Agriculture is an important part of the economy of Azerbaijan. It contributes only 6% of the GDP of the country, but employs 38.3% of the workforce. 21.78% of the total land area is arable land (land where crops can be cultivated (grown)) and 2.1% are used for permanent crops (crops which last for many seasons, rather than being replanted after each harvest). 16.45% of the total land area, which makes up the majority of Azerbaijan's cultivated lands, is irrigated. The major crops for are agricultural cash crops, grapes,cotton, tobacco, citrus fruits, rice, tea and vegetables. Livestock, dairy products, and wine and spirits are also important farm products. Farms in Azerbaijan are organized as state and cooperative farms which employ many farmers, and small private farms which are owned and run by one farmer and his/her family. A leading caviar producer and exporter in the past, Azerbaijan's fishing industry today is concentrated on the dwindling supply of sturgeon and beluga in the Caspian Sea.

Under the Soviet Union, agriculture in Azerbaijan was collectivized in large state farms. Collectivization meant taking the land from owners of all farms and joining it into large farms run by the government. After the collapse of the Soviet Union, economic reforms took place, which led to the rapid changes in the agricultural sector as well, including privatization. After the "Law on Land Reforms" was passed in 1996, land has been given to individuals who are now allowed to own small private farms and sell their farm products. Nevertheless, Azerbaijan's agricultural sector still needs a lot of modernization, if it is to realize its vast potential. Prices for agricultural products are below the cost of labor, because the Soviet-era communist collective farm system discouraged private initiative; equipment in general and the irrigation system in particular are old, and modern technology is still not widespread, especially in small private farms.

Related pages
 Economy of Azerbaijan
 Azerbaijani manat

References

Other websites

 Ministry of Agriculture, Republic of Azerbaijan

Azerbaijan
Economy of Azerbaijan

Agriculture in Azerbaijan


Xuân Thủy (September 2, 1912 – June 20, 1985) was a Vietnamese political figure. He was the Foreign Minister of North Vietnam from 1963 to 1965 and then chief negotiator of the North Vietnamese at the Paris Peace talks.

Thủy was born in Hà Đông Province in Northern Vietnam on September 2, 1912.  His name means "spring water". He was educated at a French school in Hanoi. Becoming interested in nationalist politics in his early teens, the fourteen-year-old Thuỷ entered the Revolutionary Youth League of the communist leader Ho Chi Minh. At sixteen, he was arrested for the first time. When he was eighteen, he was sent to the penal colony on Côn Sơn Island in the South China Sea. Two further jail terms followed. In 1938, Thuỷ became a member of the Indochina Communist Party. After the outbreak of the Second World War in 1939, he was imprisoned in Sơn La, being held there for six years until the end of the war in 1945. However, he used his internment to edit the underground communist newspaper Suoi Reo.

After his release, Thủy became the editor and director of the newspaper Cứu quốc, the official organ of the Viet Minh national liberation movement formed by Ho Chi Minh in 1941 in opposition to both French and Japanese control over the country. In 1946, he then became a member of the National Assembly of the just-proclaimed Democratic Republic of Vietnam. The Assembly was started by the Viet Minh as a vehicle of resistance against French colonial rule in what would become the First Indochina War. Speaking both French and Chinese fluently and known as an expert in agitprop, Thuỷ traveled both Asia and Europe visiting Vienna, Stockholm, Rangoon, Beijing, and Moscow in 1950 to gather support for the North Vietnamese cause. In 1961 and 1962, he attended the Geneva Conference on Laos as the deputy chairman of the Vietnamese delegation. An American diplomat at the meeting described him as "a top-drawer negotiator, a dreadful fellow to face across the table day after day." In 1963, he then became Foreign Minister of North Vietnam. However, in 1965 he had to step down. Thuỷ's health was cited as the reason for his resignation, yet his losing a power struggle, in which he supported a pro-Soviet line, is the more likely cause. His successor was Nguyen Duy Trinh, an avowed supporter of China in the Sino-Soviet split. Thuỷ then fell out of favor with the ruling party, but he returned to the political scene in 1968, as North Vietnam's chief diplomat at the Paris peace talks. These meetings finally led to American withdrawal from the country. He was known to use long tirades to test the American negotiators' endurance during the meetings. Thuỷ served briefly as one of the Vice Presidents of Council of State from 1981 to 1982. He was also made Vice-Chairman of North Vietnam's National Assembly, a position he retained until his death.

Thuỷ died of heart failure in Hanoi on June 20, 1985.

References

"Xuan Thuy, Hanoi Envoy at Paris Talks, Dies". New York Times. June 20, 1985.
"Xuan Thuy: Abrasive Advocate". Time. May. 10, 1968.
"Xuan Thuy; Negotiator for Hanoi at Paris Peace Talks". Los Angeles Times. June 30, 1985.

1912 births
1985 deaths
Vietnamese people of the Vietnam War
Vietnamese atheists
Vietnamese communists
Vice presidents of Vietnam
Members of the National Assembly (Vietnam)
Foreign ministers of Vietnam
Members of the 4th Secretariat of the Communist Party of Vietnam
Alternates of the 2nd Central Committee of the Workers' Party of Vietnam
Members of the 2nd Central Committee of the Workers' Party of Vietnam
Members of the 3rd Central Committee of the Workers' Party of Vietnam
Members of the 4th Central Committee of the Communist Party of Vietnam
Government ministers of Vietnam
People from Hanoi

Xuân Thủy


Aalto University School of Electrical Engineering (Aalto ELEC; , ) is a part of the Aalto University and works in the area of basic research as well as in the field of latest technologies. School's four departments and the special units widely cover the fields of electronics, communications and automation. Special fields include automation and systems technology, electronics and information technology, power engineering, (wireless) communications engineering and bioinformation technology. The school provides engineering education for both Finnish and international students.

Departments

 Department of Communications and Networking
Department of Electronics and Nanoengineering
 Department of Signal Processing and Acoustics
 Department of Electrical Engineering and Automation

Other units

Metsähovi Radio Observatory
 Micronova, Centre for Micro and Nanotechnology

History
Teaching began at the Technical School of Helsinki in 1849. Actual technical vocational training began in Helsinki after a legislative reform in 1858. The technical trade departments of engineering, mechanical engineering, architecture, chemical technology and surveying were founded at the same time.

In 1872 the school was renamed the Polytechnic School and in 1879 the Polytechnic Institute. In 1877 the Polytechnic School moved to its own premises when the building next to Hietalahti Market was completed. The main extensions of the main building were completed in 1904 and 1927.

The Polytechnic Institute was made a university-level school in 1908 and renamed the Technological University of Finland. The first degree at the university was either one of an engineer, surveyor or architect. The title 'diploma engineer' – which corresponds to a M.Sc. degree – was adopted in the early 1940s in conjunction of a syllabus reform at the same time as the lower technical degrees were defined.

Move to Otaniemi

After the Second World War the city blocks available began to be much too small. The final decision to move the University out of the city was made in 1948. Next year, the State bought the lands of Otaniemi Manor in the eastern part of the rural municipality of Espoo to serve as the new campus.

Development began in Otaniemi with housing for students, called Teekkarikylä or student village. Its first residents were not students, however, but athletes taking part in 1952 Helsinki Summer Olympics. The first functions of the University moved to Espoo in 1955. The main part of the main building was completed in 1964 and the move from Hietalahti was finalised ten years later.

In the 1950s and '60s Otaniemi became one of the most interesting sites of Finnish architecture. Architect Alvar Aalto made the general plan of the campus and he was in charge of the main building and the Otahalli sports hall and of several other buildings. Reima Pietilä and Raili Paatelainen designed Dipoli, and the office of Heikki and Kaija Siren designed the oldest dormitories, the Servin Mökki restaurant and the Otaniemi chapel.

Part of the Aalto University

In 2010 the Aalto University was created from the merger of the Helsinki University of Technology, the Helsinki School of Economics, and The University of Art and Design Helsinki. Aalto University School of Science and Technology divided into four new schools 1 January 2011. The new schools are formed of the former university faculties and their names are School of Engineering, School of Chemical Technology, School of Science and School of Electrical Engineering.

Important Events
1883  The teaching of electrical engineering begun at the Polytechnic Institute.

1887 Gottfried Strömberg started electrical engineering laboratory practises at the Polytechnic Institute.

1908 Electrical Engineering study branch is established and Johannes Sohlmann is appointed the first professor in electrical engineering at the Technological University of Finland.

1911 Master of Science degree can also be carried out in electrical engineering.

1926 Power Systems Laboratory was built in Hietalahti, Helsinki.

1938 First woman student in Electrical Engineering: Ms. Ulla Tuominen-Karosuo.

1941 The Department of Electrical Engineering was founded.

1941 Jouko Pohjanpalo achieved first doctorate in radio technology.

1969 The Department of Electrical Engineering is moved to Otaniemi Espoo.

1985 Department's expansion is completed.

1995 Change of name: The HUT Department of Electrical and Communications Engineering.

2008 Helsinki University of Technology was reorganised into faculties: Former Department of Electrical and Communications Engineering became the Faculty of Electronics, Communications and Automation. The Department of Automation and Systems Technology became part of the faculty.

2010 Helsinki University of Technology became part of the Aalto University.

2011 The Aalto University School of Science and Technology is divided into four new schools of technology. The Faculty of Electronics, Communications and Automation's new name is the School of Electrical Engineering.

Notable alumni

References

External links
 Aalto University School of Electrical Engineering Official Page

Aalto University
1849 establishments in Finland
Education in Helsinki


賦格藝術 ( Die Kunst der Fuge, The Art of Fugue), BWV 1080,係德國音樂家巴哈晚年嘅一集對位音樂,一般認為係未寫完嘅。集曲大概喺1742開始寫。巴哈嘅第一版有十二支賦格曲同兩支卡農曲,來自1745年嘅抄本(was copied in 1745)。呢份抄本嘅標題係巴哈個 son-in-law Altnickol 加嘅 Die Kunst der Fuga。第二版本係渠死(1750年)後至出版。入面有十四支賦格曲同四支卡農曲。呢集曲表現咗巴哈掌握嘅對位技術。每支曲由簡單嘅主題攷妙發展成精密又富音樂感嘅結果。成套賦格藝術表現咗多種曲式同結構,好多音樂人當渠做係歐洲音樂傳統嘅一座頂峰。

背景
巴哈係渠最後十年靜靜探索賦格同卡農。1742年 高德堡變奏曲 (BWV 988)出版,其中有九支嚴格(strict)嘅卡農曲(最近重揾到十四支附加嘅);1747年音樂奉獻 (BWV 1079) 出版,其中有兩支精釆嘅ricercari (「ricrecar」 係賦格曲嘅前身), 九支cerebrally devised 嘅各款卡農,同埋Vom Himmel hoch (BWV 769)嘅卡農變奏,都顯示巴哈越來越沈醉於對位音樂。好自然,巴哈喺同期又開始以「賦格藝術」('Die Kunst der Fuge' BWV 1080)為題寫另一組卡農同埋賦格曲 ,其中每一支都用d小調,每一支都係同一主題嘅變奏。

近排嘅分析顯示:賦格藝術早響1742(即定稿前五年)已有初稿。值得討論構思同埋後來改寫嘅動機。呢個日子吻合 Johann Mattheson 係 Der vollkommene Capellmeister (1739)上討論賦格,其中Mattheson 列舉咗響  Angelo Berardi  嘅 Documenti armonici(1687年)入面嘅好多種對位曲式。巴哈可能喺1738年尾見過 Mattheson嘅初稿。可能巴哈被Mattheson 嘅挑戰--寫有三主題嘅賦格曲--激發,終於實現渠好可能好長期嘅構思。但咁唔係話我地真係欠Mattheson 好多感謝。就算Mattheson 唔講,巴哈都或會識 Berardi 嘅技法,因為巴哈自己都可能有一本Documenti;賦格藝術嘅 《對位 18》 用 Berardi 嘅 Fuga reale來開始,而 Mattheson 無講過呢支Fuga reale。

初版有十首賦格同兩首卡農曲,有可能係 Mizler Society 嘅關係,啓發咗巴哈去擴寫份作品到而家咁樣。Mizler Society 要求會員每年交一份科學報告,重要用音樂來寫。巴哈響渠參加時演示咗首 卡農 Triplex (BWV 1076) 同埋《卡農變奏曲》;第二年交咗份《音樂奉獻》。因高過六十五歲嘅會員唔使再交,好可能巴哈打算喺1749年6月交已經有啲睇頭嘅《賦格藝術》做最後一樣功課。

呢輯曲係1751年巴哈死後出版,其中最後一支賦格重未完成;翌年音樂理論人Friedrich Wilhelm Marpurg 加大咗前言,重新出版。呢本入面有好多唔屬於巴哈意願嘅修改,包括:

加咗對位10 嘅一初期版本:正式版本入面,巴哈響開頭加咗廿三小節,亦修正咗好多道。
 改過啲卡農嘅次序,反映啲賦格由簡至細嘅排列(睇落去)。
 收尾支未完嘅賦格(Contrapunctus 18) 擺喺成組最尾,而唔係第十四高潮位。
 收錯咗兩組安排畀雙古鍵琴嘅三部鏡賦格,其實喺成組緊密嘅賦格同卡農入面冇佢哋嘅位,仲連次序都擺錯埋。
 收咗最後支管風琴曲 Wenn wir in höchsten Nöten sein 。

曲同埋譜

巴哈開列(open scoring)咗賦格藝術嘅樂譜,每聲部都有自己嘅五線。雖然有多種證據話份作品係寫畀鍵盤嘅,仍然有啲流行嘅猜測,話佢嘅寫畀樂隊(ensemble)嘅,或者話佢係隻絶對音樂--即係一種對位技法範式,而無諗住畀人奏。第一可能就梗唔係,因為啲賦格旋律線嘅音域多數都唔啱當時樂器玩,鍵盤就例外;但係絶對音樂嘅假設就無咁易排除。

Marpurg  喺 1752 版嘅前言實則無乜用,但呢版度加嘅料顯示,巴哈啲仔肯定佢哋係奏得嘅。可惜咁都唔係好肯定嘅,因為1751年趕住出,可能暗示,呢版唔一定係為音樂而音樂:巴哈唔係有錢佬,財產夾埋唔多,可能渠地真係好等錢使。既然已經做咗一大 噘(?guet),搞埋佢可以幫補下家計。之但係,好可能因為呢版唔係幾好賣,所以翌年就加大佢再版。 加送嘅曲雖然可以當做彌補最後支賦格嘅唔完整,但亦可能係用來吸引管風琴同第啲鍵盤手,令本嘢好賣啲。啲加料就唔關「係唔係絶對音樂」事。 之但係,如果巴哈譜賦格藝術係畀 Mizler Society嘅,咁佢肯定會揀同佢往年一樣嘅「開列(? open-score model)」款來寫。Both the Canonic Variations and the Musical Offering's six-part ricercare (the provenance of which dictates its instrumentation) were published using the same open-score format to demonstrate the complexity of the counterpoint. By association, this helps to negate the absolute music speculation.

睇吓組賦格曲,可以準確排好渠地嘅次序。第一組賦格嘅次序大致可用複雜度同主題發展來排好。 呢幾支係簡單賦格,each of which employs a single form of the subject: with the exception of Contrapunctus 4, which was added for the printed edition, these movements are close to the stile antico and are restrained in both harmonic and expressive content. Continuing in the same manner, Contrapunctus 5, combines two versions of the subject that have so been employed, those of Contrapunctus 1 (the original theme) and 3 (its inversion). Contrapunctus 6 bears the title 'in stile francese', and uses the emphatic dotted rhythms peculiar to the French 'ouverture'. It also combines rectus and invertus versions of the subject in both original and diminished (halved) note values. Similarly, Contrapunctus 7 incorporates diminution with augmented (doubled) note values. Contrapunctus 9 and 10 form a pair of double fugues that involve invertible counterpoint at the twelfth and tenth respectively, each opening with new subjects that are later combined with the theme; in the case of the former in augmentation, and in 10 with a subject reminiscent of the inverted theme of Contrapunctus 6. Contrapunctus 8 and 11 are both triple fugues that use related secondary subjects, their only real differentiation being that 8 is in three voices. Contrapunctus 9 forms the final fugue of the existing autograph. From here on things become more complicated: the order of the four canons (Contrapunctus 12-15) has been discussed; all are two-part: the first being a simple canon in gigue style; the second and third, at the twelfth and tenth respectively, also involve invertible counterpoint and thus correspond directly with Contrapunctus 9 and 10; the final canon (15) combines its subject with one that is both augmented and inverted. The mirror fugues that follow (Contrapunctus 16 and 17) are in both their original form and in one in which the counterpoint is inverted completely. Contrapunctus 18 is 239-bar fragment that breaks off shortly after the exposition of the third subject (B-flat, A, C, B-natural, corresponding in German musical notation to the letters BACH). Given the nature of this subject, it is likely that Contrapunctus 18 was intended as the final fugue of the cycle. Its unfinished state may lead us to think that death stayed the composer's pen. Even Carl Philip Emanuel seemed confused when, many years later, he appended to the manuscript 'NB. Whilst working on this fugue, in which the Name BACH appears in the countersubject, the author died.' The incompleteness of the fugue, however, does not necessarily suggest that this was what actually existed at the time. Since Bach would certainly have had to test the possibilities provided by the themes, it must be assumed that a draft version was extant. Therefore, it is possible that the work, as it has come down to us, is in a more incomplete state than it was when Bach died.

The opportunity to speculate on what this draft version contained is too great to ignore. A number of scholars and musicians have provided us with their own completions, but few have relied on evidentiary material from the main autograph and early imprints for their workings. Initially, it would seem odd were Bach not to introduce to this fugue a fourth subject, especially when considering reports that this was his intention. However, the cycle's titling suggests otherwise, since in the manuscript, only the autograph canons (nos. 12 and 15) carry any sort of nomenclature, and these are in Latin. The 1751/2 print, however, proves to be different: each fugue is entitled 'Contrapunctus', and to some of these, Italian subtitles have been added. In the case of the canons, two have been provided with Italian titles whilst for the third (Contrapunctus 12), Bach's title of 'Canon in Hypodiapasion' has been translated to 'Canon all Ottava'. The fourth (15) retains its Latin. Whilst it is probable that the term 'contrapunctus' is of Bach's devising, since it would not only suit the scholarly intentions of the work, but also allow the movements to be seen as examples of contrapuntal settings, it is important to question the source of the Italian. A note written by Johann Christoph Friedrich Bach demonstrates that the subtitle of Contrapunctus 15, 'per Augmentationem contrario motu', was his father's. But this does little to explain the other descriptions, unless they were scribed by another whom, taking Bach's precedent, added similar subtitling to the proofs. If this is the case, then the use of Italian can be easily explained: Bach sons generally added Italian titling to works whilst he himself preferred Latin. Thus, the resulting non sequitur is inconsequential: either it was too difficult or too much trouble to translate from the Italian (the myriad inconsistencies and inaccuracies in the titles throughout the cycle is suggestive of a less than masterful command of the language), and the subtitling of Contrapunctus 18 becomes nothing other than a description of the fugue as it comes down to us. It cannot be used as a counterargument to the proposal that Bach planned a fourth subject: problems have thus far arisen over the order of the fugues and the cycle's intended instrumentation, and since this suggests that Bach's executors had little or no knowledge of the intended architecture of the work as a whole, there is no reason to think that they had much idea concerning its individual movements.

作曲者嘅署名手稿 also provides evidence of how much of the unfinished fugue is missing. Bach allowed the complete fugue six pages, taking up five with the surviving fragment. It is possible, therefore,  巴哈打算寫多大概四十幾小節。Whilst this might seem to suggest a somewhat terse ending, especially when considering the fugues of his Weimar and early Leipzig periods, the six-part ricercare from the Musical Offering demonstrates that, by 1747, Bach's interests lay more in concision than expansion. Not only is there enough space for the completion of the third part, but also for the introduction of a final subject, which could easily have taken the guise of a reworking of the subject of Contrapunctus 1.

每首賦格都用簡單嘅d小調,除咗未寫完嘅對位十四。

源
1751版中,啲學章大約跟住對位技術嘅淺深來排。標題嘅阿剌伯數通常指聲部數,除咗最後一支嘅a 3 Soggetti指「有三項主題("with 3 subjects")」:

單賦格:
1. Contrapunctus I, and
2. Contrapunctus II: Simple monothematic 4-voice fugues on main theme.
3. Contrapunctus III, and
4. Contrapunctus IV: Simple monothematic 4-voice fugues on inversion of main theme, i.e. the theme is "turned upside down".
Counter-fugues, in which a variation of the main subject is used in both regular and inverted form:
5. Contrapunctus V: Has many stretto entries, as do Contrapuncti VI and VII.
6. Contrapunctus VI, a 4 in Stylo Francese: In dotted rhythm, known as "French style" in Bach's day.
7. Contrapunctus VII, a 4 per Augmentationem et Diminutionem: Uses augmented (doubling all note lengths) and diminished (halving all note lengths) versions of the main subject and its inversion.
Double and triple fugues, with two and three subjects respectively:
8. Contrapunctus VIII, a 3: Triple fugue.
9. Contrapunctus IX, a 4 alla Duodecima: Double fugue
10. Contrapunctus X, a 4 alla Decima: Double fugue.
11. Contrapunctus XI, a 4: Triple fugue.
Mirror fugues, in which the complete score can be inverted without loss of musicality:
12. Contrapunctus XII, a 4: The  rectus (normal) and inversus (upside-down) versions are generally played back to back.
13. Contrapunctus XIII, a 3: The second mirror fugue in 3 voices, also a counter-fugue.
Canons, labeled by interval and technique:
14. Canon alla Octava: Canon at the Octave. The two imitating voices are separated by an octave.
15. Canon alla Decima in Contrapunto alla Terza: Canon at the tenth, counterpoint at the third.
16. Canon alla Duodecima in Contrapunto alla Quinta: Canon at the twelfth, counterpoint at the fifth.
17. Canon per Augmentationem in Contrario Motu: Augmented canon in inverted motion.
An arrangement of Contrapunctus XIII, see below.
18. Fuga a 2 (rectus), and Alio modo Fuga a 2 (inversus)
Unfinished quadruple fugue:
19. 三部賦格(Fuga a 3 Soggetti ,Contrapunctus XIV):一支四聲部三重(甚或四重)賦格曲,其中第三主題基於BACH 動機- B♭–A–C–B♮ 四粒音符。

啲賦格同卡農嘅次序有得拗, especially as there are differences between the manuscript and the printed editions appearing immediately after Bach's death. Also musical reasons have been invoked to propose different orders for later publications and/or the execution of the work, e.g. by Wolfgang Graeser in 1927.

The 1751 printed edition contained — apart from a high number of errors and other flaws — a four-part version of Contrapunctus XIII, arranged to be played on two keyboards (rectus BWV 1080/18,1 and inversus BWV 1080/18,2). It is however doubtful whether the printed indication "a 2 Clav.", and the fourth added voice, that is not mirrored according to Bach's usual practice, derive from him, or from his son(s) that supervised this first edition.

The engraving of the copper plates for the printed edition would however have started shortly before the composer's death, according to contemporary sources, but it is unlikely that Bach had any real supervision in that preparation of the printed edition, due to his illness at the time.

The first printed edition also includes an unrelated work as a kind of "encore", the chorale prelude Vor deinem Thron tret Ich hiermit (Herewith I come before Thy Throne), BWV 668a, which Bach is said to have dictated on his deathbed.

A 1742 fair copy manuscript contains Contrapuncti I–III, V–IX, and XI–XIII, plus the octave and augmented canons and an earlier version of Contrapunctus X.

未完成嘅賦格
《對位十四》(Contrapunctus XIV)喺第三樂段中間,第239節忽然斷咗:

署名手稿上有作者個仔Carl Philipp Emanuel Bach手寫嘅字,話:"Über dieser Fuge, wo der Nahme B A C H im Contrasubject angebracht worden, ist der Verfasser gestorben." (「喺呢支賦格嘅呢度,B A C H 呢個名被引咗入對位主題,作曲者死咗。」)但係,現代學人唔同意呢種觀點,尤其係的豆豉都好明顯係巴哈自己手寫嘅,喺佢視衰手乜之前,大約係1748年同1749年之間。可參攷Christoph Wolff本
Johann Sebastian Bach, the Learned Musician,ISBN 0-393-04825-X,入便嘅論。

好多學者,包括Gustav Nottebohm (1881), Wolff and Davitt Moroney, ,話have argued that the piece was intended to be a quadruple fugue, with the opening theme of Contrapunctus I to be introduced as the fourth subject. The title Fuga a 3 soggetti, in Italian rather than Latin, was not given by the composer but by CPE Bach, and Bach's Obituary actually makes mention of "a draft for a fugue that was to contain four themes in four voices". The combination of all four themes would bring the entire work to a fitting climax. Wolff also suspected that Bach may have finished the fugue on a lost page, called "fragment X" by him, on which the composer attempted to work out the counterpoint between the four subjects.

A number of musicians and musicologists have conjectured completions of Contrapunctus XIV, notably music theoretician Hugo Riemann, musicologist Donald Tovey, organist Helmut Walcha, and Moroney. Ferruccio Busoni's Fantasia Contrappuntistica is based on Contrapunctus XIV, but is more a work by Busoni than by Bach. Moroney's completion (a midi file can be found here) is the shortest, and regarded as the most convincing by some. Glenn Gould錄時特登喺第233節第一拍強音急停(呢度係1751年版嘅尾); the manuscript continues until the first beat of bar 239 and the tenor voice until the end of that bar. Most performers add these bars, and execute a fade out on the last few notes.

置換矩陣
In 1991 an astonishing discovery was published by Zoltán Göncz answering the question with fairly great certainty how Bach planned the appearance of the fourth subject, the main subject of the cycle:

In the course of the exposition of the first three subjects (first subject: mm. 1–21, second subject: mm. 114–141, third subject: mm. 193–207), Bach applied a serial sequence of voice entries decided in advance, by which he determined the space and time parameters of the subject entries. The superimposition of the three exposition matrices foreshadows and develops as a negative the sequence of the voice entries of the fourth subject. The copying of the four subjects onto each other displays a characteristic construction of Bach's oeuvre occurring mainly in the vocal fugues: that of the permutation fugue.

點矛盾都好, it follows from the logic of composing a quadruple fugue that the combinations joining all four subjects and rendered the latest when performing the work were already completed in the very first stage of composition because the possibility of overlapping the four subjects (1+2+3+4) is the sine qua non of writing a quadruple fugue.

Contrapunctus XIV 入便, 巴哈用咗 whole expositions嘅「(:en:stretto),疊句,拉丁源,原意係夾緊」。 呈示頭三主題時, 佢編寫(programmed)咗後面嘅「置換 stretti」( permutation stretti),然後應用啲呈示部做「程式」同埋「算法」。 個置換矩陣 (:en:permutation matrix), apart from originating authentically with Bach, can be proved to have been ready at the time of the genesis of the work (that is, earlier than the surviving section).

The discovery of the permutation matrix was one of the most essential conditions to achieve that the reconstruction of Contrapunctus XIV could come near to the original form planned by Bach. (Göncz, Z.: Reconstruction of the Final Contrapunctus of The Art of Fugue, in: International Journal of Musicology Vol. 5, pp. 25–93. 1997 ISBN 3-631-49809-8; Vol. 6, pp. 103–119. 1998 ISBN 3-631-33413-3) Score published by Carus-Verlag [CV 18.018] (see External links).

演
See here for a more complete list.

Harpsichord:
 Davitt Moroney (1985)
 Menno Van Delft (1999)
 Sébastian Guillot (2006)

Piano:
 Charles Rosen (1967)
 Tatiana Nikolayeva (1992)
 Walter Riemer (2006), using a fortepiano of Mozart type

Organ:
 Helmut Walcha (1956, 1970)
 Glenn Gould (1962) incomplete
 André Isoir (1983[?])
 Marie-Claire Alain (1993)

String quartet:
 Italian Quartet (1985)
 Juilliard String Quartet (1989)
 Keller Quartet (1997)
 Emerson Quartet (2003)

Orchestra :
 Milan Munclinger with Ars Rediviva (1959, 1966, 1979)
 Hermann Scherchen with Orchestre de la RTSI (1965)
 Karl Ristenpart with Chamber Orchestra of the Saar (1965)
 Jordi Savall with Hesperion XX (1986)
 Erich Bergel with Cluj Philharmonic Orchestra (1991)

Other:
 Musica Antiqua Köln (director Reinhard Goebel) for string quartet/harpsichord and various such instrumental combinations (1984)
 Berliner Saxophon Quartett for saxophone (1990)
 József Eötvös for two eight-string guitars (2002)
 Amsterdam Loeki Stardust Quartet for recorder quartet (1998)
 Fretwork for Consort of Viols (2002)

註

Media

See also
List of compositions of Johann Sebastian Bach
Bach compositions printed during the composer's lifetime
Unfinished symphony

出去睇
 Web-essay on The Art of Fugue
 Introduction to The Art of Fugue
 Die Kunst der Fuge (scores and MIDI files) on the Mutopia Project website
 The Art of Fugue as MIDI files
 image of the ending of the final fugue at external site
 Public Domain Scores of the Art of Fugue at IMSLP
 Contrapunctus XIV (the reconstructed quadruple fugue) – Carus-Verlag
 Contrapunctus XIV (the reconstructed quadruple fugue) – part 1 (YouTube Video)
 Contrapunctus XIV (the reconstructed quadruple fugue) – part 2 (YouTube Video)
Glenn Gould 彈 Contrapunctus 14

賦格曲
巴哈作品

賦格藝術


Flinders Street Station is the central railway station of the rail network of Melbourne, Australia. It is on the corner of Flinders and Swanston Streets next to the Yarra River in the middle of the city, stretching from Swanston Street to Queen Street and covering two city blocks. Each weekday, about 105,000  people and 1,500 trains use the station.

It is serviced by Metro's suburban and city loop services, and V/Line's regional services.

History

The first railway station in the Flinders Street site was called Melbourne or City Terminus, and was a collection of sheds. It was completed in 1854 and was officially opened on 12 September by Sir Charles Hotham. The terminus was the first city railway station in Australia, and the opening day saw the first steam train trip in the country. It travelled to Sandridge (now Port Melbourne), over the Sandridge Bridge (which has now been redeveloped in 2006 as a pedestrian and cycle bridge across the Yarra River), travelling along the now light rail Port Melbourne line.

Melbourne's two other early central-city stations, Spencer Street Station (now Southern Cross Station) and Princes Bridge, opened in 1859. Princes Bridge was originally separated from Flinders Street, even though it was only on the opposite side of Swanston Street. Once the railway line was extended under the street to join the two, Princes Bridge slowly became amalgamated into Flinders Street. Federation Square now occupies its site.

In 1882 the government decided to build a new central passenger station to replace the existing construction. A worldwide design competition was held in 1899, with 17 entries received. The £500 first prize went to railway employees J. W. Fawcett and H. P. C. Ashworth, whose design included a giant dome and clock tower. Work began in 1901 and ended in 1910.

Platforms
Flinders Street Station's platforms are numbered from north to south, with Platform No. 1 being the farthest north, and generally serve specific lines as follows.

Platform 1: South Morang and Hurstbridge

Platforms 2 & 3: Belgrave, Glen Waverley and Lilydale

Platforms 4 & 5: Alamein, Blackburn trains on the Belgrave and Lilydale lines (both platform 4 only), Cragieburn, Sydenham, Upfield and Werribee

Platforms 6 & 7: Cranbourne, Frankston and Pakenham

Platforms 8 & 9: Sandringham and Williamstown (Peak Only)

Platforms 10 & 12–14: Various services, depending on day and time.

Note that the eastern end of Platform No. 1 is designated as Platform No. 14, past the Platform 1 escalators.  Platform 11 is out of use and has no track.

Station redevelopment

Flinders Street is currently undergoing redevelopment. It will involve cleaning and repair, as well as improving general ability for people who are disabled to move around the station.

The works include:

 Works on Platform 10, including putting a new ground covering on it
 New escalators to provide better access to Platforms 10, 12 and 13
 An additional lift on Platform 10 (giving a total of two lifts for Platforms 10, 12 and 13)
 New lighting
 Relocating the V/Line booking office to the main ticket office
 Developing a new commercial area on the site of the V/Line booking office
 Improving the underground footway from Elizabeth Street to Southbank and Degraves Street to Flinders Street
 Waterproofing the roof
 Developing a business case for possible uses of vacant space, including the disused ballroom (pictured here).
 Steam cleaning the facade
 New LCD Passenger Information Displays (PIDS) installed on the platforms, subways and in the main entrance.

Trivia
The main steps are embedded with electrical circuits to keep them dry, fitted in June 1985.
Platform No. 1, where South Morang & Hurstbridge line trains depart, is the longest railway platform in Australia, and the fourth longest in the world, at 708 metres long.
The building contains a ballroom (not in use), and a Day care centre was inside the main dome for a while. It included an open-air playground on an adjoining roof.
One of the original platform verandas from the Melbourne Terminus building was dismantled and re-erected at Hawthorn station, in the inner-eastern suburbs.
Flinders Street Station became a sister station of Mojiko Station in Japan on November 14, 1993.

References

Other websites
Victorian Department of Infrastructure article on Flinders Street Station

Railway stations in Melbourne
1854 establishments
1850s establishments in Australia

Flinders Street Station


Doom is a first-person shooter video game made by id Software in 1993. It is one of the first games to use three-dimensional levels. The game is about killing demons and zombies in order to stop an invasion. Doom has traps, including crushing ceilings, radiation pools, and exploding barrels, that can kill the player. Doom was also the first game with multiplayer deathmatch. This means you can fight with other players instead of the demons and zombies. The game was made with a computer language called C using some new techniques created by John Carmack.

It has five sequels: Doom 2 that came out in 1994, Final Doom that came out in 1996, Doom 3 that came out in 2004, Doom (2016), and Doom Eternal.

Doom is split into three basic components, the engine, the Iwad file, and the optional Pwad file. The engine contains the code needed to run the game on a computer. The Iwad file contains the default levels, sounds, pictures, and other components. Pwad files contain custom levels. The source code to the Doom engine was released in 1997 and can be downloaded for free. The full 3-episode and 4-episode Iwad files have not been released for free and must still be purchased.

Doom is a shareware game of three episodes, each having eight standard levels and one secret level. The secret level in each episode is accessed by finding a secret exit in one of the normal levels. The episodes are Knee-Deep In The Dead, The Shores Of Hell and Inferno. In the shareware version the only episode that can be played is Knee-Deep In The Dead. The expansion pack of Doom is Ultimate Doom, which has the fourth episode, Thy Flesh Consumed.

In Doom, the player can carry and use many different weapons. Each have their own special features and strengths. They are your Fists, the Pistol, Shotgun, Chaingun, Rocket Launcher, Plasma Gun, BFG-9000, and Chainsaw. The player gets new weapons by finding them in the level. Most weapons can be found in more than one level. Some weapons share ammo. For example, both the Pistol and Chaingun use bullets, and the Plasma Gun and BFG both use energy cells. The player must be careful not to waste ammo because if he or she does, there may be more than one weapon that cannot be used. The Fists and Chainsaw do not have ammo limits, so the player can use them as long as they want.

Doom was also made for the SNES, Sega 32X, PlayStation, Sega Saturn, 3DO, Atari Jaguar, and Game Boy Advance. It can also be downloaded online for the PlayStation 4, Xbox One, and Nintendo Switch.

1993 video games
DOS games
Sega 32X games
Sega Saturn games
Super Nintendo Entertainment System games
Doom video games

Doom


Frederick I (, c. 1175 – 16 April 1198), known as Frederick the Catholic (), was the Duke of Austria from 1195 to 1198. He was a member of the House of Babenberg.

Biography
Frederick the Catholic was born in 1175, the son of Duke Leopold V of Austria and Helena of Hungary. In 1192, he was enfeoffed with his father with Austria and Styria, while the younger Leopold VI had no claim. On Leopold V's death-bed, at Graz, he caught all by surprise by granting the Duchy of Styria to Leopold VI, with Emperor Henry VI's approval. None raised objections and thus, Austria and Styria remained divided. Frederick the Catholic, however, did not receive his enfeoffment by the Emperor personally; instead he sent Wolfger of Erla, Bishop of Passau on his behalf.

As the new Duke finally received his land in 1195, he still faced the restitution of the English hostages and the ransom money paid for Richard of England's life. Richard had been pressing hard for the return of both hostages and money, egged on by Adalbert III of Bohemia, Archbishop of Salzburg. The hostages were sent back at once, yet Frederick was unable to pay back the ransom money, despite returning the unspent portion. Upon the captivity of Richard Leopold V had forced Richard's niece Eleanor into a marriage to Frederick and Eleanor was on the way to Austria, but upon this situation the marriage was cancelled and she was also sent back. Frederick willingly took upon himself the penance of another Crusade, in order to restore Babenberg honor in the eyes of the Catholic Church. And on Easter, 31 March 1195, he took the cross at Bari. With Saladin dead, in 1193, the prospects were favorable. Yet by March 1196, Pope Celestine III had intervened, approving of Adalbert's conduct and severely censuring the late Duke Leopold V.

There were long delays before the Crusade would go under way. The German Emperor had been opting for his Erbreichsplan, a plan to make the Empire hereditary. He had been spending this time making deals, offering bribes and whatever means he could to both Princes of the Church and Empire to vote for a hereditary Empire, to no avail. In the end, the Emperor ceased his Hereditary plans to proceed with the Crusade.

Duke Frederick left Austria in April or late spring 1197 for the German Crusade of 1197 in the company of Wolfger, Bishop of Passau and his uncle, Henry I, Duke of Mödling. Frederick had stopped by Linaria to rest before moving on. When they left Apulia to reach Sicily, they were encouraged further, after two ships sunk at sea, with the Abbots of Werd and Beuern. By June, they were welcomed at Emperor Henry's court in Sicily. There the Emperor took full command and instructed Conrad of Mainz to oversee the passage of the Crusader fleet. In September, they sailed under the leadership of Conrad, Archbishop of Mainz & Chancellor of Germany from Messina and arrived weeks later to Acre, where command of the German forces was assumed under Conrad of Mainz and Marshal Henry of Kalden, whose presence brought the displeasure of the French forces under Queen Isabella I of Jerusalem. The German Princes, however, Frederick included, had denied the authority of Marshal Henry and had called for an election of a Commander. They called for Duke Henry I of Brabant to lead the assault against the Ayyubids under Al-Adil. Their forces rallied, and they marched on to Tyre, taking the city easily and then the wealthy city of Sidon before then invading Beirut and entering it on 24 October. Suddenly, news spread that King Henry I of Jerusalem had died from falling off the balcony of his palace in Acre. The German forces returned immediately to Acre and Duke Henry of Brabant acted as Regent. Time was not wasted and preparations were beginning to be made for Almaric of Cyprus to be made King of Jerusalem. Urged by the German Princes, Amalric married Isabella and was crowned in Acre King of Jerusalem in 1198.

The Germans marched forth again, reconquering the estates around Byblos Castle (Gibelet) and restoring the land link to the County of Tripoli. They marched against Damascus and even laid siege to Toron when suddenly, news had arrived of Emperor Henry VI's death on Michaelmas Eve. Many German princes had immediately left for the Fatherland to receive confirmation of their lands by the new Emperor. Duke Frederick stayed on, with Wolfger, to continue the war. In the end, Frederick, along with the remaining Germans, had called for an armistice with Al-Adil, who acknowledged King Amalric's rule over the reconquered lands.

Frederick fell ill and died on 16 April while returning from Palestine at Acre. Those who bore witness to his death were his companions, Meinhard II, Count of Gorizia, Wolfger, Bishop of Passau, Eberhard, Count of Dörnberg, Ulrich of Eppan and his most trusted attendant. He never married, but was very much beloved by his people, one such being Walther von der Vogelweide, who lamented him especially as Duke Leopold VI gave Walther a less cordial reception at his court.

Wolfger performed the German funeral custom, Mos Teutonicus, on him before bringing him back. He was then interred next to his father in Heiligenkreuz Abbey where they remain to this day, in peace.

See also
 List of rulers of Austria

References
Citations

Bibliography

External links

 Friedrich I. at AEIOU

Austria, Frederick I of
Austria, Frederick I of
12th-century dukes of Austria
Frederick 1
Christians of the Crusades
Burials at Heiligenkreuz Abbey
Christians of the Crusade of 1197

Frederick I, Duke of Austria (Babenberg)


For the similar jobs in other sports, see Goalkeeper.

The goaltender (also known colloquially as goalie or netminder) in ice hockey is the player who defends his team's goal net by stopping shots of the puck from entering his team's net, thus stopping the other team from scoring. They usually stay close to the net.

At the very end of a game, if a team is losing by one goal, teams may take their goaltender out of the game and replace him with another player. This makes it more likely that they will score a goal, however, it is also much easier for the other team to score without anybody defending the goal.

Ice hockey positions

Goaltender


John Robert "Joe" Cocker  (20 May 1944 – 22 December 2014) was an English singer known for his gritty, bluesy voice and dynamic stage performances that featured expressive body movements.  Most of his best known singles, such as
"Feelin' Alright?" and "Unchain My Heart", were recordings of songs written by other song writers, though he composed a number of songs for most of his albums as well, often in conjunction with songwriting partner Chris Stainton.

His first album featured a recording of the Beatles' "With a Little Help from My Friends", which brought him to near-instant stardom. The song reached number one in the UK in 1968, became a staple of his many live shows (Woodstock and the Isle of Wight in 1969, the Party at the Palace in 2002) and was also known as the theme song for the late 1980s American TV series The Wonder Years. He continued his success with his second album, which included a second Beatles song: "She Came In Through the Bathroom Window". A hastily thrown together 1970 US tour led to the live double-album Mad Dogs & Englishmen, which featured an all-star band organized by Leon Russell.  His 1974 recording of "You Are So Beautiful" reached number five in the US, and became his signature song.  Cocker's best selling song was the US number one "Up Where We Belong", a duet with Jennifer Warnes that earned a 1983 Grammy Award.  He released a total of 22 studio albums over a 43-year recording career.

In 1993, Cocker was nominated for the Brit Award for Best British Male. He was awarded a bronze Sheffield Legends plaque in his hometown in 2007, and received an OBE the following year for services to music. Cocker was ranked number 97 on Rolling Stones 100 greatest singers list.

Early life (1944–1960)

Cocker was born on 20 May 1944 at 38 Tasker Road, Crookes, Sheffield. He was the youngest son of a civil servant, Harold Norman Cocker (1907–2001), at the time of his son's birth serving as an aircraftman in the Royal Air Force, and Madge (née Lee). According to differing family stories, Cocker received his nickname of Joe either from playing a childhood game called "Cowboy Joe", or from a local window cleaner named Joe.

Cocker's main musical influences growing up were Ray Charles and Lonnie Donegan. Cocker's first experience singing in public was at age 12 when his elder brother Victor invited him on stage to sing during a gig of his skiffle group. In 1960, along with three friends, Cocker formed his first group, the Cavaliers. For the group's first performance at a youth club, they were required to pay the price of admission before entering. The Cavaliers eventually broke up after a year and Cocker left school to become an apprentice gasfitter working for the East Midlands Gas Board, later British Gas Corporation, while simultaneously pursuing a career in music.

Cocker is not related to fellow Sheffield-born musician Jarvis Cocker, despite a rumour to this effect (particularly in Australia, where Jarvis Cocker's father, radio presenter Mac Cocker, allowed listeners to believe that he was Joe's brother), although Joe was a friend of the family and even did some babysitting for Jarvis when the latter was an infant.

Career

Early career (1961–1966)
In 1961, under the stage name "Vance Arnold", Cocker continued his career with a new group, Vance Arnold and the Avengers. The name was a combination of Vince Everett, Elvis Presley's character in Jailhouse Rock (which Cocker misheard as Vance), and country singer Eddy Arnold. The group mostly played in the pubs of Sheffield, performing Chuck Berry and Ray Charles songs. Cocker developed an interest in blues music and sought out recordings by John Lee Hooker, Muddy Waters, Lightnin' Hopkins and Howlin' Wolf. In 1963, they booked their first significant gig when they supported the Rolling Stones at Sheffield City Hall.

In 1964, Cocker signed a recording contract as a solo act with Decca and released his first single, a recording of the Beatles' "I'll Cry Instead" (with Big Jim Sullivan and Jimmy Page playing guitars). Despite extensive promotion from Decca lauding his youth and working-class roots, the record was a flop and his recording contract with Decca lapsed at the end of 1964. After Cocker recorded the single, he dropped his stage name and formed a new group, Joe Cocker's Blues Band. There is only one known recording of Joe Cocker's Blues Band on an EP given out by The Sheffield College during Rag Week and called Rag Goes Mad at the Mojo.

The Grease Band (1966–1969)

In 1966, after a year-long hiatus from music, Cocker teamed up with Chris Stainton, whom he had met several years before, to form the Grease Band. The Grease Band was named after Cocker read an interview with jazz keyboardist Jimmy Smith, where Smith positively described another musician as "having a lot of grease". Like the Avengers, Cocker's group mostly played in pubs in and around Sheffield. The Grease Band came to the attention of Denny Cordell, the producer of Procol Harum, the Moody Blues and Georgie Fame. Cocker recorded the single "Marjorine" without the Grease Band for Cordell in a London studio. He then moved to London with Chris Stainton, and the Grease Band was dissolved. Cordell set Cocker up with a residency at the Marquee Club in London, and a "new" Grease Band was formed with Stainton and keyboardist Tommy Eyre.

In 1968, Cocker found commercial success with a rearrangement of "With a Little Help from My Friends", another Beatles song, which, many years later, was used as the opening theme for The Wonder Years. The recording features lead guitar from Jimmy Page, drumming by B. J. Wilson, backing vocals from Sue and Sunny, and Tommy Eyre on organ. The single remained in the top ten of the UK Singles Chart for thirteen weeks before eventually reaching number one, on 9 November 1968. It also reached number 68 on the US charts.

The new touring line-up of Cocker's Grease Band featured Henry McCullough on lead guitar, who would go on to briefly play with McCartney's Wings. After touring the UK with the Who in autumn 1968 and Gene Pitney and Marmalade in early winter 1969, the Grease Band embarked on their first tour of the US in spring 1969. Cocker's album With a Little Help from My Friends was released soon after their arrival and made number 35 on the American charts, eventually going gold.

During his US tour, Cocker played at several large festivals, including the Newport Rock Festival and the Denver Pop Festival. In August, Denny Cordell heard about the planned concert in Woodstock, New York and convinced organiser Artie Kornfeld to book Cocker and the Grease Band for the Woodstock Festival. The group had to be flown into the festival by helicopter due to the large crowds. They performed several songs, including "Feelin' Alright?", "Something's Comin' On", "Let's Go Get Stoned", "I Shall Be Released" and "With a Little Help from My Friends". Cocker would later say that the experience was "like an eclipse ... it was a very special day."

Directly after Woodstock, Cocker released his second album, Joe Cocker! Impressed by his version of "With a Little Help from My Friends", Paul McCartney and George Harrison allowed Cocker to use their songs "She Came In Through the Bathroom Window" and "Something" for the album. Recorded during a break in touring in the spring and summer, the album reached number 11 on the US charts and garnered a second UK hit with the Leon Russell song, "Delta Lady".

In August 1969, Cocker performed at the Isle of Wight Festival at Wootton Bridge, Isle of Wight, England. Throughout 1969 he was featured on variety TV shows like The Ed Sullivan Show and This Is Tom Jones. Onstage, he exhibited an idiosyncratic physical intensity, flailing his arms and playing air guitar. At the end of the year Cocker was unwilling to embark on another US tour, so he dissolved the Grease Band.

Mad Dogs & Englishmen (1970–1971)

Despite Cocker's reluctance to venture out on the road again, an American tour had already been booked so he had to quickly form a new band in order to fulfill his contractual obligations. It proved to be a large group of more than 20 musicians, including pianist and bandleader Leon Russell, three drummers – Jim Gordon, Jim Keltner, and Chuck Blackwell, and backing vocalists Rita Coolidge and Claudia Lennear. Denny Cordell christened the new band "Mad Dogs & Englishmen", after the Noël Coward song of the same name (with its refrain, "Mad dogs and Englishmen go out in the midday sun"). Cocker's music evolved into a more bluesy type of rock, comparable to that of the Rolling Stones.

During the ensuing Mad Dogs & Englishmen tour (later described by drummer Jim Keltner as "a big, wild party"), Cocker toured 48 cities, recorded a live album, and received very positive reviews from Time and Life for his performances. However, the pace of the tour was exhausting. Russell and Cocker had personal problems; Cocker became depressed and began drinking excessively as the tour wound down in May 1970. Meanwhile, he enjoyed several chart entries in the United States with cover versions of "Feelin' Alright" (originally recorded by Traffic) and "Cry Me a River".

His version of the Box Tops' hit "The Letter", which appeared on the live album and film, Mad Dogs & Englishmen, became his first US Top Ten hit. After spending several months in Los Angeles, Cocker returned home to Sheffield, where his family became increasingly concerned with his deteriorating physical and mental health. During this time, in periods between work, Cocker wrote the overture played by the UK Prime Minister Edward Heath on the occasion the Prime Minister famously conducted a live orchestra while in office. In the summer of 1971, A&M Records released the single "High Time We Went". This became a hit, reaching number 22 on the US Billboard Hot 100 chart, but was not issued on an album until November 1972 on the Joe Cocker album.

On the road (1972–1982)
In early 1972, after nearly two years away from music, Cocker went on tour with a group that Chris Stainton had formed. He opened with a performance in Madison Square Garden which was attended by about 20,000 people. After touring the United States, he embarked on a European tour where he played to large audiences in Milan and Germany. He then returned to the United States for another tour in autumn 1972. During these tours the group cut the songs that would be part of his newest album, Joe Cocker. A mixture of live songs and studio recordings, the album peaked at number 30 on the US charts.

In October 1972, when Cocker toured Australia, he and six members of his entourage were arrested in Adelaide for possession of marijuana. The next day, in Melbourne, assault charges were laid after a brawl at the Commodore Chateau Hotel, and the Australian Federal Police gave Cocker 48 hours to leave the country. This caused huge public outcry in Australia, as Cocker was a high-profile overseas artist and had a strong support base, especially amongst the baby boomers who were coming of age and able to vote for the first time. It sparked hefty debate about the use and legalisation of marijuana in Australia, and gained Cocker the nickname "the Mad Dog".

Shortly after the Australian tour, Stainton retired from his music career to establish his own recording studio. After his friend's departure and his estrangement from his longtime producer Denny Cordell, Cocker sank into depression and began using heroin. In June 1973, he kicked the habit but continued to drink heavily.

At the end of 1973, Cocker returned to the studio to record a new album, I Can Stand a Little Rain. The album, released in August 1974, was number 11 on the US charts and one single, a recording of Billy Preston's "You Are So Beautiful", which reached the number 5 slot. Despite positive reviews for the album, Cocker struggled with live performances, largely due to his problems with alcohol. One such instance was reported in a 1974 issue of Rolling Stone, which said that during two West Coast performances in October of that year he threw up onstage.

In January 1975, he released a second album that had been recorded at the same time as I Can Stand a Little Rain, Jamaica Say You Will. To promote his new album, Cocker embarked on another tour of Australia, made possible by the country's new Labor government. In late 1975, he contributed vocals on a number of the tracks on Bo Diddley's The 20th Anniversary of Rock 'n' Roll all-star album. He also recorded a new album in a Kingston, Jamaica studio, Stingray. However, record sales were disappointing; the album reached only number 70 on the US charts.

In 1976, Cocker performed "Feelin' Alright" on Saturday Night Live. John Belushi joined him onstage doing his famous impersonation of Cocker's stage movements. At the time, Cocker was $800,000 in debt to A&M Records and struggling with alcoholism. Several months later, he met producer Michael Lang, who agreed to manage him on the condition that he stay sober. With a new band, Cocker embarked on a tour of New Zealand, Australia and South America. He then recorded a new album with session work by Steve Gadd and Chuck Rainey, and a new, young bassist from Scotland, Rob Hartley. Hartley also toured briefly with Cocker's friends in 1977. In the autumn of 1978, Cocker toured North America promoting his album, Luxury You Can Afford. Despite this effort, it received mixed reviews and only sold around 300,000 copies.

In 1979, Cocker joined the "Woodstock in Europe" tour, which featured musicians like Arlo Guthrie and Richie Havens who had played at the 1969 Woodstock Festival. He also performed in New York's Central Park to an audience of 20,000 people. The concert was recorded and released as the live album, Live in New York. Cocker also toured Europe and appeared on the German television recording amphitheatre Rockpalast, the first of many performances on the show. In 1982, Cocker recorded two songs with the jazz group the Crusaders on their album Standing Tall. One song, "I'm So Glad I'm Standing Here Today", was nominated for a Grammy Award and Cocker performed it with the Crusaders at the awards ceremony. The Crusaders wrote this song with Cocker in mind to sing it. Cocker then released a new reggae-influenced album, Sheffield Steel, recorded with the Compass Point All Stars, produced by Chris Blackwell and Alex Sadkin.

Later career (1982–2014)

In 1982 Cocker recorded the duet "Up Where We Belong" with Jennifer Warnes for the soundtrack of the film An Officer and a Gentleman. The song was an international hit, reaching number 1 on the Billboard Hot 100, and winning a Grammy Award for Best Pop Performance by a Duo. The duet also won an Academy Award for Best Original Song, and Cocker and Warnes performed the song at the awards ceremony.

Several days later, he was invited to perform "You Are So Beautiful" with Ray Charles in a television tribute to the musician. In 1983, Cocker joined a star-studded line-up of British musicians, including Jimmy Page, Eric Clapton, Jeff Beck, Steve Winwood and Bill Wyman for singer Ronnie Lane's 1983 tour to raise money for the London-based organisation Action for Research into Multiple Sclerosis, in particular because Lane was beginning to suffer from the degenerative disease. The tour included a performance at New York's Madison Square Garden. While on another tour that year, Cocker was arrested by Austrian police after refusing to perform because of inadequate sound equipment. The charges were eventually dropped and Cocker was released.

Shortly after the incident, he released his ninth studio album, Civilized Man. His next album Cocker was dedicated to his mother, Madge, who died when he was recording in the studio with producer Terry Manning. A track from the album, "You Can Leave Your Hat On" was featured in the 1986 film 9½ Weeks. The album eventually went Platinum on the European charts. His song "Love Lives On" was featured in the 1987 film Harry and the Hendersons. His 1987 album Unchain My Heart was nominated for a Grammy Award, although it did not win. One Night of Sin was also a commercial success, surpassing Unchain My Heart in sales and yielding his final Top 20 hit in the United States, "When The Night Comes", written by Bryan Adams, Jim Vallance and Diane Warren that peaked at number 11 in January 1990.

Throughout the 1980s, Cocker continued to tour around the world, playing to large audiences in Europe, Australia and the United States. In 1986 he met the Italian singer Zucchero Fornaciari, who dedicated a song (Nuovo, meraviglioso amico, in Rispetto) to the English bluesman. After that Cocker took part in some concerts of the promotional tours for the albums Blue's (1987) and Oro Incenso & Birra (1989). In 1988, he performed at London's Royal Albert Hall and appeared on The Tonight Show. After Barclay James Harvest and Bob Dylan, Cocker was the first to give rock concerts in the German Democratic Republic, in East Berlin and Dresden. The venue, the Blüherwiese, next to the Rudolf–Harbig–Stadion, bears the vernacular name Cockerwiese ('Cocker meadow') today. He also performed for US President George H. W. Bush at an inauguration concert in February 1989. In 1992, his version of Bryan Adams' "Feels Like Forever" made the UK Top 40.

In 1992, Joe Cocker teamed with Canadian rocker Sass Jordan to sing "Trust in Me", which was featured on The Bodyguard soundtrack. At the 1993 Brit Awards, Cocker was nominated for British Male Solo Artist. Cocker performed the Saturday opening set at Woodstock '94 as one of the few alumni who played at the original Woodstock Festival in 1969 and was well received.

On 3 June 2002, Cocker performed "With A Little Help From My Friends" accompanied by Phil Collins on drums and Queen guitarist Brian May at the Party at the Palace concert in the grounds of Buckingham Palace, an event in commemoration of the Golden Jubilee of Elizabeth II. In 2007, Cocker appeared playing minor characters in the film Across the Universe, as the lead singer on another Beatles' hit, "Come Together", Cocker was awarded an OBE in the Queen's 2007 Birthday Honours list for services to music. To celebrate receiving his award in mid December 2007, Cocker played two concerts in London and in his home town of Sheffield where he was awarded a bronze Sheffield Legends plaque outside Sheffield Town Hall.

In April and May 2009, Cocker conducted a North American tour in support of his album Hymn for My Soul. He sang the vocals on "Little Wing" for the Carlos Santana album, Guitar Heaven: The Greatest Guitar Classics of All Time, released on 21 September 2010. In the autumn of 2010, Cocker toured Europe promoting his studio album Hard Knocks.

In 2000, Cocker was the opening act in select cities in the United States and Europe for Tina Turner's Twenty Four Seven Tour.
He returned to Australia in 2008 and again in 2011, the latter of which featured George Thorogood and the Destroyers as an opening act.

On 20 March 2011, Cocker took part in a benefit concert for Cornell Dupree at B.B. King's Blues Club in New York City. Dupree played on four Cocker albums: I Can Stand A Little Rain (1974), Jamaica Say You Will (1975), Stingray (1976) and Luxury You Can Afford (1978). Dupree's band Stuff was also Cocker's backing band on a tour promoting Stingray in 1976.

Cocker kept recording and touring throughout his later years. 2012's Fire it up, which would turn out to be Cocker's last studio album, was followed by an extensive tour, consisting of a US leg in 2012 and a European run in 2013. He played 25 shows in Germany alone on the European leg of the tour, which reflects the popularity Cocker enjoyed there. The full show of 22 April at Cologne's Lanxess Arena was recorded and released on CD and DVD under the title Fire it up Live later in 2013. The last concert on the tour, which was to be Cocker's final live performance, was at the Loreley Open Air Theatre in Sankt Goarshausen on 7 September 2013.

Tributes and acclaim
In 1994, fellow Yorkshire musician Philip Oakey, on behalf of his group, the Human League, said that Cocker was their "hero".

The two remaining living ex-Beatles, Paul McCartney and Ringo Starr, were among those who paid tribute to the singer following his death, while Cocker's agent, Barrie Marshall, said that Cocker was "without doubt the greatest rock/soul singer ever to come out of Britain". McCartney commented:

On 11 September 2015, a "Mad Dogs & Englishmen" tribute concert to Joe Cocker was performed at the Lockn' Festival featuring Tedeschi Trucks Band, Chris Stainton, Leon Russell, Rita Coolidge, Claudia Lennear, Pamela Polland, Doyle Bramhall II, Dave Mason, John Bell, Warren Haynes and Chris Robinson, among others. In commemoration, a Joe Cocker Mad Dogs and Englishmen Memory Book was created by Linda Wolf to celebrate the event. In late 2021, the feature-length documentary Learning to Live Together was released documenting the reunion concert.

In 2017, a feature-length documentary film about Cocker titled Joe Cocker: Mad Dog with Soul was released.

Accolades
 1983: 25th Annual Grammy Award, Best Pop Performance by a Duo or Group with Vocal, with Jennifer Warnes for "Up Where We Belong"
 1988 Nominee: Grammy Award for Best Solo Rock Vocal Performance
 1989, 1990, 1991 Nominees: Grammy Award for Best Male Rock Vocal Performance
 1993 Nominee: Brit Award for Best British Male
 1994 Honorary Doctorate: Sheffield Hallam University
 1996, 2013: Goldene Kamera
 1998, 1999, 2013, 2014 Nominees: Echo
 2007: Order of the British Empire (OBE)

Personal life and death
In 1963, Cocker began dating Eileen Webster, also a resident of Sheffield. The couple dated intermittently for the next 13 years.

In 1978, Cocker moved onto a ranch owned by Jane Fonda in Santa Barbara, California. Pam Baker, a local summer camp director and fan of Cocker's music, persuaded the actress to lend the house to Cocker. Baker began dating Cocker, and they married on 11 October 1987. The couple resided on the Mad Dog Ranch in Crawford, Colorado.

While performing a concert at Madison Square Garden on 17 September 2014, fellow pop musician Billy Joel stated that Cocker was "not very well right now" and endorsed Cocker for induction into the Rock and Roll Hall of Fame before his tribute performance of "With a Little Help from My Friends". Cocker died from lung cancer on 22 December 2014 in Crawford, Colorado, at the age of 70. He had smoked 40 cigarettes a day until he quit in 1991. Cocker is buried in the 'Garden of Memories' Cemetery in Crawford, Colorado.

Discography

Studio albums

 With a Little Help from My Friends (1969)
 Joe Cocker! (1969)
 Joe Cocker (1972/EU: 1973)
 I Can Stand a Little Rain (1974)
 Jamaica Say You Will (1975)
 Stingray (1976)
 Luxury You Can Afford (1978)
 Sheffield Steel (1982)
 Civilized Man (1984)
 Cocker (1986)
 Unchain My Heart (1987)
 One Night of Sin (1989)
 Night Calls (1991/US: 1992)
 Have a Little Faith (1994)
 Organic (1996)
 Across from Midnight (1997)
 No Ordinary World (1999/US: 2000)
 Respect Yourself (2002)
 Heart & Soul (2004/US: 2005)
 Hymn for My Soul (2007/US: 2008)
 Hard Knocks (2010/US: 2012)
 Fire It Up (2012)

Citations

General sources

Further reading
 Guinness Book of British Hit Singles (16th edition)
 The Guinness Book of 500 Number One Hits
 Guinness Book of British Hit Albums (7th edition)
 Guinness Rockopedia
 The Great Rock Discography (5th edition)

External links

 Photos taken by photographer Linda Wolf, one of the two official photographers of the Joe Cocker, Mad Dogs & Englishmen Tour, 1970

1944 births
2014 deaths
20th-century English singers
21st-century English singers
A&M Records artists
Capitol Records artists
DJM Records artists
Rocket Records artists
Deaths from lung cancer in Colorado
English baritones
English expatriates in the United States
English pop singers
English rock singers
English soul singers
Gasfitters
Grammy Award winners
Island Records artists
Musicians from Sheffield
Officers of the Order of the British Empire
People deported from Australia
The Grease Band members

Joe Cocker


Incidental music is music which has been written for a play.  It is not like opera where there is usually music all the way through.  Incidental music will be used between scenes or for particularly important moments in the play or for songs sung by the actors.  It is called "incidental" because the music is not as important as the play.

Incidental music dates as far back as Ancient Greece.  It was used in the 16th and 17th centuries, especially in the plays of Shakespeare whose characters often sing songs.  At this time incidental music was used more often for comedies than for tragedies.  Tragedies were about important people who were busy ruling their country and having wars.  In the plays they spoke in verse and were too noble to sing.  People thought that comedies were more suitable for including music.  The songs were often sung by actors playing the parts of shepherds, nymphs or clowns.

In later centuries music was used for all types of serious drama.  Sometimes large orchestras were used.  Many famous composers wrote music to be played by an orchestra during plays.  A famous example is the incidental music for Shakespeare's "A Midsummer Night's Dream" composed by Felix Mendelssohn in 1842.  Other composers worked with living poets such as Goethe and Schiller.  Beethoven wrote music for Goethe's play Egmont.  This music is very closely linked to what happens in the story: the overture describes the harshness of the Spanish oppression of the Netherlands which is what the play is about.  Schubert's famous Rosamunde overture comes from a play called Die Zauberharfe (The Magic Harp).  Schumann's music for Manfred is different: it was never intended to be performed with the play, it was just inspired by Schumann's imagination.  Many other composers wrote incidental music, e.g. Sibelius (for Maeterlinck's play Pelléas et Mélisande) and Grieg (for Ibsen's play Peer Gynt).

In all these examples the music is now usually heard at concerts, not as part of the original play.  Most of them have overtures (music played before the play starts) and these overtures are often performed separately, very often at the start of concerts.

Incidental music was not used so much during the 20th century although the plays of Brecht, which are often about political propaganda, needed a new kind of popular music.  Brecht worked with composers like Weill and Eisler who understood the kind of message that he wanted in his plays.  Their music for Brecht's plays is similar to cabaret music.

Nowadays electronic music is often used in plays.
Musical forms

Incidental music


The reveal (also known as the big reveal) is a plot device in narrative structure and is the exposure to the reader or audience of a previously unseen key character, or element of plot or performance.

A reveal is different from Aristotle's anagnorisis, in which something is revealed to a character rather than to the audience.

Narrative
The reveal may result in a plot twist and could be the key plot turn or unexpected coda in the story; for example, in the mystery genre. It may have scenes in the future that reveal consequences of actions to provide a lead for what will occur in the plot or side plot. This may be the overarching plot line in a mystery or soap opera. It may also be used as a device (particularly in the climax) in stage magic by an illusionist or escape artist.

Stage magic
In a magician's act, "the reveal" may refer to
 the normal culmination of a trick
 the unexpected (to the audience) culmination of the trick
 an explanation of the trick, which itself may be immediately eclipsed by a version of the trick that the first reveal can't explain.

Film
Reveal is also used for two distinct cinematographic techniques:
 A slow, theatrically presented image of an important character or item not seen previously in the film;
 A close-up, wide shot, or other unusual camera point-of-view that shows the audience an important visual clue not known to characters in the same scene.

In the sense of first-time showing of a character, a reveal is similar to, but usually not the same as, the opening shot or Establishing shot that gives the location or context of a new scene.

References

Plot (narrative)
Narrative techniques
Cinematography

Reveal (narrative)


SPAM Jam (formerly known as Cedar River days) is a yearly festival of the popular meat product Spam. It is held in Austin, Minnesota, where Hormel food company produces the meat.

The festival spans from July 1 to 7 and includes fireworks, parades, games, a carnival, and of course, the mysterious meat itself. Each year, those who enter the city during the festivities are likely to see copious amounts of blue and yellow (the colors of the packaging), and myriad dancing men and women in large SPAM can costumes.

The 2005 event hosted such guests as Bill Nye the Science Guy, Kurtwood Smith, Jerry Turner the auditor and Jim Belushi. Highlighting the 2007 event is the second annual SPAM Fritters eating competition, with 2006 Champion David "Processed Meat Paws" Stauber returning to defend his title mark of 856 fritters ().

Hawaii

Spam Jam is also celebrated annually in Honolulu, Hawaii during the last week of April where it is quickly becoming one of the most popular festivals in Hawaii because of its great food and entertainment in a family-friendly atmosphere. Local residents and visitors alike have made this an annual tradition. In 2009, an estimated 20,000 people attended the event.

Kalakaua Avenue, the main street in Waikiki, is closed to car traffic during the event, and various entertainment stages are set up on the street. Between the stages, several of Honolulu's finest restaurants will be serving up Spam in many different ways. Several merchandise tents sell Spam-themed items including T-shirts, shorts, sport balls, and slippers. A variety of Hawaiian craft booths will also be set up on the street.

Introduced in 1937 by Hormel Foods, more Spam is consumed per person in Hawaii than in any other state in the United States. Almost seven million cans of Spam are eaten every year in Hawaii.

External links

Food and drink festivals in the United States
Tourist attractions in Mower County, Minnesota
Hormel Foods
Festivals in Minnesota
Festivals in Hawaii
Spam (food)
Waikiki
April observances
Honolulu

Spam Jam


Mariatorget (the Maria Square) is a square and a city park in the district of Södermalm in Stockholm, Sweden.

History
It was constructed at the end of the 1760s. Its original name was Adolf Fredriks torg (after King Adolphus Frederick, who reigned 1751–1771), but it was renamed "Mariatorget" in 1959 to avoid confusion with the church and parish of Adolf Fredrikskyrkan in Norrmalm. The modern name alludes to the nearby Maria Magdalena kyrka (Church of Mary Magdalene) and the surrounding parish.

The square faces the street of Hornsgatan to the north, and the street of Sankt Paulsgatan to the south. The street Swedenborgsgatan, named after Emanuel Swedenborg, starts there and continues southwards.
In the northeast part is a bust in bronze from 1973 depicting Emanuel Swedenborg by Gustav Nordahl (1903-1992).

The central fountain is crowned by a sculpture by Anders Henrik Wissler (1869- 1941).  Tors fiske (Thor's fishing), depicting the Norse god Thor slaying the sea serpent Jörmungandr.

A small former Methodist church, S:t Paulskyrkan, faces the southwest corner of the square. It housed the oldest Methodist congregation in Sweden. The building was inaugurated in 1876. The altar painting by Wilhelm Gernandt was added when the altar section was rebuilt in 1894.

The area surrounding the park offers quite a number of cafés and bars and is known as the area where Stockholm's LGBT+ nightlife concentrates. The Rival hotel and bar, which until recently was a cinema theatre, is partly owned by former ABBA star Benny Andersson.

See also
Mariatorget metro station

References

Other sources
Article in Dagens Nyheter, published March 14, 2005 (in Swedish).
Alfredsson, B., Berndt, R., Harlén, H.: Stockholm Under. 50 år - 100 stationer. – Stockholm: Brombergs, 2000.
S:t Pauls Metodistförsamling - Official page (in Swedish).

Parks in Stockholm
Squares in Stockholm

Mariatorget


Arctic char or Arctic charr, Salvelinus alpinus, is a cold water fish in the family Salmonidae. It is native to Arctic, sub-Arctic and alpine lakes. It breeds in fresh water. Char may either be landlocked or anadromous, migrating to the sea. No other freshwater fish is found as far north. It is the only fish species in Lake Hazenon Ellesmere Island in the Canadian Arctic. It is one of the rarest fish species in Britain.Found only in deep, cold, glacial lakes, and is at risk from acidification. In other parts of its range, such as Scandinavia, it is much more common, and is fished extensively. It is also common in the Alps, (particularly in Trentino and in the mountain part of Lombardy). Char are also found in Iceland. In Siberia, it is known as golets. The Arctic char is a relative of both salmon and lake trout. It shares traits with both. The char's color depends on the time of year and where it lives. The back is usually dark brown or olive green. It has dark spots on a light background on its sides, and the color can be gold, brown, red, or orange. At spawning, the fins and belly become bright red or orange.

References

Freshwater fish
Salmoniformes

Arctic char


Samuel Cobb (baptized 1675–1713) was an English poet, critic and school master who was known for a light hearted, ironic pose in his verse and a witty, good natured personal life.

Life
He was born in London and orphaned early in his life.  He attended Christ's Hospital under the Lord Mayor's charity and continued with indigent aid to Trinity College, Cambridge for his B.A. in 1698 and M.A. in 1702.  Upon graduation with the master's degree, he began teaching at his old school, Christ's Hospital, where he would continue until his death.

Cobb was a classicist and a teacher of grammar at Christ's Hospital, and his poetry shows his knowledge of ancient Greek.
His first publication was in 1694, with A Pindarique Ode . . . in Memory of Queen Mary.
The next year, he published Bersaba, and in 1697 he wrote Pax redux.
He wrote several other odes and poems celebrating royal occasions, evidently with an eye toward gaining sufficient funds to relieve his poverty.
This was a habit he would continue with 1709's The Female Reign (on the accession of Anne).  His most famous poem was Poetae Britannici in 1700, which was a survey of previous English poetry in a light style, clear diction, and imagery that later critics like John Nichols considered "sublime."

Cobb was also interested in earthy humor.
In 1707, he wrote Discourse on Criticism and the Liberty of Writing and argued for the virtue and freedom of the author against too nice a critique.
He wrote Mouse-Trap in 1708, and Cobb translated Chaucer's The Miller's Tale in 1712.
Cobb's translation was extremely popular, and it colored the eighteenth century's understanding of Chaucer.
He also worked with John Ozell and Nicholas Rowe to translate The Works of Lucian in 1710-1711.

Cobb's cause of death is unknown.  He was buried in the cloisters of his school.

Notes

References

Bowden, Betsy.  "Samuel Cobb."  In Matthew, H.C.G. and Brian Harrison, eds.  The Oxford Dictionary of National Biography.  vol. 12, p 266-7.  London: Oxford University Press.

External links
 Samuel Cobb at the Eighteenth-Century Poetry Archive (ECPA)

1675 births
1713 deaths
17th-century English poets
18th-century English poets
18th-century English educators
Poets from London
English translators
People educated at Christ's Hospital
Alumni of Trinity College, Cambridge
Christ's Hospital staff
English male poets
English male non-fiction writers
18th-century English translators

Samuel Cobb (poet)


The Firth of Forth is the estuary or firth of Scotland's River Forth. It flows into the North Sea, between Fife to the north, and West Lothian, the City of Edinburgh and East Lothian to the south.

Geologically, the Firth of Forth is a fjord, formed by the Forth Glacier in the last glacial period. The river is tidal as far inland as Stirling.

Traffic is carried across the Firth on the Kincardine Bridge, the Forth Road Bridge and the Forth Rail Bridge. In the 21st century, the Clackmannanshire Bridge has been built close to the Kincardine Bridge and the Queensferry Crossing has been built close to the Forth Road Bridge to handle increased road traffic.

In July 2007, a hovercraft passenger service completed a two week trial between Portobello, Edinburgh and Kirkcaldy, Fife. The trial of the service (marketed as "Forthfast") was hailed as a major operational success, with an average passenger load of 85%. It was predicted to cut congestion for commuters on the Forth road and rail bridges by carrying about 870,000 passengers a year. The service was canceled in 2011.

References

Geography of Scotland

Firth of Forth