemies. The other portion of the nails she ordered to be formed into the bridle of his horse, not only to ensure the safety of the emperor, but also to fulfil an ancient prophecy; for long before Zechariah, the prophet, had predicted that 'There shall be upon the bridles of the horses Holiness unto the Lord Almighty.
One of the nails is said to have come to rest in the Iron Crown of Lombardy.
The authenticity of many of these relics is in question. The Catholic Encyclopedia remarked that given that the question has long been debated whether Christ was crucified with three or with four nails:[1]
QMRPassion (from the Greek verb πασχω meaning to suffer) is a very strong feeling about a person or thing. Passion is an intense emotion, a compelling enthusiasm or desire for something.
Passion may be a friendly or eager interest in or admiration for a proposal, cause, discovery, or activity or love – to a feeling of unusual excitement, enthusiasm or compelling emotion, a positive affinity or love, towards a subject. It is particularly used in the context of romance or sexual desire though it generally implies a deeper or more encompassing emotion than that implied by the term lust.
Denis Diderot describes passions as "penchants, inclinations, desires and aversions carried to a certain degree of intensity, combined with an indistinct sensation of pleasure or pain, occasioned or accompanied by some irregular movement of the blood and animal spirits, are what we call passions. They can be so strong as to inhibit all practice of personal freedom, a state in which the soul is in some sense rendered passive; whence the name passions. This inclination or so-called disposition of the soul, is born of the opinion we hold that a great good or a great evil is contained in an object which in and of itself arouses passion" [1]
He further breaks down pleasure and pain, which are the guiding principles of passion into four major categories:
Pleasures and pains of the senses
Pleasures of the mind or of the imagination
Our perfection or our imperfection of virtues or vices
Pleasures and pains in the happiness or misfortunes of others
QMrThe Christ between Four Angels and the Instruments of the Passion is a painting by the Italian Renaissance master Vittore Carpaccio, executed in 1496 and now housed in the Civici musei e gallerie di storia e arte of Udine, northern Italy.
The work was painted for the church of St. Peter Martyr of Udine. It was acquired by the Austrians after the Napoleonic Wars, and assigned to the Hofmuseum in Vienna in 1838. It was given back to Italy in 1919
Description[edit]
The work is signed and dated VICTORIS CHARPATJO / VENETI OPVS / 1496 on a cartouche attached to the basement. It is contemporary of Carpaccio's cycle of the Legend of Saint Ursula and shows some influences of Giovanni Bellini.
It depicts Christ standing on a double basement, keeping the Cross. Behind him is a damask cloth hold by two angels and, at the sides, a landscape inspired to the Venetian hills; the castle on the right is similar to that of Udine. In the foreground are four angels with the Instruments of the Passion: from the left, the Holy Lance, the nails from the cross, the sticks of the Flagellation and the Holy Sponge. On the cross is the Crown of Thorns and the inscription "INRI". Blood rays spring up from Christ's wounds, ending in the Holy Chalice and turning themselves into the sacramental bread.
The sacrifice of Christ is also alluded to by the deer which is being slaughtered by a leopard on the lawn on the right.
Ryan Merkle QMRGeorg Philipp Telemann's Concertos for Four Violins (TWV 40:201–204; original title: Concertos à 4 Violini Concertati) is a set of four concertos for four violins without continuo. Each concerto has four movements.
Ryan Merkle QMRThe Four Evangelists by Jacob Jordaens, 1625–30, Louvre.
Ryan Merkle QMRThe designation Four Crowned Martyrs or Four Holy Crowned Ones (Latin, Sancti Quatuor Coronati) actually refers to nine individuals venerated as martyrs in the Catholic Church. The nine saints are divided into two groups:
Severus (or Secundius), Severian(us), Carpophorus (Carpoforus), Victorinus (Victorius, Vittorinus)
Claudius, Castorius, Symphorian (Simpronian), Nicostratus, and Simplicius
According to the Golden Legend, the names of the members of the first group were not known at the time of their death “but were learned through the Lord’s revelation after many years had passed."[1] They were called the "Four Crowned Martyrs" because their names were unknown ("crown" referring to the crown of martyrdom).
First Group[edit]
Severus (or Secundius), Severian(us), Carpophorus, Victorinus were martyred at Rome or Castra Albana, according to Christian tradition.[2]
According to the Passion of St. Sebastian, the four saints were soldiers (specifically cornicularii, or clerks in charge of all the regiment's records and paperwork) who refused to sacrifice to Aesculapius, and therefore were killed by order of Emperor Diocletian (284-305), two years after the death of the five sculptors. The bodies of the martyrs were buried in the cemetery of Santi Marcellino e Pietro, on the fourth mile of via Labicana, by Pope Miltiades and St Sebastian (whose skull is preserved in the church).
Second Group[edit]
The second group, according to Christian tradition, were sculptors from Sirmium who were killed in Pannonia. They refused to fashion a pagan statue for the Emperor Diocletian or to offer sacrifice to the Roman gods. The Emperor ordered them to be placed alive in lead coffins and thrown into the sea, about 287. Simplicius was killed with them.[1] According to the Catholic Encyclopedia,
"the Acts of these martyrs, written by a revenue officer named Porphyrius probably in the fourth century, relates of the five sculptors that, although they raised no objections to executing such profane images as Victoria, Cupid, and the Chariot of the Sun, they refused to make a statue of Æsculapius for a heathen temple. For this they were condemned to death as Christians. They were put into leaden caskets and drowned in the River Save. This happened towards the end of 305."[3]
Joint Veneration[edit]
When the names of the first group were learned, it was decreed that they should be commemorated with the second group.[1] The bodies of the First Group were interred by St Sebastian and Pope Melchiades (Miltiades) at the third milestone on the Via Labicana, in a sandpit where rested the remains of other executed Christians. According to tradition, since the names of the four martyred soldiers could not be authentically established, Pope Melchiades commanded that, since the date of their deaths (November 8) was the same as that of the second group, their anniversary should be celebrated on that day.
It is unclear where the names of the second group actually come from. The tradition states that Melchiades asked that the saints be commemorated as Claudius, Nicostratus, Simpronian, and Castorius. These same names actually are identical to names shared by converts of Polycarp the priest, in the legend of St. Sebastian.[4]
According to the Catholic Encyclopedia, "this report has no historic foundation. It is merely a tentative explanation of the name Quatuor Coronati, a name given to a group of really authenticated martyrs who were buried and venerated in the catatomb of Saint Marcellinus and Pietro, the real origin of which, however, is not known. They were classed with the five martyrs of Pannonia in a purely external relationship."[3]
The bodies of the martyrs are kept in four ancient sarcophagi in the crypt of Santi Marcellino e Pietro. According to a lapid dated 1123, the head of one of the four martyrs is buried in Santa Maria in Cosmedin.
Confusion and conclusions[edit]
The rather confusing story of the four crowned martyrs was well known in Renaissance Florence, principally as told in the thirteenth-century Golden Legend by Jacopo da Voragine. It appears that the original four martyrs were beaten to death by order of the emperor Diocletian (r. AD 284-305). Their story became conflated with that of a group of five stonecarvers, also martyred by Diocletian, in this case because they refused to carve an image of a pagan idol. Because of their profession, the five early Christian martyrs were an obvious choice for the guild of stonemasons, but their number seems often to have been understood to be four, as in this case.[5]
Problems arise with determining the historicity of these martyrs because one group contains five names instead of four. Alban Butler believed that the four names of Group One, which the Roman Martyrology and the Breviary say were revealed as those of the Four Crowned Martyrs, were borrowed from the martyrology of the diocese of Albano Laziale, which kept their feast on August 8, not November 8.[4] These "borrowed" four martyrs were not buried in Rome, but in the catacomb of Albano; their feast was celebrated on August 7 or August 8, the date under which it is cited in the Roman Calendar of Feasts of 354.[3] The Catholic Encyclopedia wrote that "these martyrs of Albano have no connection with the Roman martyrs".[3]
The double tradition may have arisen because a second passio had to be written. It was written to account for the fact that there were five saints in Group 2 rather than four. Thus, the story concerning Group 1 was simply invented, and the story describes the death of four martyrs, who were soldiers from Rome rather than Pannonian stonemasons. The Bollandist Hippolyte Delehaye calls this invented tradition "l'opprobre de l'hagiographie" (the disgrace of hagiography).[4]
Delehaye, after extensive research, determined that there was actually only one group of martyrs – the stonemasons of Group 2 - whose relics were taken to Rome.[4] One scholar has written that “the latest research tends to agree” with Delehaye's conclusion.[4]
The Roman Martyrology gives the stonemasons Simpronianus, Claudius, Nicostratus, Castorius and Simplicius as the martyrs celebrated on November 8, and the Albano martyrs Secundus, Carpophorus, Victorinus and Severianus as celebrated on 8 August.[6]
Basilica of Santi Quattro Coronati[edit]
Basilica of Santi Quattro Coronati.
Main article: Santi Quattro Coronati
In the fourth and fifth centuries a basilica was erected and dedicated in honor of these martyrs on the Caelian Hill, probably in the general area where tradition located their execution. This became one of the titular churches of Rome, and was restored several times.
Veneration[edit]
External video
Quattro Santi Coronati di Nanni di Banco, 1409 - 1417.jpg
Nanni di Banco's Four Crowned Saints, (3:21) Smarthistory
The Four Crowned Martyrs were venerated early in England, with Bede noting that there was a church dedicated to them in Canterbury. This veneration can perhaps be accounted for the fact that Augustine of Canterbury came from a monastery near the basilica of Santi Quattro Coronati in Rome or because their relics were sent from Rome to England in 601.[4] Their connection with stonemasonry in turn connected them to the Freemasons. One of the scholarly journals of the English Freemasons is called Ars Quatuor Coronatorum,[4] and the Stonemasons of Germany adopted them as patron saints of "Operative Masonry."[7]
Depictions in art[edit]
Around 1385, they were depicted by Niccolò di Pietro Gerini.[8]
Around 1415, Nanni di Banco fashioned a sculptural grouping of the martyrs after he was commissioned by the Maestri di Pietra e Legname, the guild of stone and woodworkers, of which he was a member. These saints were the guild's patron saints. The work can be found in the Orsanmichele, in Florence.[9]
They were also depicted by Filippo Abbiati.[10]
QMRBasilica of Santi Quattro Coronati[edit]
Basilica of Santi Quattro Coronati.
Main article: Santi Quattro Coronati
In the fourth and fifth centuries a basilica was erected and dedicated in honor of these martyrs on the Caelian Hill, probably in the general area where tradition located their execution. This became one of the titular churches of Rome, and was restored several times.
Veneration[edit]
External video
Quattro Santi Coronati di Nanni di Banco, 1409 - 1417.jpg
Nanni di Banco's Four Crowned Saints, (3:21) Smarthistory
The Four Crowned Martyrs were venerated early in England, with Bede noting that there was a church dedicated to them in Canterbury. This veneration can perhaps be accounted for the fact that Augustine of Canterbury came from a monastery near the basilica of Santi Quattro Coronati in Rome or because their relics were sent from Rome to England in 601.[4] Their connection with stonemasonry in turn connected them to the Freemasons. One of the scholarly journals of the English Freemasons is called Ars Quatuor Coronatorum,[4] and the Stonemasons of Germany adopted them as patron saints of "Operative Masonry."[7]
Depictions in art[edit]
Around 1385, they were depicted by Niccolò di Pietro Gerini.[8]
Around 1415, Nanni di Banco fashioned a sculptural grouping of the martyrs after he was commissioned by the Maestri di Pietra e Legname, the guild of stone and woodworkers, of which he was a member. These saints were the guild's patron saints. The work can be found in the Orsanmichele, in Florence.[9]
They were also depicted by Filippo Abbiati.[10]
Ryan Merkle QMrCharles II: The Power and the Passion is a British television film in four episodes, broadcast on BBC One in 2003, and produced by the BBC in association with the A&E Network in the United States. It was produced by Kate Harwood, directed by Joe Wright and written by award-winning screenwriter Adrian Hodges, whose credits include David Copperfield and The Lost World.
Pasion is the 14th square of the quadrant model
Ryan Merkle QMRRhetorical modes (also known as modes of discourse) describe the variety, conventions, and purposes of the major kinds of language-based communication, particularly writing and speaking. Four of the most common rhetorical modes and their purpose are narration, description, exposition, and argumentation.[1]
QMRUnique hue is a term used in certain theories of color vision, which implies that human perception distinguishes between "unique" (psychologically primary) and composite (mixed) hues.[1] A unique hue is defined as a color which an observer perceives as a pure, without any admixture of the other colors.[2] There is a great deal of variability when defining unique hues experimentally.[3] Often the results show a great deal of interobserver and intraobserver variability leading to much debate on the number of unique hues.[4] Another source of variability is environmental factors in color naming. Despite the inconsistencies, often four color perceptions are associated as unique; “red”, “green”, “blue”, and “yellow”.
Music Chapter
Ryan Merkle QMRTG4 (Tomgirls Forever) was an American R&B quartet. The group consisted of members Keisha Henry, Davida Williams, Amber (Ambee) Streeter aka Sevyn Streeter, and Ashley Gallo.
Ryan Merkle QMR"Rag Doll" is a popular song written by Bob Crewe and Bob Gaudio. It was recorded by The Four Seasons and released as a single in 1964. It reached number one on the Billboard Hot 100 on July 18, 1964, and remained on top for two weeks.[1] According to songwriter Bob Gaudio, the recording was inspired by a dirty-faced girl who cleaned the windshield of his automobile for change. When Gaudio reached into his wallet, all he had were notes, none smaller than $20. He gave the girl a twenty dollar bill. (Gaudio has also said it was a $5 or a $10.) Her astonishment stayed in Gaudio's mind as he approached the recording studio. "Rag Doll", with a few tweaks by Bob Crewe, was the result. The song was also a number one hit in Canada, and reached number two in the UK and number four in Ireland.
The B-side was the original version of "Silence Is Golden." In 1967 the song was a number one hit in the UK Singles Chart for the English band The Tremeloes.[2]
In 2010, radio station WCBS-FM in New York City ranked the Four Seasons' "Rag Doll" as the number-one song of all time, as voted on by its listeners.[3]
QMRThe music and its notation[edit]
The name of the tradition comes from the title of the shape-note book from which the music is sung, The Sacred Harp. This book exists today in various editions, discussed below.
In shape-note music notes are printed in special shapes that help the reader identify them on the musical scale. There are two prevalent systems, one using four shapes, and one using seven. In the four-shape system used in The Sacred Harp, each of the four shapes is connected to a particular syllable, fa, sol, la, or mi, and these syllables are employed in singing the notes,[2] just as in the more familiar system that uses do, re, mi, etc. (see solfege). The four-shape system is able to cover the full musical scale because each syllable-shape combination other than mi is assigned to two distinct notes of the scale. For example, the C major scale would be notated and sung as follows:
The C major scale in shape notes
The shape for fa is a triangle, sol an oval, la a rectangle, and mi a diamond.
In Sacred Harp singing, pitch is not absolute. The shapes and notes designate degrees of the scale, not particular pitches. Thus for a song in the key of C, fa designates C and F; for a song in G, fa designates G and C, and so on; hence it is called a moveable "do" system.
When Sacred Harp singers begin a song, they normally start by singing it with the appropriate syllable for each pitch, using the shapes to guide them. For those in the group not yet familiar with the song, the shapes help with the task of sight reading. The process of reading through the song with the shapes also helps fix the notes in memory. Once the shapes have been sung, the group then sings the verses of the song with their printed words.
Singing Sacred Harp music[edit]
The hollow-square seating arrangement for Sacred Harp singing
Sacred Harp groups always sing a cappella, that is to say, without accompanying instruments.[3][4] The singers arrange themselves in a hollow square, with rows of chairs or pews on each side assigned to each of the four parts: treble, alto, tenor, and bass. The treble and tenor sections are usually mixed, with men and women singing the notes an octave apart.
There is no single leader or conductor; rather, the participants take turns in leading. The leader for a particular round selects a song from the book, and "calls" it by its page number. Leading is done in an open-palm style, standing in the middle of the square facing the tenors (see: Leading Sacred Harp music).
The pitch at which the music is sung is relative; there is no instrument to give the singers a starting point. The leader, or else some particular singer assigned to the task, finds a good pitch with which to begin and intones it to the group (see: Pitching Sacred Harp music). The singers reply with the opening notes of their own parts, and then the song begins immediately.
The music is usually sung not literally as it is printed in the book, but with certain deviations established by custom; see Performance practice of Sacred Harp music.
As the name implies, Sacred Harp music is sacred music and originated as Protestant Christian music. Many of the songs in the book are hymns that use words, meters, and stanzaic forms familiar from elsewhere in Protestant hymnody. However, Sacred Harp songs are quite different from "mainstream" Protestant hymns in their musical style: some tunes, known as fuguing tunes, contain sections that are polyphonic in texture, and the harmony tends to deemphasize the interval of the third in favor of fourths and fifths. In their melodies, the songs often use the pentatonic scale or similar "gapped" (fewer than seven-note) scales.
In their musical form, Sacred Harp songs fall into three basic types. Many are ordinary hymn tunes, mostly composed in four-bar phrases and sung in multiple verses. Fuging tunes contain a prominent passage about 1/3 of the way through in which each of the four choral parts enters in succession, in a way resembling a fugue. Anthems are longer songs, less regular in form, that are sung through just once rather than in multiple verses.[5
Ryan Merkle Joe Dan Boyd identified four regions of Sacred Harp singing among African-Americans: eastern Texas (Cooper book), northern Mississippi (Denson book), south Alabama and Florida (Cooper book), and New Jersey (Cooper book). The Colored Sacred Harp is limited to the New Jersey and south Alabama-Florida groups. Sacred Harp was "exported" from south Alabama to New Jersey. It appears to have died out among the African-Americans in eastern Texas.
Ryan Merkle QMRAbbey Road is the 11th studio album by the English rock band the Beatles, released on 26 September 1969 in the United Kingdom and on 1 October 1969 in the United States. The recording sessions for the album were the last in which all four Beatles participated. Although Let It Be was the final album that the Beatles completed before the band's dissolution in April 1970, most of the album had been recorded before the Abbey Road sessions began.[1] A double A-side single from the album, "Something"/"Come Together", released in October, topped the Billboard chart in the US.
Abbey Road is a rock album[2] that incorporates genres such as blues, pop and progressive rock,[3] and it makes prominent use of the Moog synthesizer and the Leslie speaker. Side two contains a medley of song fragments edited together to form a single piece. The album was recorded amidst a more collegial atmosphere than the Get Back/Let It Be sessions earlier in the year, but there were still frequent confrontations within the band, particularly over Paul McCartney's song "Maxwell's Silver Hammer", one of four tracks on which John Lennon did not perform. He had privately left the group by the time the album was released and McCartney publicly quit the following year.
Although Abbey Road was an immediate commercial success and reached number one in the UK and US, it received mixed reviews, with some critics describing its music as inauthentic and bemoaning the production's artificial effects. Many critics now view the album as the Beatles' best and rank it as one of the greatest albums of all time. In particular, George Harrison's contributions, "Something" and "Here Comes the Sun", are considered to be among the best songs he wrote for the group. The album's cover features the four band members walking across a zebra crossing outside Abbey Road Studios and has become one of the most famous and imitated images in the history of recorded music. As of 2009, Abbey Road remains the Beatles' best-selling album.[4]
Ryan Merkle QMRFour by the Beatles was the second of three Beatles EPs released in the United States, and the first of two by Capitol Records (catalogue number EAP 1-2121). The album featured four songs that had previously been heavily imported into the US as Canadian singles.[1] It made #92 on the US Billboard Hot 100 singles chart.[2]
Ryan Merkle QMR"The End" is a song by the Beatles composed by Paul McCartney (credited to Lennon–McCartney) for the album Abbey Road. It was the last song recorded collectively by all four Beatles,[2] and is the final song of the medley that comprises the majority of side two of the album.
Ryan Merkle QMREstienne du Tertre published suyttes de bransles in 1557, giving the first general use of the term "suite" 'suyttes' in music, although the usual form of the time was as pairs of dances. The first recognizable suite is Peuerl's Newe Padouan, Intrada, Dantz, and Galliarda of 1611, in which the four dances of the title appear repeatedly in ten suites. The Banchetto musicale by Johann Schein (1617) contains 20 sequences of five different dances. The first four-movement suite credited to a named composer, Sandley's Suite, was published in 1663.[4][5]
Ryan Merkle QMRIn competitive collegiate ballroom, competitors go to competitions at different schools or events, such as Arnold Dancesport Classic and MIT Open Ballroom Dance Competition. Dancers can compete in four different categories. The categories are American Rhythm, International Latin, American Smooth, and International Standard. Competitors dance at different level based on their abilities. The levels of dance, in order of difficultly, are newcomer, bronze, silver, gold, novice, pre-championship, and championship. Bronze through gold is considered syllabus. Novice through Championship is considered open. Individuals and teams as a whole compete against each other.
Ryan Merkle QMRThe polska dances likely evolved from court dances such as the polonaise or the 2/4 time minuet involving larger sets of people. Some[who?] see traces of the evolution from set dances to couples dances and from duple time to triple time in the minuets, still danced in some communities of Finland and Denmark.[clarification needed] In these, the dance starts with a large set of dancers dancing a slower formal section and ends with couples or foursomes dancing a faster, more energetic polska section. In the late 1600s it was common in northern Europe that only the slower Alla breve or 4/4 section of the music was written down on paper, paper was expensive. The musicians were expected to be able to improvise a dance in 3/4 which was based on the same motivic material as the previous dance. The parts played in 3/4 were the ones evolving to the modern polska.[1]
Ryan Merkle QMR"Let Her Dance" is a song by The Bobby Fuller Four. It was the group's fourth single under Del-Fi Records, and the first to achieve success.
Ryan Merkle QMRDer Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four epic music dramas by the German composer Richard Wagner. The works are based loosely on characters from the Norse sagas and the Nibelungenlied. The composer termed the cycle a "Bühnenfestspiel" (stage festival play), structured in three days preceded by a Vorabend ("preliminary evening"). It is often referred to as the Ring Cycle, Wagner's Ring, or simply The Ring.
Wagner wrote the libretto and music over the course of about twenty-six years, from 1848 to 1874. The four parts that constitute the Ring cycle are, in sequence:
Das Rheingold (The Rhinegold)
Die Walküre (The Valkyrie)
Siegfried
Götterdämmerung (Twilight of the Gods)
Although individual work of the sequence have been occasionally performed separately, Wagner intended them to be performed in series. The first performance as a cycle opened the first Bayreuth Festival in 1876, beginning with Das Rheingold on 13 August and ending with Götterdämmerung on 17 August.
Dance Chapter
QMRAmong American adolescents, baseball metaphors for sex are often used as euphemisms for the degree of physical intimacy achieved in sexual encounters or relationships.[1] In the metaphor, first prevalent in the aftermath of World War II, sexual activities are described as if they are actions in a game of baseball.[2][3]
Among the most commonly used metaphors are the bases describing levels of physical intimacy (generally from a heterosexual perspective). Definitions vary, but the following are typical usages of the terms:[4]
First base – mouth-to-mouth kissing, especially French kissing;
Second base – skin-to-skin touching/kissing of the breasts; in some contexts, it may instead refer to touching any erogenous zones through the clothes (i.e. not actually touching the skin), or manual stimulation of the genitals;
Third base – touching below the waist (without sexual intercourse); in some contexts, it may instead refer to oral stimulation of the genitals;
Home run (home base) – "full" sexual intercourse.
Ryan Merkle QMRThe batting team attempts to score runs by hitting a ball that is thrown by the pitcher with a bat swung by the batter, then running counter-clockwise around a series of four bases: first, second, third, and home plate. A run is scored when a player advances around the bases and returns to home plate.
Ryan Merkle A game is played between two teams, each comprising nine players, that take turns playing offense (batting and baserunning) and defense (pitching and fielding). A pair of turns, one at bat and one in the field, by each team constitutes an inning. A game consists of nine innings (seven innings at the high school level and in doubleheaders in college and minor leagues). One team—customarily the visiting team—bats in the top, or first half, of every inning. The other team—customarily the home team—bats in the bottom, or second half, of every inning. The goal of the game is to score more points (runs) than the other team. The players on the team at bat attempt to score runs by circling or completing a tour of the four bases set at the corners of the square-shaped baseball diamond. A player bats at home plate and must proceed counterclockwise to first base, second base, third base, and back home in order to score a run. The team in the field attempts both to prevent runs from scoring and to record outs, which remove opposing players from offensive action until their turn in their team's batting order comes up again. When three outs are recorded, the teams switch roles for the next half-inning. If the score of the game is tied after nine innings, extra innings are played to resolve the contest. Many amateur games, particularly unorganized ones, involve different numbers of players and innings.[92]
Ryan Merkle QMRAmong the resulting wide variety of pitches that may be thrown, the four basic types are the fastball, the changeup (or off-speed pitch), and two breaking balls—the curveball and the slider
Ryan Merkle QMrFour themes run through the many hypotheses about the evolution of the genetic code:[47]
Chemical principles govern specific RNA interaction with amino acids. Experiments with aptamers showed that some amino acids have a selective chemical affinity for the base triplets that code for them.[48] Recent experiments show that of the 8 amino acids tested, 6 show some RNA triplet-amino acid association.[46]:170[49]
Biosynthetic expansion. The standard modern genetic code grew from a simpler earlier code through a process of "biosynthetic expansion". Here the idea is that primordial life "discovered" new amino acids (for example, as by-products of metabolism) and later incorporated some of these into the machinery of genetic coding.[50] Although much circumstantial evidence has been found to suggest that fewer different amino acids were used in the past than today,[51] precise and detailed hypotheses about which amino acids entered the code in what order have proved far more controversial.[52][53]
Natural selection has led to codon assignments of the genetic code that minimize the effects of mutations.[54] A recent hypothesis[55] suggests that the triplet code was derived from codes that used longer than triplet codons (such as quadruplet codons). Longer than triplet decoding would have higher degree of codon redundancy and would be more error resistant than the triplet decoding. This feature could allow accurate decoding in the absence of highly complex translational machinery such as the ribosome and before cells began making ribosomes.
Information channels: Information-theoretic approaches model the process of translating the genetic code into corresponding amino acids as an error-prone information channel.[56] The inherent noise (that is, the error) in the channel poses the organism with a fundamental question: how can a genetic code be constructed to withstand the impact of noise[57] while accurately and efficiently translating information? These “rate-distortion” models[58] suggest that the genetic code originated as a result of the interplay of the three conflicting evolutionary forces: the needs for diverse amino-acids,[59] for error-tolerance[54] and for minimal cost of resources. The code emerges at a coding transition when the mapping of codons to amino-acids becomes nonrandom. The emergence of the code is governed by the topology defined by the probable errors and is related to the map coloring problem.[60]
Ryan Merkle QMRThe four main components of the Federal Reserve System are (1) the Board of Governors, (2) the Federal Open Market Committee, (3) the twelve regional Federal Reserve Banks, and (4) the member banks throughout the country.
Ryan Merkle QMRA base on balls (BB), also known as a walk, occurs in baseball when a batter receives four pitches that the umpire calls balls, and is then entitled to reach first base without the possibility of being put out. The base on balls is defined in Section 2.00 of baseball's Official Rules,[1] and further detail is given in 6.08(a).[2] It is considered a faux pas for a professional player to walk to first base; the batter-runner and any advancing runners normally jog on such a play, with Pete Rose earning his nickname "Charlie Hustle" due to him running towards first on a walk.[3][4]
Ryan Merkle QMRHey For Four
(Sometimes called a "straight hey for four.") The dancers execute a series of passes and turns with the other dancers in their minor set, crossing to the opposite side of the set and then returning. In this version of the hey, assume that neighbors are standing next to each other on the side of the set, facing their partners:
The ladies begin passing right shoulders in the center of the set while the men sidle to right to take the recent position of their neighbor
Partners pass left shoulders as the gents advance to the center
The gents then pass right shoulders in the center, while the ladies make wide looping turns to the left on the sides to turn around
Neighbors pass left shoulders
This is approximately one-half of the hey. The second half essentially replicates the first half (except that the men, now facing out, loop to the left instead of sidling to the right). At the end of the hey, the dancers are restored to the starting position, with the exception that the men are facing out of the set.
Ryan Merkle QMREach dance is said to consist of a number of walls. A wall is the direction in which the dancers face at any given time: the front (the direction faced at the beginning of the dance), the back or one of the sides. Dancers may change direction many times during a sequence, and may even, at any given point, be facing in a direction half-way between two walls; but at the end of the sequence they will be facing the original wall or any of the other three. Whichever wall that is, the next iteration of the sequence uses that wall as the new frame of reference.[1]
In a one-wall dance, the dancers face the same direction at the end of the sequence as at the beginning.
In a two-wall dance, repetitions of the sequence end alternately at the back and front walls. In other words, the dancers have effectively turned through 180 degrees during one set. The samba line dance is an example of a two-wall dance. While doing the "volte" step, the dancers turn 180 degrees to face a new wall.
In a four-wall dance, the direction faced at the end of the sequence is 90 degrees to the right or left from the direction in which they faced at the beginning. As a result, the dancers face each of the four walls in turn at the end of four consecutive repetitions of the sequence, before returning to the original wall. The hustle line dance is an example of a four-wall dance because in the final figure they turn 90 degrees to the left to face a new wall. In some dances, they turn 270 degrees, a "three-quarter turn," to face the new wall.
Ryan Merkle QMRPetrushka (French: Pétrouchka; Russian: Петрушка) is a ballet burlesque in four scenes. It was composed in 1910–11 and revised in 1947. Igor Stravinsky composed the music, and, with Alexandre Benois, fashioned the libretto. Michel Fokine choreographed the ballet; Benois designed the sets and costumes. Petrushka was first performed by Sergei Diaghilev's Ballets Russes at the Théâtre du Châtelet in Paris on 13 June 1911. Vaslav Nijinsky portrayed Petrushka with Tamara Karsavina as the Ballerina. Alexandre Orlov portrayed the Moor, and Enrico Cecchetti the Charlatan.[1]
Ryan Merkle QMREnglish National Ballet is a classical ballet company founded by Dame Alicia Markova and Sir Anton Dolin and based at Markova House in South Kensington, London, England. Along with The Royal Ballet, Birmingham Royal Ballet and Scottish Ballet, it is one of the four major ballet companies in Great Britain. English National Ballet is one of the foremost touring companies in Europe, performing in theatres throughout the UK as well as conducting international tours and performing at special events. The Company employs approximately 67 dancers and a symphony orchestra, (English National Ballet Philharmonic) and there is also an associate school, English National Ballet School, which is independent from the ballet company. The Company regularly performs seasons at the London Coliseum and has been noted for specially staged performances at the Royal Albert Hall. In 2014 English National Ballet became an Associate Company of Sadler's Wells. The Patron of English National Ballet is HRH The Duke of York.
Ryan Merkle QMRThe Royal Ballet is an internationally renowned classical ballet company, based at the Royal Opera House in Covent Garden, London, UK. The largest of the four major ballet companies in Great Britain, the Royal Ballet was founded in 1931 by Dame Ninette de Valois,[1] it became the resident ballet company of the Royal Opera House in 1946[1] and was granted a royal charter in 1956, becoming recognised as Britain's flagship national ballet company.
Ryan Merkle QMRScottish Ballet is the national ballet company of Scotland and one of the four leading ballet companies of the United Kingdom, alongside the Royal Ballet, English National Ballet and Birmingham Royal Ballet. Founded in 1957,[1] the company is based in Glasgow, the resident ballet company at the Glasgow Theatre Royal and from 2009 in their purpose-built ballet centre in Tramway Arts Centre, Glasgow.[2]
Ryan Merkle QMrBirmingham Royal Ballet (BRB) is one of the four major ballet companies of the United Kingdom, alongside The Royal Ballet, the English National Ballet and the Scottish Ballet.[1] Founded in 1946 as the Sadler's Wells Theatre Ballet, the company was established under the direction of John Field, as a sister company to the earlier Sadler's Wells company, which moved to the Royal Opera House. The new company remained at Sadler's Wells for many years, becoming known as the Sadler's Wells Royal Ballet. It also toured the UK and abroad, before relocating to Birmingham in 1990, as the resident ballet company of the Birmingham Hippodrome. In 1997, the Birmingham Royal Ballet became independent of the Royal Ballet in London. As a resident company, Birmingham Royal Ballet has extensive custom-built facilities, including a suite of dance studios, the Jerwood Centre for the Prevention and Treatment of Dance Injuries and a studio theatre known as the Patrick Centre. In 2002, the need for Birmingham Royal Ballet to have its own school led to a new association with Elmhurst School for Dance, which is now its official ballet school.
Ryan Merkle QMRThe Guangzhou Ballet Troupe is a classical ballet company based in Guangzhou, China. In addition to works from the classical European ballet repertoire, the company performs works of classical and contemporary Chinese ballet. The company is one of the top four ballet companies in China.[1] It was founded in 1974, and is currently headed by dancer Zhang Dandan.[2] The company tours internationally.
Ryan Merkle Four Bagatelles is New York City Ballet ballet master Jerome Robbins' only ballet made to the music of Beethoven: Bagatelles, Op. 33, Nos. 4, 5, and 2 (in order of performance) and Bagatelles, Op. 126, No. 4. The premiere took place on Thursday, 10 January 1974 at the New York State Theater, Lincoln Center. The ballet was revived for the 2008 Spring Jerome Robbins celebration.
Ryan Merkle QMRCopland's Clarinet Concerto (1948), scored for solo clarinet, strings, harp, and piano, was a commission piece for bandleader and clarinetist Benny Goodman and a complement to Copland's earlier jazz-influenced work, the Piano Concerto (1926).[62] His "Four Piano Blues" is an introspective composition with a jazz influence.[63]
Ryan Merkle QMRThe eight-pointed Rosy Cross, a symbol used in the Hermetic Order of the Golden Dawn. Scholars speculate the Scientology cross may have been inspired by Aleister Crowley's use of the Rosy Cross.[1]
Ryan Merkle QMRThe eight-pointed Rosy Cross, a symbol used in the Hermetic Order of the Golden Dawn. Scholars speculate the Scientology cross may have been inspired by Aleister Crowley's use of the Rosy Cross.[1]
Ryan Merkle QMROne influential definition of Evangelicalism has been proposed by historian David Bebbington.[14] Bebbington notes four distinctive aspects of Evangelical faith: conversionism, biblicism, crucicentrism, and activism, noting, "Together they form a quadrilateral of priorities that is the basis of Evangelicalism."[15]
QMRMagadha formed one of the sixteen mahajanapadas (Sanskrit: "Great Countries") of ancient India- At the time of the Buddha there were four kingdoms divided into the sixteen mahajnapadas. These are the four quadrants of the quadrant model. 16 is the squares of the quadrant model
Kings of Magadha[edit]
Haryanka dynasty (c. 600 – 413 BCE)[edit]
Bhattiya or
Bimbisara (544-493 BCE)
Ajatashatru (493-461 BCE)
Udayabhadra
Anuruddha
Munda
Nagadasaka
Shishunaga dynasty (413–345 BCE)[edit]
Shishunaga (413–395 BCE)
Kakavarna Kalashoka (395–367 BCE)
Mahanandin (367–345 BCE)
Nanda Dynasty (345–321 BCE)[edit]
Mahapadma Nanda Ugrasena (from 345 BCE), illegitimate son of Mahanandin, founded the Nanda Empire after inheriting Mahanandin's empire
Pandhuka
Panghupati
Bhutapala
Rashtrapala
Govishanaka
Dashasidkhaka
Kaivarta
Dhana Nanda (Agrammes, Xandrammes) (until 321 BCE), overthrown by Chandragupta Maurya
Maurya Dynasty (322–185 BCE)[edit]
Chandragupta Maurya
Bindusara
Ashoka
Ryan Merkle QMRThe country of the Avantis was an important kingdom of western India and was one of the four great monarchies in India in the post era of Mahavira and Buddha. The other three being Kosala, Vatsa and Magadha. Avanti was divided into north and south by the river Vetravati. Initially, Mahissati (Sanskrit Mahishamati) was the capital of Southern Avanti, and Ujjaini (Sanskrit: Ujjayini) was of northern Avanti, but at the times of Mahavira and Buddha, Ujjaini was the capital of integrated Avanti. The country of Avanti roughly corresponded to modern Malwa, Nimar and adjoining parts of the Madhya Pradesh. Both Mahishmati and Ujjaini stood on the southern high road called Dakshinapatha which extended from Rajagriha to Pratishthana (modern Paithan). Avanti was an important center of Buddhism and some of the leading theras and theris were born and resided there. King Nandivardhana of Avanti was defeated by king Shishunaga of Magadha. Avanti later became part of the Magadhan empire.
Ryan Merkle QMRA Mahājanapada (Sanskrit महाजनपद) (literally "great realm", from maha, "great", and janapada "foothold of a tribe", "country") is one of the sixteen kingdoms or oligarchic republics that existed in ancient India from the sixth centuries BCE to fourth centuries BCE. Ancient Buddhist texts like the Anguttara Nikaya[1] make frequent reference to sixteen great kingdoms and republics which had evolved and flourished in a belt stretching from Gandhara in the northwest to Anga in the eastern part of the Indian subcontinent and included parts of the trans-Vindhyan region,[2] prior to the rise of Buddhism in India.[3]
Overview[edit]
The term "Janapada" literally means the foothold of a tribe. The fact that Janapada is derived from Jana points to an early stage of land-taking by the Jana tribe for a settled way of life. This process of first settlement on land had completed its final stage prior to the times of the Buddha and Pāṇini. The Pre-Buddhist north-west region of the Indian sub-continent was divided into several Janapadas demarcated from each other by boundaries. In Pāṇini's "Ashtadhyayi", Janapada stands for country and Janapadin for its citizenry. Each of these Janapadas was named after the Kshatriya tribe (or the Kshatriya Jana) who had settled therein.[5][6][7][8][9][10][11][12] Buddhist and other texts only incidentally refer to sixteen great nations (Solasa Mahajanapadas) which were in existence before the time of the Buddha. They do not give any connected history except in the case of Magadha. The Buddhist Anguttara Nikaya, at several places,[13] gives a list of sixteen great nations:
Anga
Assaka (or Asmaka)
Avanti
Chedi
Gandhara
Kashi
Kamboja
Kosala
Kuru
Magadha
Malla
Machcha (or Matsya)
Panchala
Surasena
Vriji
Vatsa (or Vamsa)
Another Buddhist text, the Digha Nikaya, mentions only the first twelve Mahajanapadas and omits the last four in the above list.[14]
Chulla-Niddesa, another ancient text of the Buddhist canon, adds Kalinga to the list and substitutes Yona for Gandhara, thus listing the Kamboja and the Yona as the only Mahajanapadas from Uttarapatha.[15][16]
The Vyākhyāprajñapti, a sutra of Jainism, gives a slightly different list of sixteen Mahajanapadas:
Anga
Banga (Vanga)
Magadha
Malaya
Malavaka
Accha
Vaccha
Kochcha
Padha
Ladha (Lata)
Bajji (Vajji)
Moli (Malla)
Kasi
Kosala
Avaha
Sambhuttara
The author of Bhagvati has a focus on the countries of Madhydesa and of the far east and south only. He omits the nations from Uttarapatha like the Kamboja and Gandhara. The more extended horizon of the Bhagvati and the omission of all countries from Uttarapatha "clearly shows that the Bhagvati list is of later origin and therefore less reliable."[17]
The last four are different. The fourth quadrant is always different
Ryan Merkle QMRKosala (Sanskrit: कोसल) was an ancient Indian kingdom, corresponding roughly in area with the region of Awadh[1] in present-day Uttar Pradesh. It emerged as a small state during the late Vedic period, with connections to the neighboring realm of Videha.[2][3] According to the Buddhist text Anguttara Nikaya and the Jaina text, the Bhagavati Sutra, Kosala was one of the Solasa (sixteen) Mahajanapadas (powerful realms) in 6th to 5th centuries BCE[4] and its cultural and political strength earned it the status of a great power. However, it was later weakened by a series of wars with the neighbouring kingdom of Magadha and, in the 4th century BCE, was finally absorbed by it.
Ryan Merkle QMRVatsa (Pali:Vaṁsa, Ardhamagadhi: Vaccha) was one of the solasa (sixteen) Mahajanapadas (great kingdoms) of Uttarapatha of ancient India mentioned in the Anguttara Nikaya it was situated in the Gangatic plain with Kausambi as its capital, now known as Kosam a small town in Uttar Pradesh. There is an archeological site known as Kosam Ruins in this town which is believed to be the Kausambi of Ancient India. Vatsa's geographical location was near the confluence of the Ganges and Yamuna rivers. Its capital was Kauśāmbī[1][2] (present day Kosam, 35 miles southwest of Allahabad). There were four great kingdoms and 16 Mahajanapadas
Ryan Merkle QMRThe Indus-Ganga plains, also known as the "Great Plains," are large floodplains of the Indus and the Ganga–Brahmaputra river systems. They run parallel to the Himalaya mountains, from Jammu and Kashmir in the west to Assam in the east and draining most of northern and eastern India. The plains encompass an area of 700,000 km² (270,000 mile²) and vary in width through their length by several hundred kilometres. The major rivers of this system are the Ganga and the Indus along with their tributaries; Beas, Yamuna, Gomti, Ravi, Chambal, Sutlej and Chenab.
Extent of the Indo-Gangetic plain across South Asia.The great plains are sometimes classified into four divisions:
The Bhabar belt — is adjacent to the foothills of the Himalayas and consists of boulders and pebbles which have been carried down by the river streams. As the porosity of this belt is very high, the streams flow underground. The bhabar is generally narrow about 7–15 km wide.
The Terai belt — lies next to the Bhabar region and is composed of newer alluvium. The underground streams reappear in this region. The region is excessively moist and thickly forested. It also receives heavy rainfall throughout the year and is populated with a variety of wildlife.
The Bangar belt — consists of older alluvium and forms the alluvial terrace of the flood plains. In the Gangetic plains, it has a low upland covered by laterite deposits.
The Khadir belt — lies in lowland areas after the Bangar belt. It is made up of fresh newer alluvium which is deposited by the rivers flowing down the plain.
QMRGupta administration[edit]
A study of the epigraphical records of the Gupta empire shows that there was a hierarchy of administrative divisions from top to bottom. The empire was called by various names such as Rajya, Rashtra, Desha, Mandala, Prithvi and Avani. It was divided into 26 provinces, which were styled as Bhukti, Pradesha and Bhoga. Provinces were also divided into Vishayas and put under the control of the Vishayapatis. A Vishayapati administered the Vishaya with the help of the Adhikarana (council of representatives), which comprised four representatives: Nagarasreshesthi, Sarthavaha, Prathamakulike and Prathama Kayastha. A part of the Vishaya was called Vithi.[42] There were also trade links of Gupta business with the Roman empire.
QMRIn the French courts during the 17th Century, ballet first begins to flourish with the help of several important men: King Louis XIV, Jean-Baptiste Lully, Pierre Beauchamps, and Molière. The combination of different talents and passions of these four men shaped ballet to what it is today.
Contents [hide]
1 Early history
1.1 Louis XIV
1.2 Jean-Baptiste Lully
1.3 Pierre Beauchamps
1.4 Molière
2 References
Early history[edit]
Louis XIV[edit]
Louis XIV, the King of France from 1638 to 1715, was a ballet enthusiast from a young age. In fact his birth was celebrated with the Ballet de la Felicite in 1639. As a young boy, he was strongly supported and encouraged by the court, particularly by Italian-born Cardinal Mazarin, to take part in the ballets. He made his debut at age 13 in the "Ballet de Cassandre" in 1651. Two years later in 1653, the teenage king starred as Apollo, the sun god, in The Ballet of the Night or in French, Le Ballet de la Nuit. His influence on the art form and its influence on him became apparent. His fancy golden costume was not soon forgotten, and his famous performance led to his nickname, the Sun King. In the ballet, he banishes the night terrors as he rise as sun at dawn. His courtiers were forced to worship him like a god through choreography. They were made clear of the glory of King Louis XIV and that he had absolute authority both on and off the dance floor.[1] The ballets that young King Louis performed in were not as strenuous as the ballet that is familiar today.[2] The form of entertainment was actually called ballets d’entrées. This refers to the small divisions, or “entries,” that the ballets were broken up into. For example, Le Ballet de la Nuit, comprised over forty of such entries,[2] which were divided into four vigils or parts. The whole spectacle lasted 12 hours.
Throughout his reign, Louis XIV worked with many influential people in his court dances. He worked alongside poet Isaac de Benserade, as well as designers Torelli, Vigarani and Henry de Gissey, which made fashion and dance closely interlinked. Possibly his greatest contribution to the French court was bringing composer/dancer Jean-Baptiste Lully. Louis supported and encouraged performances in his court as well as the development of ballet throughout France. Louis XIV was trained by Pierre Beauchamp. The King demonstrated his belief in strong technique when he founded the Académie Royale de Danse in 1661 and made Beauchamp leading ballet master. King Louis XIV’s and France’s attempt to keep French ballet standards high was only encouraged further when in 1672 a dance school was attached to the Académie Royale de Musique.[3] Led by Jean-Baptiste Lully, this dancing group is known today as The Paris Opera Ballet.
The king was very exacting in his behavior towards his dancing. In fact, he made it a daily practice to have a ballet lesson every day after his morning riding lesson.[4] As the French people watched and took note of what their leader was doing, dancing became an essential accomplishment for every gentleman.[4] Clearly ballet became a way of life for those who were around King Louis XIV. If one looked at the culture of seventeenth-century France, one saw a reflection of an organized ballet that was choreographed beautifully, costumed appropriately, and performed with perfect precision.[according to whom?] Louis XIV retired from ballet in 1670.
Jean-Baptiste Lully[edit]
Perhaps one of the most influential men on ballet during the seventeenth century was Jean Baptiste Lully. Lully was born in Italy, but moved to France where he quickly became a favorite of Louis XIV and performed alongside the king in many ballets until the king’s retirement from dance in 1670.[3] He moved from dancer for the court ballets to a composer of such music used in the courts. By the time he was thirty, Lully was completely in charge of all the musical activities in the French courts.[4] Lully was responsible for enlivening the rather slow stately dances of the court ballets.[3] He decided to put female dancers on stage and was also director of the Académie Royale de Musique.[3] This company's dance school still exists today as part of the Paris Opera Ballet. Since dancers appeared in the very first performances the Opera put on, the Paris Opera Ballet is considered the world’s oldest ballet company.[1] When Lully died in 1687 from a gangrenous abscess on the foot which developed after he stuck himself with the long staff he used for conducting, France lost one of the most influential conductors and composers of the seventeenth century.[3] However, Lully did not work alone. In fact, he often worked in collaboration with two other men that were equally influential to ballet and the French culture: Pierre Beauchamps and Molière.
Pierre Beauchamps[edit]
Beauchamps was a ballet-master who was deeply involved with the creation of courtly ballets in the 1650s and 1660s.[4] However, Beauchamps began his career as the personal teacher to Louis XIV. Beauchamps is also credited with coming up with the five fundamental foot positions from which all balletic movements move through.[1] Beauchamps techniques were taught throughout France in secondary schools as well as by private teachers.[5] Contemporary dancers would astonish Beauchamps at their ability to have 180-degree turnout. Beauchamps dancers wore high-heeled shoes and bulky costumes which made turnout difficult and slight.[1] One of the first things that Lully and Beauchamps worked together on was Les Fêtes de l’Amour et de Bacchus, which they called opéra-ballet.[5] The opéra-ballet is a form of lyric theatre in which singing and dancing were presented as equal partners in lavish and spectacular stagings.[3] The Les Fêtes de l’Amour et de Bacchus, one of their first and most famous collaborations, consisted of excerpts from court ballets linked by new entrées stages by Beauchamps.[5] Customarily, King Louis and courtiers danced in the court ballets; however, in this new form of entertainment, the opéra-ballet, all of the dancers were professionals.[5] Beauchamps not only collaborated with Lully, but he also had the great privilege to partner with Molière during his lifetime.
Beauchamps also originated the Beauchamp-Feuillet notation, which provided detailed indications of the tract of a dance and the related footwork. Starting in 1700, hundreds of social and theatrical dances were recorded and widely published in this form. Although this has been superseded in modern times by even more expressive notations, the notation is sufficiently detailed that, along with contemporary dancing manuals, these dances can be reconstructed today.
Molière[edit]
Molière was a well-known comedic playwright during that time period. He and Beauchamps collaborated for the first time in 1661, which resulted in the invention of comédie-ballet.[6] His invention of comedies-ballets was said to be an accident. He was invited to set both a play and court ballet in honor of Louis XIV, but was short of dancers and decided to combined the two productions together. This resulted in Les Facheux in 1661. This and the following comédie-ballets were considered the most important advance in baroque dance since the development of Renaissance geometric figures.[6] One of the most famous of these types of performances was Le Bourgeois gentilhomme, which is still performed today and continues to entertain audiences.[1] The idea behind a comédie-ballet was a combination of spoken scenes separated by balletic interludes; it is the roots for today’s musical theatre.[1] Many of Molière's ballets were performed by Louis XIV. According to Susan Au, the king's farewell performance was Molière's Les Amants magnifiques in 1670. Not only were these types of performances popular in the courts, but they helped transition from courtiers being the dancers to using actors and professional dancers, soon to be known as ballerinas.[1] The comédie-ballets helped to bring understanding between the court and the commoners as the transition from court ballets to a more common place ballet occurred.
With Molière writing the dialogue and directing, Beauchamps choreographing the ballet interludes, and Lully composing the music and overseeing the coming together of all the dancers and actors, these three giants of men worked together to create many beautiful pieces of art for King Louis XIV.
QMRDanse des petits cygnes is a famous dance from Tchaikovsky's Swan Lake, from the ballet’s second act, the fourth movement of No. 13. Translated from French, it means "Dance of the Little Swans," also known as "Dance of the cygnets."
Ivanov's choreography—created for the famous revival of Swan Lake in 1895 — was meant to imitate the way cygnets huddle and move together for protection. Four dancers enter the stage in a line and move across with their arms crossed in front of one another, grasping the next dancer's hand. They move sideways, doing sixteen pas de chat. Ideally the dancers move in exact or near-exact unison. At the very end, they break their chain and try to "fly," only to drop to the ground.[1]
One of four dancers was Vera Trefilova.
According to ballet writer Jean Battey Lewis in a 1997 NPR commentary[2] the Little Swans are usually portrayed by unknown, up-and-coming dancers. Ironically, in view of the conformity required of the quartet, being cast as a Little Swan is often seen as a chance to be singled out, noticed and given more important roles. An example of the comedic potential of this dance can be seen in the Morecambe and Wise film The Intelligence Men (1965).
The dance is also known as a pas de quatre.
Ryan Merkle QMRThe 1895 Petipa/Ivanov/Drigo revival of Swan Lake is a famous version of the ballet Swan Lake, (ru. Лебединое Озеро), (fr. Le Lac des Cygnes). This is a ballet by Pyotr Ilyich Tchaikovsky based on an ancient German legend, presented in either four acts, four scenes (primarily outside Russia and Eastern Europe), three acts, four scenes (primarily in Russia and Eastern Europe) or, more rarely, in two acts, four scenes. Originally choreographed by Julius Reisinger to the music of Pyotr Ilyich Tchaikovsky (opus 20), it was first presented as The Lake of the Swans by the Ballet of the Moscow Imperial Bolshoi Theatre on 20 February/4 March 1877 (Julian/Gregorian calendar dates) in Moscow, Russia. Although the ballet is presented in many different versions, most ballet companies today base their stagings both choreographically and musically on this revival by Marius Petipa and Lev Ivanov, staged for the Imperial Ballet, first presented on 15 January/27 January 1895, at the Imperial Mariinsky Theatre in St. Petersburg, Russia instead of the original version.
Lithograph of Perrot's Pas de Quatre featuring Carlotta Grisi, Marie Taglioni, Lucille Grahn, and Fanny Cerrito.
Among the pas de quatre best known in the ballet repertory are the following.[2] [3] [4]
1845. Pas de Quatre, choreography by Jules Perrot, music by Cesare Pugni. It was performed by Lucile Grahn, Carlotta Grisi, Fanny Cerrito, and Marie Taglioni, four celebrated ballerinas of the time. Fanny Elssler was invited to take part in its creation but declined to do so. Young Lucile Grahn accepted without hesitation.
1895. Swan Lake, act 2, choreography by Lev Ivanov, music by Pyotr Ilyich Tchaikovsky. Danse des petits cygnes (aka Dance of the Little Swans). With cross-linked hands, the four dancers, usually demi-soloists from the corps de ballet, perform precise and dazzling footwork.
1898. Raymonda, choreography by Marius Petipa, music by Alexander Glazunov. Variation pour quatre danseurs, in Pas classique hongrois, act 3. An ebullient quartet, it was first performed by Sergei Legat, Georgi Kyasht, Nikolai Legat, and Alexander Gorsky.
1936. Jardin aux Lilas, choreography by Antony Tudor, music by Ernest Chausson. Technically not a pure pas de quatre, as the four characters are accompanied by a corps de ballet. At its premier, the four principals were Maude Lloyd (Caroline), Hugh Laing (Her Lover), Antony Tudor (The Man She Must Marry), and Peggy van Praagh (An Episode in His Past).
1949. The Moor's Pavane, choreography by José Limón, music by Henry Purcell. Based on Shakespeare's Othello. The original cast consisted of Limon (The Moor), Betty Jones (Desdemona), Lucas Hoving (Iago), and Pauline Koner (Emilia).
1957. Agon, choreography by George Balanchine, music by Igor Stravinsky. Part I consists of a Pas de quatre for four men, a Double pas de quatre for eight women, and a Triple pas de quatre for eight women and four men.
1975. The Four Seasons, choreography by Kenneth MacMillan, music by Giuseppe Verdi. "Spring," set to "Primavera" from the ballet Le Quattro Stagioni in act 3 of Verdi's opera I Vespri Siciliani. At its premier, it was danced by Lesley Collier, Michael Coleman, David Ashmole, and Wayne Eagling.
Ryan Merkle QMRIrish dancing or Irish dance is a group of traditional dance forms originating in Ireland which can broadly be divided into social dances and performance dances.
Irish social dancing can be divided further into céilí and set dancing. Irish set dances are quadrilles, danced by four couples arranged in a square, while céilí dances are danced by varied formations (céilí) of two to sixteen people. In addition to their formation, there are significant stylistic differences between these two forms of social dance. Irish social dance is a living tradition, and variations in particular dances are found across the Irish dancing community; in some places, dances are deliberately modified and new dances are choreographed.
Ryan Merkle QMrThe Quadrille is a dance that was fashionable in late 18th- and 19th-century Europe and its colonies. Performed by four couples in a rectangular formation, it is related to American square dancing. The Lancers, a variant of the quadrille, became popular in the late 19th century and was still danced in the 20th century in folk-dance clubs. A derivative found in the Francophone Lesser Antilles is known as kwadril, and the dance is also still found in Madagascar.
Ryan Merkle QMRThe Four Temperaments is a ballet made by New York City Ballet co-founder and ballet master George Balanchine to music he commissioned from Paul Hindemith (the latter's eponymous 1940 music for string orchestra and piano) for the opening program of Ballet Society, immediate forerunner of City Ballet.
The work is divided into five parts, a theme and four variations, which reflect the temperaments. Balanchine downplayed the references to medieval "humors" that were believed to determine a person's temperament, saying the four personality types—melancholic, sanguinic, phlegmatic, and choleric—were merely points of departure for the creation of abstract music and dance.[1]
The première took place on Wednesday, 20 November 1946, at the Central High School of Needle Trades, New York City, with mise en scène by Kurt Seligmann and lighting by Jean Rosenthal. Leon Barzin conducted and the pianist was Nicholas Kopeikine. The City Ballet première was held in 1951 in practice clothes and without scenery; in 1964 it received new lighting at the New York State Theater, Lincoln Center, by David Hays. NYCB principal dancer Albert Evans chose to include The Four Temperaments in his farewell performance, Sunday, June 20, 2010.
The ballet can be read to be a creation story.[2]
Ryan Merkle QMRFour Last Songs is a ballet made by Lorca Massine to Richard Strauss' eponymous music from 1946-48. First presented in 1970 at the workshop of its affiliated School of American Ballet, the New York City Ballet premiere took place on 21 January 1971 at the New York State Theater, Lincoln Center.
QMRForm[edit]
Stravinsky laid out the ballet in a duodecimal form, with four large sections each consisting of three dances. A Prelude and two Interludes occur between the large sections, but this does not fundamentally affect the twelve-part design because their function is caesural and compensatory (White 1979, 490–91):
I.
Pas-de-quatre (4 male dancers)
Double pas-de-quatre (8 female dancers)
Triple pas-de-quatre (4 male + 8 female dancers)
Prelude
II. (First pas-de-trois: 1 male, 2 female dancers)
Sarabande-step (1 male dancer)
Gaillarde (2 female dancers)
Coda (1 male, 2 female dancers)
Interlude
III. (Second pas-de-trois: 2 male, 1 female dancers)
Bransle simple (2 male dancers)
Bransle gay (1 female dancer)
Bransle double (2 male, 1 female dancers)
Interlude
IV.
Pas-de-deux (1 male, 1 female dancer)
Four Duos (4 male, 4 female dancers)
Four Trios (4 male, 8 female dancers)
Ryan Merkle Notice how pas de quatre is the highest- the fourth is always transcendent- five is always questionable
Ryan Merkle QMrThe Seasons (Russian: Времена года, Vremena goda; also French: Les saisons) is an allegorical ballet in one act, four scenes, by the choreographer Marius Petipa, with music by Alexander Glazunov, his Op. 67. The work was composed in 1899, and was first performed by the Imperial Ballet in 1900 in St. Petersburg, Russia.
Ryan Merkle QMRCopland arranged the music as a symphonic suite for orchestra titled Four Dance Episodes from Rodeo, which consisted chiefly of removing "Ranch House Party" and minor adjustments to the final two sections. With the middle section removed, the composition resembled the symphonic form with an ambitious opening movement, slow movement, minuet and finale. In this form, Rodeo found even greater success, premiering at the Boston Pops in 1943.
Ryan Merkle QMRThe Sleeping Beauty (Russian: Спящая красавица / Spyashchaya krasavitsa) is a ballet in a prologue and three acts, first performed in 1890. In the play the woman is introduced to four suitors
Ryan Merkle QMrIn the French courts during the 17th Century, ballet first begins to flourish with the help of several important men: King Louis XIV, Jean-Baptiste Lully, Pierre Beauchamps, and Molière. The combination of different talents and passions of these four men shaped ballet to what it is today.
QMRChess is said to have originated in this period,[43] where its early form in the 6th century was known as caturaṅga, which translates as "four divisions [of the military]" – infantry, cavalry, elephants, and chariotry – represented by the pieces that would evolve into the modern pawn, knight, rook, and bishop, respectively.
QMRBy the 19th century, European cavalry fell into four main categories:
Cuirassiers, heavy cavalry
Dragoons, originally mounted infantry but later regarded as medium cavalry
Hussars, light cavalry
Lancers or Uhlans, light cavalry armed with lances
Ryan Merkle QMRFour-player chess (also known as Four-handed, Four-man, or Four-way chess) is a family of chess variants typically played with four people. A special board made of standard 8×8 squares with an additional 3 rows of 8 cells extending from each side is common. Four sets of differently colored pieces are needed to play these variants. Four-player chess follows the same basic rules as regular chess. There are many different rule variations; most variants, however, share the same board and similar piece setup.
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