Quadrant Model of Reality: Quadrant Model of Reality Book 1 Art

CHAPTER XXV: The Pattern of Four in Art

The four primary domains in the Arts are a manifestation of the quadrant model pattern of four.

*Square one: Painting. Square 1 is the light, and is the mind square. The sense associated with this square is vision. Vision is related with painting. The third quadrant is all about action. Art is the third quadrant mode of inquiry. Painting is an action, a form of expression and some would argue a form of thought. One who draws out a geometric math problem is performing art. The act of painting is like the act of thinking, and a way to express emotions. Since painting is the first square it is not as action oriented as say dancing, the third square art form. Van Goh said he painted his dreams. The third quadrant is thinking, emotion, doing, and dreaming. Art is a way to express thoughts and emotions, and is even a form of thinking and emoting by the artist. The first square component of physics is space. Space is associated with painting--painting is color in space. Asian is the first square race and the art form that Asians are most known for and associated with is painting. Mathematicians have pointed out that it is a myth that Asians are the best at math, and they have pondered why the Asians did not do much math in history, and have noticed that instead of math Asians did more painting.

*Square two: Music. Square 2 is the word, the culture square. The sense associated with this square is hearing. Hearing is related with music. Music has been described as emotion expressed through sound. Emotion is the second square of the third quadrant. The definition of music is sound in time. The second square component of physics is time. Creating music is an action. Art is the third quadrant form of inquiry, and is therefore associated with action. People create music with instruments. The voice is an instrument. Sound is produced through the vibration of air molecules through sound waves. It is interesting that color is the product of light waves and photons, so painting and music are very similar--they are both the products of the vibrations of molecules, producing perceptual interpretations in the people that observe them. The third quadrant is physical in nature, and art is a very physical avenue of expression. I also described how the third square is sexual in nature.

The third quadrant is the dreaming quadrant. Freud discussed that dreams are sublimations of sexual instincts and impulses in the subconscious. Thoughts, and emotions are shaped by sexual drives. The second square race is Europeans, and Europeans have been the most associated with music, having musicians like Mozart. Also Europeans have catapulted a lot of popular music and are most related to music in the forms of art.

*Square three: Dance. The third square is the flesh square. The third square in Wilbur's model is the body square. The third square is the doing square The mode of art associated with the body and movement is dance. The quadrant model is a holistic model, so painting and music are forms of dance. To paint and make music requires body movement. Pollack, a famous painter, was known for making paintings where he splattered paint over the canvas. While he made these paintings he would listen to classical music by Bach, who was a German composer of the enlightenment. As he listened to this music he would dance. The third square race is Blacks, and Blacks are most known for being the best at dance.

*Square four: Literature. The first square is the light--that is painting. The second is the word--music. The third is the flesh--dance. The fourth is the true word--literature. The Bible and the Odyssey were originally oral, and were passed on through oral tradition. Socrates warned that writing would make memory worse. The fourth sense is taste, associated with the mouth, which is associated with speaking. Literature, originally oral, is different from the previous three modes of art, yet it encapsulates them; it is the fourth square mode of art--the nature of the fourth square. The fourth square is separate from the previous three, yet it encompasses them. The forth square race is Brown, and Brown people are most associated among the art forms with literature, having a lot of famous authors. Also brown people are stereotypically known for liking literature.

The Basic Domains of Art

Painting	Dance
Music	Literature

Some of the earliest painting in history was horses and bison are represented with tetramorphic signs in the cave Lascaux in Southern France.

A geometrical analysis of the meander decorative patterns on a Roman pavement mosaic found at the Roman villa in Chedworth, England, is presented reflects quadrants.

In art, architecture, and traditional Christian symbolism,[1] the quatrefoil is a type of decorative framework consisting of a symmetrical shape which forms the overall outline of four partially overlapping circles of the same diameter. The word quatrefoil means "four leaves", from Latin quattuor, four, plus folium, a leaf.[2]) and applies to general four-lobed shapes in various contexts. It is also used as a heraldic charge.

The quatrefoil enjoyed its peak popularity during the Gothic and Renaissance eras. It is most commonly found as tracery, mainly in Gothic architecture, where a quatrefoil often may be seen at the top of a Gothic arch, sometimes filled with stained glass. It’s probable that it has roots in Islamic architecture.[3]

In ancient America

Chalcatzingo Monument 1, El Rey, representing one half of a quatrefoil

In ancient Mesoamerica, the quatrefoil is frequently portrayed on Olmec and Mayan monuments, such as at La Blanca, Guatemala where it dates to approximately 850 BC. The quatrefoil depicts the opening of the cosmic central axis at the crossroads of the four cardinal directions, representing the passageway between the celestial and the underworld.[4]

Another early example of a quatrefoil is found at Chalcatzingo, Morelos state, Mexico, the city that flourished between 700 BCE and 500 BCE. Both a full quatrefoil, and a partial portrayal of quatrefoil are found on monuments here. In the latter case, one half of a quatrefoil represents the opening of a cave where an important personage is seated. This cave opening represents a water source.

Thus, quatrefoil seems to be associated with water rituals. The associated imagery is related to agricultural fertility and the arrival of rain,[5][6] as evidenced by the rain-bearing clouds above the quatrefoil portal.[7]

The association between rulership and the quatrefoil symbol continued into the ensuing Late Preclassic period. A good example is found at Izapa.

The quatrefoil portrayal continued into the Classic period, as evidenced in the iconography of numerous Classic Maya monuments. A good example is the altar from El Perú (Maya site), which features a quatrefoil on the back of a zoomorphic creature in which sits a ruler. The associated hieroglyphic text refers to the creation narrative of the Maize god's rebirth.[7]

Barbed quatrefoil

The "barbed quatrefoil"

Barbed quatrefoil containing relief of The Sacrifice of Isaac (1401) by Lorenzo Ghiberti for the Baptistry, Florence. Bargello Museum, Florence

The barbed quatrefoil is a quatrefoil pierced at the angles by the points of an inscribed square,[8] which gives an image akin to an heraldic rose, which is termed "barbed" due to the stylised thorns which project at the intersection of each pair of petals. The earliest example of the barbed quatrefoil appears on the south transept buttresses of 1260 in the Cathedral of Notre Dame in Paris.[8] Similarly the trefoil is often combined with an equilateral triangle to form a barbed trefoil. Among the most famous works of art employing the barbed quatrefoil are the bronze panels on the south doors of the Baptistery in Florence (1330–6) by Andrea Pisano, the bronze panels of the north doors of the Baptistery in Florence by Lorenzo Ghiberti, and also Filippo Brunelleschi's competition entry for the same doors, The Sacrifice of Isaac) as well as "Head of an Angel" by Piero della Francesca.

In heraldry

In heraldic terminology, a quatrefoil is a representation of a four-leaf clover, a rare variant of the trefoil or three-leaf clover. It is sometimes shown "slipped", i.e. with an attached stalk.

In military

In the U.S. Marine Corps, quatrefoil refers to a four-pointed decoration on the top of a warrant or commissioned Marine officer's dress and service caps (see peaked caps, also known in the Marines as "barracks covers"). According to tradition, the design was first used with Marine officers on sailing ships so that Marine sharpshooters in the rigging did not shoot their own officers on the deck during close-quarters gun battles (as when crews of opposing ships attempted to board each other's ship). An official part of U.S. Marine Corps officer uniforms since 1859, the quatrefoil was said initially to have been crossed pieces of rope sewed into officers' caps before becoming officially mandated as a uniform item.

Societies

The quatrefoil is the official symbol of the Bishop James Madison Society, est. 1812 at the College of William and Mary.

Fraternity

The quatrefoil is also the symbol in the USA of the women's fraternity Phi Mu (a member of the National Panhellenic Conference).

A magic square is an arrangement of distinct numbers, where each number is used once, usually integers, in a square grid, where the numbers in each row, and in each column, and the numbers in the main and secondary diagonals, all add up to the same number. Magic squares are essentially quadrants with numbers in them.

Albrecht Dürer immortalizes a 4×4 square in his famous engraving "Melancholia I". The four by four square is the quadrant model represented.

Antoni Gaudi made the The Passion façade of the Sagrada Família church in Barcelona, and designed by sculptor Josep Subirachs, features a 4×4 magic square. Recall that passion is the 14th square of the quadrant model and Jesus' death on the cross was called "the Passion".

The magic constant of the square is 33, the age of Jesus at the time of the Passion. It similar to the Melancholia magic square, but it has had the numbers in four of the cells reduced by 1, and it is not a normal magic square, because it has the numbers 10 and 1 repeated.

Four fours is a mathematical puzzle. The goal of four fours is to find the simplest mathematical expression for every whole number from 0 to some maximum, using only common mathematical symbols and the digit four (no other digit is allowed). Most versions of four fours require that each expression have exactly four fours, but some variations require that each expression have the minimum number of fours.

In the Ancient Roman Empire there is a sculpture of four Tyches (the Greek Fortune) from the fourth century AD, that were used as ornaments on a chair. They are said to represent the four most important cities of the Roman Empire,

Square 1: Rome

Square 2: Constantinople

Square 3: Alexandria

Square 4: Antioch. Their nature fits the quadrant model pattern.Three Tyches are fairly equal in shape, representing a seated figure on a throne in frontal view. Antioch, the fourth, is in an oblique position on a piece of rock, with a stylized young man, representing the river Orintes. The fourth square is always different

Paula's Potter was a landscape painter who's most famous work was the young bull. The work fits the quadrant model pattern. There are two sheep heads interlocked which represent the duality of the first two squares. They are right next to each other. There is a goat next to them representing the third square. That is the third square. Then there is a bull representing a transcendent fourth sqaure sitting down with the four. These four represent the quadrant. Then there is a standing bull representing the ultra transcendent fifth square.

Paulus potter has another famous painting called the four Bulls that depicts the quadrant model pattern. Three bulls are next to each other in a sort of triad. The fourth bull is off to the side representing the transcendent fourth

Pablo Picasso is known for his oil painting Les Demoiselles d'Avignon (The Young Ladies of Avignon, and originally titled The Brothel of Avignon). There are five figures who are posed in disconcerting confrontational manners.Three figures on the left have facial features in the Iberian style of Picasso's native Spain, while the two on the right are shown with African mask-like features. Thereby the quadrant model pattern is expressed. In the quadrant model pattern the first three are very connected and similar. The first three are interlinked. The fourth is transcendent and points to the nature of the fifth. The fourth and fifth are both transcendent

Claude Monet is famous for his painting Women in the Garden which reflects the quadrant model pattern. In the painting there issued women. One is sitting and looking forward. The other is standing and looking to her left. The other is standing and walking away. This is the triad of the quadrant modelZ the o e sitting is the idealist who is the opposite of a diet. The one standing and looking to the left is the guardian who is not yet moving. The one walking away is the artisan. There is a fourth figure who is different from the other three. It is a man covering his face. The quadrant model pattern is reflected in this popular painting by Monet. Monet was an impressionist painter

Le Déjeuner sur l'herbe (English: The Luncheon on the Grass) – originally titled Le Bain (The Bath) is one of the paintings that Manet is most well known for. The painting clearly represents the quadrant model pattern. There is a female nude and two men with legs kind of intertwined and interlocked. The nature of the quadrant model is the first three squares are different but extremely interconnected. These figures are in the foreground. In the background there is a scantily clad woman kind of in the middle section of the first three figured but far behind them. This figure symbolizes the fourth transcendent square. The woman in the background is bathing. Manet like Monet was another impressionist painter

Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), Private collection, is a famous modern painting. It is a circle divided into four quadrants. Regarding the painting he says

"This happened in 1912. Cubism was in full force. I made paintings that seemed like prisms compared to the Cubism my fellow artists were producing. I was the heretic of Cubism. I had great arguments with my comrades who banned color from their palette, depriving it of all elemental mobility. I was accused of returning to Impressionism, of making decorative paintings, etc.… I felt I had almost reached my goal”.

His famous painting Robert Delaunay, 1913, L'Équipe de Cardiff, Van Abbemuseum, Eindhoven, andRobert Delaunay, 1913, L'Équipe de Cardiff, oil on canvas, 326 × 208 cm, Musée d'Art Moderne de la Ville de Paris also feature quadrants within the pattern

Most furniture has four legs – tables, chairs, etc.

The Deposition (also called the Florence Pietà, the Bandini Pietà or The Lamentation over the Dead Christ) is a marble sculpture by the Italian High Renaissance sculpted

By Michaelangelo. It was the sculpture that he wished to be put on his grace. While working on it he got so fristrated that he was going to attempt to destroy it. The sculpture, on which Michelangelo worked between 1547 and 1553, has four figures:

Square 1: Nicodemus (or possibly Joseph of Arimathea),

Square 2: Mary Magdalene

Square 3: the Virgin Mary

Square 4: Jesus taken from the cross.

Most of Michaelangelo's works were of a religious nature. Religion, square two of the quadrant model, is very connected with art, square three.

The Four Apostles is a panel painting by the German Renaissance master Albrecht Dürer. It was finished in 1526, and is the last of his large works. It depicts the four apostles larger-than-life-size. The four apostles reflect the quadrant four fold image. Again the subject of renaissance works was often religious, demonstrating the close connection between religion, the second square, and art the third square

Saints John and Peter appear in the left panel; the figures in the right panel are Saints Mark and Paul. Mark and Paul both hold Bibles, and John and Peter are shown reading from the opening page of John's own Gospel. At the bottom of each panel, quotations from the Bible are inscribed.[1]

The apostles are recognizable by their symbols:

St. John the Evangelist: open book

St. Peter: keys

St. Mark: scroll

St. Paul: sword and closed book

They are also associated with the four temperaments.

St. John: sanguine

St. Peter: phlegmatic

St. Mark: choleric

St. Paul: melancholy

Dürer's work on geometry is called the Four Books on Measurement (Underweysung der Messung mit dem Zirckel und Richtscheyt or Instructions for Measuring with Compass and Ruler).

Square 1: the first square is more sikple and primitive. The first book focuses on linear geometry. Dürer's geometric constructions include helices, conchoids and epicycloids. He also draws on Apollonius, and Johannes Werner's 'Libellus super viginti duobus elementis conicis' of 1522.

Square 2:The second book moves onto two dimensional geometry, i.e. the construction of regular polygons. Here Dürer favours the methods of Ptolemy over Euclid. Here things are taking shape. The second square is more structure and homeostasis.

Square 3:The third book applies these principles of geometry to architecture, engineering and typography.

In architecture Dürer cites Vitruvius but elaborates his own classical designs and columns. In typography, Dürer depicts the geometric construction of the Latin alphabet, relying on Italian precedent. However, his construction of the Gothic alphabet is based upon an entirely different modular system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of polyhedra. Here Dürer discusses the five Platonic solids, as well as seven Archimedean semi-regular solids, as well as several of his own invention. The third square is always physical. Here Durer is getting three dimensional and into solid figures, which is the nature of the third square.

In all these, Dürer shows the objects as nets.

Square 4: This is book four. The fourth square is always transcendent and builds on the first three.Finally, Dürer discusses the Delian Problem and moves on to the 'construzione legittima', a method of depicting a cube in two dimensions through linear perspective. It was in Bologna that Dürer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the 'costruzione legittima' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca. He was also familiar with the 'abbreviated construction' as described by Alberti and the geometrical construction of shadows, a technique of Leonardo da Vinci. Although Dürer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles. In addition to these geometrical constructions, Dürer discusses in this last book of Underweysung der Messung an assortment of mechanisms for drawing in perspective from models and provides woodcut illustrations of these methods that are often reproduced in discussions of perspective.

Dürer's work on human proportions is called the Four Books on Human Proportion

Vitruvian man represents a cornerstone of Leonardo's attempts to relate man to nature. Encyclopaedia Britannica online states, "Leonardo envisaged the great picture chart of the human body he had produced through his anatomical drawings and Vitruvian Man as a cosmografia del minor mondo (cosmography of the microcosm)."He believed the workings of the human body to be an analogy for the workings of the universe." Da Vinci was correct in that man reflects the quadrant model

pattern as I discussed in the biology section of this book.According to Leonardo's preview in the accompanying text, written in mirror writing, it was made as a study of the proportions of the (male) human body as described in Vitruvius. The first paragraph of the upper part reports Vitruvius: "Vetruvio, architect, puts in his work on architecture that the measurements of man are in nature distributed in this manner, that is:

a palm is four fingers

a foot is four palms

a cubit is six palms

four cubits make a man

a pace is four cubits

a man is 24 palms

Notice how the number four permeates the Vitruvius man. A cubit is also the length of your forearm. The man is four cubits tall and four cubits make up his arm span. In that sense the volume that the man takes up would be 16 cubits the quadrant model image. These measurements are jn Da Vincis buildings as well

Giorgio Vasari (Italian: [ˈdʒordʒo vaˈzaːri]; 30 July 1511 – 27 June 1574) was an Italian humanist who was Michaelangelo's friend. He was an Italian painter, architect, writer and historian, most famous today for his Lives of the Most Excellent Painters, Sculptors, and Architects, considered the ideological foundation of art-historical writing. He is most famous for his painting The Garden of Gethsemane, which reflects the quadrant model pattern. It takes the same form as the painting Bath by Monet. Three of Jesus discioles are in the foreground laying down interconnected and sleeping. Jesus is in the background standing and raising his hands to an angel. Jesus represents the transcnedental fourth figure

In each corner of the Sistine chapel is a triangular pendentive filling the space between the walls and the arch of the vault and forming the spandrel above the windows nearest the corners. On these curving shapes Michelangelo has painted four scenes from Biblical stories that are associated with the salvation of Israel by four great male and female heroes of the Jews: Moses, Esther, David and Judith.

Square 1: The Brazen Serpent

Square 2: The Punishment of Haman

Square 3:David and Goliath

Square 4: Judith and Holofernes

Michaelangelo and the renaissance artists were White. White is the second square superior insiders. So White people tend to have very impressive works associated with them.

Renaissance artists did not just paint christian images but Images of Greek and Roman Gods and other classical content.

The pastoral concert, by Titian, is another example of a painting that portrays the quadrant model pattern. The painting is thought to have been the inspiration for manets painting. Art historians note that there is continuity between artists over art history. In Titians painting there is three young people on a lawn. Again there is a female nude in the front and their legs are sort of interlocked, representing the interconnected triad. To the side and standing is a female nude, the fourth and transcendent square. Way off in the background is a pastor, resembling the fifth transcendent square that is always questionable. You can barely see the pastor.

Many argue today that the the women represent aristotles distinctions of poetry, which fits the quadrant model pattern itself. The woman with the glass vase would be the muse of tragic poetry. The other one would be that of the pastoral poetry. Of the two playing men, the one with the lute depicts lyric poetry, the other being an ordinary lyricist. This is the most common explanation. I demonstrate that the most fundamental explanation for the format of the painting and the reason for its popularity is it reflects the quadrant model pattern

The Garden at Sainte-Adresse is another painting by the French impressionist that is very respected. The painting, with its four figures also reflects the quadrant

Monet, as I mentioned, with Manet, is the most popular impressionist painter and one of the most popular painters of all time. His painting the luncheon also resembles the quadrant model pattern. Again there are three figures in the foreground and the transcendent fourth in the back

Square 1: there is a baby sitting in his baby chair.

Square 2: there is a woman sitting next to the baby. She and the baby are the duality.

Square 3. There is a woman standing next to those two figures. This represents the triad.

Square 4: there is a woman in the background looking in the cub are. She is the transcendent fourth

The Cafe Concert, by Manet, reflects the quadrant model pattern. The first two squares are the man and woman sitting in the foreground. The first two squares aren't the Doug squares. Behind them but close to them is a standing woman drinking. She is the third square, the doing square. Behind her far too the distance is a woman, the fourth transcendent square.

Jesus mocked by the soldiers is another artwork by Manet that reveals the quadrant model pattern. In the artwork three soldiers, representing the first three squares, mock the fourth figure, the transcendent Jesus.

Gaugin is a French post impressionist. One of his popular works is Garden in Vaugirard (Painter's Family in the Garden in Rue. The painting elucidates the quadrant model pattern. In it there is a little girl and a boy sitting. They are the duality. There is a girl standing. The girl is the third square. The baby in the stroller next to them is the transcendent forth.

Nave nave moe (Sacred spring, sweet dreams), 1894, is another painting by Gaugin that reveals the quadrant model pattern. There is the two figures standing in the foreground. They are the duality. There is the third figure sort of in the background but this time the third is sitting, a slight variation on the pattern. The fourth figure in the background is standing. But this paining goes so far as to reveal the quadrant model pattern even further. Way in the background, far past these four figures, behind rocks and among trees is four more barely visible figures, representing the second quadrant

Four Breten Women is another painting by Gauguin that resembles the quadrant model pattern. In it there are three women facing away. They are the triad. There is a woman in the foreground but close to them looking forward. The fourth transcendent figure

Women bathing is another famous work from Gaugin that is an image of the quadrant model. Women bathing is a popular theme throughly art history and demonstrates the continuity through art history. In the painting there are three women. These women are connected holding hands. Next to these women is another woman bending down, in imitation of the Monet painting of the woman bathing and bending down. This woman is the transcendent fourth. If you look closely, way in the background, you can see the head of a man floating in the ocean. He is the ultra transcendent fifth whose existence is questionable. Gaugin is famous for his Yellow Christ, which is an image of Jesus on a cross. The cross is central throughout art history. The cross is the quadrant itself, the form of being

Conversation Tropiques (Négresses Causant),is a painting that Gaugin did. It again reflects the quadrant model pattern copied from Monet’s bath, but here Gaugin is depicting African farmers. There are three figures in the foreground. Two women are facing each other. They are the duality. A boy next to them faces away. He is the third square. In the background, like in Monet's bath, there is a man squatting. He is the transcendent fourth square

Among the Mangoes is another paining by Gaugin demonstrating the same exact pattern. There are African figures more connected in the foreground and the transcendent fourth reaching for a mango in the back. The two in the foreground representing the first two squares are more idle. The third is crawling for a mango. The bird is the doer. The transcendent fourth reaches for a mangoe

Riders on the Beach, another painting by Gaugin portrays the quadrant model pattern.there are three riders more in the foreground and center. One is wearing only underwear. The other two are wearing pants. This is the triad. There are two riders off to the side at a diagonal both arrayed in colorful clothing. They are the transcendent and meta fourth and fifth squares

Nave nave moe (Sacred spring, sweet dreams), 1894, is another painting by Gaugin that reveals the quadrant model pattern. There is the two figures standing in the foreground. They are the duality. There is the third figure sort of in the background but this time the third is sitting, a slight variation on the pattern. The fourth figure in the background is standing. But this painting goes so far as to reveal the quadrant model pattern even further. Way in the background, far past these four figures, behind rocks and among trees is four more barely visible figures, representing the second quadrant

Architecture fits the quadrant model pattern. The ground plan of the Liebfrauenkirche in Kalundborg is made in the shape of a cross/quadrant. This Church was built in 1170.

Fountains have always been a central part of architecture and there are four types of fountains in architecture. They are

Square 1:The Arcadian version of a fountain is incorporated in the landscape or in garden design. The well and its surroundings is a place of tranquility and holiness, and is a mystical environment like the Fountain of the Philosophers and historically used in its capacity as a ‘source’. The first square is associated with the mind.

Square 2:The monumental version of a fountain falls within the context of city design. The fountain is a spot of community, togetherness, and contemplation, but also tries to convey some sort of idea or ideology. These fountains bring about togetherness. The first square is relational.

Square 3: The representational version of the fountain makes up the majority of fountains. It is placed on squares and markets with the intention to provide water. The fountain is, in this view, a practical item. The third square is pragmatic/practical. It is the doing square.

Square 4:The fountain as an essential element in architecture incorporates all the previous stages and adds the knowledge of its being to the process. The fourth encompasses the previous three.

The quatrefoil font in the baptistery at Kélibia in Tunisia, from the 6th century, was developed from the cruciform font.The font is divided into four segments.The top of the font has a four-part inscription. The first band has four primary images (dove, cross, ark, chalice), the second register also has four central images (small fish beneath a dolphin) and four different trees separate the pictures. The different trees represent the four seasons: date palm (spring), olive (winter), fig (summer) and apple (autumn). The third band consists of white crowns and in the basin of the font is the Christogram with the alpha and omega. This quatrefoil is full of tetrads, reflecting the quadrant model pattern.

The stone circles in Britain, Ireland and the Continent are probably the most basic forms of quadralectic architecture.The stone circle in its most basic form is called a ‘four-poster’, many of which can be found in northeastern Scotland. They are characterized by four (standing) stones within a cyclic enclosure.

The Roman God Janus was mostly depicted as a double-headed god, looking back and forwards at the same time (Janus bifrons). The adoration of Janus, in the form of statues and temples, became so excessive during the reign of Emperor Domitian (81 – 96 AD) that critics had enough. Around the 2nd century on the god Janus was depicted with four faces, on account of his presiding over the four seasons. He became then known as Janus quadrifrons. His most famous ‘temple’ was the triumphal arch with four portals, erected in the fourth century AD.

The Great Stupa at Sanchi, entrances of Stupas were added in the first century AD. They make a right angle with the cross design of the stupa, forming a swastika, the symbol of the quadrant. This ground plan of the ‘Great Stupa’ of Sanchi (India) indicate the four gateways (or toranas), which were later added to make the plan look like a swastika.

Artistic symbols represent the four great moments of the Buddhas life. Buddhists take pilgrimages to the four spots where the Buddha was at these moments

Square 1. The lotus represents Buddha’s birth,

Square 2. The tree signifies his enlightenment,

Square 3. The wheel (of Law, Dharmachakra) points to his first sermon

Square 4. The stupa is his nirvana or salvation.

Candi Sewu (Tjandi Sewoe) complex, near Prambanan (Indonesia) represents the general plan of a mandala. The main temple is cruciform in shape, reflecting the quadrant, and is positioned in the middle of an enclosed area and surrounded by the ‘Thousand Temples’, protected by a second wall. The Candi Sewu has a cruciform ground plan and four stairs in the wind directions. The central part of the building is surrounded by four cellas, one of which leads into the main room (from the east).

The Ananda temple built activities in 1091 during the reign of King Nanwrahta (1044 – 1077). The ground plan is cruciform and the temple square can be entered from all four sides through projecting porches. The central shrine has four large standing Buddha images representing Gautama (west), Kakusandha (north), Konagamana (east) and Kassapa (south), reflecting the quadrant image.

Angkor Wat in Cambodia, a temple dedicated to Vishnu, also resembles the quadrant motif in its structure, especially its central structure, which is in essence a quadrant.

The most sacred Chinese structure is the Great Altar of Heaven in Beijing (Peking), where the emperor prayed every year in the middle of the first lunar calendar month for a good harvest. The Circular Hall of Prayer for Good Harvest (Tiantan)is a complex that follows tetradic, quadrant representing, lines. The Great Altar of Heaven consists of three circular terraces with marble balustrades (called the Altar for Grain prayers).). There are four staircases (which in themselves form two quadrants within the terraces).

Armenian architecture is divided into four periods. Churches in Armenia represented the progress of Christianity in a broader European framework.

Square 1: The Formative Period was from the fourth to the seventh century. The earliest churches in Armenia were basilicas, which are similar to the Syrian basilicas and their design entered Armenia as part of the early Christian expansion to the north. These were centrally planned domed churches. The tetraconch or quatrefoil church of Agarak possesses four salient apses and a dome. Many of these chapels and churches many cruciform, displaying the quadrant form of Being. The perfection of the circular plan was revealed in the aisled tetraconch church of Zvartnots (now destroyed), built in the seventh century. The Arab invasion at the end of the seventh century meant the end of this period and two full centuries passed without any significant building activities.

Square 2: The Bagratid Revival lated from the ninth to the eleventh century, started with imitating the structures from the formative period, but flourished into a new vitality in the latter part of the period. The invasion of the Seljuk Turks after the mid-eleventh century brought this creative period towards a termination.

Square 3: The Flourishing of Monasteries took place during the twelfth and fourteenth century. These were established by large noble families gave Armenian architecture its last spiritual moment, but stagnation ensued in the fifteenth and sixteenth century.

Square 4: There was a final national revival during the Seventeenth Century under the rule of the Safavid Shahs of Iran. Many older monuments were restored and expanded and some notable buildings were made in the diaspora (like the churches in New Julfa, the Armenian suburb of Isfahan). The fourth always encompasses the previous three. During this period there was a lot of revitalization from earlier periods.

Architecture fits the quadrant model pattern. The ground plan of the Liebfrauenkirche in Kalundborg is made in the shape of a cross/quadrant. This Church was built in 1170.

The compartment system dominated the gardens of the sixteenth century across Europe. The style of a quadrant grid was used by the Persians in their gardens, and it is thought the story of the garden of Eden developed in Persia in reference to the quadrant gardens. The gardens were called paradisas, or paradises, lending credence to this theory. Gardens throughout Europe were almost always in the quadrant layout, and often even had the layout of the 16 squares/ the quadrant model pattern. The gardens of the Taj Mahal, one of the most well known buildings of India, were set up in a quadrant form. The number four is the holiest of all numbers in Islam and the arrangements of the Taj complex reflect that preference. Four minarets are set symmetrically about the tomb and scaled down to emphasis the effect of the slightly bulbous dome. The garden is laid out in a quadrate plan with two canals crossing in the center, dividing the space in four equal squares. The mausoleum is, as an exception, not build in the central area but at the north end above the river. Each of the four quarters has been subdivided into sixteen flowerbeds by stone paved raised pathways. Thus the quadrant permeates the Taj Mahal.

The church of S. Carlo alle Quattro Fontane (St. Charles at the Four Fountains) was built by Francesco Borromino (1599 – 1667) from 1638 to 1641. The Baroque building is characterized by four fountains in the square in front of the church. The four fountains bring to mind the quadrant.

The Fountain of the Four Rivers at the Piazza Navona in Rome is the masterpiece of the sculptor Bernini and is full of tetradic imagery.Above this created organic world are four sculptured personifications of rivers in ‘titanic twists and turns’:

Square 1: Danube (symbolizing Europe)

Square 2: Nile (Africa)

Square 3: Ganges (Asia)

Square 4: Rio de la Plata (Americas).

Edgar WEDEPOHL discussed the eight-fold as an archetypal element in his search for the meaning of proportions in the architectural history. He distinguished four different types of forms the

Square 1: Urform, the primordial form

Square 2: Grundform, the ground form

Square 3: Raumform the space form

Square 4: Bau- or Konstructionsform the constructed form

The Urform of the eight-fold plan is the result of two squares, moving around a common centre point and are turned over an angle of forty-five degrees. These elements (two four-divisions and a shift) are the building stones of a quadralectic communication, which consists of two four-division moving along each other in a linear way. The octagonal can be seen as a ‘simplified’ form of a tetradic interaction from one central point, whereas the quadralectic interaction has two central points, belonging to the different contributors of the communication (the Large and Small Part).

A Medieval tile at Chalons-sur-Marne depicts four labyrinths of the classical type. This set of sixteen tiles from the Toussaint Abbey in Chalons-sur-Marne depicts a labyrinth quaternity. The center is a square with four triple pillars pointing towards an empty midpoint. Four labyrinths fill up the space of the four quadrants. The central quaternity is surrounded by a band of eighth bird-like animals with spiral decoration. The quadrant model is fully reflected.

The French polymath Guilllaume de la Perriere (1499 – c. 1565) made a relation between the labyrinth and the four-fold. He gave in his book ‘Le Theatre des bon engins, auquel sont contenuz cent Emblemes moraulx’ (Paris, 1539) an emblem with an unicursal labyrinth and the four elements. His book ‘Considerations des quatre mondes, a savoir est: Divin, Angelique, Celeste et Sensible’ (1552) was written in four hundred quatrains and was a celebration of the number four.

The essential feature in the recognition of patterns – including the mind patterns – is the so-called fundamental region. STEVENS (1980; p. 57) gave the following definition: ‘a fundamental region is the region of minimum area that can be repeated without gaps of overlaps to make a complete pattern.’ LAUWERIER (1988) called this unit a ‘primitive cell’, to indicate the repeating element. It is instructive to look at the anatomy of a fundamental region and the way it is created. Because in the end the human memory is just a set of (mind) patterns, constructed from various fundamental regions.

Four steps are necessary to outline the smallest unit, or to ‘create our own fundamental region’ (STEVENS (1980, p. 177)(fig. 10):

1. An irregularity on a horizontal line between A and B; any shape is permitted. ESCHER (1958/1986, p. 118) recommends a simple contour line without too many deep incisions.

2. The shape of the horizontal irregularity is repeated on a parallel line in C and D; it is essential for the creation of a pattern that the shape is the same as between A and B;

3. An irregularity on the vertical line, starting at A and ending at C; again any shape is permitted.

4. The shape of the vertical irregularity is repeated on a parallel line between B and D; now a geometric form is created, which is called a fundamental region: the region of minimum area that can be repeated to obtain a whole pattern.

These are the four distinct (mind)actions required to build-up a fundamental region, which forms a pattern by repetition.

The development of a pyramid complex in the Old Kingdom was centered around an architectural plan in which four phases can be distinguished:

Square 1. A valley temple

Square 2. A covered and decorated causeway leading to

Square 3. The pyramid (mortuary) temple and

Square 4. The pyramid itself

This four-division symbolized the stages in an act of worship and can be interpreted as different positions in relation to the godhead or pharaoh and, ultimately.

The valley (lower) temple of the Khafre (or Chephren) pyramid complex in Gizeh was surrounded by Four colossal sphinxes that flank the entrances of the valley temple. This tetrad recalls the quadrant.

An increased self-consciousness of the Egyptians of the New Kingdom was part of an increased wealth around the thirteenth and twelfth century BC. The attention to numbers was part of this process. The architectural scheme of the temple might reflect that interest was a four-fold division in architectural elements. For example, the temple of Chon (Khonsu) at Thebe (Luxor) were tetradic.The temple of Chon at Thebe (Luxor) is part of an enormous temple complex consisting of the Temple of Amun, the Temple of Ptah and the Sacred Lake. The old four-fold approach to the godhead (pharaoh) in four types of buildings (temples) is now incorporated in one building.

The idea of the four units along the central axis was exerted in the Horus (Hathor) temple of Edfu, hundred kilometers south of Luxor.

The holy cities of Heliopolis, Mendes, Sais and Buto (Boeto) were part of a geographical four-fold symbolism in Late Period Egypt. These demographic centres had a long history of religious pilgrimages (and probably four-fold symbolism), because after the pharaoh died he had to make a journey along the four holy cities of the delta. The principal halts on the way to eternal rest corresponded with the cardinal points. These directional stations were related to the four elements.

Square 1:The city of Heliopolis, just north of Cairo, was known as a place of sun worship. The place acted as a religious centre for a long time with the god Atum.

Square 2:The city of Mendes, in the east, was represented by the two pillars of Osiris, the djed pillars, symbolizing the concept of air. The god Shu was a ruler over the open sky and the four winds.

Square 3:Sais (Sa el-Hagar), the western most city of the quartet, is located on the Bolbitine (Rosetta) Branch of the Nile and the main city of the fifth Nome of Lower Kemet. Sais, to the west, represented the necropolis where the body was buried and therefore, associated with the element of the earth.

Square 4: Buto as the most northern city of the quartet, is was in a watery environment and known for its canal. Buto is also known as the ‘Place of the Throne’.

The monk Adomnan. was the ninth abbot of Iona, the monastery founded by Saint Columba in 563. He made his name by establishing a law protecting women, children and clergy from injury or participation in war (known as the Cai’n Adomna’n or Law of the Innocents).

Adomnan made four church plans, which occur in various manuscripts. Versions of the plans also appeared in manuscripts of Bede’s work ‘De Locis Sanctis’, which were mainly derived from Adomnan.

1. The Church at Jacob’s Well (not in Bede). A cross-shaped (quadrant) building with Jacob’s Well in the center, the place where Jesus conversed with the Samaritan woman.

2. The ‘great round church’ at the place of the Ascension was open to the sky in the middle where a circular bronze railing was set up around a patch of dust, which displays the Lord’s footprints.

3. The Great Basilica on Mount Sion had a square form.

4. The Buildings on Golgotha of which the round church, with the burial place of Jesus, called the Anastasis, is probably the most important. The Church is supported on twelve columns, and it has two groups of four doors (reflection the four of the quadrant).

Bede’s work was inspired by a devotion to Christianity in which the four-fold – as an expression of a ‘higher’ religious experience – played a major part.

The Church of the Holy Sepulchre was a prototype in the history of Christian church building.One example is the Church of Veracruz (the True Cross) in Segovia (Spain). This church was built to store a piece of the Holy Cross (Lignum Crucis).The central area has four openings, remarking the quadrant. The Romanesque Church of Veracruz near Segovia, south of the town of Zamarramala (Spain) was constructed by the Order of the Templar (Templar Knights), and they copied the plan from the Saint Sepulchre of Jerusalem, creating the central area with the quadrant forming four openings. The Templars mostly created their church's round because round was seen as a feminine shape, and the universe they esteemed as feminine. The centrally planned, round way of building was used mostly in later Christian church architecture, but it never became the most popular. Historically, the opposition-rooted spirit of Christianity made a choice for the square, with its four sides, often associated with the cross, as their main ground plan.

The Church of the Holy Savior (in Ani) has the shape of a polygonal drum, with a circular drum on top. It is octagonal, but art historians and people who study architecture associate the octagon with the apportionment of double four. Two squares put in perpindicular create the popular octagonal structure, and thus it is highest achievement of four-fold thinking translated in architecture.

The origami finger game has four parts that reflect the quadrant model pattern. This game is used by children to tell there fortunes.

The Greek cross is the (tetradic) church design with equal arms, which more resembles the pure quadrant. Church plans with unequal arms, a long and a short axis, are called a Latin cross. Eastern Christianity tends to use the Greek cross and the west the Latin cross.

In works like the ‘Oratio catechetica’ and ‘Contra Eunomium, the Cappadocian Father Gregory of Nyssa (c. 335 – after 394), says that the cross is the unifier of the four mains, with equal, spatial extensions.

The Temple of Baal at Palmyra has the‘Palmyra-door’, an example of tetradic architectural feature divided into quadrants.

The Tower of Winds in Athens was built in the second century BC was a tetradic monument with a symbolic and practical importance. The octagonal shape was related to the cardinal points, representing an abstract division of space. The octagonal shape of the tower is 2 x 4, or two squares perpendicular: the four principal wind directions and four other points in between. The ancient Greeks as well as cultures throughout the world distinguished the "four winds". The Greeks called them

Square 1:Boreas,

Square 2:Apeliotes,

Square 3:Notos

Square 4: Zepyros

Andronicus of Cyrrhus built in 50 BC, the octagonal ‘Tower of the Winds’ in Athens, also called the ‘Horlogeion‘. Again the octagon, according to people who study architecture and art, was seen by the ancients as two fours, or two squares.

According to Marten Kuilman, a man who noticed the quadrant in art and dedicated his life to studying it, the rose window of the southern transept of the Lausanne Cathedral is an example of ‘quadralectic’ architecture, and all types of tetradic features are organized in such a way that they represent an ‘Imago mundi’. The rose window contains reiterations of four. Marten Kuilman is not the only man who has noticed the pervasiveness of fours and the quadrant and tetrad pattern in art and architecture, but he dedicated himself to pure pursuit of this topic. Kuilman claims, the lausanne rose window is the apotheosis of the four-fold, and as such a marker point in the European cultural history.

According to Kuilman

Islamic architecture has always been characterized by a strong geometric inclination towards the four-fold. He points out that the four- and eightfold division is seen here in some of the smaller domes in the mosque Bib al-Mardum in Toledo (Spain).

There are four minarets in Mashkhur Jusup Central Mosque, Pavlodar, Kazakhstan

There are four minarets of Quba Mosque, the first mosque in history built by Muhammad upon arrival in Medina, Saudi Arabia

There are four minarets of Al-Aqsa Mosque, Old City Jerusalem

The Four Sephardic Synagogues are located in the Jewish Quarter of the Old City of Jerusalem. They form a complex which comprises four adjoining synagogues which were built at different periods to accommodate the religious needs of the Sephardic community, each congregation practising a different rite. Today, most of them are in active use.

Al-Ħajaru al-Aswad, "the Black Stone", is located on the Kaaba's eastern corner. Its northern corner is known as the Ruknu l-ˤĪrāqī, "the Iraqi corner", its western as the Ruknu sh-Shāmī, "the Levantine corner", and its southern as Ruknu l-Yamanī, "the Yemeni corner".[1][12] The four corners of the Kaaba roughly point toward the four cardinal directions of the compass.[1] Its major (long) axis is aligned with the rising of the star Canopus toward which its southern wall is directed, while its minor axis (its east-west facades) roughly align with the sunrise of summer solstice and the sunset of winter solstice.[13][14]

The kernal of the Roman house was the atrium, and the Roman architect Vitruvius, living in the first century BC said four styles in the type of atrium, depending on the way the rainwater was collected through the compluvium.

Square1. The Atrium Tuscanicum was formed by two pairs of beams crossing each other at right angles

Square 2. The Atrium Tetrastylon when the beams were supported at their intersections by pillars or columns

Square 3. The Atrium Corinthium, which had more than four supporting pillars; Square 4. The Atrium displuviatum, which sloped towards the outer walls and water was carried off by gutters.

The Zeno chapel in the Santa Prassede church in Rome has a tetradic ceiling with four angels holding up Christ in a circle.

Medieval graffiti in some English churches is often associated with the sign of the cross. Heraldic sign of the king of Jerusalem in the All-Saints Church in Worlington is an example. The celtic knot work on the pillars of the St. Margareth Church in Cowlinge is another. The swastika pelta in the St. Martin Church in Little Waltham is another. A drawing in the same church. A bend swastika with a cross made of points is another example. Salomon’s knot in the St. John Church in Duxford is another example.

Buckminster Fuller’s dome experiment was based on the assumption, that the tetrahedron, octahedron and the icosahedron were the most stable geometric configurations in nature. The closest packing of four spheres results, once connecting their center points, a tetrahedron, with four faces and four vertexes. Visionary and architect Buck-minster Fuller declared the tetrahedron as the most basic building stone in nature. The stable packing of four spheres of equal diameter next to each other results in a perfect triangular configuration forming four angles of sixty degrees.

The Cistercian cloister of Bebenhausen was founded shortly after 1185 has groups of four tiles. A unit is called a ‘quarreau’. Four tiles together (known as a ‘quarreau’) form a new unit, which can be repeated endlessly.

The Flavian also known as the Colosseum has four stories. The bottom three stories – as part of the original design – have each eighty columns and eighty arches. The stories are separated by thin architraves. The arches on the bottom story are separated by Doric columns (plain) and are engaged (shaft is part of the wall). The second story has engaged Ionic columns (fluted and tapered) and the third story has Corinthian columns (ornate). The fourth story consists of a solid wall with Corinthian pilasters. The space between the pilasters was originally filled with forty rectangular windows. The fourth level was added later to the Colosseum, revealing the quadrant model pattern, with the transcendent fourth.

Mosaics in the Palazzo Massimo in Rome give a display of the horses and their attendants of the four different stables/factions of the horse racing. The mosaics dated from the third century AD and were in the shape of quadrants, each square depicting one of the four stables.

The Greeks inspiration for the quadriga emerged from Babylon. The four horses, which pulled the chariot of the sun god (Helios), were respectively Pyroeis (Fiery), Eoos (Dawn), Aithon (Flash) and Phlegon (Blaze). Homer names Hector’s steeds as Xanthos, Podargos, Aithon and Lampos, a quadriga.Many Corinthic, Chalkidic and Attic vases feature quadrigas. The Christian tradition copied the ancient interpretation of the quadriga as a vehicle of power. It gave a vision of the prophet Ezekiel with a chariot is shaped like a globe and Christ is triumphant over evil and figured as a ruler of heaven and earth. The Biblical ‘quadriga of Aminadab’ (a currus with four wheels) was seen as a symbol of Christ riding through the world, bringing its message by means of the Evangelists, symbolized as the wheels.

The classical hotel (katagogion) was used as a blue print for the building of hospitals. The katagogion in Epidauros, erected in the fourth century BC, was a healing center with a rectangular ground plan, consisting of four courtyards surrounded by colonnades. The structure reflects the image of the quadrant. The symbol of medicine is Aesclepios staff, the Greek God of Medicine. The staff has snakes, representing evil spirits of the underworld, crossing up it. The crossings of the snakes bring to mind quadrants.

The ground plan of the church and hospital in Cues (Germany) was based on a tetradic model. The Hospital of Santa Maria Nuova in Florence is one of the first hospitals in Italy to be built in a cross fashion. The building, but it got its cross-form rather by chance. The hall and altar of the woman’s hospital dated from 1315. The additions in 1334 and finally more additions in 1479 resulted eventually in a cross-form in the plan. The Hospital Real in Granadawas designed by the architect Enrique Egas and built between 1511 and 1522. The cruciform layout with four enclosed areas and a central tower can be rated as the ultimate tetradic design.

The cross-shaped plan became a popular architectonic device around the year 1500, in particular in Spain, noted that ‘the cross form was exploited for religious purposes and also assist ventilation. A third virtue of the form was it made it easy to supervise the patients.

In a cross, looking goes both ways. In a cross ward four times as many patients can look into the crossing to receive religious consolation from an altar there, four times as many patients can be watched from the crossing by the nursing staff. The cross form was popular for prisons and insane asylums and was enthusiastically adopted in what were called ‘panoptical institutions.’ In my book psychiatric slavery I discuss that Jesus himself is depicted as a "crazy person" who was killed for "schizophrenia" by people who called him crazy. He was killed by crucifixion. In my book psychiatric slavery I note that all mental patients are in a sense crucified like Jesus was, and I find it exhilarating that a common structure for the mental institution and prison, another form by which marginalized members of society like Jesus was are discarded, is a cross. Michel Foucault is a famous sociologist who popularized the idea of the panopticon, and put fourth the idea that every institution in society is in fact structured like the panopticon prison. That is cool to me because it makes me think then the structure behind every institution is ideally the cross structure. In my book I describe that mental patients are kinds of slaves, and the Quran says that humans are Allahs' slaves. This makes the notion of the cross/ponopitcon idea put fourth by Foucalt, that it permeates all institutons in society, even more intriguing.

The plan of the Hospital Real de Dementes in Granada (Spain)built in 1504 had a (Greek) cross design (fig. 337). The Hospital de los Reyes in Santiago de Compostela (Spain) was another early example, constructed in the period between 1501 and 1511. The Hospital de la Sangre in Seville was made somewhat later . A plan of the Hospital de los Reyes in Santiago di Compostela (1501 – 1511) and the Hospital de la Sangre in Seville (1546 – 1600) also are in the shape of Greek crosses. Ospedale Maggiore in Milan (Italy), based on an original design by Filarete (1456) was square divided by a Greek cross. The Spedale e Chiesa di S. Spirito in Sassia in Rome is a design derived from a truncated (Greek) cross (with one arm missing). There seems to be a historic relation between the intention of ‘healing the masses’ and a tetradic-architectonic setting, although this can be seen as ironic, because Jesus was not necessarily healed on a cross but was killed. The plan of the Church of the Invalides consists of a Greek cross with four corner chapels. This church, which was initially an addition to a hospital. It is fascinating to note that a common design for mosoleums was also the Greek cross.

The spirit around the year 1800 was geared towards the division of the multitude. The four-fold played an important, but not exclusive role, in this process.

A report by Jacques René Tenon (1724 – 1816) underlined the necessity of creating isolated hospital wings with good ventilation. The dimensions of the hospital wards were, for the first time, calculated on patients’ respiratory needs. The hospital’s function was now solely reserved to treat the ill. The so-called ‘marguerite’ in the Hôtel-Dieu in Paris followed a radial pattern, with sixteen spokes and was designed by the architect Bernard Poyet in 1785 (fig. 348/349).

Hospital design reached a new phase at the end of the eighteenth century when circular buildings became popular, which had different wards, radiating from a center point.

The spirit around the year 1800 was geared towards the division of the multitude. The four-fold played an important, but not exclusive role, in this process.

Now isolated hospital wings with good ventilation were deemed important. The dimensions of the hospital wards were calculated on patients’ respiratory needs. ‘marguerite’ in the Hôtel-Dieu in Paris followed a radial pattern, with sixteen spokes and was designed by the architect Bernard Poyet in 1785. The 16 spokes bring to mind the sixteen quadrants, and the spokes can be seen as quadrant forms as well.

John Howard was a fan of the spoke system and coined the word ‘panopticon’ in 1796 to describe such a radial building. He felt that these buildings for prisoners and mental patients and the ill provided better ventilation.

The hospital in Wakefield (1818) was a Spanish-Italian cross-type plan to create space and openness in the hospital design.

Florence Nightingale (1820 – 1910) was a famous nurse who after the Crimean War (1854 – 1856), declared the necessity to minimize the spread of disease by creating adequate space and sufficient ventilation in hospitals. Her book ‘Notes on Hospitals’ (1859) noted the deficiencies in hospital design were, according to The Lady with the Lamp:

Square 1. An agglomeration of too many sick under the same roof’;

Square 2. A deficiency of space;

Square 3. A deficiency of ventilation and

Square 4. A lack of sun light.

The results vary between the pavilion type in open grounds or, more often, as a high-rise building. There is now a lack of human scale and a reduction of the curing process to a mechanical effort by chemistry and technology. The Beaujon Hospital of Clichy (Paris), built between 1932 – 1935, is a common modern factory-like hospitals.

The development of architecture of hospitals in European history fits the quadrant model pattern.

Square 1: 1200- Quadrangle hospitals

Square2: 1500 Greek cross hospitals

Square 3: 1800 Circular panopticon hospitals

Square 4: 1950 Pavilion high rise hospital

Insane asylums and prisons have had quadrant, tetrad features throughout their history. In an asylum or a prison the patients need to be watched. One reason for this is to make sure that they are ok and not up to trouble. There are four positions an observer can take

Square 1: in the circle.A building with a cross-structure or concentric layout offers at its center a point of observation with a maximum range of visibility.

Square 2: on the circle

Square 3: outside the circle

Square 4: in the center of the circle

The prison-theme of multiplicity and its gateway to infinity was treated in a special way by the Italian architect and engraver Giovanni Battista Piranesi (1720 – 1778). A memorable set of sixteen etchings appeared in the years between 1749 – 1761 in two distinct editions called the ‘Invenzioni di Carceri’ of this prison. The 16 plates bring to mind the quadrant model image of 16.

Romantic viewers were drawn to the ‘dark’ and grim aspects of the prisons and the claustrophobic horror vacui of the plates got, because it pointed to a troubled and/or tormented mind. The display of the prison was meant as a deterrent to people to commit "crimes", although people did not necessarily need to commit a crime to end up in them, and that was the scariest part.

The Glasgow Lunatic Asylum, dated 1810, was a quadrant scheme with a system of classification of patients into four sections in the quadrant.

The pyramids near Gizeh are testaments to the number four and the quadrant. They have a tetrahedron shape and orientation to the Four Corners of the Earth. These pyramids were essentially tomb stones for Pharaohs, who were seen by the Egyptians as Gods. So basically the Pharaohs had cross like tomb stones kind of like how people have tomb stones shaped as crosses today.

The tomb of Wahkas II in Kaw el-Kebir has a four-fold scheme on a smaller scale. Square 1: The grave of Wahkas II has pylons and a square entrance hall with 5 x 6 pillars,

Square 2: a hall with eight pillars

Square 3: a connection with ten pillars

Square 4: and the actual burial place.

All tombs had this structure and the Egyptians consciously and explicitly viewed it as a four fold alignment, seeing the four part structure as an ideal system for the Pharaohs graves.

I discussed the plan of a canopen chest, containing the four jars with the primary organs. These four jars were placed within the chest in a quadrant formation. The symbols of the four sons of Horus often decorated the lit of the urns. The four sons of Horus.

Square 1: The urn of Amset, with a human shape, contained the liver.

Square 2: The urn of Hapy, the baboon, held the lungs.

Square 3:Doeamoetef, with the head of a jackal, guarded the stomach.

Square 4: The urn of Kebehsenoef, with the head of a falcon, contained the intestines

The Djed is a pillar-like symbol in hieroglyphics symbolizing stability. It is connected with the Creator god Ptah and Osiris, the Egyptian god of the afterlife, the underworld, and the dead. It is believed to represent permanence and stability. The Djed is separated into four parts.The ‘Raising of the Djed’-ceremony in Lower Egypt took place in Djedet, known to the Greek as Mendes. The action symbolized the resurrection of Osiris, as the Djed was thought to represent Osiris. The raising brought a new yearly cycle. The Djed pillar referred also to the Four Pillars of Heaven, supporting the four corners of the sky. The symbol of the Djed is a representation of the four parts of the quadrant, and I do not think it is a coincidence that the Djed was such a powerful symbol to the Egyptians.

Fig. 378 – The Kamilari tomb on the isle of Crete is circular, and probably had a stone roof. There are five rooms as an annex to the east and to the north was an area of offering. Many vessels – around five hundred – were found in the area outside the tomb and about two hundred and fifty inside the circular enclosure.

The internal diameter of the Kamilari tholos is 7.65 m with a wall’s thickness of 1.70 m. The external diameter is therefore about eleven meters. No roof survived. Smaller tholoi might have had stone vaults, but this is questionable by the larger ones. Inside the tombs, many objects were found, like conical cups (skoutelia), vases, seals, necklaces and daggers. They greatly helped the archaeologists to date the complex. The cups were used for ritual libations and are found in other places as well.

The finding of three figurative clay models showed in one occasion an offering scene (F 2632) with four stylized figures in front of four little altars. In front of them are another two figures in front of an altar. The second model (F 2634) represented four male figurines dancing hand by hand. On the base are four ‘horns of consecration’. The third model was fragmented and difficult to interpret. A female figure is handling a pestle in connection with another figure. There are also ‘horns of consecration’ and birds visible. The preparation of offering, the dance and the offering itself might point to some funerary ritual. In how far the number four is relevant in this context is difficult to say.

The mausoleum of Khwaja Rabi at Mashad has a mandala as its building layout built in the quadrant fashion.

The mausoleum of Khwaja Rabi in Mashad (Iran) is a good example of a funerary structure conceived along tetradic lines. The building dated from the Safavid period (1502 – 1736)

The mausoleum (of Khwaja Rabi) in Mashad was built between 1617 and 1622. The plan reflects, according to ARDALAN & BAKHTIAR, a mandala. There is a distinct four-fold symmetry, with four entrances in a cross form. The invisible cross is caught in a visible square. The square generates four pairs of additions, pointing to the eight-fold and polygonal.

According to Marten Kuilman, who has devoted his life to studying the four fold in architecture because he noticed that it was central to reality as I had

"A pronounced specimen of ‘quadralectic’ architecture is found east of the city of Kerman in central Iran, although the original builders might not have been aware of such a philosophy (fig. 404). This enigmatic building, known as Jabal-i-Sang or Mountain of Stone, has been described as a fire temple of the Sassanians (226 – 651 AD), and by others as a building of the post-Seljuk period. Now its function as a tomb or mausoleum, dating from Seljuk times (twelfth century) is general agreed upon (based on the construction of the squinches) (SCHROEDER, 1967).

The squinches are typical Persian architectural features to facilitate the transition between the drum and the dome. In their most ‘primitive’ form they were derived from the domed roofs of stacked up wood or bricks (see the ‘Gwirgwini’ type of roof, fig. 287). The Persians used the old concept of the domed pavilion (chahar taq – meaning ‘Four Arches’) to elaborate on the structural fillings between the square (room) and the circle (dome). The squinch became in its well-developed form a succession of corbelled stalactite-like structures known as muqarnas.

The present configuration of the Jabal-i-Sang indicates – from the outside – a distinct four-division:

1. A single octagonal chamber has of walls of approximately two meters thick. On the outside are elaborate niches, with pointed arches. The latter are flanked by an arched and a rectangular niche on either side;

2. A sixteen-sided lower drum with eighth windows;

3. An octagonal upper drum, with is somewhat smaller diameter;

4. A hemispherical dome."

The Mausoleum of the Samanid ruler Ismail Samani in Bukhara (Uzbekistan) follows the design of the chahar taq (meaning ‘Four Arches’). The building is in a splendid state of preservation.

quad·rat (kwŏd′rət, -răt′)

1. Printing A piece of type metal lower than the raised typeface, used for filling spaces and blank lines. Also called quad2.

2. Any of a group of small, usually rectangular plots of land used for sampling the occurrence of species or of archaeological artifacts.

Quarter sectioning is called digging by quadrant this special case is a procedure for excavating circular features, usually mounds and, barrows, Deposits are excavated from four quarters of the feature, starting with two diagonally opposite quadrants and perhaps ending with the other two. The quadrants are slightly offset, so that the outer balk of one is continuous (in reverse) with the outer face of its opposite, going through the center of the feature. After the recording of the sections, the balks may be removed and the rest of the feature excavated. The advantage of quarter sectioning is it allows a look at two complete cross-sections while still allowing excavation in plan thus allowing a better interpretation of the stratigraphy of the site. The merits of this sectioning and balk creation are disputed.

Archaeologists literally dig in quadrants forming a quadrant model image

Once a site has been dug (or in the case of sites with no depth, the surface artifacts have been collected), it is gone forever and can never be replaced with another just like it. Because sites are destroyed during collection or excavation processes, archaeologists record them in detail to preserve the context of all the artifacts and structures. Archaeologists in the future can study an excavated site only if good notes and maps are made.

One way archaeologists preserve context on paper is through the use of the rectangular grid, or Cartesian coordinate system. The first step in the excavation process is to establish a grid. A site datum is set at an arbitrarily chosen location and is designated as (0,0). Two perpendicular axes or lines intersecting at the site datum are then established and a rectangular grid is superimposed over the entire site. Each square on the ground is marked with numbered stakes in the corners, so that each square or grid unit has a unique “name” referred to by its coordinates. The coordinates indicate the distance of a given point north, south, east, or west from the site datum

In geometry, the square tiling, square tessellation or square grid is a regular tiling of the Euclidean plane. It has Schläfli symbol of {4,4}, meaning it has 4 squares around every vertex.

Conway calls it a quadrille.

The square grid is very popular in architecture. You see square grid tilings everywhere, like in pools and on streets, on floor and in houses. These are quadrants

There are four types of musical instruments,fitting the quadrant model pattern. These types comprise an orchestra. They are

Square 1: woodwind. Woodwinds corresponds to the element air which is the first square element. They include the flute and clarinet, and are made of a hollow cylindrical pipe.

Square 2: strings. Correspond to the water element. Stringed are often considered attractive.

Square 3: brass. Brass instruments are the most physical, solid, and are have the most intense shapes. They correspond to the earth element.

Square 4. Percussion. The fourth is always different from the previous three. But the fourth encompasses the previous three. Percussion instruments such as drums and cymbals keep rhythm for the other instruments. Drums correspond to the element fire, the fourth square element.

In music there are four voices required by a chorus or choir to complete a work. They are

Square 1: soprano. The first square is always feminine. The idealist personality type is most often female.

Square 2: alto. Alto is the lowest voice type. The second square is not as masculine and fierce as the third.

Square 3: tenor. Masculine. The third square is the artisan and is the most masculine

Square 4: bass: the most masculine

Richard Wagner was Hitler's favorite composer. While Wagner acted to be very anti Jewish himself during Hitler's rule, Wagner grew up in the Jewish quarter of Germany and was thought to have a Jewish Dad. Evidence shows that Wagner was aware that his Dad may be Jewish, but acting in line with his culture, argued that Jews were bad for Germany because they were not natives and therefore had no affection for Germany. His music was renowned and still is. Der Ring des Nibelungen (The Ring of the Nibelung), WWV 86, is a cycle of four epic operas that he gained fame for. The four operas of The Ring Cycle are

The four operas that constitute the Ring cycle are, in sequence:

Square 1: Das Rheingold (The Rhinegold)

Square 2: Die Walküre (The Valkyrie)

Square 3: Siegfried

Square 4: Götterdämmerung (Twilight of the Gods)

The content of the music was about Norse mythology.

Ancient Greek dramas that were presented as three tragedies and one satyr play, and thus reflected the quadrant model pattern, of the three that are similar, and the fourth that is different. Wagner intentionally modeled his opera after the structure of the Greek drama.

A string quartet is a musical ensemble of four string players – two violin players, a viola player and a cellist. The two violin players are the duality. The viola player is the third. The cellist is the transcendent fourth. Haydn developed the string quartet. Haydn was a mentor to Mozart. Mozart, Beethoven, and Schubert employed the string quartet.

A composition for four players of stringed instruments may be in any form. Quartets written in the classical period usually have four movements with a large-scale structure similar to that of a symphony[citation needed]:

Square 1: 1st movement: Sonata form, Allegro, in the tonic key;

Square 2:2nd movement: Slow, in the subdominant key;

Square 3: 3rd movement: Minuet and Trio, in the tonic key;

Square 4: 4th movement: Rondo form or Sonata rondo form, in the tonic key.

A lot of modifications to the typical structure were created in Beethoven's later quartets, and despite some notable examples to the contrary, composers writing in the twentieth century increasingly abandoned this structure

Symphonies contain all four levels of instrument, the wind, the string, the brass, and the percussion. Symphonies have the form of

The "Italian" style of symphony, often used as overture and entr'acte in opera houses, became a standard three-movement form: a fast movement, a slow movement, and another fast movement. Over the course of the 18th century it became the custom to write four-movement symphonies. The three-movement symphony died out slowly; about half of Haydn's first thirty symphonies are in three movements, and for the young Mozart, the three-movement symphony was the norm, perhaps under the influence of his friend Johann Christian Bach. An outstanding late example of the three-movement Classical symphony is Mozart's "Prague" Symphony, from 1787. But mostly symphony took the four movement form

The four-movement form that emerged from this evolution was as follows

Square 1: an opening sonata or allegro

Square 2: a slow movement, such as adagio

Square 3:a minuet or scherzo with trio

Square 4: an allegro, rondo, or sonata

The four orchestral suites (called ouvertures by their author), BWV 1066–1069 are four suites by Johann Sebastian Bach.

A suite, in music, is an ordered set of instrumental or orchestral/concert band pieces. It originated in the late 14th century as a pairing of dance tunes and grew in scope to comprise up to five dances, sometimes with a prelude, by the early 17th century. The separate movements were often thematically and tonally linked.[1]

In the Baroque era the suite was an important musical form, also known as Suite de danses, Ordre (the term favored by François Couperin), Partita or Ouverture (after the theatrical "overture" which often included a series of dances) as with the orchestral suites of J.S. Bach.

Estienne 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

Square 1:Padouan,

Square 2: Intrada,

Square 3: Dantz, and

Square 4: Galliarda of 1611, in which the four dances of the title appear repeatedly in ten suites.

The Banchetto musicale by Johann Schein contains 20 sequences of five different dances. The first four-movement suite credited to a named composer, Sandley's Suite, was published in 1663.

The "classical" suite consisted of

Square 1: allemande,

Square 2: courante,

Square 3: sarabande, and

Square 4: gigue,

in that order, and developed during the 17th century in France, the gigue appearing later than the others. Johann Jakob Froberger is usually credited with establishing the classical suite through his compositions in this form, which were widely published and copied, although this was largely due to his publishers standardizing the order; Froberger's original manuscripts have many different orderings of the movements, e.g. the gigue preceding the sarabande. The publisher's standardized order was, however, highly influential especially on the works of Bach.

The later addition of an overture to make up an "overture-suite" was extremely popular with German composers; Telemann claimed to have written over 200 overture-suites, J. S. Bach had his four orchestral suites along with other suites, and Handel put his Water Music and Music for the Royal Fireworks in this form.

Baroque music is a style of music composed from approximately 1600 to 1750.

A characteristic Baroque form was the dance suite. Some Dance suites by Bach are called partitas, although this term is also used for other collections of pieces. The dance suite often consists of the following movements:

Overture – The Baroque suite often began with a French overture ("Ouverture" in French), which was followed by a succession of dances of different types, principally the following four:

Square 1: Allemande – Often the first dance of an instrumental suite, the allemande was a very popular dance that had its origins in the German Renaissance era. The allemande was played at a moderate tempo and could start on any beat of the bar.

Square 2: Courante – The second dance is the courante, a lively, French dance in triple meter. The Italian version is called the corrente.

Square 3: Sarabande – The sarabande, a Spanish dance, is the third of the four basic dances, and is one of the slowest of the baroque dances. It is also in triple meter and can start on any beat of the bar, although there is an emphasis on the second beat, creating the characteristic 'halting', or iambic rhythm of the sarabande.[25][26]

Square 4: Gigue – The gigue is an upbeat and lively baroque dance in compound meter, typically the concluding movement of an instrumental suite, and the fourth of its basic dance types. The gigue can start on any beat of the bar and is easily recognized by its rhythmic feel. The gigue originated in the British Isles. Its counterpart in folk music is the jig.

These four dance types (allemande, courante, sarabande, and gigue) make up the majority of 17th-century suites

In later dance suites a fifth dance was sometimes added. The fifth is always questionable while the fourth is different.

The Mass in B minor is Johann Sebastian Bach's only setting of the complete Latin text of the Ordinarium missae (short: mass).[1] Towards the end of his life, mainly in 1748 and 1749, he finished composing new sections and compiling it into a complex, unified structure.

Bach structured the work in four parts:[2]

No. 1 Missa

No. 2 Symbolum Nicenum

No. 3 Sanctus

No. 4 Osanna, Benedictus, Agnus Dei et Dona nobis pacem

The four sections of the manuscript are numbered, and Bach's usual closing formula (S.D.G = Soli Deo Gloria) is found at the end of the Dona nobis pacem.

The work is scored for five vocal soloists, chorus and orchestra. Its movements are listed in a table for the scoring in voices and instruments, key, tempo marking, time signature and source. The movement numbers follow the Bärenreiter editions of the Neue Bach-Ausgabe, first in a consecutive numbering (NBA II), then in numbering for the four individual parts (NBA I).

The voices are abbreviated S for soprano, A for alto, T for tenor, B for bass. Bach asked for two sopranos. Practical performances often have only one soprano soloist, sharing the parts for the second soprano (SII) between soprano and alto. A four-part choir is indicated by SATB, a five-part choir by SSATB. The Sanctus requires six vocal parts, SSAATB, which are often divided in the three upper voices versus the lower voices. The Osanna requires two choirs SATB. Instruments in the orchestra are three trumpets (Tr), timpani (Ti), corno da caccia (Co), two flauti traversi (Ft), two oboes (Ob), two oboes d'amore (Oa), two bassoons (Fg), two violins (Vl), viola (Va), and basso continuo. The continuo is not mentioned in the table as it is present all the time. The other instruments are grouped by brass, woodwinds and strings. If no source for a parody is given, the movement was composed for the Mass, otherwise the title of the original music and a year are provided if known. For several movements, scholars assume that they are a parody, looking at indications such as similarities of text, musical style and the manuscript, where parodies look neater. The Missa of 1733 is not mentioned as the source for the Kyrie and Gloria, but earlier compositions that Bach used as the basis for movements of the Missa are shown.

Crucifixus

Incipit of Crucifixus

Passus duriusculus in the ground bass

"Crucifixus" (Crucified), the enter of the Credo part, is the oldest music in the setting of the Mass, dating back to 1714. It is a passacaglia, with the chromatic fourth in the bass line repeated thirteen times.[57] Wenk likens it to the dance Sarabande.[29] The movement is based on the first section of the first choral movement of Weinen, Klagen, Sorgen, Zagen, BWV 12.[9] Bach transposed the music from F minor to E minor, changed the instrumentation and repeated each bass note for more expressiveness.[55] Bach begins the movement with an instrumental setting of the bass line, while the cantata movement started immediately with the voices.[58]

The suffering of Jesus is expressed in chromatic melodic lines, dissonant harmonies, and sigh-motifs.[47] The final line, on the 13th repeat of the bass line, "et sepultus est" (and was buried) was newly composed, with the accompaniment silent and a modulation to G major, to lead to the following movement.[55] At the end, soprano and alto reach the lowest range of the movement on the final "et sepultus est" (and was buried).[58] A pianissimo ending of the movement, contrasted by a forte Et resurrexit followed the Dresden Mass style.[18]

Et resurrexit

Incipit of Et resurrexit

"Et resurrexit" (And is risen) is expressed by a five-part choral movement with trumpets.[59] The concerto on ascending motifs[47] renders the resurrection, the ascension and the second coming, all separated by long instrumental interludes and followed by a postlude. "Et iterum venturus est" (and will come again) is given to the bass only, for Bach the vox Christi (voice of Christ).[59] Wenk likens the movement to the dance Réjouissance, a "light festive movement in triple meter, upbeat three eighth notes".[

Four-part harmony

Four-part harmony existed prior to Bach, but Bach lived pretty much in a time when in Western music traditions Modal music was almost entirely wiped out in favour of the Tonal system. In this system a piece of music progresses from one chord to the next according to certain rules, each chord being characterized by four notes. The principles of four-part harmony can't only be found in Bach's four-part choral music, but he also prescribes it for instance for the figured bass accompaniment.[68] The new system was at the core of Bach's style, and his compositions are to a large extent considered as laying down the rules for the evolving scheme that would dominate musical expression in the next centuries. Some examples of this characteristic of Bach's style and its influence:

When in the 1740s Bach staged his arrangement of Pergolesi's Stabat Mater he upgraded the viola part (that in the original composition plays unisono with the bass part) to fill out the harmony, thus conforming the composition to his four-part harmony style.[69]

When from the 19th century in Russia there was a discussion about the authenticity of four-part Court chant settings, compared to earlier Russian traditions, Bach's four-part Chorale settings, such as those ending his Chorale cantatas, were considered as the model of the foreign influence: such influence was however deemed unavoidable.[70]

Bach putting his foot down on the tonal system, and contributing to its shaping, did not imply he was less at ease with the older modal system, and the genres associated with it: more than his contemporaries (who had "moved on" to the tonal system without much exception) Bach often returned to the then antiquated modi and genres. His Chromatic Fantasia and Fugue, re-emulating the chromatic fantasia genre, as used by earlier composers such as Dowland and Sweelinck, in D dorian mode (comparable to D minor in the tonal system), is an example of this.

A flute quartet is a musical term for a type of chamber music group. They are normally found in two forms: those consisting of a flute, a violin, a viola and a cello; and those consisting of four flutes. This last combination can come in multiple different but distinct arrangements:

a group of four C flutes; or

a group of three C flutes and Alto flute; or

a group consisting of two C flutes, Alto and Bass flute (this grouping is the closest comparable equivalent of a string quartet for four flutes).

a group consisting of piccolo, C flute, Alto and Bass

This form is closely related to the string quartet, but with a flute in place of the first violin. It is generally believed that this type of chamber music reached its pinnacle around the middle of the second half of the 18th century. Notable works for flute quartets consisting of a flute, violin, viola and cello include those by the following composers:

Wolfgang Amadeus Mozart - four flute quartets:

No. 1 in D major (K. 285)

No. 2 in G major (K. 285a)

No. 3 in C major (K. 285b)

No. 4 in A major (K. 298)

Johann Christian Bach

Christian Cannabich

Domenico Cimarosa

Franz Danzi

François Devienne

Adalbert Gyrowetz

Joseph Haydn

Franz Krommer

Friedrich Kuhlau

Ignaz Pleyel

Anton Reicha

Carlo Giuseppe Toeschi

Georg Abraham Schneider - First Grand Quartet Op.68 in E♭ Major (as well as 32 additional flute quartets).

Adolphe F. Wouters - Adagio and Scherzo (1895)

The interest of the enthusiasts in arrangements of flute with string trio, which at times rivaled the popularity of the string quartet, is shown by contemporary transcriptions of string quartets by publishers, for instance, the quartets of Haydn. Gioachino Rossini also transcribed six of his Sonate a quattro (originally for strings).

In the first decades of the 19th century, the string quartet became far more important than the flute quartet; as a result, very few new works were composed until the 20th century. Until the works of Volkmar Andreae (quartet Op. 43) and Gottfried von Einem (quartet Op. 85), the 20th century was also somewhat lacking in compositions of this type. Works from the 21st century have included the Air and Adorable Blues by Blaž Pucihar and In blauen Linien (2012) by Graham Waterhouse.

Works for four flutes

19th century

Works for four flutes were particularly popular at the turn of the 19th century. Some of the most well-known from this time might include the compositions of Friedrich Kuhlau (quartet in E major) and Anton Reicha (quartets Op. 12, Op. 19). Further quartets came from, for example, Friedrich Hartmann Graf, Anton Bernhard Fürstenau and Luigi Gianella.

Early 20th century

In the 20th century, quartets with four flutes experienced a renaissance. This type of arrangement, with its specific, light tone color, especially appealed to the French wind tradition. Examples of some works from the early 20th century include those of Florent Schmitt (quartet Op. 106), Josef Lauber (vision de Corse, Op. 54), Marc Berthomieu (Arcadie), Joseph Jongen (Elégie, Op. 114.3), Alexander Tcherepnin (Quatuor pour flûtes Op. 60 - 1939), and Colonial Sketches (1940) by Sol B. Cohen.

Late 20th century

The late 20th Century saw a new revival for the flute quartet, including these works:

Eugène Bozza: Jour d'été à la montagne (1953)

Peter Bacchus: Quartet for Diverse Flutes (1985)

Marc Berthomieu: Les Chats (1969) (Berthomieu wrote four other flute quartets as well)

Howard J. Buss: "Festival" (1996) Brixton Publications

Jacques Castérède: Flûtes en vacances (1962)

Ingolf Dahl: Serenade for Four Flutes (1960) (Boosey & Hawkes)

Robert Dick (flutist): Eyewitness (1990)

Daniel Dorff: The Year of the Rabbit (1999)

Pierre Max Dubois: Quatuor pour flûtes (1961/2)

Jennifer Higdon: Steeley Pause (1988)

David Evan Jones: Tibae (Solo for Four) (1983)

Serge Lancen: Quatres Flûtes en Balade (1970) (Chappell)

Paule Maurice: Suite pour quatuor de flûtes (1967))

Anne McGinty: Epigrams (1985)

Catherine McMichael: Floris (1995)

Catherine McMichael: A Gaelic Offering (1995)

Roger Reynolds: Four Etudes (1961) Edition Peters

R. Murray Schafer: Five Studies on Texts by Prudentius (for four flutes and soprano). (Berandol Music)

Alexander Shchetynsky: Con Re for Four Flutes, Alto Saxophone, Violin and Cello (2002)

Harvey Sollberger: Grand Quartet for Flutes (1961) (McGinnis & Marx)

Preston Trembly: Cantelena (1975)

21st century

Richard Arnest: Jacob's Ladder (2007)

Sarah Bassingthwaighte: Echoes of the Ancients (2006)

Elizabeth Brown: The Baths of Caracalla (2007)

Howard J. Buss: Prelude and Intrada (2009) Brixton Publications, Levi's Dream (2014) Brixton Publications

Charles Knox: Music for the Outer Edge (2012)

Sophie Lacaze: Cinq voyelles pour quatre flûtes (2005)

Sophie Lacaze: Het Lam Gods III for four flutes and narrator (2009)

Sophie Lacaze: Estampes for flute quartet (2012)

Catherine McMichael: Falconer (2008)

Anze Rozman: Creatures of the Enchanted Forest (2010)

Anze Rozman: Aqua et Ventus (2011)

Joseph Schwantner: Silver Halo (2007)

William Susman: Seven Scenes for Four Flutes (2011)

Players of chamber music, both amateur and professional, attest to a unique enchantment with playing in ensemble. "It is not an exaggeration to say that there opened out before me an enchanted world", writes Walter Willson Cobbett, devoted amateur musician and editor of Cobbett's Cyclopedic Survey of Chamber Music.[87]

Ensembles develop a close intimacy of shared musical experience. "It is on the concert stage where the moments of true intimacy occur", writes Steinhardt. "When a performance is in progress, all four of us together enter a zone of magic somewhere between our music stands and become a conduit, messenger, and missionary ... It is an experience too personal to talk about and yet it colors every aspect of our relationship, every good-natured musical confrontation, all the professional gossip, the latest viola joke."[88]

Johann Wolfgang von Goethe described chamber music (specifically, string quartet music) as "four rational people conversing".[3] This conversational paradigm–which refers to the way one instrument introduces a melody or motif and then other instruments subsequently "respond" with a similar motif–has been a thread woven through the history of chamber music composition from the end of the 18th century to the present. The analogy to conversation recurs in descriptions and analyses of chamber music compositions.

Haydn also settled on an overall form for his chamber music compositions, which would become the standard, with slight variations, to the present day. The characteristic Haydn string quartet has four movements:

An opening movement in sonata form, usually with two contrasting themes, followed by a development section where the thematic material is transformed and transposed, and ending with a recapitulation of the initial two themes.

A lyrical movement in a slow or moderate tempo, sometimes built out of three sections that repeat themselves in the order A–B–C–A–B–C, and sometimes a set of variations.

A minuet or scherzo, a light movement in three quarter time, with a main section, a contrasting trio section, and a repeat of the main section.

A fast finale section in rondo form, a series of contrasting sections with a main refrain section opening and closing the movement, and repeating between each section.

His innovations earned Haydn the title "father of the string quartet",[14] and he was recognized by his contemporaries as the leading composer of his time. But he was by no means the only composer developing new modes of chamber music. Even before Haydn, many composers were already experimenting with new forms. Giovanni Battista Sammartini, Ignaz Holzbauer, and Franz Xaver Richter wrote precursors of the string quartet.

Joseph Haydn playing string quartets

If Haydn created the conversational style of composition, Wolfgang Amadeus Mozart greatly expanded its vocabulary. His chamber music added numerous masterpieces to the chamber music repertoire. Mozart's seven piano trios and two piano quartets were the first to apply the conversational principle to chamber music with piano. Haydn's piano trios are essentially piano sonatas with the violin and cello playing mostly supporting roles, doubling the treble and bass lines of the piano score. But Mozart gives the strings an independent role, using them as a counter to the piano, and adding their individual voices to the chamber music conversation.[15]

Wolfgang Amadeus Mozart: String Quintet No. 4, K. 516

First movement

0:00

played by Roxana Pavel Goldstein, Elizabeth Choi, violins; Elias Goldstein, Sally Chisholm, violas; Jocelyn Butler, cello.

Problems playing this file? See media help.

Mozart introduced the newly invented clarinet into the chamber music arsenal, with the Kegelstatt Trio for viola, clarinet and piano, K. 498, and the Quintet for Clarinet and String Quartet, K. 581. He also tried other innovative ensembles, including the quintet for violin, two violas, cello, and horn, K. 407, quartets for flute and strings, and various wind instrument combinations. He wrote six string quintets for two violins, two violas and cello, which explore the rich tenor tones of the violas, adding a new dimension to the string quartet conversation.

Mozart's string quartets are considered the pinnacle of the classical art. The six string quartets that he dedicated to Haydn, his friend and mentor, inspired the elder composer to say to Mozart's father, "I tell you before God as an honest man that your son is the greatest composer known to me either in person or by reputation. He has taste, and, what is more, the most profound knowledge of composition."[16]

Many other composers wrote chamber compositions during this period that were popular at the time and are still played today. Luigi Boccherini, Spanish composer and cellist, wrote nearly a hundred string quartets, and more than one hundred quintets for two violins, viola and two cellos. In this innovative ensemble, later used by Schubert, Boccherini gives flashy, virtuosic solos to the principal cello, as a showcase for his own playing. Violinist Carl Ditters von Dittersdorf and cellist Johann Baptist Wanhal, who both played pickup quartets with Haydn on second violin and Mozart on viola, were popular chamber music composers of the period.

The playing of chamber music has been the inspiration for numerous books, both fiction and nonfiction. An Equal Music by Vikram Seth, explores the life and love of the second violinist of a fictional quartet, the Maggiore. Central to the story is the tensions and the intimacy developed between the four members of the quartet. "A strange composite being we are [in performance], not ourselves any more, but the Maggiore, composed of so many disjunct parts: chairs, stands, music, bows, instruments, musicians ..."[89] The Rosendorf Quartet, by Nathan Shaham,[90] describes the trials of a string quartet in Palestine, before the establishment of the state of Israel. For the Love of It by Wayne Booth[91] is a nonfictional account of the author's romance with cello playing and chamber music.

Since the invention of electrical telecommunication devices in the 19th century, players of a string quartet can even conduct a conversation when they are flying over the audience in four separate helicopters, as in the Helicopter String Quartet by Karlheinz Stockhausen. When the piece was performed in 1995, the players had earphones with a click track to enable them to play at the right time.[

The Kronos Quartet is an American string quartet based in San Francisco. They have been in existence with a rotating membership of musicians for over forty years. The quartet specializes in contemporary and new music, with more than 750 works having been written for them.

The Four Sections is an orchestral work by the minimalist American composer Steve Reich.

The work consists of the following movements:

Square 1: Strings (with winds and brass) (♩ = 80)

Square 2: Percussion (♩ = 80)

Square 3:Winds and brass (with strings) (♩ = 120)

Square 4Full orchestra (♩ = 180). The fourth square encompasses the previous three. The quadrant model pattern is thus fulfilled

Diabolus in Musica a.k.a. the augmented fourth expresses its musical geometry as a Maltese Cross.

James Furia discusses augmented 4ths, or the Diabolus in Musica.

James claims this was an “interesting find”.

James also adds that “it is horrible sounding … you’d drive somebody crazy with this”

Why is the augmented 4th considered the “chord of evil“, and why was it banned in Renaissance church music

The “chord of evil“ is successfully employed in emergency sirens.

In music, quartal harmony is the building of harmonic structures with a distinct preference for the intervals of the perfect fourth, the augmented fourth and the diminished fourth. Quintal harmony is harmonic structure preferring the perfect fifth, the augmented fifth and the diminished fifth

Haydn, Mozart and their contemporaries restricted their use of the four-movement form to orchestral or multi-instrument chamber music such as quartets, though since Beethoven solo sonatas are as often written in four as in three movements

Beethoven's most famous symphony is Symphony number 5. A lot of people say it is the best symphony of all time, and it is almost undisputed that it is Beethoven's best symphony. Beethoven is considered one of the greatest classical music writers in history. It is fascinating that Beethoven said that God helped him to produce this symphony. It is no coincidence that the quadrant pattern is presented in the music. E. T. A. Hoffmann described the symphony as "one of the most important works of the time".It begins by stating a distinctive four-note "short-short-short-long" motif, that he repeats over and over again. The motif fits the quadrant model pattern, with the first three notes being similar, and the fourth being different. The symphony, and the four-note opening motif in particular, are known worldwide, with the motif appearing frequently in popular culture, from disco to rock and roll, to appearances in film and television.

Since the Second World War it has sometimes been referred to as the "Victory Symphony". "V" is the Roman character for the number five; the phrase "V for Victory" became well known as a campaign of the Allies of World War II. That Beethoven's Victory Symphony happened to be his Fifth (or vice versa) is coincidence. Some thirty years after this piece was written, the rhythm of the opening phrase – "dit-dit-dit-dah" – was used for the letter "V" in Morse Code, though this is probably also coincidental.

The BBC, during World War Two, prefaced its broadcasts to Europe with those four notes, played on drums.

The symphony has four movements, fulfilling the quadrant model pattern, as is the form of classical symphonies.

coronation anthem is music written to accompany the coronation of a monarch.

Many composers have written coronation anthems. However the best known were composed by George Frideric Handel. Handel's four coronation anthems use text from the King James Bible and were designed to be played at the coronation of the British monarch. They are Zadok the Priest, Let Thy Hand Be Strengthened, The King Shall Rejoice, and My Heart Is Inditing. Each was originally a separate work but they were later published together.

Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following:

four-part harmony

SATB vocal forces

homophonic text treatment

In Bach's extant autographs such chorale harmonisations are usually part of a larger vocal work, most typically one of his chorale cantatas, or at least part of a set or collection such as D-B Mus. ms. Bach St 123, a set of three wedding chorales. Most autographs also show a colla parte instrumentation and/or a figured bass accompaniment for Bach's chorale settings.

Yet Chapter 5 of the Bach-Werke-Verzeichnis and Series F of the Bach Compendium list around two hundred of these chorale harmonisations as separate compositions without apparent instrumental accompaniment. This results from the history of these chorale settings between their composition in the first half of the 18th century and the publication of most of them in the second half of that century.

Apart from the four-part homophonic SATB chorus settings, Bach's Lutheran hymn harmonisations also appear as:

sung chorale fantasias in some of Bach's larger vocal works

hymn melodies for which Bach composed or improved a thorough bass accompaniment, for instance as included in Georg Christian Schemelli (de)'s Musicalisches Gesangbuch (see List of songs and arias of Johann Sebastian Bach)

harmonisations included in purely instrumental compositions, most typically organ compositions such as chorale preludes or chorale partitas.

Arch form is similar to chiastic structure in literature, which is discussed in the literature section. Chiasma means cross.

In music, arch form is a sectional structure for a piece of music based on repetition, in reverse order, of all or most musical sections such that the overall form is symmetric, most often around a central movement. The sections need not be repeated verbatim but must at least share thematic material.

It creates interest through interplay among "memory, variation, and progression". Though the form appears to be static and to deny progress, the pairs of movements create a "unidirectional process" with the center, and the form "actually engenders specific expressive possibilities that would otherwise be unavailable for the work as a whole".[1]

Béla Bartók is noted for his use of arch form, e.g., in his fourth and fifth string quartets, Concerto for Orchestra, Music for Strings, Percussion and Celesta, second piano concerto, and, to a lesser extent, in his second violin concerto.[1] Samuel Barber's Adagio for Strings and Shostakovich's String Quartet No. 8 in C minor also use arch form.

The most popular arch-form structure is ABCBA.

The Piano Guys are an American musical group consisting of four men Jon Schmidt, Steven Sharp Nelson, Paul Anderson, and Al van der Beek. They gained popularity through YouTube, where they posted piano and cello renditions of popular songs and classical music. Schmidt and Nelson's music is accompanied by professional-quality videos shot and edited by Paul Anderson and formerly by Tel Stewart. Their first four major-label albums The Piano Guys, The Piano Guys 2, A Family Christmas, and Wonders each reached number one on the Billboard New Age Albums and Classical Albums charts

Composition for Four Instruments (1948) is an early serial music composition written by American composer Milton Babbitt. It is Babbitt’s first published ensemble work, following shortly after his Three Compositions for Piano (1947). In both these pieces, Babbitt expands upon the methods of twelve-tone composition developed by Arnold Schoenberg. He is notably innovative for his application ofserial techniques to rhythm. Composition for Four Instruments is considered one of the early examples of “totally serialized” music. It is remarkable for a strong sense of integration and concentration on its particular premises—qualities that caused Elliott Carter, upon first hearing it in 1951, to persuade New Music Edition to publish it (Carter 1976, 30).

In music theory, traditionally, a tetrachord (Greek: τετράχορδoν, Latin: tetrachordum) is a series of four notes ("chords", from the Greek chordon, "string" or "note") separated by three smaller intervals that span the interval of a perfect fourth, a 4:3 frequency proportion. In modern usage a tetrachord is any four-note segment of a scale or tone row, not necessarily related to a particular system of tuning.

A tetrad is a set of four notes in music theory. When these four notes form a tertian chord they are more specifically called a seventh chord, after the diatonic interval from the root of the chord to its fourth note (in root position close voicing). Four-note chords are often formed of intervals other than thirds in 20th- and 21st-century music, however, where they are more generally referred to as tetrads (see, for example, Hanson 1960,[page needed], Gamer 1967, 37 & 52, and Forte 1985, 48–51, 53). Allen Forte in his The Structure of Atonal Music never uses the term "tetrad", but occasionally employs the word tetrachord to mean any collection of four pitch classes (Forte 1973, 1, 18, 68, 70, 73, 87, 88, 21, 119, 123, 124, 125, 138, 143, 171, 174, and 223). In 20th-century music theory, such sets of four pitch classes are usually called "tetrachords" (Anon. 2001; Roeder 2001).

This is the first third fifth and seventh note in the scale of eight. It's the basis of every harmonic chord. Every chord is composed of these four notes. Everytime you play a chord you are playing these four notes.

The vierbein or tetrad theory much used in theoretical physics is a special case of the application of Cartan connection in four-dimensional manifolds. It applies to metrics of any signature. (See metric tensor.) This section is an approach to tetrads, but written in general terms.

In popular music, a break is an instrumental or percussion section during a song derived from or related to stop-time – being a "break" from the main parts of the song or piece.

According to David Toop,[4] "the word break or breaking is a music and dance term, as well as a proverb, that goes back a long way. Some tunes, like 'Buck Dancer's Lament' from early in the nineteenth century, featured a two-bar silence in every eight bars for the break—a quick showcase of improvised dance steps. Others used the same device for a solo instrumental break; a well-known example being the four-bar break taken by Charlie Parker in Dizzy Gillespie's tune 'Night in Tunisia'."

A solo break in jazz occurs when the rhythm section stops playing behind a soloist for a brief period, usually two or four bars leading into the soloist's first chorus. A notable recorded example is Charlie Parker's solo break at the beginning of his solo on "A Night in Tunisia".

P-Funk made far more use of the metronomic four-to-the-floor drum styles, thus linking their funk to disco and jazz funk.

Four-on-the-floor (or four-to-the-floor) is a rhythm pattern used in disco and electronic dance music. It is a steady, uniformly accented beat in 4/4 time in which the bass drum is hit on every beat (1, 2, 3, 4) in common time.[1] This was popularized in the disco music of the 1970s[2] and the term four-on-the-floor was widely used in that era: it originated[citation needed] with the pedal-operated, drum-kit bass drum.

Many styles of electronic dance music, particularly those that are derived from house and techno, use this beat as an important part of the rhythmic structure.[1] Sometimes the term is used to refer to a 4/4 uniform drumming pattern for any drum.[3] A form of four-on-the-floor is also used in jazz drumming. Instead of hitting the bass drum in a pronounced and therefore easily audible fashion, it is usually struck very lightly (referred to as 'feathering') so that the sound of the drum is felt instead of heard by the listener. Typically, this is combined with a ride cymbal and hi-hat in syncopation. When a string instrument makes the rhythm (rhythm guitar, banjo), all four beats of the measure are played by identical downstrokes.

In reggae drumming, the bass drum usually hits on the third beat but sometimes drummers play four on the floor. Sly Dunbar from Sly & Robbie was one of the reggae drummers that played mostly in this style. Also Carlton Barrett from Bob Marley & The Wailers played four on the floor on several hits by The Wailers like "Is This Love" and "Exodus". In Reggae, four on the floor usually goes by the hand with a low end and powerful bassline. Four on the floor can be found in more modern Reggae derivative styles like Dancehall, while it is less common to find it in roots reggae.

By the mid-1960s, James Brown had developed his signature groove that emphasized the downbeat—with heavy emphasis on the first beat of every measure to etch his distinctive sound, rather than the backbeat that typified African American music.[21] Brown often cued his band with the command "On the one!," changing the percussion emphasis/accent from the one-two-three-four backbeat of traditional soul music to the one-two-three-four downbeat – but with an even-note syncopated guitar rhythm (on quarter notes two and four) featuring a hard-driving, repetitive brassy swing. This one-three beat launched the shift in Brown's signature music style, starting with his 1964 hit single, "Out of Sight" and his 1965 hits, "Papa's Got a Brand New Bag" and "I Got You (I Feel Good)".

The 12-bar blues or blues changes is one of the most prominent chord progressions in popular music. The blues progression has a distinctive form in lyrics, phrase, chord structure, and duration. In its basic form, it is predominantly based on the I-IV-V chords of a key.

The blues can be played in any key. Mastery of the blues and rhythm changes are "critical elements for building a jazz repertoire".[1]

Functional notation: T T T T

S S T T

D D T T

Roman-numeral notation: I I I I

IV IV I I

V V I I

The first line takes four bars, as do the remaining two lines, for a total of twelve bars. However, the vocal or lead phrases, though they often come in threes, do not coincide with the above three lines or sections. This overlap between the grouping of the accompaniment and the vocal is part of what creates interest in the twelve bar blues.

Variations

"W.C. Handy, 'the Father of the Blues,' codified this blues form to help musicians communicate chord changes."[4] However, many variations are possible. The length of sections may be varied to create eight-bar blues or sixteen-bar blues.

In the original form, the dominant chord continued through the tenth bar; later on the V-IV-I-I "shuffle blues" pattern became standard in the third set of four bars:[5]

I I I I

IV IV I I

V IV I I

About this sound Play (help·info)

The common quick to four or quick-change (quick four[6]) variation uses the subdominant chord in the second bar:

I IV I I

IV IV I I

V IV I I

These variations are not mutually exclusive; the rules for generating them may be combined with one another (and/or with others not listed) to generate more complex variations.

Georg 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.

"4ever" is a song written and produced by Max Martin and Lukasz Gottwald for The Veronicas' debut studio album The Secret Life Of... (2005). It was released as the album's first single in Australia on 15 August 2005 as a CD single. The song reached number two on the ARIA Charts and number seven in New Zealand. In the United States, the single was promoted early in 2006 by Archie Comics through a mention in issue #167 of the group's namesake Veronica's comic, which featured a guest appearance and cover picture of The Veronicas and a card containing a code that could be used to download an MP3 version of the song free. It was also featured on the first episode of the third season of the MTV series Laguna Beach: The Real Orange County. The song was released as promo for the 2008 Ashley Tisdale's movie Picture This!. Similarly, it was also used in the film She's the Man.. It is written in I–V–vi–IV progression

The cornetist Buddy Bolden led a band who are often mentioned as one of the prime originators of the style later to be called "jazz". He played in New Orleans around 1895–1906, before developing a mental illness; there are no recordings of him playing. Bolden's band is credited with creating the big four, the first syncopated bass drum pattern to deviate from the standard on-the-beat march.[75] As the example below shows, the second half of the big four pattern is the habanera rhythm.

Pianist Herbie Hancock (a Davis alumnus) released four albums in the short-lived (1970–1973) psychedelic-jazz subgenre: Mwandishi (1972), Crossings (1973) and Sextant (1973). The rhythmic background was a mix of rock, funk, and African-type textures.

Musicians who had previously worked with Davis formed the four most influential fusion groups: Weather Report and Mahavishnu Orchestra emerged in 1971, and were soon followed by Return to Forever and The Headhunters.

Weather

For Scholes,[2] as well as for Cecil Sharp and Béla Bartók,[9] there was a sense of the music of the country as distinct from that of the town. Folk music was already, "...seen as the authentic expression of a way of life now past or about to disappear (or in some cases, to be preserved or somehow revived),"[10] particularly in "a community uninfluenced by art music"[6] and by commercial and printed song. Lloyd rejected this in favour of a simple distinction of economic class[9] yet for him true folk music was, in Charles Seeger's words, "associated with a lower class"[11] in culturally and socially stratified societies. In these terms folk music may be seen as part of a "schema comprising four musical types: 'primitive' or 'tribal'; 'elite' or 'art'; 'folk'; and 'popular'."[

Anahid Kassabian separated popular music into four categories; "popular as populist," or having overtones of liberation and expression; "popular as folk," or stating that the music is written by the people, for themselves; "popular as counterculture," or empowering citizens to act against the oppression they face; and "popular as mass," or the music becomes the tool for oppression.

In Popular Music thirty-two-bar form uses four sections, most often eight measures long each (4×8=32), two verses or A sections, a contrasting B section (the bridge or "middle-eight") and a return of the verse in one last A section (AABA).[17] Verse-chorus form or ABA form may be combined with AABA form, in compound AABA forms. Variations such as a1 and a2 can also be used. The repetition of one chord progression may mark off the only section in a simple verse form such as the twelve bar blues.[

The thirty-two-bar form, also known as the AABA song form, American popular song form and the ballad form, is a song structure commonly found in Tin Pan Alley songs and other popular music, especially in the first half of the twentieth century. A standard thirty-two-bar form song or song section contains four 8-measure sections, with the third section (also known as the "B" section, "the Bridge", "Middle Eight" or "the Release") being musically and lyrically different than the other three sections (known as the "A" sections).

"In this form, the musical structure of each chorus is made up of four eight bar sections, in an AABA pattern... Thousands of Tin Pan Alley tunes share this scheme and Adorno is quite justified in arguing that to listeners of the time it would be totally predictable."[2]

Examples for the thirty-two-bar AABA form include "Deck the Halls":[3]

A: Deck the hall with boughs of holly! Fa-la-la-la-la la la la la.

A: 'Tis the season to be jolly. Fa-la-la-la-la la la la la.

B: Don we now our gay apparel. Fa-la-la fa-la-la la la la.

A: Troll the ancient Yuletide carol. Fa-la-la-la-la la la la la

The popular chorus form is often referred to as a quaternary form, because it usually consists of four phrases."

"Four Strong Winds" is a song written by Ian Tyson in the early 1960s and recorded by Canadian folk duo Ian and Sylvia. A significant part of the early 1960s folk revival,[1] the song is a melancholy reflection on a failing romantic relationship. The singer expresses a desire for a possible reunion in a new place in the future ("You could meet me if I sent you down the fare") but acknowledges the likelihood that the relationship is over ("But our good times are all gone/And I'm bound for moving on ...").

The song has a clear Canadian context and subtext, including an explicit mention of the province Alberta as well as references to long, cold winters. In 2005, CBC Radio One listeners chose this song as the greatest Canadian song of all time on the series 50 Tracks: The Canadian Version.

The Brothers Four are an American folk singing group, founded in 1957 in Seattle, Washington, known for their 1960 hit song "Greenfields

Stylistically, reggae incorporates some of the musical elements of rhythm and blues (R&B), jazz, mento, calypso, African, and Latin American music, as well as other genres.

Reggae is played in 4/4 time because the symmetrical rhythmic pattern does not lend itself to other time signatures such as 3/4 time. One of the most easily recognizable elements is offbeat rhythms; staccato chords played by a guitar or piano (or both) on the offbeats of the measure, often referred to as the skank.[21]

This rhythmic pattern accents the second and fourth beats in each bar and combines with the drum's emphasis on beat three to create a unique sense of phrasing. The reggae offbeat can be counted so that it falls between each count as an "and" (example: 1 and 2 and 3 and 4, etc.) or counted as a half-time feel at twice the tempo so it falls on beats 2 and 4. This is in contrast to the way most other popular genres focus on beat one, the "downbeat".[

4 (quadruple time) Quadruple time signature is the most common time signature used in most forms of Western popular music. Quadruple time signature is the most common time signature in rock, blues, country, funk, and pop

In Steppers, the bass drum plays every quarter beat of the bar, giving the beat an insistent drive. An example is "Exodus" by Bob Marley and the Wailers. Another common name for the Steppers beat is the "four on the floor". Burning Spear's 1975 song "Red, Gold, and Green" (with Leroy Wallace on drums) is one of the earliest examples. The Steppers beat was adopted (at a much higher tempo) by some 2 Tone ska revival bands of the late 1970s and early 1980s.

The bass sound in reggae is thick and heavy, and equalized so the upper frequencies are removed and the lower frequencies emphasized. The bass line is often a repeated two or four bar riff when simple chord progressions are used. The simplest example of this might be Robbie Shakespeare's bass line for the Black Uhuru hit "Shine Eye Gal". In the case of more complex harmonic structures, such as John Holt's version of "Stranger In Love", these simpler patterns are altered to follow the chord progression either by directly moving the pattern around or by changing some of the interior notes in the phrase to better support the chords.

An emphasis on the backbeat is found in all reggae drumbeats, but with the Rockers beat, the emphasis is on all four beats of the bar (usually on bass drum). This beat was pioneered by Sly and Robbie, who later helped create the "Rub-a-Dub" sound that greatly influenced dancehall. Sly has stated he was influenced to create this style by listening to American drummer Earl Young as well as other disco and R&B drummers in the early to mid-1970s, as stated in the book "Wailing Blues". The prototypical example of the style is found in Sly Dunbar's drumming on "Right Time" by the Mighty Diamonds. The Rockers beat is not always straightforward, and various syncopations are often included. An example of this is the Black Uhuru song "Sponji Reggae".

Hip hop or hip-hop is a sub-cultural movement that formed during the early 1970s largely by African American youths residing in the South Bronx in New York City.[2][3][4][5][6] It became popular outside of the African American community in the late 1980s and by the 2010s became the most listened-to musical genre in the world.[7] It is characterized by four distinct elements, all of which represent the different manifestations of the culture: rap music (oral), turntablism or DJing (aural), b-boying (physical) and graffiti art (visual). Even while it continues to develop globally in myriad styles, these four foundational elements provide coherence to hip hop culture.[3] The term is often used in a restrictive fashion as synonymous only with the oral practice of rap music. Even while it continues to develop globally in myriad styles, these four foundational elements provide coherence to hip hop culture.[3] The term is often used in a restrictive fashion as synonymous only with the oral practice of rap music.[8]

Niggaz4Life (also known as EFIL4ZAGGIN or Efil4zaggin) is the second and final studio album by gangsta rap group N.W.A, released in 1991.

I do not think it is a coincidence there is a 4 in the title.

It was their final album, as the group disbanded later the same year after the departure of Dr. Dre and songwriter The D.O.C. for Death Row Records; the album features only four members of the original line-up, as Ice Cube had already left the group in 1989.

Niggaz4Life debuted at number 2 on the Billboard 200, selling over 954,000 copies, but in its second week peaked at number 1.

The four traditional dances of hip-hop are rocking, b-boying/b-girling, locking and popping, all of which trace their origins to the late 1960s or early 1970s

"Flow" is defined as "the rhythms and rhymes"[52][53][54] of a hip-hop song's lyrics and how they interact – the book How to Rap breaks flow down into rhyme, rhyme schemes, and rhythm (also known as cadence).[55] 'Flow' is also sometimes used to refer to elements of the delivery (pitch, timbre, volume) as well,[56] though often a distinction is made between the flow and the delivery.

MCs stay on beat by stressing syllables in time to the four beats of the musical backdrop.[6][58] Poetry scholar Derek Attridge describes how this works in his book Poetic Rhythm – "rap lyrics are written to be performed to an accompaniment that emphasizes the metrical structure of the verse".[6] He says rap lyrics are made up of, "lines with four stressed beats, separated by other syllables that may vary in number and may include other stressed syllables. The strong beat of the accompaniment coincides with the stressed beats of the verse, and the rapper organizes the rhythms of the intervening syllables to provide variety and surprise".[6]

The same technique is also noted in the book How to Rap, where diagrams are used to show how the lyrics line up with the beat – "stressing a syllable on each of the four beats gives the lyrics the same underlying rhythmic pulse as the music and keeps them in rhythm... other syllables in the song may still be stressed, but the ones that fall in time with the four beats of a bar are the only ones that need to be emphasized in order to keep the lyrics in time with the music".[59]

B-boying or breaking, also called breakdancing, is a style of street dance that originated primarily among African American and Puerto Rican youth, many former members of the Black Spades, the Young Spades, and the Baby Spades, during the mid 1970s.[1] The dance spread worldwide due to popularity in the media, especially in regions such as the United Kingdom, Canada, Japan, Germany, France, Russia, and South Korea. While diverse in the amount of variation available in the dance, b-boying consists of four kinds of movement: toprock, downrock, power moves, and freezes. B-boying is typically danced to hip-hop, funk music, and especially breakbeats, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns.

There are four primary elements that form b-boying. They include toprock, downrock, power moves, and freezes.

Toprock generally refers to any string of steps performed from a standing position. It is usually the first and foremost opening display of style, though dancers often transition from other aspects of b-boying to toprock and back. Toprock has a variety of steps which can each be varied according to the dancer's expression (i.e. aggressive, calm, excited). A great deal of freedom is allowed in the definition of toprock: as long as the dancer maintains cleanliness, form, and the b-boy attitude, theoretically anything can be toprock. Toprock can draw upon many other dance styles such as popping, locking, tap dance, Lindy hop, or house dance. Transitions from toprock to downrock and power moves are called "drops".[36]

Downrock (also known as "footwork" or "floorwork") is used to describe any movement on the floor with the hands supporting the dancer as much as the feet. Downrock includes moves such as the foundational 6-step, and its variants such as the 3-step. The most basic of downrock is done entirely on feet and hands but more complex variations can involve the knees when threading limbs through each other.

Power moves are acrobatic moves that require momentum, speed, endurance, strength, and control to execute. The breaker is generally supported by his upper body while the rest of his body creates circular momentum. Some examples are the windmill, swipe, back spin, and head spin. Some power moves are borrowed from gymnastics and martial arts. An example of a power move taken from gymnastics is the Thomas Flair which is shortened and spelled flare in b-boying.

Freezes are stylish poses that require the breaker to suspend himself or herself off the ground using upper body strength in poses such as the pike. They are used to emphasize strong beats in the music and often signal the end of a b-boy set. Freezes can be linked into chains or "stacks" where breakers go from freeze to freeze to freeze in order to hit the beats of the music which displays musicality and physical strength.

Although there are some generalities in the styles that exist, many dancers combine elements of different styles with their own ideas and knowledge in order to create a unique style of their own. B-boys can therefore be categorized into a broad style which generally showcases the same types of techniques.

Power: This style of b-boying is what most members of the general public associate with the term "breakdancing". Power moves comprise full-body spins and rotations that give the illusion of defying gravity. Examples of power moves include head spins, back spins, windmills, flares, air tracks/air flares, 1990s, 2000s, jackhammers, crickets, turtles, hand glides, halos, and elbow spins. Those b-boys who use "power moves" almost exclusively in their sets are referred to as "power heads".

Abstract: A very broad style of b-boying which may include the incorporation of "threading" footwork, freestyle movement to hit beats, house dance, and "circus" styles (tricks, contortion, etc.).

Blow-up: A style of b-boying which focuses on the "wow factor" of certain power moves, freezes, and circus styles. Blowups consist of performing a sequence of as many difficult trick combinations in as quick succession as possible in order to "smack" or exceed the virtuosity of the other b-boy's performance. The names of some of these moves are air baby, hollow backs, solar eclipse, and reverse air baby, among others. The main goal in blow-up style is the rapid transition through a sequence of power moves ending in a skillful freeze or "suicide". Like freezes, a suicide is used to emphasize a strong beat in the music and signal the end to a routine. While freezes draw attention to a controlled final position, suicides draw attention to the motion of falling or losing control. B-boys or b-girls will make it appear that they have lost control and fall onto their backs, stomachs, etc. The more painful the suicide appears, the more impressive it is, but breakers execute them in a way to minimize pain.

Flavor: A style that is based more on elaborate toprock, downrock, and/or freezes. This style is focused more on the beat and musicality of the song than having to rely on power moves only. B-boys who base their dance on "flavor" or style are known as "style heads".

The musical selection for breaking is not restricted to hip-hop music as long as the tempo and beat pattern conditions are met. Breaking can be readily adapted to different music genres with the aid of remixing. The original songs that popularized the dance form borrow significantly from progressive genres of jazz, soul, funk, electro, and disco. The most common feature of b-boy music exists in musical breaks, or compilations formed from samples taken from different songs which are then looped and chained together by the DJ. The tempo generally ranges between 110 and 135 beats per minute with shuffled sixteenth and quarter beats in the percussive pattern. History credits DJ Kool Herc for the invention of this concept[25]:79 later termed the break beat.

16 is the number of squares in the quadrant model.

The Beatles were an iconic pop band that revolutionized music. Their members fit the quadrant model. They are

Square 1: John Lennon

Square 2: Paul McCartney

Square 3: George Harrison

Square 4: Ringo Starr

A Tribe Called quest is a very respected rap group that has four members, reflecting the quadrant image. They

Square 1: MC/producer Q-Tip,

Square 2: MC Phife Dawg aka Phife Diggy (Malik Taylor),

Square 3DJ/producer Ali Shaheed Muhammad

Square 4: rapper Jarobi White. The fourth is different. He left the group after their first album in 1991. He continued to contribute to the band sporadically before rejoining for their 2006 reunion. Their songs, such as "Bonita Applebum", "Can I Kick It?", "I Left My Wallet in El Segundo", "Scenario", "Check the Rhime", "Jazz (We've Got)", "Award Tour" and "Electric Relaxation" are regarded as classics. They are seen as pioneers of alternative hip hop music, having helped to pave the way for many innovative artists.

Rock stars would start off their songs saying "1,2,3,4". Snoop Dogg and Dr Dre start their legendary song Nuthin' but a G Thang" by saying 1, 2, 3 and to the 4"

Metallica, anthrax, megadeath, and slayer are known as the big four of thrash metal

Metallicahas won eight Grammy Awards and five of its albums have consecutively debuted at number one on the Billboard 200. The band's eponymous 1991 album has sold over 16 million copies in the United States, making it the best-selling album of the SoundScan era. It is one of the most commercially successful bands of all time, having sold over 110 million records worldwide. Metallica has been listed as one of the greatest artists of all time by many magazines, including Rolling Stone, which ranked them 61st on its list of The 100 Greatest Artists of All Time.As of December 2012, Metallica is the third best-selling music artist since Nielsen SoundScan began tracking sales in 1991, selling a total of 54.26 million albums in the U.S. Metallica's four members fit the quadrant model pattern, again with the fourth slot being filled with different people but the first three squares being more permanent. The squares are

Square 1: James Hetfieldlead vocals, rhythm guitar (1981–present)

Square 2: Kirk Hammett lead guitar, backing vocals (1983–present)

Square 3:Lars Ulrich – drums, percussion (1981–present

Square 4:Robert Trujillo – bass, backing vocals (2003–present)

Megadeath is also a four member group, demonstrating the quadrant model image. They are a part of the responsible for thrash metal's development and popularization

Slayer is considered one of the best heavy metal bands of all time. They have been associated with having White Supremacist sympathies. They are a part of the big four slash metal groups. Again their four members fit the quadrant model pattern with three Tom Araya, Kerry King, and Jeff Hanneman being the triad that was mostly together and the fourth spot going between different people, mostly Dave Lombardo. They have the song God Hates Us All that they are known for. Thrash metal tends to try to be non conformist and rebellious and tries to give off the impression and aura of being strong and hardcore and bad ass

Metallica and Megadeath are the duality, even having one member who went from Metallica to Megadeath. Slayer is the third one who is the bad one and the most controversial, the nature of the third square. All of those groups are from the west coast. The fourth different one from the east coast is anthrax and they have five members. Again with anthrax though Charlie Benante, Frank Bello, and Scott Ian are the triad that are mainly together. The fourth is different, passing between a lot of people, but mostly Joey Belladona. The fifth is the ultra transcendent one and the fifth place is up for grabs with the group and being unpredictable, the nature of the fifth square. The nature of the quadrant model is the first three squares are very linked. The fourth is different and transcendent. The fifth is ultra transcendent and questionable

Kiss is another band that reflects the quadrant image with its four members. Kiss is an example of a hard rock band that tries to portray the rebellious cool anti conformist macho peacock image. They wear elaborate costumes and a lot of makeup often with spikes to portray being hardcore. They are also known for their elaborate live performances—which featured fire breathing, blood-spitting, smoking guitars, shooting rockets, levitating drum kits, and pyrotechnics. Their best known line up was

Square 1:Stanley (lead vocals and rhythm guitar)

Square 2:Simmons (vocals and bass guitar)

Square 3:)Ace Frehley (lead guitar and vocals

Square 4: Peter Criss (drums and vocals

When this lineup fell apart the band lost its popularity.

They took on the personae of comic book-style characters: The Starchild (Stanley), The Demon (Simmons), The Spaceman or Space Ace (Frehley) and The Catman (Criss).

Stanley became the "Starchild" because of his tendency to be referred to as a "starry-eyed lover" and "hopeless romantic." The "Demon" make-up reflected Simmons' cynicism and dark sense of humor, as well as his affection for comic books. Frehley's "Spaceman" make-up was a reflection of his fondness for science fiction and his supposedly being from another planet. Criss' "Catman" make-up was in accordance with the belief that he had nine lives, because of his rough childhood in Brooklyn. The fourth is like Kenny from South Park. The fourth is always related to death. They are one of the most famous bands of all time and had four solo albums

Queen is another renowned rock band who is British. Their classic members were

Square 1: Freddie Mercury

Square 2: Brian May

Square 3: Roger Taylor

Square 4: John Deacon

Bohemian Rhapsody stayed at number one in the UK Singles Chart for nine weeks; it charted at number one in several other territories, and gave the band their first top ten hit on the US Billboard Hot 100. Their 1977 album, News of the World, had two of rock's most recognisable anthems, "We Will Rock You" and "We Are the Champions".

By the early 1980s, Queen were one of the biggest stadium rock bands in the world, and their performance at 1985's Live Aid is regarded as one of the greatest in rock history. In 1991, Mercury died of bronchopneumonia, a complication of AIDS because he practiced homosexuality.

Led Zeppelin is a legendary rock band that fulfills the quadrant image with its four members

The group consisted of

Square 1: guitarist Jimmy Page

Square 2:singer Robert Plant

Square 3:, bassist and keyboardist John Paul Jones,

Square 4: drummer John Bonham.

The band's heavy, guitar-driven sound, is rooted in blues and psychedelia on their early albums. They are considered one of the progenitors of heavy metal, though their unique style drew from a wide variety of influences, including folk music.Their fourth album features the track "Stairway to Heaven", is among the most popular and influential works in rock music. They are one of the best-selling music artists in the history of audio recording

ABBA behind the Beatles, Michael Jackson, and Elvis, has sold more albums than anybody in the world. It is a popular music band. ABBA also has four members demonstrating the quadrant image. Their members are Square 1: Agnetha Fältskog

Square 2: Björn Ulvaeus

Square 3: Benny Andersson

Square 4: Anni-Frid Lyngstad. The name of the band is based on their initials. They are well known for the song Dancing Queen.

Black Sabbath are an English rock band, formed in Birmingham in 1968, by Square 1: guitarist and main songwriter Tony Iommi

Square 2: bassist and main lyricist Geezer Butler

Square 3: singer Ozzy Osbourne

Square 4:drummer Bill Ward.

They are another rebellious anti conformist rock group and some of their subject matter was the occult.the song "War Pigs", which was critical of the Vietnam War; however, Warner changed the title of the album to Paranoid.Black Sabbath are a heavy metal band, whose music has also been described as psychedelic rock, blues rock, hard rock, progressive rock,proto-progressive metal,and acid rock.[166] The band have also been cited as a key influence on genres including stoner rock,doom metal,and sludge metal

System of a Down, often shortened to SOAD or System, is a four-piece Armenian-American rock band formed in 1994 in Glendale, California. The band is made up of

Square 1:Serj Tankian (lead vocals, keyboards),

Square 2: Daron Malakian (vocals, guitar),

Square 4: Shavo Odadjian (bass, backing vocals)

Square 4:John Dolmayan (drums)

The group is anti authoritarian and anti establishment, hence their name system of a down.System of a Down has been nominated for four Grammy Awards, and their song "B.Y.O.B." won the Best Hard Rock Performance of 2006. They are well known for their album toxicity with songs Chop Suey and Aerials. They criticize the war on drugs and are advocates against commercialism with an album called Steal this Album, inspired by the book Steal this Book. They have two songs about the Armenian genocide and have songs belittling buerscracy . Some of their music is described as shocking

Pink Floyd is another legendary band with four members, taking on the quadrant model image. On one of their albums there was five members. There is often a questionable fifth.Pink Floyd were founded in 1965 by

Square 1: Nick Mason

Square 2: Roger Waters

Square 3: Richard Wright.

Square 4: Syd Barrett

They gained popularity performing in London's underground music scene during the late 1960s, and under Barrett's leadership released two charting singles and a successful debut album, The Piper at the Gates of Dawn. David Gilmour joined as a fifth member in December 1967; Barrett left the band in April 1968 due to deteriorating "mental health". The fourth square is always different. The fifth is questionable. Their music is described as psychedelic.The concept of Animals, one of their albums, originated with Waters, loosely based on George Orwell's political fable, Animal Farm. They are famous for "Another Brick in the Wall". Some categorise their work from that era as a space rock.

Waters' lyrics to The Dark Side of the Moon dealt with the pressures of modern life and how those pressures can sometimes cause insanity. Their music is also termed existentialist.

O'Neill Surber compared the lyrics of Dark Side's "Brain Damage" with Karl Marx's theory of self-alienation; "there's someone in my head, but it's not me."

Disturbed is a four member heavy metal band that also has for members fitting the quadrant model pattern, with three members who were kind of consistently there and the different fourth spot being filled by different people. The group is famous for its song sickness and one of its albums is called Belief, which is the second square of the quadrant model. Another one of their albums is called Asylum.

Rage against the machine is a distinguished group also with four members upholding the quadrant reflection. They also are a renegade group trying to embody being outside of the mainstream and conformity

Rage Against the Machine is an American rap metal band from Los Angeles, California. Formed in 1991, the group consisted of

Square 1: rapper and vocalist Zack de la Rocha

Square 2: bassist and backing vocalist Tim Commerford,

Square 3: guitarist Tom Morello

Square 4:drummer Brad Wilk.

Rage Against the Machine is well known for its leftist and revolutionary political views. La Rocha has a spontaneous style almost seeming nonsensical but it is because it is not rehearsed but inspired and free written. They are known for the song "killing in the Name"

Bon Jovi, David Bryan, and Tico Torres are the more steady stable triad of the band Bon Jovi. Again the fourth spot is different and the fifth is always questionable in the quadrant model. They have a song "keeping the faith". Faith is the second square. Another song "cross roads" references the cross, the form of existence.

Another celebrated rock band is The Who. It is four member English rock band who.Their classic line-up is

Square 1: lead singer Roger Daltrey, Square 2: guitarist Pete Townshend

Square 3: bassist John Entwistle

Square 4: drummer Keith Moon. They are considered one of the most influential rock bands of the 20th century, selling over 100 million records worldwide and establishing their reputation equally on live shows and studio work. They are a part of the pop art and mood movements. They displayed auto-destructive art by destroying guitars and drums on stage.

In Quadraphenia, to demonstrate the four-way split personality of Jimmy, Townshend wrote four themes, reflecting the four members of the Who. These were "Bell Boy" (Moon), "Is It Me?" (Entwistle), "Helpless Dancer" (Daltrey) and "Love Reign O'er Me" (Townshend). The Quadraphenia resembles the quadrant model pattern.

It is a double album and the group's second rock opera. The story follows a young mod named Jimmy and his search for self-worth and importance, set in London and Brighton in 1965.

The narrative centres around a young working-class mod named Jimmy. He likes drugs, beach fights and romance, and becomes a fan of the Who after a concert in Brighton,[3] but is disillusioned by his parents' attitude towards him, dead-end jobs and an unsuccessful trip to see a psychiatrist.[

The Ramones are an example of a famous four member band composed of the Ramone

Square 1: lead singer Joey Ramone (1951–2001),

Square 2: guitarist Johnny Ramone (1948–2004),

Square 3: bassist Dee Dee Ramone (1951–2002)

Square 4: drummer Tommy Ramone (1949–2014). They are in the Rolling Stone list of the "100 Greatest Artists of All Time". The Ramones were ranked the second-greatest band of all time by Spin magazine, trailing only the Beatles.

Again the quadrant model pattern holds with this band. The triad is Joey Johnny and Dee Dee. The fourth was always different. Tommy was kicked out of the band due to alcohol problems and the fourth spot was filled by separate people. Mainly Marky

The Doors are an example of another world renowned legendary group that's four members make the quadrant model pattern.an American rock band formed in 1965 in Los Angeles, with

Square 1: vocalist Jim Morrison,

Square 2: keyboardist Ray Manzarek,

Square 3: guitarist Robby Krieger square 4: drummer John Densmore. The band took its name from the title of Aldous Huxley's book The Doors of Perception,which itself was a reference to a William Blake quote: "If the doors of perception were cleansed every thing would appear to man as it is, infinite." Recall that perception is the second square of the first quadrant. In one of the Doors songs The End Morrison references the Oedipal Complex saying "father I want to kill you, Mother I want to ahhhhhh!" In my revolutionary book psychiatric slavery I outline that society and psychiatry is built around the Oedipal complex, proving Freud's intuition

Some say that the Red Hot Chili Peppers is the best band ever. It is also a four member band. The group's musical style primarily consists of rock with an emphasis on funk, as well as elements from other genres such as punk rock and psychedelic rock. They are from lots Angeles like many of these bands. The membership of the band also fits the quadrant model pattern.

Van Halen is an American rock band formed in Pasadena, California, in 1972. From 1974 until 1985, the band comprised

Square 1: bassist Michael Anthony Square 2: vocalist David Lee Roth, Square 3: drummer Alex Van Halen,

Square 4:guitarist Eddie Van Halen,

Again the members of the band fit the quadrant model pattern. The triad is Alex Eddie and Michael van Halen who were relatively stable. David Lee Roth is the fourth but the fourth was different and moved between people.

Upon its release, Van Halen reached No. 19 on the Billboard pop music charts, one of rock's most commercially successful debuts. The album included classics, like "Runnin' with the Devil" and the guitar solo "Eruption", which showcased Eddie's use of a technique known as "finger-tapping".

Weezer is considered one of the best alternative bands of all time. Their four members also fit the quadrant model pattern. The triad is

Square 1: Brian Bell

Square 2: Rivers Cuomo

Square 3: Brian Bell

Again this is the more stable triad. The fourth is different and kind of sporadic. The current is Scott Shriner. The fourth square is always different

Creedence Clearwater is another example of a band with four members showing the fourfold quadrant image.Despite their San Francisco Bay Area origins, they portrayed a Southern rock style, with lyrics about bayous, catfish, the Mississippi River, and other popular elements of Southern US iconography, as well as political and socially-conscious lyrics about topics including the Vietnam War.Creedence Clearwater Revival was inducted into the Rock and Roll Hall of Fame in 1993.Rolling Stone ranked the band 82nd on its list of the 100 greatest artists of all time.Their musical influence is heard in many genres, including southern rock, grunge, roots rock, and blues. Susie Q was their second single. The q makes me think of quadrant

The Sex Pistols were an English punk rock band formed in London in 1975. Although they lasted just two-and-a-half years and produced only four singles filling the quadrant pattern, and one studio album, Never Mind the Bollocks, Here's the Sex Pistols. they were one of the most influential acts in the history of popular music,initiated a punk movement in the United Kingdom, and inspired many later punk and alternative rock musicians. The first incarnation of the Sex Pistols was Square 1: singer John Lydon (aka Johnny Rotten),

Square 2: lead guitarist Steve Jones, Square 3: drummer Paul Cook

Square 4: bass player Glen Matlock. Matlock was replaced by Sid Vicious early in 1977. Again the fourth is different from the previous three.

U2 are an Irish rock band from Dublin. They are very popular and formed in 1976, the group members are

Square 1: Bono (vocals and guitar),

Square 2:the Edge (guitar, keyboards, and vocals),

Square 3: Adam Clayton (bass guitar), Square 4: Larry Mullen, Jr. (drums and percussion). U2's early sound was rooted in post-punk but eventually incorporated influences from many genres of popular music. They are known for the song Beautiful Day.

Cypress Hill is an American hip hop group from South Gate, California. Cypress Hill. They were the first Latino-American hip hop group to have platinum and multi-platinum albums, selling over 18 million albums worldwide. They are amongst the main progenitors of West Coast rap and Hip hop in the early 1900s.The band has also been important for the advocacy of medical and recreational use of cannabis in the United States. The bands four members also fit the quadrant model pattern. They are

Square 1: B real

Square 2: DJ Muggs

Square 3: Sen Dog

Square 4: Eric Bobo

They are popular for their song "insane in the Brain"

Green Day is an extremely popular rock groups. It is another example of a band that fulfills the quadrant model pattern. They are

Square 1: Billie Joe Armstrong

Square 2:Mike Dirnt

Square 3: Tre Cool

And the fourth spot again is different and kind of moves between different people. The fourth is always different

Square 4: Jim Kiffmeyer

The band joined the lineups of both the Lollapalooza festival and Woodstock '94, where they started a mud fight. During the concert, a security guard mistook bassist Mike Dirnt for a stage-invading fan and punched out some of his teeth. Viewed by millions by pay-per-view television, the Woodstock helped push its album to diamond status. In 1995, Dookie won the Grammy Award for Best Alternative Album and the band was nominated for nine MTV Video Music Awards including Video of the Year.

Seinfeld is a sitcom that originally ran for nine seasons on NBC from July 5, 1989, to May 14, 1998, and is one of the most popular televison shows of all time. The show contains four characters, fitting the quadrant model

of reality.Set predominantly in an apartment block in Manhattan's Upper West Side in New York City, the show features a handful of Jerry's friends and acquaintances, particularly best friend George Costanza (Jason Alexander), former girlfriend Elaine Benes (Julia Louis-Dreyfus), and neighbor across the hall Cosmo Kramer (Michael Richards).

The main characters are

Square 1: Jerry Seinfeld

Square 2: George Constanza

Square 3: Cosmo Kramer

Square 4: Elaine Benes

The Spice Girls are an example of a band that reflects the quadrant model pattern. They had five members but ginger space ended up leaving the band making only four. The fifth is always questionable. The Spice Girls were one of the most popular bands at their time. They even had a movieThe members were

Square 1:Emma Bunton: Emma was called Baby Spice because she was the youngest member of the group, wore her long blonde hair in pigtails, wore babydoll dresses, had an innocent smile, and had a girly girl personality. She is the innocent first square idealist.

Square 2: Victoria Beckham- Posh spiceVictoria was called Posh Spice because of her more upper-middle-class background, her choppy brunette bob hairstyle and refined attitude, form-fitting designer outfits and her love of high-heeled footwear. She is like the comfortable second square guardian.

Square 3: Sporty Spice-Melanie Chisholm: Melanie (also called Mel C) was called Sporty Spice because she usually wore a tracksuit with her long dark hair in a ponytail and sported a tough girl attitude as well as tattoos on both of her arms. She also possessed true athletic abilities, her signature being her ability to perform back handsprings. The third square is the doing square.

Square 4: Scary Spice-Melanie Brown: Melanie (also called Mel B) was given the nickname Scary Spice because of her outrageous, "in-your-face" attitude, "loud" Leeds accent, throaty laugh, pierced tongue, manner of dress (which often consisted of leopard-print outfits), and her voluminously curly Afro hair. The fourth square is different. She is scary which is the nature of the fourth square and she is different in that she is the only black member.

Square 5:Geri Halliwell: Geri was called Ginger Spice because of her "liveliness, zest, and flaming red hair." She often wore outrageous stage outfits, as in the iconic Union Jack dress. Geri was seen by some as the de facto leader of the group thanks to her articulate conversational style and business savvy nature. She was also the eldest member of the group. The fifth is different and ultra transcendent. She left the group. They were the most recognized group behind the fourfold Beatles

Excerpt from QMR. The backstreet boys is another band that fit the quadrant model form. There were five members of the band with Kevin Richardson, the fifth member, being the questionable fifth who quitin 2006 but returned in 2012.

Square 1 Brian Litrell (1993–present)

Square 2: Howie Dorough (1993–present)

Square 3: Nick Carter (1993–present)

Square 4 AJ McLean 1993–present)

AJ McLean would probably be the different fourth who struggled with alcohol and addiction problems and went on opera to discuss this

Backstreet boys is one of the biggest boy bands of all time. They said that their inspiration was Boys 2 Men, another group resembling the quadrant model pattern

Boyz II Men is an American R&B vocal group, best known for emotional ballads and a cappella harmonies. Formerly a quartet featuring Michael McCary, they are currently a trio composed of baritone Nathan Morris alongside tenors Wanya Morris and Shawn Stockman. During the 1990s, Boyz II Men found fame on Motown Records as a quartet. McCary left the group in 2003 due to health issues. Therefore McCary is the different fourth that doesn't seem to belong. The squares are

Square 1: Nathan Morris

Square 2: Shawn Stockman

Square 3: Wanya Morris

Square 4: Michael McCary

During the 1990s, Boyz II Men gained international success. This began with the release of the number one single "End of the Road" in 1992, which reached the top of charts worldwide.[2] "End of the Road" would set a new record for longevity, staying at number one on the Billboard Hot 100 for thirteen weeks, breaking the decades-old record held by Elvis Presley. Boyz II Men proceeded to break this record with the subsequent releases of "I'll Make Love to You" and "One Sweet Day" (with Mariah Carey), which, at fourteen and sixteen weeks respectively, each set new records for the total number of weeks at number one. "I'll Make Love to You" also topped the charts in Australia (for four weeks) and garnered international success. As of 2015, "One Sweet Day" still holds the all-time record with sixteen weeks at the top of the Hot 100.

From the beginning, Boyz II Men featured all four members as leads, avoiding the usual R&B group arrangement of one or two lead singers and a team of background singers

My mom was actually hit on by a Boys 2 Men singer who told her something like that she was beautiful and his type.

The Hot Boys (often styled as Hot Boy$) is an American hip hop group active from 1996 to 2001 then reformed in 2007 and is currently on hiatus. The group consists of rappers formerly and currently on the New Orleans-founded record label, Cash Money Records. The members are

Square 1: Lil Wayne,

Square 2: Juvenile

Square 3: B.G.

Square 4: Turk. The four fold group fits the quadrant model pattern. They sparked new styles of rap and were known for popularizing the money making big timer grandiose austentatious persona (compensating for coming from the ghetto) that became the trend in rap. They also coined the term bling bling.

The members of the group were rappers, Lil Wayne, B.G., Juvenile, Bulletproof (deceased), Turk. Bulletproof left the group soon after the formation to pursue a solo career, though he was still featured on many of the group's earliest songs. Bulletproof is the questionable fifth

I Need a Hot Girl" peaked at No. 65 on the Billboard Hot 100.[3] Guerrilla Warfare went platinum just within a few months[vague]. The album also had contributions from the Big Tymers, Baby and Mannie Fresh.

Juvenile and bg and Wayne became very successful solo artists. Turk is the different fourth square. Turk went to prison in 2006 and when Wayne tried to get the group back together bg and juvenile were able to but Turk could not

B2k was a famous hip

Hop and r and b group that possessed the quadrant four image

Square 1: Lil' Fizz - main rapper

Square 2: J-Boog - vocalist, songwriter, co-choreographer

Square 3: Raz-B - backing vocalist

Square 4: Omarion - lead vocalist

112 was a famous r and b group quartet that was known fir its song "peaches and cream", peaches and cream being a reference to sex. In the bible fruit knowledge and sex are related. The Grammy-nominated single, "Peaches and Cream". The group most notably won a Grammy Award in 1997 for Best Rap Performance by a Duo or Group, for featuring in the song "I'll Be Missing You" with Sean Combs and Faith Evans. Their members are

Square 1: Daron Jones - (1991-present)

Square 2:Marvin "Slim" Scandrick - (1991-present)

Square 3: Michael Keith - (1991-present)

Square 4: Quinnes "Q" Parker - (1993-present)

Q is the transcendent and different fourth member who was added later. Their songs like with many r and b bands are associated with making love. One of their albums is love is crazy, and paychologists do say romantic love has connections with insanity in that people in love act crazy

Black Hippy is an American hip hop supergroup from South Los Angeles, California, formed in 2009. The group is composed of West Coast rappers

Square 1: Ab-Soul

Square 2: Jay Rock

Square 3: Kendrick Lamar

square4: Schoolboy Q.

Dem Franchize Boyz was a Southern Rap group from Atlanta signed to E1 Music. The group had four members

Square 1: Parlae (born Maurice Gleaton),

Square 2: Pimpin' (Jamal Willingham),

Square 3: Jizzal Man (Bernard Leverette),

Square 4: Buddie (Gerald Tiller).

The group was signed to Universal Records in 2004 after performing unsigned. Universal released the group's self-titled debut album in September of that year with hit single "White Tee", which BET featured for some time

Dem Franchize Boyz' remix of their earlier track "Oh I Think They Like Me" was retitled simply "I Think They Like Me" and featured Dupri, Bow Wow, and Da Brat and topped the Billboard R&B chart. So So Def released On Top Of Our Game in 2006, and single "Lean Wit It, Rock Wit It" followed. "Lean Wit It" was among several "snap music" singles popular in early 2006, such as "Laffy Taffy" by D4L and "Play" by David Banner.

The Pack was a Rap group from Berkeley, California. The group consists of Square 1: Lil B,

Square 2: Damonte "Lil Uno" Johnson,

Square 3: Keith "Stunnaman" Jenkins,

Square 4: Lloyd "Young L" Omadhebo. They are a rap group that was very popular when I was growing up. I remember all of the kids would be doing dances inspired by the Pack. The Pack actually played at my school and I went to the concert with my friend Afam and Michael my freshman year of college. Their music tries to give people the impression they are too fly and ostentatious and they don't care because they are too cool. They kind of have a punk attitude too cool for school, and self glorify themselves in a way that's funny and shows they don't take themselves too seriously, a characteristic found in rap music, but they talk about a lot of superficial stuff. There is something honorable in that because they are not trying to be pious and high minded and holier than thou in order to boost their egos, what Nietzsche saw as the slave morality (a dishonest and ego centered/preoccupied humility), but they just don't take reality too seriously, which can be beneficial for some people to be exposed to if they do. They were best known for their song vans, and Lil B became a kind of heyoka clown rapper making fun of rap and reality, which can be important and beneficial if somebody is too trapped in ego/self-seriousness, but sometimes the opposite is needed as well. Although the mentality espoused by the Pack can also be very enslaving if it is ones true framework/structure for participating in reality, but to each his own.

According to Daoist, Buddhist, and Confucian philosophy, respectively, qigong allows access to higher realms of awareness, awakens one's "true nature", and helps develop human potential.

Qigong practice typically involves moving meditation, coordinating slow flowing movement, deep rhythmic breathing, and calm meditative state of mind. Qigong is now practiced throughout China and worldwide for recreation, exercise and relaxation, preventive medicine and self-healing, alternative medicine, meditation and self-cultivation, and training for martial arts.

Research concerning qigong has been conducted for a wide range of medical conditions, including hypertension, pain, and cancer treatment.

While implementation details vary, generally qigong forms can be characterized as a mix of four types of practice:

Square 1: dynamic,

Square 2: static,

Square 3: meditative,

Square 4: activities requiring external aids.

William Shakespeare (1564–1616) created characters that are among the richest and most humanly recognizable in all of literature.Shakespeare spoke in terms of the four humors, blood, bile, melancholy, and phlegm. These four humors were thought to define peoples‘ physical and mental health, and determined their personalities, as well.

Shakespeare is thought of as one of the greatest writers of all time. He employs rhyme and transcendent plays. Literary scholars divide Shakespeares literary career into four stages. They are

Square 1:This period is exuberance of youthful love and imagination. The first square is very imaginative. It is the idealist. Among the plays that are typical of these years are The Comedy of Errors, A Midsummer Night's Dream, Romeo and Juliet, Richard II and Richard III. These were probably all composed before 1595.

Square 2:The second period, from 1595 to 1601, shows progress in dramatic art. There is less exaggeration, more real power, and a deeper insight into human nature. The second square is more normal. It is homeostasis. The second square is the guardian. There appears in his philosophy a vein of sadness, such as we find in the sayings of Jaques in As You Like It, and more appreciation of the growth of character, typified by his treatment of Orlando and Adam in the same play. Among the plays of this period are The Merchant of Venice, Henry IV, Henry V, and As You Like It.

Square 3: The third period of his life, from 1601 to 1608, as one in which he felt that the time was out of joint, that life was a fitful fever. The third square is always bad. The third square is destructive. It is the artisan. His father died in 1601, after great disappointments. His best friends suffered what he calls, in Hamlet, "the slings and arrows of outrageous fortune." In 1601 Elizabeth executed the Earl of Essex for treason, and on the same charge threw the Earl of Southampton into the Tower. Even Shakespeare himself may have been suspected. The great plays of this period are tragedies, among which we may instance Julius Caesar*, Hamlet, Othello, Macbeth, and King Lear.

Square 4:The plays of his fourth period, 1608-1613, are remarkable for calm strength and sweetness. The fierceness of Othello and Macbeth is no more. In 1608 Shakespeare's mother died. Her death and his remembering of her kindness and love may have started to cause him to look on life with kindlier eyes. The greatest plays of this period are Cymbeline, The Winter's Tale, and The Tempest. The fourth square is always different. The rational is more chill.

The Henriad is Shakespeare's second historical tetralogy. It is made up of Richard II; Henry IV, Part 1; Henry IV, Part 2; and Henry V. The plays demonstrate the destabilising effects of the violation of political continuity with the overthrow of Richard II of England followed by the growth of Henry V of England from a wild youth to a great war leader in Henry V. It was the second tetralogy to be written and performed, but the subject matter comes chronologically before the first tetralogy comprising the three Henry VI plays and Richard III. The term "Henriad" is employed by literary scholars, and stems from the Classical epics the Iliad and Aeneid.

Shakespeare's first tetralogy wasHenry VI, Part 1; Henry VI, Part 2; Henry VI, Part 3; and Richard III

Shakespearean sonnets are almost all constructed from three quatrains, which are four-line stanzas, and a final couplet composed in iambic pentameter.This is also the meter used extensively in Shakespeare's plays.

The rhyme scheme is abab cdcd efef gg. Sonnets using this scheme are known as Shakespearian sonnets. The pattern reflects the quadrant model pattern. Often, the beginning of the third quatrain marks the volta ("turn"), or the line in which the mood of the poem shifts, and the poet expresses a revelation or epiphany. The third square is the doing square and the destructive/ transformative section. The fourth square is always different, and that is the iambic pentameter part. The quatrains in themselves reflect the quadrant pattern, being composed of four lines.

Shakespeare's writing is considered the apotheosis of literature. It is no coincidence it reflects the quadrant model pattern

Scholars have argued that iambic pentameter has been so important in the history of English poetry by contrasting it with the one other important meter (tetrameter), variously called “four-beat,” “strong-stress,” “native meter,” or “four-by-four meter.” Four-beat, with four beats to a line, is the meter of nursery rhymes, children’s jump-rope and counting-out rhymes, folk songs and ballads, marching cadence calls, and a good deal of art poetry. Attridge says it is based on doubling: two beats to each half line, two half lines to a line, two pairs of lines to a stanza. The metrical stresses alternate between light and heavy.It is a heavily regular beat that produces something like a repeated tune in the performing voice, and is, indeed, close to song. Because of its odd number of metrical beats, iambic pentameter, as Attridge says, does not impose itself on the natural rhythm of spoken language. Thus iambic pentameter frees intonation from the repetitiveness of four-beat and allows instead the varied intonations of significant speech to be heard. Pace can be varied in iambic pentameter, as it cannot in four-beat, as Alexander Pope demonstrated in his “An Essay on Criticism”: Iambic hexameter occurs occasionally in some iambic pentameter texts as a variant line.

Quadrant Model of Reality

Tuesday, May 3, 2016

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