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Ladislas Starevich | After World War I | After World War I
At this time, Władysław Starewicz changed his name to Ladislas Starevich, as it was easier to pronounce in French. He first established his family in Joinville-le-Pont, while he worked as a cameraman there. He rapidly returned to make puppet films. He made Le mariage de Babylas (Midnight Wedding), L'épouvantail (The Scarecrow, 1921 ), Les grenouilles qui demandent un roi (alternately called Frogland and The Frogs Who Wanted a King, 1922), Amour noir et blanc (Love in Black and White, 1923), La voix du rossignol (The Voice of the Nightingale, 1923) and La petite chateuse des rues (The Little Street Singer, 1924). His family worked with him to produce these films. These were his daughter Irina (who had changed her name to Irène) who collaborated in all his films and defended his rights, his wife Anna Zimermann, who made the costumes for the puppets and Jeanne Starewitch (aka Nina Star) who acted in some of the films (The Little Street Singer, The Queen of the Butterflies, The Voice of the Nightingale, The Magical clock, and others)
In 1924, Starevich moved to Fontenay-sous-Bois, where he lived until his death in 1965. There he made the rest of his films. Among the most notable are The Eyes of the Dragon (1925), a Chinese tale with complex and wonderful sets and character design, in which Starevich shows his talent as an artist and in set decoration as well as ingenious trick photography, The Town Rat and the Country Rat (1927), a parody of American slapstick films, The Magical Clock (1928), a fairy tale with amazing middle-age puppets and sets, starring Nina Star with music by Paul Dessau, The Little Parade, from H.C. Andersen's tale The Steadfast Tin Soldier. Six weeks after the premiere of The Little Parade, sound was added by Louis Nalpas' company. Starevich started a collaboration with him, wishing to make a feature full-length film: Le Roman de Renard. All his 1920s films are available on DVD. |
Ladislas Starevich | "Le Roman de Renard" | "Le Roman de Renard"
Often mentioned as being among his best work, The Tale of the Fox (, ) was also his first animated feature. It was entirely made by Starevich and his daughter, Irène. Production took place in Fontenay-sous-Bois from 1929 to 1930. When the film was ready, the producer, Louis Nalpas, decided to add sound using disc support but this system failed and the film was not released. The German film studio UFA became interested in showing the film in two parts. Sound was added in German and it premiered in Berlin in 1937. Later, in 1941, Roger Richebé (Paris Cinéma Location) produced a French sound version, which premiered in April 1941. It was the third animated feature film to have sound, after Quirino Cristiani's Peludópolis (1931) and The New Gulliver (1935) from the Soviet Union. |
Ladislas Starevich | The "Fétiche" series (Mascot) | The "Fétiche" series (Mascot)
In 1933 Ladislas and Irene Starevich produced and directed a film of about 1000 meters, initially titled LS 18. Under pressure from distributors, the length was greatly reduced. It became the film Fétiche Mascotte (The Mascot), about 600 meters, distributed in 1934. Starevich had a contract with Marc Gelbart (Gelma Films) to make a series with this character. Twelve episodes were planned, but for economic reasons, only five were made between 1934 and 1937 and distributed worldwide. These are Fétiche prestidigitateur (The Ringmaster, 1934), Fétiche se marie (The Mascot's Wedding, 1935), Fétiche en voyage de noces (The Navigator, 1936) and Fétiche et les sirènes (The Mascot and the Mermaids, 1937) which was not released because sound could not be added. There is an unfinished film, Fétiche père de famille (The Mascot and His Family, 1938). In 1954, L. Starevich conceived The Hangover, using images not included in The Mascot. A reconstruction of the original LS 18 was produced by 2012. |
Ladislas Starevich | During World War II | During World War II
During this period (1937–1946), Starevich ceased producing films. He had expressed some intent to make commercial films, but none are known to have been produced during the war. |
Ladislas Starevich | After World War II | After World War II
In 1946 he tried to make A Midsummer Night's Dream but abandoned the project due to financial problems. The following year, he made Zanzabelle a Paris adapted from a story by Sonika Bo. The script and direction of this film are credited to Irène. In 1949, he met Alexandre Kamenka (Alkam Films), an old Russian friend, who produced Starevich's first colour film Fleur de fougère (Fern Flower). It was based on an Eastern European story, in which a child goes to the forest to collect a fern flower, which grows during the night of Saint-Jean, and makes wishes come true. In 1950, Fern Flower won the first prize as an animated film in the 11th International Children Film Festival in Venice Biennale. Then he started a collaboration with Sonika Bo to adapt another of her stories, Gazouilly petit oiseau, followed by Un dimanche de Gazouillis (Gazouillis's Sunday picnic).
Again produced by Alkam films, Starevich made Nose to Wind, which tells the adventures of Patapouf, a bear who escapes from school to play with his friends the rabbit and the fox. The same year, 1958, his wife Anna died. Due to the success of the previous film, Winter Carousel was made, starring the bear Patapouf and the rabbit going through seasons. This was his last completed film. All his family co-labored on it, as remembers his granddaughter Martin-Starewitch, whose hands can be seen in animation tests from Like Dog and Cat, Starevich's unfinished film.
Ladislas Starevich died on February 26, 1965, while working on Comme chien et chat (Like Dog and Cat). He was one of the few European animators to be known by name in the United States before the 1960s, largely on account of La Voix du rossignol and Fétiche Mascotte (The Tale of the Fox was not widely distributed in the US). His Russian films were known for their dark humor. He kept every puppet he made, so stars in one film tended to turn up as supporting characters in later works (the frogs from The Frogs Who Wanted a King are the oldest of these). For example, in Fétiche mascotte (1933) the viewer can see puppets from The Scarecrow, The Little Parade, and The Magical Clock. The films have shown incredible imagination and also development of techniques including motion blur, replacement animation, multiple frame exposure, and reverse shooting. |
Ladislas Starevich | Posterity | Posterity
Since 1991, Leona Beatrice Martin-Starewitch, Ladislas Starevich's granddaughter and her husband, François Martin, have restored and distributed her grandfather's films.
Filmmaker Terry Gilliam ranked The Mascot among the ten best animated movies of all time.
In 2005, Xavier Kawa-Topor and Jean Rubak joined three Starevich short films together to make a feature film, with music by Jean-Marie Senia. The film, entitled Tales of the Magical Clock, contributed to recognition by the press and the public of Starewitch Engineering.
In 2009, Wes Anderson paid homage to Le Roman de Renard in Fantastic Mr. Fox.
In 2012 a full reconstruction of LS18 to the original length and content of 1933 had been reconstructed, called Fetish 33-12. This was done by Léona Béatrice Martin-Starewitch, his granddaughter, and her husband, François Martin, owners of the rights to the films made by Starevich and his family. The reconstruction used multiple original copies of "The Mascot" (distributed in the United Kingdom and the United States of America), a negative of The Hangover and material from the archives of Ladislas Starevich.
In 2014, the town of Fontenay-sous-Bois and service Documentation Archive with the family Martin-Starewich organized projections of Ladislas Starewich films in municipal Kosmos cinema with the release of all the preserved films, more than 7 hours on two projection days. |
Ladislas Starevich | Filmography | Filmography |
Ladislas Starevich | Films directed in Kaunas (1909–1910) | Films directed in Kaunas (1909–1910)
(with original titles in Polish)
Nad Niemnem (1909) – Beyond the River Nemunas
Życie ważek (1909) – The Life of the Dragonflies
Walka żuków (1909) – The Battle of the Stag Beetles
Piękna Lukanida (1910) – The Beautiful Leukanida
These films except for The Beautiful Leukanida are currently considered lost. |
Ladislas Starevich | Films directed in Russia (1911–1918) | Films directed in Russia (1911–1918)
(with original titles in Russian)
Lucanus Cervus (1910) – Lucanus Cervus
Rozhdyestvo Obitatelei Lyesa (1911) – The Insects' Christmas
Aviacionnaya Nedelya Nasekomykh (1912) – Insects' Aviation Week
Strashnaia Myest (1912) – The Terrible Vengeance
Noch' Pered Rozhdestvom (1912) – The Night Before Christmas
Veselye Scenki Iz Zhizni Zhivotnykh (1912) – Amusing Scenes from the Life of Insects
Miest Kinomatograficheskovo Operatora (1912) – The Cameraman's Revenge
Puteshestvie Na Lunu (1912) – A Journey to the Moon
Ruslan I Ludmilla. (1913) – Ruslan and Ludmilla
Strekoza I Muravei (1913) – The Grasshopper and the Ant
Snegurochka (1914) – The Snow Maiden
Pasynok Marsa (1914) – Mars's Stepson
Kayser-Gogiel-Mogiel (1914) – Gogel-Mogel General
Troika (1914) – Troika
Fleurs Fanees 1914 – Faded Flowers
Le Chant Du Bagnard (1915) – The Convict's Song
Portret (1915) (May Be Produced By The Skobeliew Committee) – The Portrait
Liliya Bel'gii (1915) – The Lily of Belgium
Eto Tyebye Prinadlezhit (1915) – It's Fine for You
Eros I Psyche (1915) – Eros and Psyche
Dvye Vstryechi (1916) – Two Meetings
Le Faune En Laisse (1916) – The Chained Faun
O Chom Shumielo Morie (1916) – The Murmuring Sea
Taman (1916) – Taman
Na Varshavskom Trakte (1916) – On the Warsaw Highway
Pan Twardowski (1917) – Mister Twardowski
Sashka-Naezdnik (1917) – Sashka the Horseman
K Narodnoi Vlasti (1917) – Towards People's Power
Kaliostro (1918) – Cagliostro
Yola (1918) – Iola
Wij (1918) – Vij
Sorotchinskaia Yarmaka (1918) – The Sorotchninsk Fair
Maiskaya Noch (1918) – May Night
Stella Maris (1918) – Starfish |
Ladislas Starevich | Films directed in France (1920–1965) | Films directed in France (1920–1965)
(with original titles in French)
Dans les Griffes de L'araignée (1920) – In The Claws of the Spider
Le Mariage de Babylas (1921) – Babylas's Marriage
L’épouvantail (1921) – The Scarecrow
Les Grenouilles qui Demandent un Roi (1922) – Frogland
La Voix du Rossignol (1923) – The Voice of the Nightingale
Amour Noir et Blanc (1923) – Love In Black and White
La Petite Chanteuse des Rues (1924) – The Little Street Singer
Les Yeux du Dragon (1925) – The Eyes of the Dragon
Le Rat de Ville et le Rat Des Champs (1926) – The Town Rat and the Country Rat
La Cigale et la Fourmi (1927) – The Ant and the Grasshopper
La Reine des Papillons (1927) – The Queen of the Butterflies
L'horloge Magique (1928) – The Magic Clock
La Petite Parade (1928) – The Little Parade
Le Lion et le Moucheron (1932) – The Lion and the Fly
Le Lion Devenu Vieux (1932) – The Old Lion
Fétiche Mascotte (1933) – The Mascot
Fétiche Prestidigitateur (1934) – The Ringmaster
Fétiche se Marie (1935) – The Mascot's Marriage
Fétiche en Voyage De Noces (1936) – The Navigator
Fétiche Chez les Sirènes (1937) – The Mascot and the Mermaids
Le Roman de Renard (1930–1939) – The Tale of the Fox
Zanzabelle a Paris (1947) – Zanzabelle in Paris
Fleur de Fougère (1949) – Fern Flowers
Gazouilly Petit Oiseau (1953) – Little Bird Gazouilly
Gueule de Bois (1954) – Hangover
Un Dimanche de Gazouilly (1955) – Gazouilly's Sunday Picnic
Nez au Vent (1956) – Nose to the Wind
Carrousel Boréal (1958) – Winter Carousel
Comme Chien et Chat (1965) – Like Dog and Cat
A documentary about Starevich called The Bug Trainer was made in 2008. |
Ladislas Starevich | DVD Editions | DVD Editions
Le monde magique de Ladislas Starewitch, Doriane Films, 2000.
Content: The Old Lion, The Town Rat and the Country Rat (1932 sound version) The mascot and Fern Flowers.
Bonus: The Town Rat and the Country Rat (1926 silent version)
Le Roman de Renard (The Tale of the Fox), Doriane Films, 2005.
Bonus: The Navigator
Les Contes de l'horloge magique, Éditions Montparnasse, 2005.
Content: The Little Street Singer, The Little Parade and The Magic Clock.
The Cameraman's Revenge and Other Fantastic Tales, Milestone, Image Entertainment, 2005
Content: The Cameraman's Revenge, The Insect's Christmas, The Frogs who Wanted a King (short version), The Voice of the Nightingale, The Mascot and Winter Carrousel.
Les Fables de Starewitch d'aprés la Fontaine, Doriane Films, 2011.
Content: The Lion and the Fly, The Town Rat and the Country Rat (1926), The Frogs who Wanted a King (original version), The Ant and the Grasshopper (1927 version), The Old Lion and Comment naît et s'anime une ciné-marionnette (How Cinema-Marionnettes Are Born and Brought to Life).
Bonus: The Old Lion (French narrated version) and The Town Rat and the Country Rat (1932 version)
Nina Star, Doriane Films, 2013.
Content: The Scarecrow, The Babylas's Wedding, The Voice of the Nightingale, The Queen of the Butterflies.
Bonus: The Babylas's Wedding (tinted colours), The Queen of the Butterflies (United Kingdom version), Comment naît et s'anime une ciné-marionnette.
L'homme des confins, Doriane Films, 2013.
Content: In the Spider's Claws, The Eyes of the Dragon, Love Black and White
Bonus: The Eyes of the Dragon (1932 sound version), Love Black and White (1932 sound version), Comment naît et s'anime une ciné-marionnette
Fétiche 33-12, Doriane Films, 2013
Bonus: The Mascot, Gueule de bois, Comment naît et s'anime une ciné marionnette. |
Ladislas Starevich | Notes | Notes |
Ladislas Starevich | References | References
Donald Crafton; Before Mickey: The Animated Film, 1898–1928; University of Chicago Press; (2nd edition, paperback, 1993)
Giannalberto Bendazzi (Anna Taraboletti-Segre, translator); Cartoons: One Hundred Years of Cinema Animation; Indiana University Press; (reprint, paperback, 2001)
Liner notes to the DVD The Cameraman's Revenge and Other Fantastic Tales |
Ladislas Starevich | External links | External links
Starewitch official homepage – made by his granddaughter
The Cameraman's Revenge can be viewed at the Internet Archive
Fétiche Mascotte (1934) at the Internet Archive
Ladislas Starewich Biography – part of "Animation Heaven and Hell", by Tim Fitzpatrick. Website also includes a few video clips.
Entomology and Animation: A Portrait of an Early Master Ladislaw Starewicz (May 2000 6-page article from Animation World Magazine)
Starevich at UbuWeb (view some of his early films)
Biography (with many pictures)
creative documentary "The Bug Trainer" about L. Starewitch
El entrenador de insectos, Abril de 2014.
Category:1882 births
Category:1965 deaths
Category:Mass media people from Moscow
Category:French animators
Category:French people of Polish descent
Category:History of animation
Category:Russian animated film directors
Category:Russian animated film producers
Category:Russian male artists
Category:People from the Russian Empire of Polish descent
Category:People who emigrated to escape Bolshevism
Category:Stop motion animators
Category:Russian film directors
Category:Articles containing video clips
Category:White Russian emigrants to Italy
Category:White Russian emigrants to France
Category:20th-century French inventors |
Ladislas Starevich | Table of Content | Short description, Early career, After World War I, "Le Roman de Renard", The "Fétiche" series (Mascot), During World War II, After World War II, Posterity, Filmography, Films directed in Kaunas (1909–1910), Films directed in Russia (1911–1918), Films directed in France (1920–1965), DVD Editions, Notes, References, External links |
Preamplifier | Short description | thumb|right|An example of a typical high-end stereo preamplifier
A preamplifier, also known as a preamp, is an electronic amplifier that converts a weak electrical signal into an output signal strong enough to be noise-tolerant and strong enough for further processing, or for sending to a power amplifier and a loudspeaker. Without this, the final signal would be noisy or distorted. They are typically used to amplify signals from analog sensors such as microphones and pickups. Because of this, the preamplifier is often placed close to the sensor to reduce the effects of noise and interference. |
Preamplifier | Description | Description
An ideal preamp will be linear (have a constant gain through its operating range) and have high input impedance (requiring only a minimal amount of current to sense the input signal) and low output impedance (when current is drawn from the output there is minimal change in the output voltage). It is used to boost the signal strength to drive the cable to the main instrument without significantly degrading the signal-to-noise ratio (SNR). The noise performance of a preamplifier is critical. According to Friis's formula, when the gain of the preamplifier is high, the SNR of the final signal is determined by the SNR of the input signal and the noise figure of the preamplifier.
Three basic types of preamplifiers are available:
current-sensitive preamplifier
parasitic-capacitance preamplifier
charge-sensitive preamplifier. |
Preamplifier | Audio systems | Audio systems
In an audio system, they are typically used to amplify signals from analog sensors to line level. The second amplifier is typically a power amplifier (power amp). The preamplifier provides voltage gain (e.g., from 10 mV to 1 V) but no significant current gain. The power amplifier provides the higher current necessary to drive loudspeakers. For these systems, some common sensors are microphones, instrument pickups, and phonographs. Preamplifiers are often integrated into the audio inputs on mixing consoles, DJ mixers, and sound cards. They can also be stand-alone devices. |
Preamplifier | Examples | Examples
The integrated preamplifier in a foil electret microphone
The first stage of an instrument amplifier, the output of which is then sent to the power amplifier. With instrument amplifiers, the preamp is often designed to produce overdrive or distortion effects.
A stand-alone unit for use in live music and recording studio applications
Part of a stand-alone channel strip or channel strip built into an audio mixing desk
A masthead amplifier used with television receiver antenna (For a receiver far from the antenna, it amplifies the signal and noise from the antenna, reducing the negative effects of the necessary cable length; for an antenna near a receiver, such an amplifier only adds noise.)
A component in the electronic part of a satellite receiver dish
A circuit inside of a hard disk drive or tape player connected to the magnetic heads, or the circuit inside of an optical disc drive (such as CD) which connects to the photodiodes
A component amplifying the signal from a phonograph cartridge to the line-level input of common power amplifiers
A switched capacitor circuit used to null the effects of mismatch offset in most CMOS comparator-based flash analog-to-digital converters
Due to their unique coloration, some preamplifiers can be emulated in software to be used in mixing. |
Preamplifier | See also | See also
Low-noise amplifier (LNA)
Instrumentation amplifier
Buffer amplifier
Logarithmic resistor ladder |
Preamplifier | References | References |
Preamplifier | External links | External links
Category:Electronic amplifiers
Category:Audio engineering |
Preamplifier | Table of Content | Short description, Description, Audio systems, Examples, See also, References, External links |
Arrested decay | Short description | Arrested decay is a term used to refer to the limited preservation of abandoned or ruined buildings. It was coined by the U.S. State of California to explain its approach to the preservation of the ghost town of Bodie. The concept is most frequently invoked in relation to the preservation of war ruins as memorials.
thumb|right|Eastern State Penitentiary, March 2011
thumb|150px|The water tower in Vukovar, 2005. Heavily damaged during the Battle of Vukovar, it has been preserved as a symbol of the town's suffering.
thumb|200px|The Hiroshima Peace Memorial today, seen from the southwest side.
thumb|200px|A view of the old village of Oradour-sur-Glane |
Arrested decay | United States | United States
At Bodie State Historic Park, the structures will be maintained, but only to the extent that they will not be allowed to fall over or otherwise deteriorate in a major way.
Any building that was standing in 1962, when Bodie became a State Park, may be rebuilt or preserved as the photographs of 1962 showed them. By putting new roofs on the buildings, rebuilding foundations, and resealing glass that is in window frames, the State is able to keep buildings from naturally decaying.
Eastern State Penitentiary in Philadelphia, Pennsylvania, uses a similar system, though it uses the term "preserved ruin." |
Arrested decay | Croatia | Croatia
The authorities in Vukovar, Croatia decided to keep the old water tower in the city as it is found today and as it had become after the war — gnarled by artillery. |
Arrested decay | Berlin, Germany | Berlin, Germany
Several buildings destroyed in the Second World War have been preserved in their ruined condition as memorials. These include part of the facade of the Anhalter Bahnhof and the belfry of the Kaiser Wilhelm Memorial Church. |
Arrested decay | Sarajevo, Bosnia | Sarajevo, Bosnia
The authorities in Sarajevo, Bosnia have also preserved the building of the daily newspaper Oslobođenje to this day the way it was shelled during the Bosnian War. |
Arrested decay | Hiroshima, Japan | Hiroshima, Japan
In 1996, the Hiroshima Peace Memorial was acknowledged as a UNESCO World Heritage Site. Originally completed in 1905, the building was known at the time of the Hiroshima atomic bomb explosion on August 6, 1945, as the Hiroshima Prefectural Industrial Promotion Hall. Although suffering considerable damage, it was the closest structure to the hypocenter of the explosion to withstand the blast without being leveled to the ground. It has been preserved in the condition it was in after the bombing to serve as a symbol of hope for world peace and nuclear disarmament. |
Arrested decay | Oradour-sur-Glane, France | Oradour-sur-Glane, France
Oradour-sur-Glane was a village in the Limousin région of France that was destroyed on 10 June 1944, when 642 of its inhabitants – men, women and children – were murdered by a German Waffen-SS company. Although a new village was built after World War II, away from the ruins of the former village, the old village – the site of the massacre – still stands as a memorial to the dead and as being representative of similar sites and events. Part of the memorial includes items recovered from the burned-out buildings: watches stopped at the time their owners were burned alive; glasses – melted from the intense heat; and various personal items and money. |
Arrested decay | References | References
Category:Building
Category:Historic preservation |
Arrested decay | Table of Content | Short description, United States, Croatia, Berlin, Germany, Sarajevo, Bosnia, Hiroshima, Japan, Oradour-sur-Glane, France, References |
Jeolla Line | Short description | The Jeolla Line () is a railway line in North and South Jeolla Provinces in South Korea. The line is served by frequent passenger trains from Seoul (via the Gyeongbu and Honam Lines) to Yeosu. |
Jeolla Line | History | History
The first railway along a section of what became the Jeolla Line was the Zenboku Lightrail Line, a narrow gauge line from Riri to Zenshu opened by the privately owned Zenboku Light Railway on 12 November 1917. In 1927, the line was nationalised, and the Chosen Government Railway (Sentetsu) soon set to converting the line to standard gauge; this work was begun on 18 April 1929 and completed later that year. Sentetsu then extended the line, completing the Jeonju–Namwon section in October 1931, the Namwon–Gokseong section in October 1933, and finally the Gokseong–Suncheon section on 16 December 1936.
In 1936, Sentetsu nationalised the privately owned Chosen Railway's Gwangnyeo Line, which ran from Songjeongni to Yeosu and Yeosu Port via Suncheon, renaming it Songnyeo Line and splitting it apart to merge the Suncheon–Yeosu section with the Jeonbuk Line to create the Jeolla Line in 1936. The line was completed with the reconstruction of the Iri (today Iksan) to Jeonju section in March 1937. |
Jeolla Line | Upgrade | Upgrade
The upgrade of the Iksan-Suncheon section started with the construction of a bypass around Jeonju with wider curves, opened in 1981.
From 1989, the first phase of the project to re-lay and double-track the line, mostly in a new alignment with wider curves, longer tunnels and bridges, was launched on three sections between Sin-ri, at the end of the Jeonju realignment, and Suncheon. The two longest new structures were the long Byeongpung Tunnel, north of Suncheon, and the long Seulchi Tunnel, south of Jeonju, which became South Korea's longest rail tunnel, surpassing Jeongam Tunnel on the Taebaek Line. The three sections of the first phase with altogether , shortening the original route by , were finished by 1999 and entered service on 18 May 1999. The two gaps between those sections were plugged in a second phase in 2002 and August 2004, the altogether long new sections shortened the line by another .
The third phase of the upgrading project, started in 2002, involved the double-tracking of the remaining long single-track section from Iksan to Sin-ri, until the end of the Jeonju realignment, and electrification of the entire double-tracked and re-aligned section from Iksan to Suncheon, altogether , to allow speeds of . By March 2010, progress on the section from Iksan to Suncheon reached 63.0%. This phase of the project is implemented as a public private partnership of the Build-Transfer-Lease (BTL) method, with a government contribution of 510.852 billion won and a BTL share of 470.699 billion won. The upgrade and re-alignment of the final Suncheon-Yeosu section was launched as a separate project in 2001, with work starting in December 2003. As of March 2010, progress on the long alignment stood at 88.0% out of a total budget of 732.002 billion won. The entire upgrading project is to be completed in 2011.
On September 1, 2010, the South Korean government announced a strategic plan to reduce travel times from Seoul to 95% of the country to under 2 hours by 2020. As part of the plan, the Jeolla Line is to be further upgraded for . |
Jeolla Line | Major stations | Major stations
Major stations and junctions on the line:
Iksan (formerly known as Iri), junction with the Honam Line and Janghang Line;
Dongsan, terminus of the Bukjeonju Line;
Jeonju, capital of North Jeolla;
Suncheon, junction with the Gyeongjeon Line;
Deogyang, terminus of the Yeocheon Line; and
Yeosu on the south coast. |
Jeolla Line | Services | Services
The Jeolla Line is served by intercity ITX-Saemaeul trains and cross-country Mugunghwa-ho trains. As of October 2010, the travel time on the Saemaeul-ho from Yongsan station in Seoul is a minimum 3 hours 28 minutes to Jeonju, 4 hours 33 minutes to Suncheon and 5 hours 15 minutes to Yeosu, with 2 hours 30 minutes taken for the Iksan—Jeosu travel along the Jeolla Line itself . Mugunghwa-ho trains that also start in Yongsan cover the line from Iksan to Yeosu in between a minimum of 2 hours 30 minutes and a maximum of 4 hours, depending on the number of stops. |
Jeolla Line | Jeolla KTX | Jeolla KTX
Yeosu hosted the Expo 2012, and Korail timed the introduction of Korea Train Express services on the line ahead of the event. Original plans foresaw the start of Jeolla KTX services in April 2011, reducing the Seoul–Yeosu travel time to 2 hours 55 minutes, using KTX-II (KTX-Sancheon) high-speed trains. In February 2011, when the necessary electrification works were 96% complete, the start of services was postponed to September 2011, and the Yongsan–Yeosu travel time was planned to be 3 hours 7 minutes. After the completion of the first stage of the Honam High Speed Railway, the travel time is planned to reduce to 2 hours 25 minutes. |
Jeolla Line | See also | See also
Korail
Transportation in South Korea |
Jeolla Line | References | References |
Jeolla Line | External links | External links
Category:Railway lines in South Korea
Category:Railway lines opened in 1914 |
Jeolla Line | Table of Content | Short description, History, Upgrade, Major stations, Services, Jeolla KTX, See also, References, External links |
LSE | '''LSE''' | LSE may refer to: |
LSE | Education | Education
London School of Economics and Political Science, a public research university within the University of London
Lahore School of Economics, a private university in Lahore, Punjab, Pakistan
Lincoln Southeast High School, a public government education school located in Lincoln, Nebraska
Louvain School of Engineering, faculty of engineering science at the University of Louvain (UCLouvain), Belgium |
LSE | Computing | Computing
("Symbolic teaching language"), a computer programming language
Language-Sensitive Editor, a text editor used on Digital Equipment Corporation's VMS operating system
Large system extensions, a set of atomic memory operations such as fetch-and-add for the 64-bit ARM (AArch64) architecture
Latent sector error, an unrecoverable read error on a hard disk drive which has not yet been discovered |
LSE | Finance | Finance
Lahore Stock Exchange, now Pakistan Stock Exchange
London Stock Exchange
London Stock Exchange Group, the owner group of the London Stock Exchange |
LSE | Transport | Transport
La Crosse Regional Airport, Wisconsin, United States (IATA code LSE)
Luzern–Stans–Engelberg railway line, a mountain railway in Switzerland |
LSE | Other uses | Other uses
Load serving entity, an electricity demand aggregator in the deregulated market.
Landing ship, Emergency Repair, a US WW2 Navy ship
Least-squares estimation, a statistical technique commonly used in data fitting
Lengua de signos española, Spanish Sign Language
Logical Sensory Extrovert, a socionics personality type |
LSE | Table of Content | '''LSE''', Education, Computing, Finance, Transport, Other uses |
Crystal Space | Short description | Crystal Space is an unmaintained framework for developing 3D applications written in C++ by Jorrit Tyberghein and others. The first public release was on August 26, 1997. It is typically used as a game engine but the framework is more general and can be used for any kind of 3D visualization. It is very portable and runs on Microsoft Windows, Linux, UNIX, and Mac OS X. It is also free and open-source software, licensed under the GNU LGPL-2.0-or-later, and was SourceForge.net's Project of the Month for February 2003. In 2019, one of the project's main developers described it as "effectively dead and has been for a good number of years". |
Crystal Space | Engine design | Engine design
Crystal Space is programmed in object oriented C++. It is very modularly built with a number of more or less independent plugins. The client programs use the plugins, such as the OpenGL 3D renderer, by registering them via Crystal Space's Shared Class Facility (SCF). |
Crystal Space | Features | Features
Crystal Space has modules for 2D and 3D graphics, sound, collision detection and physics through ODE and Bullet.
Graphics:
OpenGL rendering
Supports hardware acceleration from all major card vendors
Allows use of shaders
Library of common shaders like normal mapping, parallax mapping and hardware skinning
Supports software rendering with limited features
Mesh objects:
Plugin-based mesh system
Triangle-based meshes with frame and bone animation support
Collision detection and dynamics:
ODE and Bullet dynamics
Simplified collision detection when full dynamic simulation is not needed |
Crystal Space | Reception and usage | Reception and usage
The engine was, for instance, used for the OpenOutcast and PlaneShift projects.Crystal Space 1.2 Released by Corvus Elrod on The Escapist (8 October 2007) It was the Project of the Month on SourceForge in February 2003. |
Crystal Space | References | References |
Crystal Space | External links | External links
at SourceForge
Crystal Space engine details and reviews at the Internet Archive
Category:1997 software
Category:Cross-platform software
Category:Free game engines
Category:Free software programmed in C++
Category:Game engines for Linux
Category:Python (programming language)-scriptable game engines |
Crystal Space | Table of Content | Short description, Engine design, Features, Reception and usage, References, External links |
Samuel Martin | '''Samuel''' | Samuel or Sam Martin may refer to:
Samuel Martin (planter) (1694–1776), planter and politician in Antigua
Samuel Martin (Secretary to the Treasury) (1714–1788), British politician and administrator
Sir Samuel Martin (politician) (1801–1883), Anglo-Irish politician and judge
Samuel Martin (writer) (1810–1848), New Zealand land claimant, magistrate, journalist and writer
Samuel Martin (entrepreneur) (born 1984), British entrepreneur
Samuel Martin (missionary), American Presbyterian missionary
Samuel E. Martin (1924–2009), linguist (Korean and Japanese) and designer of the Yale Romanization for Korean
Samuel Soler Martín (born 1979), Paralympic swimmer from Spain
Sam Martin (singer) (born 1983), American singer and songwriter
Sam Martin (speedway rider) (born 1989), Australian speedway rider
Sam Martin (American football) (born 1990), American football player
Sam Martin, lead singer of the band Youngblood Hawke
Samuel Martin (runner) (born 1906), American middle-distance runner, 3rd in the 880 yards at the 1929 USA Outdoor Track and Field Championships |
Samuel Martin | Table of Content | '''Samuel''' |
Planeshift | '''Planeshift''' | Planeshift may refer to:
Planeshift (Magic: The Gathering), an expansion set for Magic: The Gathering
PlaneShift (video game), a free to play massively multiplayer online role playing game |
Planeshift | Table of Content | '''Planeshift''' |
Mentai Waido | Short description | Mentai Waido is the name of a long-running local-interest television programme shown on FBS (Fukuoka Broadcasting Corporation) in Fukuoka, Japan. The show is broadcast weekdays, from about 3pm until about 7pm, and consists of interviews with local people, introductions of local restaurants and attractions, and topical news segments. The programme has a light-hearted approach.
Category:Japanese television series |
Mentai Waido | Table of Content | Short description |
Music of Vietnam | Short description | thumb|Performance of ca trù, an ancient genre of chamber music from northern Vietnam, inscribed by UNESCO as an Intangible Cultural Heritage in 2009
thumb|A comedy theater in Tonkin during the Revival Lê dynasty
Traditional Vietnamese music encompasses a large umbrella of Vietnamese music from antiquity to present times, and can also encompass multiple groups, such as those from Vietnam's ethnic minority tribes.Throughout its history, Vietnam has been most heavily influenced by traditional Chinese music, along with Korea,Mongolia and Japan. |
Music of Vietnam | History | History
thumb|Drum from Sông Đà, Vietnam. Dong Son II culture. Mid-1st millennium BCE. Bronze.
Traditional Vietnamese music has been mainly used for religious activities, in daily life, and in traditional festivals. The music is considerably diverse due to Vietnam's ethnic population. Moreover, each of Vietnam's ethnic groups owns many unique types of musical instruments. The influence of Asian musical cultures on Vietnamese music can be seen in particular instruments such as the flutes, zithers, harps, and erhu. However, the recovery of an almost complete stringed instrument from a deer antler dated to 2,000 years old and shows clear similarities with traditional Vietnamese musical instruments indicate that these traditional instruments have ancient origins. |
Music of Vietnam | Influences on Vietnam music | Influences on Vietnam music
The traditional music of Vietnam has been heavily influenced by Chinese music, mainly in terms of musical instruments and performance styles. The introduction of American music, particularly rock and roll and pop music, has influenced the development of modern Vietnamese music.
The Vietnam War had a profound impact on Vietnamese music, inspiring many protest songs and influencing the development of modern Vietnamese music, the introduction of rock came with use of electric guitars to create more aggressive sound on the songs. The main genres that were common in this period were the rock ,folk and soul. This war influenced the lyrics and themes during that time, songs were mainly about these themes: peace, love and social justice example of a song is Marvin Gaye's "What's Going On". Malone, Bill C., and David Stricklin. “The 1960s and 1970s: Rock, Gospel, Soul.” Southern Music/American Music, 1st ed., University Press of Kentucky, 1979, pp. 108–28. JSTOR, http://www.jstor.org/stable/j.ctt130j59n.11. Accessed 14 Apr. 2024.
Before the Doi Moi Period, Vietnam music was mainly influenced by folk music and social realism. At this period there was the introduction of new genres like hiphop, pop, rock which were mainly influenced by Western culture. The economic reforms of the Doi Moi period in the 1980s led to a relaxation of state control over the arts, allowing for greater diversity and experimentation in Vietnamese music. This period led to increased popularity and acceptance of Western music styles and genres.
After the fall of Saigon in 1975, there was strict control over cultural expressions, many musicians were forced to move to other countries, those who remained had to adhere to the government rules. The music themes shifted to reflecting the government propaganda and the styles became more uniform and diverse. A popular Vietnamese musician "Trinh Cong Son" after the fall of Saigon his music was banned and he was out under house arrest because his songs were about anti- war and anti- government songs.
The rise of the internet has greatly expanded the availability and diversity of music in Vietnam, allowing for greater cross-cultural influences and the development of new musical styles. This contemporary period made Vietnamese music more diverse and experimental. Heller, G. N. (2011). From the Melting Pot to Cultural Pluralism: General Music in a Technological Age, 1892-1992. Journal of Historical Research in Music Education, 33(1), 59–84. http://www.jstor.org/stable/41300429
Buddhism has had a significant influence on Vietnamese music, particularly in terms of its spiritual and meditative aspects. This occurred during the medieval period. Qing, Tian, and Tan Hwee San. “Recent Trends in Buddhist Music Research in China.” British Journal of Ethnomusicology, vol. 3, 1994, pp. 63–72. JSTOR, http://www.jstor.org/stable/3060806. Accessed 14 Apr. 2024. |
Music of Vietnam | Royal court music | Royal court music
Royal Vietnamese court music first appeared in the congetiveness of europas after a successful seaborne raid against Champa led by emperor Lý Thái Tông in 1044. Cham women were taken as singers, dancers and entertainers for the court. The chronicles recorded that a special palace for Cham women was built in 1046, then in 1060 the emperor ordered a translation of Cham songs, and incorporated Cham drum known as trống cơm into the royal band. During the 13th century, a new trend of music came from China: songs set to Chinese tunes with Vietnamese lyrics.
Nhã nhạc is the most popular form of royal court music, specifically referring to the court music played from the Trần dynasty to the last Nguyễn dynasty of Vietnam, being synthesized and developed by the Nguyễn emperors. Influenced from Ming Chinese music, it slowly emerged in the royal court in the 1430s. Along with nhã nhạc, the imperial court of Vietnam in the 19th century also had many royal dances which still exist in present times. The theme of most dances is to wish the emperor or empress longevity and the country prosperity.
thumb|Traditional orchestra performing at the Temple of Literature, Hanoi
Classical music is also performed in honour of gods and scholars such as to Confucius in temples and shrines. These categories are defined as Nhã Nhạc ("elegant music" or "ritual and ceremonial" music), Đại nhạc ("great music"), and Tiểu nhạc ("small music") are classified as chamber music, often for entertainment for the ruler.Vietnam - Page 95 Audrey Seah, Charissa M. Nair - 2004 "There were three categories: dai nhac (dai nyahk) or great music, chamber music for the entertainment of the king, and ritual music- accompanying important ceremonies such as the one to ensure a good harvest. The Ly kings, in particular "International Workshop on Nhã Nhạc of Nguyễn Dynasty: Huế court music - Page 201 Huế Monuments Conservation Center, Ủy ban quốc gia Unesco của Việt Nam, Viện nghiên cứu âm nhạc (Vietnam) - 2004 "... by stricter rules. That was the rule in using "Great music" and "Small music". Great music ..."Tư liệu âm nhạc cung đình Việt Nam - Page 103 Ngọc Thành Tô,ön (Mounting the Esplanade-simple version), -Dàngdàn kép (Mounting the ..."Asian Pacific quarterly of cultural and social affairs - Volumes 3-4 - Page 67 Cultural and Social Centre for the Asian and Pacific Region - 1971 "Đại nhạc (literally : great music) or Cd xuy Đại nhạc iW&^k.1^), composed ... Tiểu nhạc (literally :small music) or // true Tiểu nhạc (UYrB%:) : small group of silk or stringed instruments and bamboo flute. Ty khanh: ... Traditional Vietnamese Music 67." Court Music "He with the profound knowledge about Vietnamese Court Music not only taught the performance skill of such repertoires as Liên hoàn, Bình bán, Tây mai, Kim tiền, Xuân phong, Long hổ, Tẩu mã extracted from Ten bản ngự (Small music); Mã vũ, Man (Great music) but introduced their origin and performance environment." In Vietnamese traditional dance, court dances were encompassed văn vũ (civil servant dance) and võ vũ (military dance).International Workshop on Nhã Nhạc of Nguyễn Dynasty: Huế court music - Page 152 Huế Monuments Conservation Center, Ủy ban quốc gia Unesco của Việt Nam, Viện nghiên cứu âm nhạc (Vietnam) - 2004 "What is Dai nhac (great music) and what is Tieu nhac (small music)? On basis of terminology and canon-like document, there are some notions for our deep concern: - Nha nhac is a genre of music used by Chinese emperors in sacrifices to ..."Selected musical terms of non-Western cultures: a notebook-glossary - Page 132 Walter Kaufmann - 1990 "Dai nhac (Vietnam). "Great music." Ceremonial music of Temple and Royal Palace performed by a large instrumental ensemble. The instruments of a dai nhac ensemble were: 4 ken, ..."Visiting Arts regional profile: Asia Pacific arts directory - Page 578 Tim Doling - 1996 "Court orchestras were also organized into nha nhac ('elegant music') and dai nhac ('great music') ensembles and court dances were defined as either van vu (civil) or vo vu (military). Confucian music and dance was presented at court until ..." |
Music of Vietnam | Dilettante music | Dilettante music
Dilettante music is a genre of chamber music in the traditional music of southern Vietnam. Its instrumentation resembles that of the ca Huế style. Sometimes, modified versions of European instruments like the guitar, violin, and the steel guitar are also included. Vọng cổ ( "Folk sound") is one of the more popular tài tử melodies, and was composed in 1919 by songwriter Mr Sáu Lầu, of Bạc Liêu, in southern Vietnam.Garland Encyclopedia of World Music South East Asia p.262 Nhạc tài tử |
Music of Vietnam | Folk music | Folk music
thumb|Singers in the traditional music group Đông Kinh cổ nhạc
Vietnamese folk music is extremely diverse and includes dân ca, quan họ, hát tuồng, hát chầu văn, ca trù, hò, hát xẩm, hát xoan, bài chòi, đờn ca tài tử, ca Huế and trống quân, among other forms. |
Music of Vietnam | Chèo | Chèo
thumb|left|Chèo orchestra accompanies the performance of water puppetry
Chèo is a form of generally satirical musical theatre, often encompassing dance, traditionally performed by peasants in northern Vietnam. It is usually performed outdoors by semi-amateur touring groups, stereotypically in a village square or the courtyard of a public building, although today it is also increasingly performed indoors and by professional performers. |
Music of Vietnam | Xẩm | Xẩm
thumb|Blind artists performing xẩm
Xẩm or Hát xẩm (Xẩm singing) is a type of Vietnamese folk music which was popular in the Northern region of Vietnam but is considered nowadays an endangered form of traditional music in Vietnam. In the dynastic time, xẩm was performed by blind artists who wandered from town to town and earned their living by singing in common places. |
Music of Vietnam | Quan họ | Quan họ
thumb|right|260px|Singing quan họ at Hoàn Kiếm Lake
Quan họ (alternate singing) is popular in Hà Bắc (divided into nowadays Bắc Ninh and Bắc Giang provinces) and across Vietnam; numerous variations exist, especially in the Northern provinces. Sung a cappella, quan họ is improvised and is used in courtship rituals. |
Music of Vietnam | Chầu văn | Chầu văn
thumb|Singing chầu văn in the lên đồng ritual
Chầu văn or hát văn is a spiritual form of music used to invoke spirits during ceremonies. It is highly rhythmic and trance-oriented. Before 1986, the Vietnamese government repressed hát chầu văn and other forms of religious expression. It has since been revived by musicians like Phạm Văn Tỵ. |
Music of Vietnam | Nhạc dân tộc cải biên | Nhạc dân tộc cải biên
Nhạc dân tộc cải biên is a modern form of Vietnamese folk music which arose in the 1950s after the founding of the Hanoi Conservatory of Music in 1956. This development involved writing traditional music using Western musical notation, while Western elements of harmony and instrumentation were added. Nhạc dân tộc cải biên is often criticized by purists for its watered-down approach to traditional sounds. |
Music of Vietnam | Ca trù | Ca trù
thumb|Band performances Ca trù
Ca trù (also hát cô đầu) is a popular folk music which is said to have begun with ca nương, a female singer who charmed the enemy with her voice. Most singers remain female, and the genre has been revived since the Communist government loosened its repression in
the 1980s, when it was associated with prostitution.
Ca trù, which has many forms, is thought to have originated in the imperial palace, eventually moving predominantly into performances at communal houses for scholars and other members of the elite (this is the type of ca trù most widely known). It can be referred to as a Korean gisaeng-type of entertainment where women, trained in music and poetry, entertained rich and powerful men. |
Music of Vietnam | Cải lương | Cải lương
thumb|250px|Excerpts from reformed salary Tự đức dâng roi
Cải lương originated in Southern Vietnam in the early 20th century and blossomed in the 1930s as a theatre of the middle class during the country's French colonial period. Cải lương is now promoted as a national theatrical form. Unlike the other folk forms, it continued to prove popular with the masses as late as the 1970s and the 1980s, although it is now in decline.
Cải lương can be compared to a sort of play with the added aspect of Vọng cổ. This term literally means "nostalgia for the past", it is a special type of singing with the background music often being the đàn tranh zither or the đàn ghi-ta (Vietnamized guitar). In a typical cải lương play, the actresses and actors would use a combination of regular spoken dialogue and vọng cổ to express their thoughts and emotions. |
Music of Vietnam | Tuồng | Tuồng
thumb|200px|Costumes as warlords for Tuồng (Hát Bội) in Huế in 1874
Tuồng also known as hát tuồng or hát bội is a form of Vietnamese theatre. Hát tuồng is often referred to as classical Vietnamese opera influenced by Chinese opera. |
Music of Vietnam | Hò | Hò
Hò can be thought of as the southern style of Quan họ. It is improvisational and is typically sung as dialogue between a man and woman. Common themes include love, courtship, the countryside, etc. "Hò" is popular in Cần Thơ - Vietnam. |
Music of Vietnam | Bài chòi | Bài chòi |
Music of Vietnam | Ritual music | Ritual music
Nhạc lễ - court music |
Music of Vietnam | Traditional musical instruments | Traditional musical instruments
Đàn bầu (monochord zither)
Đàn gáo (two-stringed fiddle with coconut body, from Chinese yehu)
Đàn nguyệt (two-stringed fretted moon lute, from Chinese yueqin)
Đàn nhị (two-stringed fiddle with hardwood body, from Chinese erhu)
Đàn sến (two-string fretted flower lute, from Chinese Chaozhou qinqin)
Đàn tam (fretless lute with snakeskin-covered body and three strings from Chinese sanxian)
Đàn tam thập lục (hammered dulcimer from Chinese yangqin)
Đàn tranh (long zither from Chinese guzheng)
Đàn tỳ bà (pear-shaped four-stringed lute from Chinese pipa)
Kèn bầu (oboe from Chinese suona)
T'rưng (bamboo xylophone)
K'ni (also spelled k'ny or k'ný) - one-string vertical fiddle with a resonating disc that is held in the player's mouth; played by the Jarai people of the Central Highlands |
Music of Vietnam | Classical music | Classical music
thumb|Phạm Tuyên was one of the representatives of Classical music
Vietnamese composers also followed Western classical music, such as Cô Sao by Đỗ Nhuận, considered as the first Vietnamese opera. Hoàng Vân signed Thành Đồng Tổ Quốc, in 1960, considered as the first Vietnamese symphonie, and Chị Sứ as the first Vietnamese ballet in 1968, as well as the dozen of Choir with symphonic orchestra among his hundred famous patriotic tunes. Nguyễn Văn Quỳ also wrote 9 sonatas for violin and piano, following his French music studies and Vietnamese traditions. Phạm Duy also wrote classical compositions mixed with Vietnamese folk music. |
Music of Vietnam | Red music | Red music
alt=|thumb|Thanh Lam was one of the representatives of Red music
Red music (Nhạc đỏ) is the common name of the revolutionary music (nhạc cách mạng) genre in Vietnam. This genre of music began soon after the beginning of the 20th century during the French colonial period, advocating for independence, socialism and anti-colonialism. Red Music was later strongly promoted across North Vietnam during the War, to urge Northerners to achieve reunification under the Communist Party of Vietnam and fight against the "American imperialist puppet" in South Vietnam. Other forms of non-traditional, non-Revolutionary music and culture in the North, like Vietnamese popular music and Western music and culture, were banned, being labelled as "counter-revolutionary", "bourgeois", or "capitalist". |
Music of Vietnam | Yellow music | Yellow music
alt=|thumb|Chế Linh was one of the representatives of Yellow music
Yellow music (Nhạc vàng) in Vietnam has two meanings. The first meaning is the lyrical and romantic music from pre-war, post-development in southern Vietnam in the period 1954s-1975s and later overseas as well as in the country after Đổi Mới, influenced by music of South Vietnam 1975s. The second meaning is the common name of popular music that was formed in the late 1950s in South Vietnam, using many different melodies such as bolero, enka, rumba, tango, ballade, mambo, chachacha,...
Ballad and bolero music still remains one of the most popular genres of slow-tempo Vietnamese music, especially for karaoke sessions or for easy listening. |
Music of Vietnam | Overseas music | Overseas music
alt=|thumb|Tâm Đoan was one of the representatives of Overseas music
Overseas music also called Vietnamese diaspora music, refers to the Vietnamese music brought overseas, especially to the United States and France by the forced migration of Vietnamese artists after the Fall of Saigon in 1975.
alt=|thumb|Thúy Nga Productions was one of the record label biggest of Overseas
Since the Đổi Mới economic reformation began in 1986, an increasing number of foreign tourists have visited Vietnam, constructing a new dimension to the musical life of the country. Many hotels and restaurants have hired musicians who played traditional Vietnamese music to entertain their new customers. Spectacles of musical performances present tourists with some aspects of the musical culture of Vietnam, though musicians also play westernized folk music to cater to foreigners' tastes because of economic necessity. The cultural industry in Vietnam shows a positive tendency towards prosperity. Some excellent musical festivals have taken place, namely the Lullaby Festival, modernized Theater Festival, Theater Song contest, the Traditional Theater Festival, etc. A considerable amount of film music has been composed to enrich the film industry in Vietnam. Furthermore, the Institute of Musicology has played an important role in the preservation and academic research of Vietnamese music. The institute is well using modern technology to help restore and preserve Vietnamese music and songs on compact discs for the longer and better conservation of sound documents. Stored in the Sound Archives of the Institute of Musicology are 8,850 pieces of instrumental music and nearly 18,000 folk songs performed by more or less 2,000 performers. Thousands of technology products in the form of an audio CD, video CD, and videotapes featuring performances on folk music have been released. |
Music of Vietnam | 1940s–1980s, singer-songwriters | 1940s–1980s, singer-songwriters
200px|thumb|right|Songwriter Phạm Duy (1920–2013)
The Vietnam War, the consequent Fall of Saigon, and the plight of Vietnamese refugees gave rise to a collection of musical pieces that have become "classical" anthems for Vietnamese people both in Vietnam and abroad. Notable writers include Phạm Duy and Trịnh Công Sơn. Singers include Thái Thanh, Khánh Ly and Lệ Thu.John Shepherd Continuum encyclopedia of popular music of the world: Volumes 3–7 - 2005Phạm Duy. 1975. Musics of VietnamOlsenPopular Music of Vietnam 5 Sep 2010 – Popular Music of Vietnam: The Politics of Remembering, the Economics of Forgetting by Dale A.Olsen Routledge, New York, London, 2008
Many of these composers, in the North, also contributed Vietnamese revolutionary songs, known as nhạc đỏ "Red Music": Lưu Hữu Phước, Văn Cao, Hoàng Vân, Nguyễn Xuân Khoát... |
Music of Vietnam | Contemporary music | Contemporary music |
Music of Vietnam | V-pop | V-pop
The embrace of modern pop music culture has increased, as each new generation of people in Vietnam has become more exposed to and influenced by Westernized music, along with the fashion styles of Hong Kong, Taiwan, Japan, and South Korea. Musical production has improved and expanded over the years as visiting performers and organizers from other countries have helped to stimulate the Vietnamese entertainment industry. Such performances include international stages like the Asia Music Festival in South Korea where popular Vietnamese singers such as Mỹ Linh, Mỹ Tâm, Hồ Ngọc Hà, Lam Trường, Sơn Tùng M-TP and others have performed along with other singers from different Asian countries. During the recent years, such as 2006 and beyond, Vietnamese pop music has tremendously improved from years past. Vietnamese music has been able to widen its reach to audiences nationally and also overseas. There are many famous underground artists such as Andree Right Hand, Big Daddy, Shadow P (all featured in a popular song called Để anh được yêu) or Lil' Knight and countless others who have risen to fame through the Internet. In addition, there are also other singers that have gone mainstream, such as M4U, Hồ Ngọc Hà, Bảo Thy, Wanbi Tuấn Anh, Khổng Tú Quỳnh, Radio Band, etc. There are also amateur singers whose songs have been hits in Vietnam, such as Khởi My, Tóc Tiên, Văn Mai Hương,... These singers tend to view singing as a hobby, therefore not being labeled as mainstream artists. Overall, the quality of recording and the style of music videos in Vietnam has improved a lot compared to the past years due to many private productions and also overseas Vietnamese coming back to produce a combination of Western and Vietnamese music. |
Music of Vietnam | Rock and heavy metal | Rock and heavy metal
Introduced by American soldiers, rock and roll was popular in Saigon during the Vietnam War. This genre has developed strongly in the South and has spread out over the North region after the rise of Bức Tường in the 90s. For the last 10 years, metal has become more mainstream in Vietnam. Ngũ Cung and Microwave are the current top Vietnamese metal bands in the 21st century. Some songs that were popular during the Vietnam war include The Rolling Stones' "Paint it Black", The Beatles' "All You Need is Love," and Jimi Hendrix's "Purple Haze".
In the 21st century, in addition to bands from the 20th century, there are a number of new alternative rock - pop rock bands gradually appearing such as Ngọt, Cá Hồi Hoang or Chillies. The most special is Ngọt with many hits such as "Lần Cuối", "Thấy Chưa, để quên" and "Cho Tôi Đi Theo". |
Music of Vietnam | Hip hop and rap | Hip hop and rap
The early 1990s hip hop import into Vietnam. However, due to language limitations, the number of listeners is not much. Until the early 2000s, hip hop began to grow in Vietnam become a movement of young people. Not long after that, the movement quickly subsided and many turned their backs on Hip Hop and Rap. Although it can be considered as the freezing period of Vietnamese Hip Hop, it also helps Vietnamese Underground Hip Hop become more stable when the true continues the mission of making this culture ever stronger and promises more and more talents are born from this cradle.
Until the early 2005s new groups and communities were born Most prominent is Wowy a famous rapper in Vietnam in 2005s, and DSK ("Die Sonnen Kinder" or "Da Sun Kid") is called "King Of Rap". After that, he teamed up with Karik to become a very famous rapper couple in Vietnam in 2005s–2010s. Another famous rapper in Vietnam is named Suboi, she is the first Vietnamese female rapper to become successful in her country and is considered "Vietnam's queen of hip hop".
Some of the artist are : Suboi , Kimmese and Wowy.
Currently, hip hop plays an important role in V-pop, hip hop gameshow competitions are currently developing in Vietnam such as Rap Viet, King of Rap,... Contributing to bring Vietnamese hip hop internationally. |
Music of Vietnam | Karaoke music | Karaoke music
Karaoke music developed in Vietnam in the 1990s. Karaoke music mostly consist of songs with a slow tempo, often with sad and/or romantic lyrics. Vietnamese karaoke with sing-along lyrics often come in the genres of ballad, bolero or like cải lương. Vietnamese ballad and bolero music such at those from Paris by Night or from Vietnamese music productions in Vietnam still remain one of the most popular genres of slow-tempo music for Vietnamese people. Some examples are Love in the sunshine by Trish Thuy Trang and Unforgettable love by Ho Quynh Huong. |
Music of Vietnam | See also | See also
Vietnamese diasporic music
V-pop
Popular music of Vietnam
Ca trù
Cây đàn sinh viên
Quan họ
Nhã nhạc
Nhạc tài tử
Traditional Vietnamese dance
Traditional Vietnamese musical instruments
Vietnamese theatre |
Music of Vietnam | References | References |
Music of Vietnam | Work cited | Work cited
|
Music of Vietnam | Further reading | Further reading
|
Music of Vietnam | External links | External links
BBC Radio 3 Audio (60 minutes): Tran Quang Hai in Hanoi. Accessed November 25, 2010.
BBC Radio 3 Audio (60 minutes): Tran Quang Hai in Saigon. Accessed November 25, 2010.
Audio clips: Traditional music of Vietnam. Musée d'ethnographie de Genève. Accessed November 25, 2010.
Listen to traditional Vietnamese music
The traditional music of Vietnam
Traditional music of Vietnam from Vietnam-Culture.com
International Institute For Vietnamese Performing Art (IIVPA)
Encyclopedia of Vietnamese music
Prosperity revives a tradition (Vietnam's live music for the dead) by Ho Binh Minh, Sunday April 18, 04:22 AM
VietnamTourism.com: Traditional Theatre
Vietnamese Institute of Musicology
Việt Nam Cultural Profile - detailed overview of different music genres plus directory of key contacts
Young Vietnamese pop culture music Da Nhat Yen
Music of the Montagnards of Vietnam, part 1 - a panorama of tribal music in Vietnam by Tran Quang Hai
Music of the Montagnards of Vietnam, part 2 - a panorama of tribal music of Vietnam by Tran Quang Hai
Music of the Montagnards of Vietnam, part 3 - a panorama of tribal music of Vietnam by Tran Quang Hai |
Music of Vietnam | Listening | Listening
UbuWeb Ethnopoetics: Ca Dao: Vietnamese Folk Poems
Recording of Vietnamese folk singer Pham Duy at the 1966 Florida Folk Festival (made available for public use for the State Archives of Florida)
Nhạc Truyền Thuyết Về Chú Mèo Ngủ Quên, the legend of the Cat-That-Sleeps.
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Music of Vietnam | Table of Content | Short description, History, Influences on Vietnam music, Royal court music, Dilettante music, Folk music, Chèo, Xẩm, Quan họ, Chầu văn, Nhạc dân tộc cải biên, Ca trù, Cải lương, Tuồng, Hò, Bài chòi, Ritual music, Traditional musical instruments, Classical music, Red music, Yellow music, Overseas music, 1940s–1980s, singer-songwriters, Contemporary music, V-pop, Rock and heavy metal, Hip hop and rap, Karaoke music, See also, References, Work cited, Further reading, External links, Listening |
Vietnamese music | # | redirect Music of Vietnam |
Vietnamese music | Table of Content | # |
Integrated programme | '''Integrated programme''' | Integrated programme may refer to:
Integrated Programme - an education programme in Singapore
EU Integrated programme - European Union Integrated action programme in the field of Lifelong learning
Integrated Programme in Management (IPM) - IIM Indore, India |
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