text:
Keep Calm and Carry On
From Wikipedia, the free encyclopedia
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"Keep Calm" redirects here. For the novel, see Keep Calm (novel).
This article is about the poster. For the Stereophonics album, see Keep Calm and Carry On (album). For the TV series episode, see Keep Calm and Carry On (Supernatural).
The original 1939 Keep Calm and Carry On poster
Keep Calm and Carry On was a motivational poster produced by the British government in 1939 in preparation for World War II. The poster was intended to raise the morale of the British public, threatened with widely predicted mass air attacks on major cities.[1][2] Although 2.45 million copies were printed, and although the Blitz did in fact take place, the poster was hardly ever publicly displayed and was little known until a copy was rediscovered in 2000 at Barter Books, a bookshop in Alnwick. It has since been re-issued by a number of private companies, and has been used as the decorative theme for a range of products.[3]
Evocative of the Victorian belief in British stoicism – the "stiff upper lip", self-discipline, fortitude, and remaining calm in adversity – the poster has become recognised around the world.[4] It was thought that only two original copies survived until a collection of approximately 15 was brought in to the Antiques Roadshow in 2012 by the daughter of an ex-Royal Observer Corps member.[5]
Contents
[hide]
1 History
1.1 Design and production
1.2 Later developments
1.3 Rediscovery and commercialisation
1.4 Trademark claims
2 Imitations
3 See also
4 References
5 Further reading
6 External links
History[edit]
Design and production[edit]
"Freedom Is in Peril"
"Your Courage"
The Keep Calm and Carry On poster was designed by the Ministry of Information during the period of 27 June to 6 July 1939.[6] It was produced as part of a series of three "Home Publicity" posters (the others read "Your Courage, Your Cheerfulness, Your Resolution Will Bring Us Victory" and "Freedom Is in Peril / Defend It With All Your Might"). Each poster showed the slogan under a representation of a "Tudor Crown" (a symbol of the state). They were intended to be distributed to strengthen morale in the event of a wartime disaster, such as mass bombing of major cities using high explosives and poison gas, which was widely expected within hours of an outbreak of war.[2]
A career civil servant named A. P. Waterfield came up with "Your Courage" as "a rallying war-cry that will bring out the best in everyone of us and put us in an offensive mood at once".[2] Others involved in the planning of the early posters included: John Hilton, Professor of Industrial Relations at Cambridge University, responsible overall as Director of Home Publicity; William Surrey Dane, managing director at Odhams Press; Gervas Huxley, former head of publicity for the Empire Marketing Board; William Codling, controller of HMSO; Harold Nicolson, MP (often misspelled as "Nicholson" in paperwork); W. G. V. Vaughan, who became Director of the General Production Division (GPD); H. V. Rhodes, who later wrote an occasional paper on setting up a new government department; Ivison Macadam; "Mr Cruthley"; and "Mr Francis". Ernest Wallcousins was the artist tasked with creating the poster designs.[7]
Detailed planning for the posters had started in April 1939 and the eventual designs were prepared after meetings between officials from the Ministry of Information and HM Treasury on 26 June 1939 and between officials from the Ministry of Information and HMSO on 27 June 1939.[6] Roughs of the poster were completed on 6 July 1939, and the final designs were agreed by the Home Secretary Samuel Hoare, 1st Viscount Templewood on 4 August 1939. Printing began on 23 August 1939, the day that Nazi Germany and the USSR signed the Molotov–Ribbentrop Pact, and the posters were ready to be placed up within 24 hours of the outbreak of war.[6]
Almost 2,500,000 copies of Keep Calm and Carry On were printed between 23 August 1939 and 3 September 1939 but the poster was not sanctioned for immediate public display. It was instead decided that copies of the poster should remain in "cold storage" for use after serious air raids (with resources transferred to Your Courage and Freedom is in Peril). Copies of Keep Calm and Carry On were retained until April 1940, but stocks were then pulped as part of the wider Paper Salvage campaign.[6] An October 1940 edition of the Yorkshire Post records the poster being hung in a shop in Leeds.[8]
The remainder of the Ministry of Information publicity campaign was cancelled in October 1939 following criticism of its cost and impact. Many people claimed not to have seen the posters; while those who did see them regarded them as patronising and divisive.[9] Design historian Susannah Walker regards the campaign as "a resounding failure" and reflective of a misjudgement by upper-class civil servants of the mood of the people.[10]
The typeface is often assumed to be Gill Sans,[11] which is very close though not exact (see the terminals of the 'C', for example). The lettering was likely hand drawn by a now-unknown designer.[12]
Later developments[edit]
In late May and early June 1941, 14,000,000 copies of a leaflet entitled "Beating the Invader" were distributed with a message from Prime Minister Winston Churchill. The leaflet begins "If invasion comes..." and exhorts the populace to "Stand Firm" and "Carry On". The two phrases do not appear in one sentence, as they applied to different segments of the population depending on their circumstances, with those civilians finding themselves in areas of fighting ordered to stand firm (i.e., stay put) and those not in areas of fighting ordered to carry on (i.e., continue vital war work). Each mandate is identified as a "great order and duty" should invasion come. The leaflet then lists 14 questions and answers on practical measures to be taken.[13]
Rediscovery and commercialisation[edit]
Shop display of "Keep Calm" merchandise, including the original slogan and variants such as "Keep Calm and Drink Tea".
In 2000, Stuart Manley, co-owner with his wife Mary of Barter Books Ltd. in Alnwick, Northumberland, was sorting through a box of used books bought at auction when he uncovered one of the original "Keep Calm and Carry On" posters. The couple framed it and hung it up by the cash register; it attracted so much interest that Manley began to produce and sell copies.[14] Other companies followed suit, and the design rapidly began to be used as the theme for a wide range of products.[15] Mary Manley later commented, "I didn't want it trivialised; but of course now it's been trivialised beyond belief."[15]
In early 2012, Barter Books debuted an informational short film, The Story of Keep Calm and Carry On, providing visual insight into the modernisation and commercialisation of the design and the phrase.[16]
The poster has become an evocation of British stoicism: the "stiff upper lip", self-discipline, fortitude and remaining calm in adversity. Susannah Walker comments that it is now seen "not only as a distillation of a crucial moment in Britishness, but also as an inspiring message from the past to the present in a time of crisis".[17] She goes on to point out, however, that such an interpretation overlooks the circumstances of its production, and the relative failure of the campaign of which it formed a part.[17]
Trademark claims[edit]
This section needs to be updated. Please update this article to reflect recent events or newly available information. (March 2015)
In August 2011, it was reported that a UK-based company called Keep Calm and Carry On Ltd[18] had registered the slogan as a community trade mark in the EU, CTM No: 009455619 and also in the United States No: 4066622.[19][20] after failing to obtain registration of the slogan as a trademark in the United Kingdom.[21] They issued a take-down request against a seller of Keep Calm and Carry On products.[22][23] Questions have been raised as to whether the registration could be challenged, as the slogan had been widely used before registration and is not recognisable as indicating trade origin.[20] An application has been submitted by British intellectual property advisor and UK trademarking service Trade Mark Direct, to cancel the registration on the grounds that the words are too widely used for one person to own the exclusive rights,[24] but the request for cancellation was rejected and the trade mark is still protected in all EU countries. The company subsequently tried to register the slogan as its trademark in both the United States[25] and Canada.[21][26]
Imitations[edit]
A 2009 parody of the poster
As the popularity of the poster in various media has grown, innumerable parodies, imitations and co-optations have also appeared, making it a notable meme. Messages range from the cute to the overtly political, typically with references to other aspects of popular culture ranging from the royal wedding of Kate Middleton and Prince William to the Super Mario video games. Examples have included "Now Panic and Freak Out" (with an upside-down crown), "Get Excited and Make Things" (with a crown incorporating spanners), "Keep Calm and Have a Cupcake" (with a cupcake icon), "Don't Panic and Fake a British Accent", "Keep Calm and Hate Apple" (with the Windows logo), "Keep Calm and Hate Microsoft" (with the Apple logo), "Keep Clam and Gary On" (a SpongeBob SquarePants-themed parody), "Keep Calm and Call Batman" (with the Batman logo),[27] "Keep Calm and Switch to Linux" (with Tux)[28] and "Keep Spending and Carry On Shopping".[29] In March–April 2012, the British pop-rock band McFly undertook a theatre tour entitled "The Keep Calm and Play Louder Tour", promoted with a poster closely based on that of 1939. In late 2012 and early 2013, the "Save Lewisham Hospital" campaign (a protest against proposed cuts in services at University Hospital Lewisham) made widespread use of a poster with the slogan "Don't Keep Calm Get Angry and Save Lewisham A&E".[30][31] Shepherd Neame Brewery put the slogan "Keep Calm and Celebrate" on the bottles of their Spitfire ale, which was designed to commemorate the Battle of Britain. The historic railroad town of Helper, Utah, uses the theme, "Keep Calm and Visit Helper," as part of its arts renaissance promotion.
Calgary (Alberta, Canada) Mayor Naheed Nenshi's efforts to encourage and motivate his citizens in the wake of the 2013 Alberta floods have made his name the subject of parody "Keep Calm and Nenshi On" fundraising T-shirts.[32]
See also[edit]
British propaganda during World War II
We Can Do It!, an American World War II poster which also became popular decades later
References[edit]
Jump up ^ Richard Slocombe, British Posters of the Second World War (London: Imperial War Museum, 2012), p. 6
^ Jump up to: a b c Lewis, Rebecca, PhD (5 April 2009). "1939: The Three Posters (PhD Extract)". Keep Calm and Carry on and other Second World War Posters: British Home Front Propaganda Posters of the Second World War.
Jump up ^ Hughes, Stuart (4 February 2009). "The Greatest Motivational Poster Ever?". BBC News.
Jump up ^ "Keep calm and carry on … bidding for rare poster". The Guardian. 2 October 2016.
Jump up ^ Slack, Chris (23 February 2012). "Keep Calm and Carry On... to the bank: Original wartime poster shows up on Antiques Roadshow". Daily Mail. London. Retrieved 13 May 2012.
^ Jump up to: a b c d Irving, Henry (27 June 2014). "Keep Calm and Carry On – The Compromise Behind the Slogan". History of Government Blog. Retrieved 27 June 2014.
Jump up ^ Lewis 2017.
Jump up ^ "Ban on Silk Stockings: Should They Have Been Rationed?". Yorkshire Post and Leeds Mercury. 22 October 1940. p. 4. Retrieved 17 November 2014.
Jump up ^ Rees, Nigel (20 July 2011). "Cheer up, the worst is yet to come". Today programme. BBC Radio 4.
Jump up ^ Walker 2012, pp.6–7.
Jump up ^ "Keep Calm and Carry On: Fonts". K-Type. Retrieved 28 September 2014.
Jump up ^ Kominek, Lex. "KEEP CALM AND CARRY ON - WWII Posters". Typophile. Retrieved 28 September 2014.
Jump up ^ "IF INVASION COMES. MR. CHURCHILL'S ORDERS. "Stand Firm and Carry On."". The West Australian. Perth, WA, Australia. 26 May 1941. p. 6.
Jump up ^ "About Keep Calm and Carry On".
^ Jump up to: a b "Keep Calm and carry on ... into a feud". The Sydney Morning Herald. 4 May 2013. Retrieved 4 May 2013.
Jump up ^ "The Story of Keep Calm and Carry On" on YouTube
^ Jump up to: a b Walker 2012, p. 45.
Jump up ^ "Keep Calm and Carry On Ltd". Keepcalmandcarryon.com. Retrieved 24 February 2014.
Jump up ^ Bustillos, Maria (5 October 2011). "The Vicious Trademark Battle Over 'Keep Calm and Carry On'". The Awl.
^ Jump up to: a b Phillips, Jeremy (22 August 2011). "Monday miscellany". IPKitten blog.
^ Jump up to: a b Rayner, Gordon (24 September 2011). "Battle rages over 'Keep Calm and Carry On' souvenirs". The Daily Telegraph. London.
Jump up ^ "Battle over trademark of 'keep calm' phrase". BBC News Online. 22 September 2010. Retrieved 22 September 2011.
Jump up ^ "Keep calm and carry on items removed from my ebay account". justanswer.com. August 2011.
Jump up ^ "IP group aims to reclaim 'Keep Calm & Carry On'". freelanceuk.com.
Jump up ^ "Serial Number: 85297485 Keep Calm and Carry On USA Trademark". Official Gazette. USPTO. 20 September 2011.
Jump up ^ "Canadian Trade-mark Data". IC.GC.CA. 13 October 2011.
Jump up ^ Chris Begley (July 9, 2013). "New Batman Easter egg from 'Man of Steel' revealed". batman-news.com. Retrieved February 13, 2017.
Jump up ^ "Keep calm and switch to Linux".
Jump up ^ Walker, Rob (5 July 2009). "Remixed Messages". The New York Times Magazine. Retrieved 21 March 2012.
Jump up ^ Little, Mandy (21 December 2012). "Protestors show unity". South London Press. London. Retrieved 27 January 2013.
Jump up ^ "Save Lewisham Hospital!". Save Lewisham Hospital campaign. 2013. Retrieved 27 January 2013.
Jump up ^ Dean Bennett (28 June 2013). "Mayor Nenshi has captured Calgary's heart, but the worst, at least politically, is yet to come". Toronto: The Globe and Mail. Retrieved 24 February 2014.
Further reading[edit]
Clampin, David (2009). ""To Guide, Help and Hearten Millions": the place of commercial advertising in wartime Britain, 1939–1945". Journal of Macromarketing. 29 (1): 58–73. doi:10.1177/0276146708328054.
Inkster, Nigel; Nicoll, Alexander (2010). "Keep Calm and Carry On". Survival: Global Politics and Strategy. 52: 249–256. doi:10.1080/00396331003764777.
Lewis, Bex (2012). "The Renaissance of 'Keep Calm and Carry On'". The Poster. 2: 7–23. doi:10.1386/post.2.1.7_1.
Lewis, Bex (2017). Keep Calm and Carry on The Truth Behind the Poster. London: Imperial War Museum. ISBN 1904897347. OCLC 979568000.
Walker, Susannah (2012). Home Front Posters of the Second World War. Oxford: Shire. ISBN 9780747811428.
External links[edit]
Wikimedia Commons has media related to Keep calm and carry on.
Photographs displaying examples of the poster's popularity, as printed in The Guardian
Photo of the original poster on the Barter Books website
First person: 'I am the Keep Calm and Carry On man'
Dr Bex Lewis, Original history of the poster, and blog tracing its 21st Century renaissance
Video explaining the basic history of the poster
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Solfège
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For similar terms, see Solfeggietto and Solfege (manga).
In music, solfège (/ˈsɒlfɛʒ/,[1] also US: /sɒlˈfɛʒ/, French: [sɔl.fɛʒ]) or solfeggio (/sɒlˈfɛdʒioʊ/, Italian: [solˈfeddʒo]), also called sol-fa, solfa, solfeo, among many names, is a music education method used to teach pitch and sight singing of Western music. Solfège is a form of solmization, and though the two terms are sometimes used interchangeably, the systems used in other music cultures such as swara, durar mufaṣṣalāt and Jianpu are discussed in their respective articles.
Syllables are assigned to the notes of the scale and enable the musician to audiate, or mentally hear, the pitches of a piece of music which he or she is seeing for the first time and then to sing them aloud. Through the Renaissance (and much later in some shapenote publications) various interlocking 4, 5 and 6-note systems were employed to cover the octave. The tonic sol-fa method popularized the seven syllables commonly used in English-speaking countries: do (or doh in tonic sol-fa),[2] re, mi, fa, so(l), la, and si, see below).
There are two current ways of applying solfège: 1) fixed do, where the syllables are always tied to specific pitches (e.g. "do" is always "C-natural") and 2) movable do, where the syllables are assigned to scale degrees ("do" is always the first degree of the major scale).
Contents
[hide]
1 Etymology
2 Origin
3 In Elizabethan England
4 Modern use
4.1 Movable do solfège
4.1.1 Major
4.1.2 Minor
4.2 Fixed do solfège
4.2.1 Chromatic variants
4.3 Comparison of the two systems
5 Note names
6 Other possibilities to denote Solfège
6.1 Rainbow Colors assigned by Isaac Newton
7 Cultural references
8 See also
9 References
10 External links
Etymology[edit]
Italian "solfeggio" and English/French "solfège" derive from the names of two of the syllables used: sol and fa.[3][4]
The generic term "solmization", referring to any system of denoting pitches of a musical scale by syllables, including those used in India and Japan as well as solfège, comes from French solmisatio, from the Latin solfège syllables sol and mi.[5]
The verb "to sol-fa" means to sing a passage in solfège.[6]
Origin[edit]
In eleventh-century Italy, the music theorist Guido of Arezzo invented a notational system that named the six pitches of the hexachord after the first syllable of each line of the Latin hymn Ut queant laxis, the "Hymn to St. John the Baptist", yielding ut, re, mi, fa, sol, la.[7] Each successive line of this hymn begins on the next scale degree, so each pitch's name was the syllable sung at that pitch in this hymn.
Sheet Music for Ut Queant Laxis
Ut queant laxīs resonāre fībrīs
Mīra gestōrum famulī tuōrum,
Solve pollūtī labiī reātum,
Sancte Iōhannēs.
The words were written by Paulus Diaconus in the 8th century. They translate as:
So that your servants may, with loosened voices,
Resound the wonders of your deeds,
Clean the guilt from our stained lips,
O St. John.
"Ut" was changed in the 1600s in Italy to the open syllable Do,[8] at the suggestion of the musicologue Giovanni Battista Doni (based on the first syllable of his surname), and Si (from the initials for "Sancte Iohannes") was added to complete the diatonic scale. In Anglophone countries, "si" was changed to "ti" by Sarah Glover in the nineteenth century so that every syllable might begin with a different letter.[9] "Ti" is used in tonic sol-fa (and in the famed American show tune "Do-Re-Mi").
An alternative theory argues that the solfège syllables (do, re, mi, fa, sol, la, ti) derive from the syllables of the Arabic solmization system درر مفصّلات Durar Mufaṣṣalāt ("Separated Pearls") (dāl, rā', mīm, fā', ṣād, lām, tā') during the Islamic contributions to Medieval Europe. This theory was first proposed by Francisci a Mesgnien Meninski in 1680 and by Jean-Benjamin de La Borde in 1780.[10][11][12][13] However, there is no documentary evidence for this theory.[14]
In Elizabethan England[edit]
In the Elizabethan era, England and its related territories used only four of the syllables: mi, fa, sol, and la. "Mi" stood for modern si, "fa" for modern do or ut, "sol" for modern re, and "la" for modern mi. Then, fa, sol and la would be repeated to also stand for their modern counterparts, resulting in the scale being "fa, sol, la, fa, sol, la, mi, fa". The use of "fa", "sol" and "la" for two positions in the scale is a leftover from the Guidonian system of so-called "mutations" (i.e. changes of hexachord on a note, see Guidonian hand). This system was largely eliminated by the 19th century, but is still used in some shape note systems, which give each of the four syllables "fa", "sol", "la", and "mi" a different shape.
An example of this type of solmization occurs in Shakespeare's King Lear, I, 2 (see § Literature).
Modern use[edit]
There are two main types of solfège Movable do and Fixed Do.
Movable do solfège[edit]
In Movable do, or tonic sol-fa, each syllable corresponds to a scale degree. This is analogous to the Guidonian practice of giving each degree of the hexachord a solfège name, and is mostly used in Germanic countries, Commonwealth Countries, and the United States.
One particularly important variant of movable do, but differing in some respects from the system described below, was invented in the nineteenth century by Sarah Ann Glover, and is known as tonic sol-fa.
In Italy, in 1972, Roberto Goitre wrote the famous method "Cantar leggendo", which has come to be used for choruses and for music for young children.
The pedagogical advantage of the movable-Do system is its ability to assist in the theoretical understanding of music; because a tonic is established and then sung in comparison to, the student infers melodic and chordal implications through his or her singing. Thus, while fixed-do is more applicable to instrumentalists, movable-do is more applicable to theorists and, arguably, composers.
Major[edit]
Movable do is frequently employed in Australia, China, Japan (with 5th being so,and 7th being si), Ireland, the United Kingdom, the United States, Hong Kong, and English-speaking Canada. The movable do system is a fundamental element of the Kodály method used primarily in Hungary, but with a dedicated following worldwide. In the movable do system, each solfège syllable corresponds not to a pitch, but to a scale degree: The first degree of a major scale is always sung as "do", the second as "re", etc. (For minor keys, see below.) In movable do, a given tune is therefore always sol-faed on the same syllables, no matter what key it is in.
The solfège syllables used for movable do differ slightly from those used for fixed do, because the English variant of the basic syllables ("ti" instead of "si") is usually used, and chromatically altered syllables are usually included as well.
Major scale degree
Mova. do solfège syllable
# of half steps from Do
Trad. Pron.
1 Do 0 /doʊ/
Raised 1 Di 1 /diː/
Lowered 2 Ra 1 /ɹɑː/
2 Re 2 /ɹeɪ/
Raised 2 Ri 3 /ɹiː/
Lowered 3 Me (or Ma) 3 /meɪ/ (/mɑː/)
3 Mi 4 /miː/
4 Fa 5 /fɑː/
Raised 4 Fi 6 /fiː/
Lowered 5 Se 6 /seɪ/
5 Sol 7 /soʊ/
Raised 5 Si 8 /siː/
Lowered 6 Le (or Lo) 8 /leɪ/ (/loʊ/)
6 La 9 /lɑː/
Raised 6 Li 10 /liː/
Lowered 7 Te (or Ta) 10 /teɪ/ (/tɑː/)
7 Ti 11 /tiː/
If, at a certain point, the key of a piece modulates, then it is necessary to change the solfège syllables at that point. For example, if a piece begins in C major, then C is initially sung on "do", D on "re", etc. If, however, the piece then modulates to G major, then G is sung on "do", A on "re", etc., and C is then sung on "fa".
Minor[edit]
Passages in a minor key may be sol-faed in one of two ways in movable do: either starting on do (using "me", "le", and "te" for the lowered third, sixth, and seventh degrees, and "la" and "ti" for the raised sixth and seventh degrees), which is referred to as "do-based minor", or starting on la (using "fi" and "si" for the raised sixth and seventh degrees). The latter (referred to as "la-based minor") is sometimes preferred in choral singing, especially with children.
The choice of which system is used for minor makes a difference as to how you handle modulations. In the first case ("do-based minor"), when the key moves for example from C major to C minor the syllable do keeps pointing to the same note, namely C, (there's no "mutation" of do's note), but when the key shifts from C major to A minor (or A major), the scale is transposed from do = C to do = A. In the second case ("la-based minor"), when the key moves from C major to A minor the syllable do keeps point to the same note, again C, but when the key moves from C major to C minor the scale is transposed from do = C to do = E-flat.
Natural minor scale degree
Movable do solfège syllable (La-based minor)
Movable do solfège syllable (Do-based minor)
Lowered 1 Le (or Lo) Ti
1 La Do
Raised 1 Li Di
Lowered 2 Te (or Ta) Ra
2 Ti Re
3 Do Me (or Ma)
Raised 3 Di Mi
Lowered 4 Ra Mi
4 Re Fa
Raised 4 Ri Fi
Lowered 5 Me (or Ma) Se
5 Mi Sol
6 Fa Le (or Lo)
Raised 6 Fi La
Lowered 7 Se Ba
7 Sol Te (or Ta)
Raised 7 Si Ti
Fixed do solfège[edit]
The names of the notes in Romance languages.
In Fixed do, each syllable corresponds to the name of a note. This is analogous to the Romance system naming pitches after the solfège syllables, and is used in Romance and Slavic countries, among others, including Spanish speaking countries.
In the major Romance and Slavic languages, the syllables Do, Re, Mi, Fa, Sol, La, and Si are used to name notes the same way that the letters C, D, E, F, G, A, and B are used to name notes in English. For native speakers of these languages, solfège is simply singing the names of the notes, omitting any modifiers such as "sharp" or "flat" in order to preserve the rhythm. This system is called fixed do and is used in Spain, Portugal, France, Italy, Belgium, Romania, Latin American countries and in French-speaking Canada as well as countries such as Bosnia and Herzegovina, Croatia, Russia, Serbia, Ukraine, Georgia, Bulgaria, Greece, Armenia, Albania, Macedonia, Mongolia, Iran, Taiwan, Middle East, Turkey, and Israel where non-Romance languages are spoken. In the United States of America, the fixed-do system is principally taught at The Juilliard School in New York City and the Curtis Institute of Music in Philadelphia.
Traditional fixed do[15]
Note name
Syllable
Pronunciation
Pitch class
English Romance Italian Anglicized
C♭ Do♭ do /dɔ/ /doʊ/ 11
C Do 0
C♯ Do♯ 1
D♭ Re♭ re /rɛ/ /ɹeɪ/ 1
D Re 2
D♯ Re♯ 3
E♭ Mi♭ mi /mi/ /miː/ 3
E Mi 4
E♯ Mi♯ 5
F♭ Fa♭ fa /fa/ /fɑː/ 4
F Fa 5
F♯ Fa♯ 6
G♭ Sol♭ sol /sɔl/ /soʊl/ 6
G Sol 7
G♯ Sol♯ 8
A♭ La♭ la /la/ /lɑː/ 8
A La 9
A♯ La♯ 10
B♭ Si♭ si /si/ /siː/ 10
B Si 11
B♯ Si♯ 0
In the fixed do system, shown above, accidentals do not affect the syllables used. For example, C, C♯, and C♭ (as well as C and C , not shown above) are all sung with the syllable "do".
Chromatic variants[edit]
Several chromatic fixed-do Systems that have also been devised to account for chromatic notes (and even for double-sharp and double-flat variants) are as follows:
Chromatic variants of fixed do
Note name
Syllable
Pitch class
English Romance Traditional
[15] 5 sharps / 5 flats
[15][16][17] Hullah
[18] Shearer
[19] Siler
[20] Sotorrio
[21]
C Do do – duf daw du (Pe) 10
C♭ Do♭ – du de do (Tsi) 11
C Do do do do da Do 0
C♯ Do♯ di da di de Ga 1
C Do – das dai di (Ray) 2
D Re re – raf raw ru (Do) 0
D♭ Re♭ ra ra ra ro Ga 1
D Re re re re ra Ray 2
D♯ Re♯ ri ri ri re Nu 3
D Re – ris rai ri (Mi) 4
E Mi mi – mef maw mu (Ray) 2
E♭ Mi♭ me me me mo Nu 3
E Mi mi mi mi ma Mi 4
E♯ Mi♯ – mis mai me (Fa) 5
E Mi – mish – mi (Jur) 6
F Fa fa – fof faw fu (Nu) 3
F♭ Fa♭ – fo fe fo (Mi) 4
F Fa fa fa fa fa Fa 5
F♯ Fa♯ fi fe fi fe Jur 6
F Fa – fes fai fi (Sol) 7
G Sol sol – sulf saw su (Fa) 5
G♭ Sol♭ se sul se so Jur 6
G Sol sol sol so sa Sol 7
G♯ Sol♯ si sal si se Ki 8
G Sol – sals sai si (La) 9
A La la – lof law lu (Sol) 7
A♭ La♭ le lo le lo Ki 8
A La la la la la La 9
A♯ La♯ li le li le Pe 10
A La – les lai li (Tsi) 11
B Si si – sef taw tu (La) 9
B♭ Si♭ te se te to Pe 10
B Si ti si ti ta Tsi 11
B♯ Si♯ – sis tai te (Do) 0
B Si – sish – ti (Ga) 1
A dash ("–") means that the source(s) did not specify a syllable.
Comparison of the two systems[edit]
Movable Do corresponds to our psychological experience of normal tunes. If the song is sung a tone higher it is still perceived to be the same song, and the notes have the same relationship to each other, but in a fixed Do all the note names would be different. A movable Do emphasizes the musicality of the tune as the psychological perception of the notes is always relative to a key for the vast majority of people that do not have absolute pitch.
Sotorrio[22] argues that fixed-do is preferable for serious musicians, as music involving complex modulations and vague tonality is often too ambiguous with regard to key for any movable system. That is, without a prior analysis of the music, any movable-do system would inevitably need to be used like a fixed-do system anyway, thus causing confusion. With fixed-do, the musician learns to regard any syllable as the tonic, which does not force them to make an analysis as to which note is the tonic when ambiguity occurs. Instead, with fixed-do the musician will already be practiced in thinking in multiple/undetermined tonalities using the corresponding syllables.
In comparison to the movable do system, which draws on short-term relative pitch skills involving comparison to a pitch identified as the tonic of the particular piece being performed, fixed do develops long-term relative pitch skills involving comparison to a pitch defined independently of its role in the piece, a practice closer to the definition of each note in absolute terms as found in absolute pitch. The question of which system to use is a controversial subject among music educators in schools in the United States. While movable do is easier to teach and learn, some feel that fixed do leads to stronger sight-reading and better ear training because students learn the relationships between specific pitches as defined independently, rather than only the function of intervals within melodic lines, chords, and chord progressions.[23] Of course, this argument is only valid if the fixed do is used with chromatic solfège syllables.
If a performer has been trained using fixed do, particularly in those rare cases in which the performer has absolute pitch or well-developed long-term relative pitch, the performer may have difficulty playing music scored for transposing instruments: Because the "concert pitch" note to be performed differs from the note written in the sheet music, the performer may experience cognitive dissonance when having to read one note and play another. Especially in the early stages of learning a piece, when the performer has yet to gain familiarity with the melodic line of the piece as expressed in relative terms, he or she may have to mentally re-transpose the sheet music in order to restore the notes to concert pitch.
Those trained in fixed-do will argue that their act is the analogue of reading aloud in a language. Just as one reads this very sentence without parsing it grammatically, so too fixed-do is the direct sounding of the music. Where the movable-do system requires constant real-time analysis of the tonality and modulations in the score, in fixed-do the musician uses knowledge of the changing tonality to understand for example that the pitch class c-natural is the supertonic in B-Flat major or minor, and the dominant when the music modulates to F-major, but the c-note remains the same pitch.
Instrumentalists who begin sight-singing for the first time in college as music majors find movable do to be the system more consistent with the way they learned to read music.
For choirs, sight-singing fixed do using chromatic movable do syllables (see below) is more suitable than sight-singing movable do for reading atonal music, polytonal music, pandiatonic music, music that modulates or changes key often, or music in which the composer simply did not bother to write a key signature. It is not uncommon for this to be the case in modern or contemporary choral works.
Note names[edit]
In the countries with fixed-do, these seven syllables (with Si instead of Ti) are used to name the notes of the C-Major scale, instead of the letters C, D, E, F, G, A and B. (For example, they would say, "Beethoven's Ninth Symphony is in Re minor, but its third movement is in Si-bemol major.") In Germanic countries, the letters are used for this purpose, and the solfège syllables are encountered only for their use in sight-singing and ear training. (They would say, Beethoven's Ninth Symphony is in "d-Moll" (D minor).)
Other possibilities to denote Solfège[edit]
Depiction of John Curwen's Solfege hand signs used in Tonic sol-fa. This version includes the tonal tendencies and interesting titles for each tone.
Rainbow Colors assigned by Isaac Newton[edit]
Isaac Newton[citation needed] had associated the seven solfège syllables with the seven colors of the rainbow and surmised that each color vibrated accordingly (a concept possibly related to the modern view of chromesthesia). Thus, red has the least amount of vibration while violet vibrates the most.
Pitch
Solfège
Color
C do (or doh in tonic sol-fa) Red
D re Orange
E mi Yellow
F fa Green
G sol (or so in tonic sol-fa) Blue
A la Indigo
Blue Violet
B ti/si Purple
Red Violet
Cultural references[edit]
The various possibilities to distinguish the notes acoustically, optically and by ways of speech and signs made the 'Solfège a possible syllabary for an International Auxiliary Language (IAL/LAI). This was, in the latter half of the 19th century, realised in the musical language Solresol.
In King Lear (Act 1, Scene 2) Edmund exclaims to himself right after Edgar's entrance so that Edgar can hear him: "O, these eclipses do portend these divisions". Then in the 1623 First Folio (but not in the 1608 Quarto) he adds "Fa, so, la, mi". This Edmund probably sang (see Elizabethan solmisation) to the tune of Fa, So, La, Ti (e.g. F, G, A, B in C major), i.e. an ascending sequence of three whole tones with an ominous feel to it: see tritone (historical uses).
In The Sound of Music, the song "Do-Re-Mi" is built around solfège. Maria sings it with the von Trapp children to teach them to sing the major scale.
See also[edit]
Key signature names and translations
Numbered musical notation
Ear training
Hexachord
Kodály Method
Solmisation, describing similar systems in other cultures
Solresol, a constructed language that had the solfège notes as syllables and could be sung or played as well as spoken.
Shape note
Vocable
References[edit]
Jump up ^ "solfège (BrE)". Oxford Dictionaries.
Jump up ^ Oxford English Dictionary 2nd Ed.(1998)[page needed]
Jump up ^ "Solfeggio". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved 2010-02-27.
Jump up ^ "Solfège". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved 2010-02-27.
Jump up ^ "Solmization". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved 2010-02-27.
Jump up ^ "Sol-fa". Merriam-Webster Online Dictionary. Merriam-Webster Online. Retrieved 2010-02-27.
Jump up ^ Davies, Norman (1997), Europe, pp.271-2
Jump up ^ McNaught, W. G. (1893). "The History and Uses of the Sol-fa Syllables". Proceedings of the Musical Association. London: Novello, Ewer and Co. 19: 35–51. ISSN 0958-8442. Retrieved 2010-02-26.
Jump up ^ This also freed up Si for later use as Sol-sharp
Jump up ^ Thesaurus Linguarum Orientalum (1680) OCLC 61900507
Jump up ^ Essai sur la Musique Ancienne et Moderne (1780) OCLC 61970141
Jump up ^ Farmer, Henry George (1988). Historical facts for the Arabian Musical Influence. Ayer Publishing. pp. 72–82. ISBN 0-405-08496-X. OCLC 220811631.
Jump up ^ Miller, Samuel D. (Autumn 1973). "Guido d'Arezzo: Medieval Musician and Educator". Journal of Research in Music Education. MENC_ The National Association for Music Education. 21 (3): 239–45. doi:10.2307/3345093. JSTOR 3345093.
Jump up ^ Miller 1973, p. 244.
^ Jump up to: a b c Demorest, Steven M. (2001). Building Choral Excellence: Teaching Sight-Singing in the Choral Rehearsal. New York: Oxford University Press. p. 46. ISBN 978-0-19-512462-0.
Jump up ^ Benjamin, Thomas; Horvit, Michael; Nelson, Robert (2005). Music for Sight Singing (4th ed.). Belmont, CA: Thompson Schirmer. pp. x–xi. ISBN 978-0-534-62802-4.
Jump up ^ White, John D. (2002). Guidelines for College Teaching of Music Theory (2nd ed.). Lanham, MD: Scarecrow Press. p. 34. ISBN 978-0-8108-4129-1.
Jump up ^ Hullah, John (1880). Hullah's Method of Teaching Singing (2nd ed.). London: Longmans, Green and Co. pp. xi–xv. ISBN 0-86314-042-4.
Jump up ^ Shearer, Aaron (1990). Learning the Classical Guitar, Part 2: Reading and Memorizing Music. Pacific, MO: Mel Bay. p. 209. ISBN 978-0-87166-855-4.
Jump up ^ Siler, H. (1956). "Toward an International Solfeggio". Journal of Research in Music Education. 4 (1): 40–43. doi:10.2307/3343838. JSTOR 3343838.
Jump up ^ Sotorrio, José A (2002). Tone Spectra -and the Natural Elements of Music. (1st Ed) Spectral Music, 2002. (Presents a simple 12-tone Solfège: Do (Ga) Re (Nu) Mi Fa (Jer) Sol (Ki) La (Pe) and Tsi, a written compromise between "Ti" and "si".]
Jump up ^ Sotorrio, José A (2002). Tone Spectra -and the Natural Elements of Music. (1st Ed) Spectral Music, 2002.
Jump up ^ Humphries, Lee. Learning to Sight-Sing: The Mental Mechanics of Aural Imagery. Minneapolis: Thinking Applied, 2008, No. 1.
External links[edit]
Wikimedia Commons has media related to Solfege.
Look up solfège in Wiktionary, the free dictionary.
History of Notation by Neil V. Hawes
Various scales with their solfège names and associated hand signs
A search engine for melodies that uses solfège
An online music notation editor for Sargam (the Indian Solfège), ABC, and numbered notation, the Indian solfège
Music theory online: key signatures and accidentals
Music theory online : staffs, clefs & pitch notation
GNU Solfège, a free software program to study solfeggio
Eyes and Ears, an anthology of melodies for practicing sight-singing, available under a Creative Commons license
The advantages of movable do over fixed do
theSightReadingProject: an interactive database of sight-reading materials (utilizes movable do, la minor)
Origin of Do Re Mi singing system 900 AD
"Colours are sounds: How to See the Music", Creativelab. The method for transformation of music into an image.
What Is Solfège Singing?
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Age of consent reform in the United Kingdom
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The examples and perspective in this article may not include all significant viewpoints. Please improve the article or discuss the issue. (August 2015) (Learn how and when to remove this template message)
Since the 1970s, a number of demonstrations have taken place in the United Kingdom in favour of abolishing the age of consent,[citation needed] in support of children's rights, gay liberationism or, more recently, "as a means to avoid unwanted pregnancies, sexually transmitted infections (STIs) and "bad sex" via education and health promotion".[1][2] However, many have shown concern that lowering the age of consent would be "giving perverts a green light".[3]
Contents
[hide]
1 History
2 Religious groups
3 Political parties and advocacy groups
4 Contemporary context
4.1 Research
4.2 Authors
5 See also
6 Footnotes
History[edit]
In 1275, the first age of consent was set in England, at age 12 (Westminster 1 statute).[4] In 1875, the Offences Against the Person Act raised the age to 13 in Great Britain and Ireland, and ten years later the Criminal Law Amendment Act of 1885 raised it to 16.[5][6] In 1917, a bill raising the age of consent in Great Britain and Ireland from 16 to 17 was defeated by only one vote.[7]
However, in 1950, the legislature of Northern Ireland passed the Children and Young Persons Act, which successfully raised the age of consent to 17.[8] Afterwards, The age of consent in Northern Ireland is 16, regardless of sexual orientation or gender, as specified by the Sexual Offences (Northern Ireland) Order 2008.[9] The reason the age of consent was lowered from 17 to 16 in 2008 with the Order was to bring it in line with the rest of the UK; Criminal Justice Minister Paul Goggins said there was no compelling reason for the age to be different in Northern Ireland than elsewhere.[10]
The age of consent in the Republic of Ireland is 17,[11] in relation to vaginal, oral, or anal sex, and vaginal or anal penetration.[12] This gives it one of the highest ages of consent in the European Union.[13]
The male homosexual age of consent in the United Kingdom was set at 21 in the Sexual Offences Act of 1967, then lowered to 18 in the Criminal Justice and Public Order Act 1994, and finally lowered to 16 in England and Scotland in the Sexual Offences (Amendment) Act of 2000.[14][15]
Currently, the age of consent for penetrative sex, oral sex and mutual masturbation in the United Kingdom is 16 years. If any individual has sex with someone under this age, then he or she may be charged with a criminal offence and may receive a 14-year prison sentence or if they are under 18 a 5-year prison sentence.[16] Similarly, the Sexual Offences Act 2000 prohibits a person in a position of trust from performing sexual acts with someone who cannot consent, which includes minors and "very vulnerable people".[17] It is primarily used for the protection of those who are above the age of consent but under the age of 18, or who have mental disabilities.[18][19]
Religious groups[edit]
In April 1972 a conference of the Quakers religious group in the UK, the Society of Friends Social Responsibility Council, passed a resolution in favour of lowering the age of consent in Britain from 16 to 14.[20][21] In July of that year, Dr. John Robinson, Dean of Trinity College, Cambridge, and chair of the UK's Sexual Law Reform Society, defended an age of consent of 14 in a lecture at a Methodist Conference.[20][22]
Political parties and advocacy groups[edit]
In May 1974, the Campaign for Homosexual Equality suggested a basic age of consent of 16, but that could be as low as 12 "in cases where a defendant could prove the existence of meaningful consent".[23][24] The Sexual Law Reform Society proposed in September of that year lowering the age of consent to 14, with the requirement that below the age of 18 the burden of proof that consent for sexual activities between the parties existed would be the responsibility of the older participant.[25]
In March 1976, the National Council for Civil Liberties (NCCL), called for an equal age of consent of 14 in Britain. The submission to the Criminal Law Revision Committee generated extensive newspaper coverage. While the report recognised the merits of abolishing the age of consent, it proposed retaining a prohibition on sex under the age of 14 "as a compromise with public attitudes",[26] stating that "although it is both logical and consistent with modern knowledge about child development, to suggest that the age of consent should be abolished, we fear that, given the present state of public attitudes on this topic, it will not be politically possible to abolish the age of consent".[27] They also argued that "childhood sexual experiences, willingly engaged in, with an adult result in no identifiable damage", and suggested that more harm was caused when the children retold their experiences in court or to the press. The submission was signed by Harriet Harman, who later became leader of the House of Commons and deputy leader of the Labour Party.[28]
The Communist Party of Great Britain lists abolition of age of consent laws among its immediate demands, with the added provision that there be alternate legal methods to protect children from sexual abuse.[29]
In 2000 a committee of twelve teenage girls, set up to advise the UK government on youth issues, recommended that the age of consent be reduced to 12. The website from which the group was recruited conducted a poll of 42,000 girls between the ages of 12 and 16 on the age of consent; 87% agreed that it should be lowered from 16.[30][31][32]
Contemporary context[edit]
Contemporary arguments for lowering the age of consent in the United Kingdom do not necessarily comprise values like individual freedom or children's rights. Specifically, they tend to focus on a pragmatic analysis of a new situation, including puberty at earlier ages, a higher proportion of young people sexually active below the age of consent and a trend to negotiate sexual behavior in secrecy in certain age groups.[33] Sociologist Matthew Waites, author of The age of Consent – Young People, Sexuality and Citizenship, observed that:
By the mid-1970s the case for a lower minimum age for all was finding wider support, with questions being posed concerning the merits of lowering the legal age for male/female sexual behaviour – not only within grassroots sexual movements, but also within religious organisations and liberal intellectual circles. [...] Significant sections of liberal opinion in the political mainstream, including prominent campaigners for children’s interests and sexual health, support at least some selective decriminalisation of sexual activity between young people under 18.[34]
More generally in academic work, particularly in sociology, recent writing on human sexual behaviour from various perspectives has questioned the extent of prohibitions on sexual activity involving children.[34]
On 17 October 2010, on the BBC's Sunday Morning Live program, the viewing public was asked for their text poll, "Should the age of consent be lowered to 13?" At the end of the program it was announced that 16% voted yes and 84% voted no.[35] Plans to lower the age of consent to 15 from the Faculty of Public Health president, Professor John Ashton, were rejected by Prime Minister David Cameron and Deputy Prime Minister Nick Clegg in 2013.[36]
Research[edit]
Research by Jean Golding shows that puberty is occurring earlier than in the 1970s, with an average age of menarche in girls now at 12 years and 10 months,[37] compared to the average age of 14 for puberty in general that was accepted as evidence by the Policy Advisory Committee of the 1970s.[38] Golding’s research has found that "one girl in six hits puberty at the age of eight".[39][40]
According to a recent British research conducted by the Centre for Family and Household Research, "an increasing proportion of young people are sexually active below the age of consent".[41] Additionally, the UK's first National Survey of Sexual Attitudes and Lifestyles (NATSAL), which collected data up to 1990, found that a high proportion of young people engage in other forms of sexual activity prohibited by the law, including mutual masturbation and oral sex, beginning on average at the age of 14.[42]
Waites also observed that "qualitative research reveals a picture of many young people negotiating sexual behaviour in a context of secrecy, constrained by power relationships while lacking confidence, resources and support".[43][44] He added, "It is argued by some sexual health professionals that the age of consent should be lowered[...] to facilitate more effective support from health and education services".[45]
Authors[edit]
Edmund White, literary and cultural critic on same-sex love and sexuality and currently a professor of creative writing in Princeton University's Lewis Center for the Arts, said, "Hypocrisy and cynicism underlie the current crusade against inter-generational love. I predict that children's liberation (inter-generational sex) will be the next great social movement in North America."[citation needed]
Peter Tatchell, British gay activist and author, has defended an age of consent of 14 in Britain since the mid-1990s, repeating the arguments presented in the 1970s by the NCCL and the Sexual Law Reform Society. He cited Romeo and Juliet, aged 14 and 13, as "one of the greatest love stories of all time".[46][47]
Although he doesn't favour total abolition, Francis Bennion, a British liberal humanist also influenced by the historical context of the issue, emphasised the fact that children are "sexual beings", concluding that this in itself makes legal prohibitions unfair.[48]
Miranda Sawyer, British journalist specialised in music and youth culture, pointed out that "we have sexual feelings from a very early age", considering that sex is "natural behaviour". She favoured lowering the age of consent to 12 in the UK while labeling the criminalisation of sexual activity under the age of 16 as "laughably unrealistic".[49]
See also[edit]
Age of consent
Age of consent reform
Age of consent in Brazil
French petitions against age of consent laws
Age of consent reform in Canada
Sexual Morality and the Law
Statutory rape
Footnotes[edit]
Jump up ^ Waites, Matthew. The Age of Consent – Young People, Sexuality and Citizenship (2005, pp. 122 and 220). New York/London: Palgrave MacMillan. ISBN 978-1-4039-2173-4. ISBN 1-4039-2173-3.
Jump up ^ Matthew Waites (15 August 2009). The Age of Consent: Young People, Sexuality and Citizenship. Palgrave Macmillan. ISBN 978-0-230-23718-6. (Google books link)
Jump up ^ Boniface, Suzi. "Lower the age of consent? No we ought to raise it". The Express. Archived from the original on 31 October 2015. Retrieved 31 October 2015.
Jump up ^ Robertson, Stephen. "Age of Consent Laws". Children and Youth in History. Sydney, Australia: University of Sydney. Retrieved 3 August 2015.
Jump up ^ Mary E. Odem (1995). Delinquent Daughters: Protecting and Policing Adolescent Female Sexuality in the United States, 1885-1920 (Gender and American Culture). Univ of North Carolina Press. p. 13. ISBN 978-0-8078-4528-8. Retrieved 2012-03-19.
Jump up ^ David Swarbrick. "Criminal Law Amendment Act 1885 (-)". swarb.co.uk. Retrieved 2012-03-19.
Jump up ^ "Age of consent: A response to the consultation on the Sexual Offences (Northern Ireland) Order 2007" (PDF). Northern Ireland, United Kingdom: Christian Institute. ISBN 978-1-901086-39-3. Retrieved 9 November 2015.
Jump up ^ "House of Lords - Merits of Statutory Instruments - Nineteenth Report". parliament.uk. Retrieved 22 August 2015.
Jump up ^ "The Sexual Offences (Northern Ireland) Order 2008". Opsi.gov.uk. 2 September 2013. Archived from the original on 16 December 2008. Retrieved 2014-05-17.
Jump up ^ "NI age of consent to be lowered". BBC News. 20 November 2007.
Jump up ^ "The law on sexual offences in Ireland". Citizens Information. Dublin, Ireland: Citizens Information Board. Archived from the original on 28 June 2013. Retrieved 12 June 2013.
Jump up ^ "Criminal Law (Sexual Offences) Act 2006". Irish Statute Book. 2 June 2006. Retrieved 12 June 2013.
Jump up ^ ""The age of consent debate: Where does Ireland stand?".
Jump up ^ "Gay consent at 16 becomes law". BBC News. November 20, 2000. Retrieved August 25, 2011.
Jump up ^ the age of consent is 17 in Northern Ireland
Jump up ^ "Age Of Consent". BBC Radio 1. BBC. Retrieved 25 August 2015.
Jump up ^ "understanding sexual offence reform". Jubilee-centre.org. Retrieved 2013-02-09.
Jump up ^ law.jrank.org[permanent dead link]
Jump up ^ G.R. No. 126545 retrieved 29 January 2012
^ Jump up to: a b Waites, Matthew (2005, p.132).
Jump up ^ "Quakers make 13 age of consent", Sunday Express, 16 April 1972.
Jump up ^ "Dr. Robinson puts case for age of consent to be 14", The Times, 6 July 1972; "Consent to what?", editorial, New Law Journal, vol. 122, no. 5554, 13 July 1972, pp.621-622.
Jump up ^ Waites, Matthew (2005, op.cit., pp. 132 and 243, Note 6.6)
Jump up ^ Gay News, no. 46, 9 May 1974, p.3 – 'CHE Report angers reformers'.
Jump up ^ Waites, Matthew (2005, op.cit., p.132).
Jump up ^ Waites, Matthew (2005, p.135-136). The age of consent – Young people, Sexuality and Citizenship. New York/London: Palgrave MacMillan. ISBN 978-1-4039-2173-4. ISBN 1-4039-2173-3.
Jump up ^ Sexual Offences: Evidence to the Criminal Law Revision Committee, NCCL report no. 13, February 1976, p.6. (London:National Council for Civil Liberties).
Jump up ^ Beckford, Martin (9 March 2009). "Harriet Harman under attack over bid to water down child pornography law". The Daily Telegraph. London.
Jump up ^ "Communist Party Draft Programme: 3. Immediate demands". Weekly Worker. Communist Party of Great Britain (Provisional Central Committee). Archived from the original on 8 June 2011. Retrieved 22 August 2015. Abolish age-of-consent laws. We recognise the right of individuals to enter into the sexual relations they choose provided this does not conflict with the rights of others. Alternative legislation to protect children from sexual abuse.
Jump up ^ Martin, Nicole (29 November 2000). "Girls say teenage sex campaign is 'out of touch'". The Daily Telegraph. London.
Jump up ^ "Sarah's chance to air seriously 'wicked' views". The Northern Echo. 29 December 2000. Archived from the original on 17 June 2009. Retrieved 31 October 2015. A North-East teenager has been chosen to represent the region on a national board which looks at the important issues affecting teenage girls. Sarah Wilson, 15, of Edmondsley, near Chester-le-Street, was chosen to be the voice of the North on the Generation Wicked board - the first national teenage advisory board. [...] Among the topics aired were eating disorders, the age of consent to sex - including hopes to lower it to 12 years old - and a need for hard-hitting education on drugs and sex.
Jump up ^ "Nichola speaks out for teenage girls". Swindon Advertiser. 2 December 2000. Archived from the original on 17 June 2009. Retrieved 31 October 2015.
Jump up ^ Waites, Matthew. (2005, pp. 212-214 and 220).
^ Jump up to: a b Waites, Matthew (2005, op.cit., pp. 132-133, 220)
Jump up ^ "Sunday Morning Live - Episode 14". BBC. 17 Oct 2010. Archived from the original on 17 October 2010. Retrieved 17 Oct 2010.
Jump up ^ "PM rejects call to lower age of consent to 15". BBC News. 17 November 2013. Archived from the original on 4 May 2015. Retrieved 31 October 2015. The prime minister has rejected a call from a leading expert on public health to lower the age of consent to 15. Faculty of Public Health president Prof John Ashton said society had to accept that about a third of all boys and girls were having sex at 14 or 15. [...] Downing Street said the current age of 16 was in place to protect children and there were "no plans to change it".
Jump up ^ Waites, Matthew. (2005, p. 212).
Jump up ^ The UK’s Policy Advisory Committee on Sexual Offences was created in December 1975, by Roy Jenkins, then Home Secretary of the British government, with the specific task of examining the law on the age of consent. Sources: Waites, Matthew (2005, op.cit., p.133); Policy Advisory Committee on Sexual Offences (PAC, June 1979, p. iii) – Working Party on the Age of Consent in Relation to Sexual Offences (London:HMSO).
Jump up ^ Waites, Matthew. (2005, pp. 212 and 246, Note 9.1).
Jump up ^ ‘One girl in six hits puberty by age of eight’, The Observer, 18 June 2000, pp.1-2; ‘Too much too young’, The Observer, 18 June 2000, Review, pp.1, 4; ‘Sex from 8 to 18’, UK’s Channel Four, Tuesday 27 June 2000, 9 p.m.
Jump up ^ Wertheimer, A. and Macrae, S. (1999, p.19). Family and Household Change in Britain: A Summary of Findings from Projects in the Economic and Social Research Council Population and Household Change Programme (Oxford: Centre for Family and Household Research, Oxford Brookes University). Cited by Waites, Matthew (2005, p.214).
Jump up ^ Johnson, A.M.; Wadsworth, J.; Wellings, K.; and Field, J. with Bradshaw, S. (1994) – Sexual Attitudes and Lifestyles (Oxford: Blackwell Scientific Publications). Cited by Waites, Matthew (2005, p.214).
Jump up ^ Waites, Matthew. (2005, p. 213).
Jump up ^ Holland, J.; Ramazanoglu, C.; Sharpe, S.; and Thomson, R. (1998) – The Male in the Head: Young People, Heterosexuality and Power (London: Tufnell Press). Cited by Waites, Matthew (2005, p. 213).
Jump up ^ Waites, Matthew (2005, p. 213).
Jump up ^ Waites, Matthew (2005, pp. 220 and 222).
Jump up ^ Tatchell, Peter (1996) – "Is Fourteen Too Young for Sex?", Gay Times, June, pp. 36-38; Tatchell, Peter (2002) – "Why the Age of Consent in Britain Should be Lowered to Fourteen", Legal Notes 38 (London: Libertarian Alliance).
Jump up ^ Bennion, Francis (2003, p.13) – Sexual Ethics and Criminal Law: A Critique of the Sexual Offences Bill 2003 (Oxford: Lester Publishing). Cited by Waites, Matthew (2005, p.220 and 222).
Jump up ^ Sawyer, Miranda (2003). ‘Sex is not Just for Grown-ups’, The Observer, Review section, 2 November, pp.1-2.
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