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King Louie
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King Louie
The Jungle Book character
King Louie singing "I Wan'na Be Like You".
First appearance
The Jungle Book
Created by
Milt Kahl, Frank Thomas, John Lounsbery, and Walt Disney
Voiced by
Louis Prima (The Jungle Book)
Jim Cummings (TaleSpin, The Jungle Book Groove Party)
Jason Marsden (Jungle Cubs season 1)
Cree Summer (Jungle Cubs season 2)
Christopher Walken (2016 live-action film)
Information
Species
Bornean orangutan
Gigantopithecus (2016 film)
Gender
Male
King Louie (Hindi: राजा लुई; Urdu: بادشاہ لوئی) is a fictional character introduced in Walt Disney's 1967 animated musical film, The Jungle Book. Unlike the majority of the adapted characters in the film, Louie was not in Rudyard Kipling's original works.
He was voiced by Louis Prima in the original film and by Christopher Walken in the 2016 live-action/CGI The Jungle Book film.
Jim Cummings and others voiced him in other incarnations. Initially, the producers considered Louis Armstrong for the role[citation needed], but to avoid the likely controversy that would result from casting a black person to voice an ape, they instead chose Prima[citation needed].
Contents
[hide]
1 Conception and creation
2 Other appearances
2.1 TaleSpin
2.2 Jungle Cubs
2.3 1994 live-action film
2.4 2016 live-action film
2.5 Other Disney media
2.6 Non-Disney works
3 Reception
4 References
Conception and creation[edit]
This section's tone or style may not reflect the encyclopedic tone used on Wikipedia. See Wikipedia's guide to writing better articles for suggestions. (August 2016) (Learn how and when to remove this template message)
Although the Disney adaptation is based on the Kipling stories,[1] the character King Louie does not appear in Rudyard Kipling's original book, as orangutans, the species as which he is portrayed, are not native to India in real life. It is also stated by Kipling in the original that the Bandar-log, or monkeys over which King Louie rules, have no effective leadership, let alone a king. In the book, Mowgli is abducted by a band of nameless and leaderless bandar-log monkeys, but the rest of the scene plays out very differently from Disney's version.
Bill Peet's original story for the film did not feature King Louie, but did feature a larger monkey without a tail, who was perhaps meant to be their king. Peet left the Disney company due to a dispute he had with Walt Disney regarding the contents of his script, so his ultimate vision for the king of the Bandar-log remains unknown. Development of the story continued following Peet's departure, with his darker story giving way to a new emphasis on lightheartedness and jazzy tunes. It was in this company milieu that King Louie eventually came into being, given life through the voice and personality of popular performer Louis Prima. Personality was also given to Louie by Milt Kahl, Frank Thomas, and John Lounsbery, three of Disney's Nine Old Men who animated the character. Kahl animated Louie's interaction with Mowgli, Thomas his solo song and dance portions, while Lounsbery animated his memorable scat duet with a disguised Baloo.
Other appearances[edit]
Famed Italian-American and New Orleans native Louis Prima portrayed King Louie in the film. Louis Prima considered playing King Louie as one of the highlights of his career and felt he had become "immortal" thanks to Walt Disney and the entire studio.[citation needed]
TaleSpin[edit]
In the Disney animated television series TaleSpin, Louie (voiced by Jim Cummings) is a fun-loving orangutan who wears a Hawaiian shirt, a straw hat, and a lei. He owns an island nightclub, restaurant and hotel called "Louie's Place", located near but outside the protection of the city of Cape Suzette. It also serves as a refueling station/pit stop area for pilots. Louie is Baloo's best friend (unlike in The Jungle Book, but like in the later Jungle Cubs) but sometimes can be competitive with him when it comes to women, treasure-hunting and, on occasion, in business and monetary matters. His hold on the island is somewhat tenuous, though through his own ingenuity and the aid of his friends he has managed to avoid losing it (in the episode "Louie's Last Stand").
Jungle Cubs[edit]
In the Disney animated television series Jungle Cubs, Louie (voiced by Jason Marsden in Season 1, and Cree Summer in Season 2) is a juvenile orangutan and Baloo's best friend. He is very physically active, spending a great deal of his time in trees and eating bananas. Prince Louie (as he is referred to in the show) wants to become king of the jungle one day, and when any man-made objects turn up he immediately shows great interest.
1994 live-action film[edit]
A slightly different version of the character appeared in Disney's 1994 live-action film. Once again he is an orangutan (portrayed by a trained Bornean orangutan), and is the 'leader' of a group of monkeys that make their home in an abandoned human city. His name arises in this version from the vast wealth that humans left behind in the city, and in particular to his habit of wearing a crown similar in appearance to that worn by the King of France, Louis XIV. Kaa appeared to serve him, being summoned with a clap of his hands, Louie using Kaa to ward off or even kill intruders, the latter for his own amusement. At first, he acts a rival to Mowgli, but later warms up to him after seeing him defeat Kaa. Louie would later on appear during the battle between Mowgli and Captain William Boone (Cary Elwes), as he is seen cheering for Mowgli. After Mowgli defeats Boone, Louie happily applauds Mowgli for a job well done before summoning Kaa, who then kills Boone in the moat.
2016 live-action film[edit]
King Louie, in promotional material for The Jungle Book (2016)
Christopher Walken voiced King Louie in Disney's 2016 live-action film.[2] He is portrayed as a Gigantopithecus, an extinct species of great ape, because orangutans themselves are not native to India. In an interview regarding the character, Christopher Walken described King Louie as standing around 12 feet tall, and "as charming as he is intimidating when he wants to be".[3] In the film, Louie offers Mowgli protection from Shere Khan in exchange for the secret of making fire, which he and his fellow Bandar Log plan to use to take over the jungle. While accommodating and friendly at first, Louie quickly becomes spiteful and impatient, refusing to believe Mowgli's protests that he does not know how to make fire. He is briefly distracted by the appearance of Baloo, allowing Mowgli to be rescued by Bagheera. However, they are spotted by one of Louie's pig-tailed macaque servants, and Louie orders the trio to be captured. Emerging from the temple, Louie finds his Bandar Log too preoccupied fighting Bagheera and Baloo to capture Mowgli, so he goes after the man cub himself. Blocking Mowgli's escape, he tries to coerce him into staying whilst antagonizing him with the revelation of Akela's death. Mowgli refuses to stay, infuriating Louie into chasing him through the temple. During his rampage, he destroys several of the pillars supporting the temple, causing it to collapse over him. During the credits, Louie is shown emerging from the rubble, and performs "I Wan'na Be like You".
Other Disney media[edit]
Q.T., an orangutan who looks very similar to King Louie, is one of the main characters in Dumbo's Circus.
King Louie does not appear in The Jungle Book 2 because of a legal dispute with Louis Prima's widow Gia Maione (though a shadow puppet of him can be seen at the very beginning of the movie, and Baloo implies that he left the jungle).
Louie's very identical twin brother Larry appeared in an episode of House of Mouse. Like in The Jungle Book 2, a dispute with Gia Maione at the last minute stopped the crew from using Louie as they thought to, leading to the last-minute creation of Larry instead.
Louie appears as a meetable character at Walt Disney Parks and Resorts.
Non-Disney works[edit]
King Louie appears in the Fables comic series published by Vertigo Comics and he is only referred to as King. He is one of the revolutionaries who wish to overthrow the Fabletown government out of resentment at the apparent second-class status of Fables. Due to his peripheral involvement, he is given a sentence of hard labor---twenty years, reduced to five years conditional on good behavior.[citation needed]
In Fables, Louie is wrongly described as a "Kipling" character; on his official forums, Fables author Bill Willingham cited Louie's appearance in Fables as "a very good example on why it's best to go back to the source material before one embarks on a major story, rather than rely on often faulty memory of which characters were original canon and which weren't."[4]
Reception[edit]
This section needs expansion. You can help by adding to it. (October 2008)
The characterization of King Louie has frequently been cited as an example of racial stereotyping in Disney films.[5][6][7] However, in his 2004 book The Gospel According to Disney, Mark Pinsky asserts that a child in the current environment (as opposed to in the late 1960s) would not discern any racial dimension to the portrayal. Pinsky also relates Orlando Sentinel's film critic Jay Bogar's assertion that "the primates could be perceived as representing African Americans in a time of turmoil, but [that Bogar] saw no racism in the portrayal." [6]
References[edit]
Jump up ^ Pinsky, Mark I. (2004). The Gospel According to Disney. Westminster John Knox Press. p. 88. ISBN 978-0-664-22591-9. Retrieved 2008-11-10.
Jump up ^ "Christopher Walken to voice King Louie in 'Jungle Book' remake - The Times of India". Timesofindia.indiatimes.com. Retrieved 2015-10-21.
Jump up ^ Annika Harris (March 21, 2016). "First Look: Lupita Nyong'o, Idris Elba & Others In 'The Jungle Book'". UPTOWN Magazine. Retrieved May 28, 2016.
Jump up ^ Re: Questions for Bill 2009, at Clockwork Storybook; posted June 18, 2009; retrieved December 7, 2012
Jump up ^ Bell, Elizabeth; Lynda Haas; Laura Sells (1995). From Mouse to Mermaid. Indiana University Press. p. 92. ISBN 978-0-253-20978-8. Retrieved 2008-10-16.
^ Jump up to: a b Pinsky, Mark I. (2004). The Gospel According to Disney. Westminster John Knox Press. p. 91. ISBN 978-0-664-22591-9. Retrieved 2008-10-16.
Jump up ^ Schiappa, Edward (2008). Beyond Representational Correctness. SUNY Press. p. 65. ISBN 978-0-7914-7423-5. Retrieved 2008-10-16.
[hide]
v
t
e
Rudyard Kipling's The Jungle Book
Books
The Jungle Book (1894)
The Second Jungle Book (1895)
All the Mowgli Stories (1933)
Mowgli stories
"Mowgli's Brothers"
"Kaa's Hunting"
"Tiger! Tiger!"
"Letting in the Jungle"
"Red Dog"
Other stories
"Rikki-Tikki-Tavi"
"Toomai of the Elephants"
"The White Seal"
Characters
Mowgli
Baloo
Bagheera
Akela
Raksha
Kaa
Hathi
Shere Khan
Bandar-log
King Louie
Disney franchise
Film
The Jungle Book (1967)
The Jungle Book (1994)
The Jungle Book: Mowgli's Story (1998)
The Jungle Book 2 (2003)
The Jungle Book (2016)
Television
TaleSpin (1990–91)
Jungle Cubs (1996–1998)
Soundtrack
"Colonel Hathi's March"
"The Bare Necessities"
"I Wan'na Be like You"
"Trust in Me"
"That's What Friends Are For"
"My Own Home"
"Jungle Jungle Baat Chali Hai"
Video games
The Jungle Book (1993)
The Jungle Book Groove Party (2000)
Other
The Jungle Book: Alive with Magic
Colonel Hathi's Pizza Outpost
Other adaptations
Film
Elephant Boy (1937)
Jungle Book (1942)
Elephant Boy (1973)
Adventures of Mowgli (1973)
The Second Jungle Book: Mowgli & Baloo (1997)
Jungle Book (2018)
Television
Mowgli's Brothers (1976)
Jungle Book Shōnen Mowgli (1989–90)
episodes
Mowgli: The New Adventures of the Jungle Book (1998)
The Jungle Book (2010–)
Other
The Third Jungle Book (1992)
A dzsungel könyve
Djungelboken
Related
Law of the jungle
Mowgli syndrome
The Graveyard Book (2008)
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text:
Hurdy-gurdy
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Hurdy-gurdy (disambiguation).
Hurdy-gurdy
Other names
Wheel fiddle, wheel vielle
Classification
String instrument (bowed)
Playing range
Related instruments
Nyckelharpa
Bowed clavier
Vielle organisée/Lira organizzata
Sound sample of a hurdy-gurdy.
Problems playing this file? See media help.
The hurdy-gurdy is a stringed instrument that produces sound by a hand crank-turned, rosined wheel rubbing against the strings. The wheel functions much like a violin bow, and single notes played on the instrument sound similar to those of a violin. Melodies are played on a keyboard that presses tangents—small wedges, typically made of wood—against one or more of the strings to change their pitch. Like most other acoustic stringed instruments, it has a sound board and hollow cavity to make the vibration of the strings audible.
Most hurdy-gurdies have multiple drone strings, which give a constant pitch accompaniment to the melody, resulting in a sound similar to that of bagpipes. For this reason, the hurdy-gurdy is often used interchangeably or along with bagpipes, particularly in Occitan, Catalan, Cajun French and contemporary Asturian, Cantabric, Galician, and Hungarian folk music.
Many folk music festivals in Europe feature music groups with hurdy-gurdy players. The most famous has been held since 1976 at Saint-Chartier in the Indre département in Central France. In 2009, it relocated nearby to the Château d'Ars at La Châtre, where it continues to take place during the week nearest July 14 (Bastille Day).[1]
Contents
[hide]
1 Origins and history
1.1 Other instruments called hurdy-gurdies
2 Terminology
2.1 Names of the instrument
3 Design
3.1 Shape
3.2 Strings
3.3 Buzzing bridge
3.3.1 French and Hungarian buzzing bridges
3.4 Regional types
3.4.1 Small wheel
3.4.2 Large wheel
4 Musicians
5 See also
6 References
7 External links
Origins and history[edit]
Elders playing an organistrum, Santiago de Compostela
The hurdy-gurdy is generally thought to have originated from fiddles in either Europe or the Middle East (e.g., the rebab instrument) some time before the eleventh century A.D.[2] The first recorded reference to fiddles in Europe was in the 9th century by the Persian geographer Ibn Khurradadhbih (d. 911) describing the lira (lūrā) as a typical instrument within the Byzantine Empire.[3] One of the earliest forms of the hurdy-gurdy was the organistrum, a large instrument with a guitar-shaped body and a long neck in which the keys were set (covering one diatonic octave). The organistrum had a single melody string and two drone strings, which ran over a common bridge, and a relatively small wheel. Due to its size, the organistrum was played by two people, one of whom turned the crank while the other pulled the keys upward. Pulling keys upward is cumbersome, so only slow tunes could be played on the organistrum.[4]
The pitches on the organistrum were set according to Pythagorean temperament and the instrument was primarily used in monastic and church settings to accompany choral music. Abbot Odo of Cluny (died 942) is supposed to have written a short description of the construction of the organistrum entitled Quomodo organistrum construatur (How the Organistrum Is Made),[5][6] known through a much later copy, but its authenticity is very doubtful. Another 10th century treatise thought to have mentioned an instrument like a hurdy-gurdy is an Arabic musical compendium written by Al Zirikli.[2] One of the earliest visual depictions of the organistrum is from the twelfth-century 'Pórtico da Gloria (Portal of Glory) on the cathedral at Santiago de Compostela, Galicia, Spain: it has a carving of two musicians playing an organistrum.[7]:47[8]:3
Hurdy-gurdy player in
Saint-Jean-des-Ollières, Puy-de-Dôme (France)
Later on, the organistrum was made smaller to let a single player both turn the crank and work the keys. The solo organistrum was known from Spain and France, but was largely replaced by the symphonia, a small box-shaped version of the hurdy-gurdy with three strings and a diatonic keyboard. At about the same time, a new form of key pressed from beneath was developed. These keys were much more practical for faster music and easier to handle; eventually they completely replaced keys pulled up from above. Medieval depictions of the symphonia show both types of keys.
During the Renaissance, the hurdy-gurdy was a very popular instrument (along with the bagpipe) and the characteristic form had a short neck and a boxy body with a curved tail end. It was around this time that buzzing bridges first appeared in illustrations. The buzzing bridge (commonly called the dog) is an asymmetrical bridge that rests under a drone string on the sound board. When the wheel is accelerated, one foot of the bridge lifts from the soundboard and vibrates, creating a buzzing sound. The buzzing bridge is thought to have been borrowed from the tromba marina (monochord), a bowed string instrument.
During the late Renaissance, two characteristic shapes of hurdy-gurdies developed. The first was guitar-shaped and the second had a rounded lute-type body made of staves. The lute-like body is especially characteristic of French instruments.
Detail of The Garden of Earthly Delights by Hieronymus Bosch, showing the first known depiction of a buzzing bridge on a hurdy-gurdy.
By the end of the 17th century changing musical tastes demanded greater polyphonic capabilities than the hurdy-gurdy could offer and pushed the instrument to the lowest social classes; as a result it acquired names like the German Bauernleier 'peasant's lyre' and Bettlerleier 'beggar's lyre.' During the 18th century, however, French Rococo tastes for rustic diversions brought the hurdy-gurdy back to the attention of the upper classes, where it acquired tremendous popularity among the nobility, with famous composers writing works for the hurdy-gurdy. The most famous of these is Nicolas Chédeville's Il pastor Fido, attributed to Vivaldi. At this time the most common style of hurdy-gurdy developed, the six-string vielle à roue. This instrument has two melody strings and four drones. The drone strings are tuned so that by turning them on or off, the instrument can be played in multiple keys (e.g., C and G, or G and D).
During this time the hurdy-gurdy also spread further to Central Europe, where further variations developed in western Slavic countries, German-speaking areas and Hungary (see the list of types below for more information on them). Most types of hurdy-gurdy were essentially extinct by the early twentieth century, but a few have survived. The best-known are the French vielle à roue, the Hungarian tekerőlant, and the Spanish zanfoña. In Ukraine, a variety called the lira was widely used by blind street musicians, most of whom were purged by Stalin in the 1930s (See "Persecuted bandurists")[unreliable source?].
The hurdy-gurdy tradition is well developed particularly in Hungary, Poland, Belarus and Ukraine. In Ukraine, it is known as the lira or relia. It was and still is played by professional, often blind, itinerant musicians known as lirnyky. Their repertoire has mostly para-religious themes. Most of it originated in the Baroque period. In Eastern Ukraine, the repertoire includes unique historic epics known as dumy and folk dances.
Vagabonds with hurdy-gurdy (1887 drawing)
Lirnyky were categorised as beggars by the Russian authorities and fell under harsh repressive measures if they were caught performing in the streets of major cities until 1902, when the authorities were asked by ethnographers attending the 12th All-Russian Archaeological conference to stop persecuting them.
The hurdy-gurdy is the instrument played by Der Leiermann, the street musician portrayed in the last, melancholy song of Schubert's Winterreise. It is also featured and played prominently in the film Captains Courageous (1937) as the instrument of the character Manuel, acted by Spencer Tracy.
The hurdy-gurdy is played in the song "Hang On" by Weezer.
The instrument came into a new public consciousness when Donovan released his hit pop song, Hurdy Gurdy Man, in 1968. Although the song didn't use a hurdy-gurdy, the repeated reference to the instrument in the song's lyrics sparked curiosity and interest among young people, eventually resulting in an annual hurdy-gurdy music festival in the Olympic Peninsula area of the state of Washington each September.[9]
Today, the tradition has resurfaced. Revivals have been underway for many years as well in Austria, Belgium and The Netherlands,[10]:85–116 Czech Republic, Germany, Italy, Poland, Portugal, Russia, Spain and Sweden. As the instrument has been revived, musicians have used it in a variety of styles of music (see the list of recordings that use hurdy-gurdy), including contemporary forms not typically associated with it.
Other instruments called hurdy-gurdies[edit]
In the eighteenth century, the term hurdy-gurdy was also applied to a small, portable "barrel organ" (a cranked box instrument with a number of organ pipes, a bellows and a barrel with pins that rotated and programmed the tunes) that was frequently played by poor buskers (street musicians). Barrel organs require only the turning of the crank to play; the music is coded by pinned barrels, perforated paper rolls, and more recently by electronic modules.[citation needed] The French call the barrel organ the Orgue de Barbarie ("Barbary organ"), and the Germans Drehorgel ("turned organ"), instead of Drehleier ("turning lyre").
Terminology[edit]
Hurdy-gurdy player
A person who plays the hurdy-gurdy is called a hurdy-gurdyist, or (particularly for players of French instruments) viellist.
In France, a player is called un sonneur de vielle (literally: "a sounder of vielle"), un vielleux or un vielleur.
Because of the prominence of the French tradition, many instrument and performance terms used in English are commonly taken from the French, and players generally need to know these terms to read relevant literature. Such common terms include the following:
trompette: the highest-pitched drone string that features the buzzing bridge
mouche: the drone string pitched a fourth or fifth below the trompette
petit bourdon: the drone string pitched an octave below the trompette
gros bourdon: the drone string pitched an octave below the mouche
chanterelle(s): melody string(s), also called chanters or chanter strings in English
chien: (literally "dog"), the buzzing bridge
tirant: a small peg set in the instrument's tailpiece that is used to control the sensitivity of the buzzing bridge
Names of the instrument[edit]
Two Hungarian-style hurdy-gurdies (tekerőlants)
Hurdy-gurdy in Museu de la Música de Barcelona
According to the Oxford English Dictionary, the mid 18th century origin of the term hurdy-gurdy is onomatopoeic in origin, after the repetitive warble in pitch that characterizes instruments with solid wooden wheels that have warped due to changes in humidity or after the sound of the buzzing-bridge.[11] Alternately, the term is thought to come from the Scottish and northern English term for uproar or disorder, hirdy-girdy[7]:41 or from hurly-burly,[7]:40 an old English term for noise or commotion. The instrument is sometimes more descriptively called a wheel fiddle in English, but this term is rarely used among players of the instrument. Another possible derivation is from the Hungarian "hegedűs" (Slovenian variant "hrgadus") meaning a fiddle.[12]
In France, the instrument is known as vielle à roue (wheel fiddle) or simply vielle (even though there is another instrument with this name), while in the French-speaking regions of Belgium it is also known in local dialects as vièrlerète/vièrlète or tiesse di dj'va ('horse's head').[7]:38 The Flemings and the Dutch call it a draailier, which is similar to its German name, Drehleier. An alternate German name, Bauernleier, means "peasant's lyre". In Italy, it is called the ghironda or lira tedesca while in Spain, it is a zanfona, except in the Catalan region, where it is known as a viola de roda. In the Basque language, it is known as a brenka. In Portugal, it is called sanfona.[13]:211–221
The Hungarian name tekerőlant and the alternate forgólant both mean "turning lute." Another Hungarian name for the instrument is nyenyere, which is thought to be an onomatopoeic reference to the repetitive warble produced by a wheel that is not even. This term was considered derogatory in the Hungarian lowlands, but was the normal term for the instrument on Csepel island directly south of Budapest.[citation needed] The equivalent names ninera and niněra are used in Slovakia and the Czech Republic respectively. In Russian and Ukrainian the instrument is called "wheel lyre" (колёсная лира, колісна ліра). In Poland it is called "cranked lyre" (lira korbowa).
Leier, lant, and related terms today are generally used to refer to members of the lute or lyre family, but historically had a broader range of meaning and were used for many types of stringed instruments.
Design[edit]
Shape[edit]
Major parts of a modern French-type hurdy-gurdy
In her overview of the instrument's history, Palmer recorded twenty-three different forms,[7]:23–34 and there is still no standardized design today.
The six-stringed French vielle à roue is the best known and most common sort. A number of regional forms developed, but outside France the instrument was considered a folk instrument and there were no schools of construction that could have determined a standard form.
There are two primary body styles for contemporary instruments: guitar-bodied and lute-backed. Both forms are found in French-speaking areas, while guitar-bodied instruments are the general form elsewhere. The box form of the simphonia is also commonly found among players of early music and historical re-enactors.
Strings[edit]
Wheel and tangents on a French type hurdy-gurdy with three chanterelles (melody strings). The keyboard is visible on the right side of the picture.
Historically, strings were made of gut, which is still a preferred material today and modern instruments are mounted with violin (D or A) and cello (A, G, C) strings.[8]:10–12 However, metal strings have become common in the twentieth century, especially for the heavier drone strings or for lower melody strings if octave tuning is used. Nylon is also sometimes used, but is disliked by many players. Some instruments also have optional sympathetic strings, generally guitar or banjo B strings.[8]:10–12
The drone strings produce steady sounds at fixed pitches. The melody string(s) (French chanterelle(s), Hungarian dallamhúr(ok)) are stopped with tangents attached to keys that change the vibration length of the string, much as a guitarist uses his or her fingers on the fretboard of a guitar. In the earliest hurdy-gurdies these keys were arranged to provide a Pythagorean temperament, but in later instruments the tunings have varied widely, with equal temperament most common because it allows easier blending with other instruments. However, because the tangents can be adjusted to tune individual notes, it is possible to tune hurdy-gurdies to almost any temperament as needed. Most contemporary hurdy-gurdies have 24 keys that cover a range of two chromatic octaves.
To achieve proper intonation and sound quality, each string of a hurdy-gurdy must be wrapped with cotton or similar fibers. The cotton on melody strings tends to be quite light, while drone strings have heavier cotton. Improper cottoning results in a raspy tone, especially at higher pitches. In addition, individual strings (in particular the melody strings) often have to have their height above the wheel surface adjusted by having small pieces of paper placed between the strings and the bridge, a process called shimming. Shimming and cottoning are connected processes since either one can affect the geometry of the instrument's strings.
Buzzing bridge[edit]
Entire buzzing bridge system for a French-style instrument, with part labels
In some types of hurdy-gurdy, notably the French vielle à roue ('fiddle with a wheel') and the Hungarian tekerőlant (tekerő for short), makers have added a buzzing bridge—called a chien (French for dog) or recsegő (Hungarian for "buzzer")—on one drone string. Modern makers have increased the number of buzzing bridges on French-style instruments to as many as four. This mechanism consists of a loose bridge under a drone string. The tail of the buzzing bridge is inserted into a narrow vertical slot (or held by a peg in Hungarian instruments) that holds the buzzing bridge in place (and also serves as a bridge for additional drone strings on some instruments).
The free end of the dog (called the hammer) rests on the soundboard of the hurdy-gurdy and is more or less free to vibrate. When the wheel is turned slowly the pressure on the string (called the trompette on French instruments) holds the bridge in place, sounding a drone. When the crank is accelerated, the hammer lifts up and vibrates against the soundboard, producing a characteristic rhythmic buzz that is used as an articulation or to provide percussive effect, especially in dance pieces.
On French-style instruments, the sensitivity of the buzzing bridge can be altered by turning a peg called a tirant in the tailpiece of the instrument that is connected by a wire or thread to the trompette. The tirant adjusts the lateral pressure on the trompette and thereby sets the sensitivity of the buzzing bridge to changes in wheel velocity.
There are various stylistic techniques that are used as the player turns the crank, briefly accelerating the wheel at various points in its revolution. This technique is often known by its French term, the coup-de-poignet (or, more simply, the shortened coup), with the acceleration being applied by striking the handle with the thumb, fingers or base of the thumb at one or more of four points in the revolution of the wheel (often described in terms of the clock face, 12, 3, 6 and 9 o'clock) to achieve the desired rhythm. A long buzz can also be achieved by pulling the handle rapidly through the rotation, known as the coup gras.
On the Hungarian tekerő the same control is achieved by using a wedge called the recsegőék (control wedge, or literally "buzzer wedge") that pushes the drone string downward. In traditional tekerő playing, the buzzing bridge is controlled entirely by the wrist of the player and has a very different sound and rhythmic possibilities from those available on French instruments.
French and Hungarian buzzing bridges[edit]
French type buzzing bridge
Hungarian type buzzing bridge (on a bass tekerő)
Regional types[edit]
Regional types of hurdy-gurdies since the Renaissance can also be classified based on wheel size and the presence or absence (and type) of a buzzing bridge. The following description of various types uses this framework:[14][15]:23–40
Small wheel[edit]
Small-wheeled (wheel diameter less than 14 cm, or about 5.5 inches) instruments are traditionally found in Central and Eastern Europe. They feature a broad keybox and the drone strings run within the keybox. Because of the small size of the wheel these instruments most commonly have three strings: one melody string, one tenor drone and one bass drone. They sometimes have up to five strings.
String-adjusted buzzing bridge
German pear-shaped Drehleier. Two to three drone strings and one or two chromatic melody strings. Characteristic V-shaped pegbox. Often extensively decorated. The type of buzzing bridge found on this instrument usually has the adjustment peg set in a block next to the string, rather than in the tailpiece (as is typical of French instruments).
Wedge-adjusted buzzing bridge
tekerőlant (Hungarian). Usually two drones (sometimes three) + one or two chromatic melody strings. The broad keybox is often carved or decorated extensively.
Tyrolian Drehleier (Austria). Very similar to the tekerőlant, but usually has a diatonic keyboard. May be the historical source for the tekerő.[14]
No buzzing bridge
Slovak-style hurdy-gurdy (Ninera) made and played by Tibor Koblicek
lira korbowa (Poland). Guitar-shaped. Two drones + one diatonic melody string.
lira/лира (Russia). Guitar-shaped. Two drones + one diatonic melody string. Evenly spaced keyboard.
lira/ліра (Ukraine). Guitar-shaped. Two drones + one diatonic melody string. Two body types: carved from a single piece of wood and guitar-shaped with transverse pegs and mult-piece construction with vertical pegs. Evenly spaced keyboard.
ninera/kolovratec (Slovakia). Guitar-shaped. Two drones + one diatonic melody string. Broad keybox. Superficially similar to the tekerő, but lacks the buzzing bridge.
lira/vevlira (Sweden). Revived in the twentieth century based on historical examples. Two body forms: an elongated boxy shape and a long pear shape. Usually diatonic, but has been extended with a chromatic range with the additional keys placed below the normal diatonic range (the opposite of most chromatic hurdy-gurdy keyboards)
German tulip-shaped Drehleier. Three drones + one diatonic melody string
Large wheel[edit]
Large-wheeled instruments (wheel diameters between 14 and 17 cm, or about 5.5 – 6.6 inches) are traditionally found in Western Europe. These instruments generally have a narrow keybox with drone strings that run outside the keybox. They also generally have more strings and doubling or tripling of the melody string is common. Some modern instruments have as many as fifteen strings played by the wheel, although the most common number is six.
String-adjusted buzzing bridge
vielle à roue (French). Usually four drones + two melody strings, but often extended to have more strings. Two body forms: guitar-bodied and lute-backed (vielle en luth). French instruments generally have a narrow key box with drone strings that run on the outside of the key box. Traditional French instruments have two melody strings and four drone strings with one buzzing bridge. Contemporary instruments often have more: the instrument of well-known player Gilles Chabenat has four melody strings fixed to a viola tailpiece, and four drone strings on a cello tailpiece. This instrument also has three trompette strings.
Niněra (Czech). Guitar-shaped. Two forms: one has a standard drone-melody arrangement, while the other runs the drone strings between the melody strings in the keybox. Both diatonic and chromatic forms are found. Other mechanisms for adjusting the amount of "buzz" on the trompette string.
No buzzing bridge
Zanfona (Spain). Typically guitar-shaped body, with three melody strings, and two drone strings. Some older examples had a diatonic keyboard, and most modern models have a chromatic keyboard. Zanfonas are usually tuned to the key of C major, with the melody strings tuned in unison to G above the middle C on the piano. The drones are: the bordonciño in G (one octave below the melody strings) and the bordón in C (two octaves below middle C). Sometimes, two of the melody strings are in unison, and the remaining string is tuned an octave lower, in unison with the bordonciño (this string was sometimes known as the human voice, because it sounds as if someone is humming the melody an octave lower).
niněra (Czech). Guitar-shaped. Two forms: one has a standard drone-melody arrangement, while the other runs the drone strings between the melody strings in the keybox. Both diatonic and chromatic forms are found.
Musicians[edit]
This section needs expansion. You can help by adding to it. (July 2016)
Ritchie Blackmore
Régine Chassagne
Valentin Clastrier
Rémy Couvez
Jean-François Dutertre
Nigel Eaton
Eluveitie
Faun
Anna Murphy
Emmanuelle Parrenin
Dominique Regef
Saltatio Mortis
Ithilien
Gaia Consort
Bone Poets Orchestra
Cellar Darling
Metallica
Russell Johnsen
Weezer feat. Michael Cera
Patty Gurdy
See also[edit]
Dulcigurdy (lower left corner)
Donskoy ryley, Russian instrument similar to the hurdy-gurdy
Dulcigurdy, a type of hurdy-gurdy that is fingered instead of having a keybox
Geigenwerk, a bowed clavier originally produced in Germany (1751)
Kaisatsuko, a two-string experimental keyless hurdy-gurdy by a Japanese artist
Nyckelharpa, a Swedish instrument structurally related to the hurdy-gurdy, but played with a bow
Viola organista, an instrument designed by Leonardo da Vinci, which is essentially a much larger version of the hurdy-gurdy
Recordings featuring the hurdy-gurdy
References[edit]
Jump up ^ La Châtre 2016 Retrieved 30 May 2016
^ Jump up to: a b Baines, Anthony (May 1976). "Reviewed work(s): Die Drehleier, ihr Bau und ihre Geschichte by Marianne Bröcker". The Galpin Society Journal. 29: 140–141 [140]. JSTOR 841885. doi:10.2307/841885.
Jump up ^ Margaret J. Kartomi: On Concepts and Classifications of Musical Instruments. Chicago Studies in Ethnomusicology, University of Chicago Press, 1990
Jump up ^ Christopher Page, "The Medieval Organistrum and Symphonia. 1: A Legacy From the East?," The Galpin Society Journal 35:37–44, and "The Medieval Organistrum and Symphonia. 2: Terminology," The Galpin Society Journal 36:71–87
Jump up ^ Scriptores ecclesiastici de musica sacra potissimum, 3 vols., ed. Martin Gerbert (St. Blaise: Typis San-Blasianis, 1784; reprint ed., Hildesheim: Olms, 1963), 1:303. Available online at http://www.chmtl.indiana.edu/tml/9th-11th/ODOORG_TEXT.html
Jump up ^ Franz Montgomery, "The Etymology of the Phrase by Rote." Modern Language Notes 46/1 (Jan. 1931), 19–21.
^ Jump up to: a b c d e Palmer, Susann (1980). The Hurdy-Gurdy. London: David & Charles. ISBN 0-7153-7888-0.
^ Jump up to: a b c Muskett, Doreen (1998). Hurdy-Gurdy Method. England: Muskett Music. ISBN 0-946993-07-6.
Jump up ^ About the Over The Water Hurdy-Gurdy Association. From the 'Over The Water' website. Retrieved on January 9, 2014
Jump up ^ Anthoons, Jan; Dewit, Herman, eds. (1983). Volksmuziekatelier - Jaarboek 1. Lennik, Belgium: Jan Verhoeven.
Jump up ^ "Oxford English Dictionaries online entry for hurdy-gurdy". oxforddictionaries.com. Retrieved 26 January 2016.
Jump up ^ Slovene Folklore, Author(s): F. S. Copeland, Source: Folklore, Vol. 42, No. 4 (Dec. 31, 1931)
Jump up ^ Veiga de Oliveira, Ernesto (2000) [1964]. Instrumentos Musicais Populares Portugueses. Lisbon: Fundação Calouste Gulbenkian. ISBN 972-666-075-0.
^ Jump up to: a b Lommel, Arle; Nagy, Balázs (April 2007). "The Form, History and Classification of the Tekerőlant (Hungarian Hurdy-Gurdy)". The Galpin Society Journal. London and New York: The Galpin Society. 60: 181–190. JSTOR i25163886.
Jump up ^ Description of types based on Nagy, Balázs (2006). Tekerőlantosok könyve: Hasznós kézikönyv tekerőlant-játékosok és érdeklődők számára / The Hurdy-Gurdy Handbook: A Practical Handbook for Players and Aficionados of the Tekerő (Hungarian Hurdy-Gurdy). Budapest: Hagyományok Háza / Hungarian Heritage House. ISBN 963-7363-10-6.
External links[edit]
Wikimedia Commons has media related to Hurdy-gurdy.
Wikisource has the text of the 1911 Encyclopædia Britannica article Hurdy-Gurdy.
The Baroque Hurdy-gurdy
General hurdy-gurdy reference wiki
Gurdypedia - compendium of hurdy-gurdy material around the web[dead link]
Caroline Phillips: Hurdy-gurdy for beginners (video, 00:05:41). TED talks. Caroline Phillips, with Mixel Ducau, is a member of the Basque folk music ensemble Bidaia.
Discover the Hurdy-gurdy in video (hurdy-gurdy lesson) by Hurdygurdylessons.com
French Wikipedia's article on the Vielle organisée, Retrieved on 5 February 2014.
Polish hurdy-gurdies (Polish folk musical instruments)
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Profiles in Courage
From Wikipedia, the free encyclopedia
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This article is about the biographical book. For the television series partly based on the book, see Profiles in Courage (TV series).
Profiles in Courage
First edition
Author
John F. Kennedy
Ted Sorensen (ghostwriter)
Subject
United States Senators
Genre
Biography
Publisher
Harper & Brothers
Publication date
1955
Pages
272
ISBN
978-0-06-095544-1
Preceded by
Why England Slept
Followed by
A Nation of Immigrants
Profiles in Courage is a 1957 Pulitzer Prize-winning volume of short biographies describing acts of bravery and integrity by eight United States Senators. The book profiles senators who defied the opinions of their party and constituents to do what they felt was right and suffered severe criticism and losses in popularity because of their actions. It begins with a quote from Edmund Burke on the courage of the English statesman Charles James Fox, in his 1783 attack upon the tyranny of the East India Company in the House of Commons.[1]
The book focuses intensely on mid-19th century antebellum America and the efforts of Senators to delay the Civil War. Profiles was widely celebrated and became a best seller.
John F. Kennedy is credited as the author, although the extent of his contribution has been questioned. In his 2008 autobiography, Kennedy's speechwriter Ted Sorensen wrote that, while Kennedy provided the theme and supervised its production, Sorensen had written most of the book.
Contents
[hide]
1 History and background
2 Summary of senators profiled
3 Reception
4 Authorship controversy
5 Accuracy
6 In popular culture
7 See also
8 References
9 External links
History and background[edit]
Kennedy was elected to the House of Representatives in 1946, 1948, and 1950 for the state of Massachusetts. In 1952 and 1958, he was elected a Senator from Massachusetts, and served in the Senate until resigning after he was elected president in 1960. It was a passage from Herbert Agar's book The Price of Union about an act of courage by an earlier senator from Massachusetts, John Quincy Adams, that gave Kennedy the idea of writing about senatorial courage. He showed the passage to Sorensen and asked him to see if he could find some more examples. This Sorensen did, and eventually they had enough not just for an article, as Kennedy had originally envisaged, but a book.[2] With help from research assistants and the Library of Congress, Kennedy wrote the book while bedridden during 1954 and 1955, recovering from back surgery.
Summary of senators profiled[edit]
John Quincy Adams, from Massachusetts, for breaking away from the Federalist Party.
Daniel Webster, also from Massachusetts, for speaking in favor of the Compromise of 1850.
Thomas Hart Benton, from Missouri, for staying in the Democratic Party despite his opposition to the extension of slavery in the territories.
Sam Houston, from Texas, for speaking against the Kansas–Nebraska Act of 1854, which would have allowed those two states to decide on the slavery question. Houston wanted to uphold the Missouri Compromise. His and Benton's votes against Kansas–Nebraska did just that. This was his most unpopular vote and he was defeated when running for re-election. Two years later he'd regained enough popularity to be elected Governor of Texas. However, when the state convened in special session and joined the Confederacy, Sam Houston refused to be inaugurated as governor, holding true to his ideal of preserving the Union.
Edmund G. Ross, from Kansas, for voting for acquittal in the Andrew Johnson impeachment trial. As a result of Ross's vote, along with those of six other Republicans, Democrat Johnson's presidency was saved, and the stature of the office was preserved.
Lucius Lamar, from Mississippi, for eulogizing Charles Sumner on the Senate floor and other efforts to mend ties between the North and South during Reconstruction, and for his principled opposition to the Bland–Allison Act to permit free coinage of silver. Lamar returned to Mississippi and gave rousing speeches that eventually led to public approval of his decisions and cemented a legacy of courageousness.
George Norris, from Nebraska, for opposing Joseph Gurney Cannon's autocratic power as Speaker of the House, for speaking out against arming U.S. merchant ships during the United States' neutral period in World War I, and for supporting the Presidential Campaign of Democrat Al Smith.
Robert A. Taft, from Ohio, for criticizing the Nuremberg Trials for trying Nazi war criminals under ex post facto laws. Counter-criticism against Taft's statements was vital to his failure to secure the Republican nomination for President in 1948.
Reception[edit]
After its release on January 1, 1956, Profiles in Courage became a best seller. The book won the Pulitzer Prize for Biography in 1957, even though it was not one of the finalists forwarded to the Pulitzer Prize board from the selection committee.[citation needed] Kennedy's father Joseph asked columnist Arthur Krock, his political adviser and a longtime member of the prize board, to persuade others to vote for it.[citation needed][3]
The book returned to the bestseller lists in 1961 after Kennedy became President and 1963 after he was assassinated.[4]
Profiles in Courage was made into a television series of the same name that aired on the NBC network during the 1964–1965 television season.
Authorship controversy[edit]
Questions have been raised about how much of the book was actually written by Kennedy and how much by his research assistants. On December 7, 1957,[5] journalist Drew Pearson appeared as a guest on The Mike Wallace Interview and made the following claim live on air: "John F. Kennedy is the only man in history that I know who won a Pulitzer Prize for a book that was ghostwritten for him."[6] Wallace replied "You know for a fact, Drew, that the book Profiles in Courage was written for Senator Kennedy ... by someone else?" Pearson responded that he did, and that Kennedy speechwriter Ted Sorensen actually wrote the book. Wallace responded: "And Kennedy accepted a Pulitzer Prize for it? And he never acknowledged the fact?" Pearson replied: "No, he has not. You know, there's a little wisecrack around the Senate about Jack ... some of his colleagues say, 'Jack, I wish you had a little less profile and more courage.'"[6]
It was later reported that the statement "I wish that Kennedy had a little less profile and more courage" was actually made by former First Lady Eleanor Roosevelt.[7]
Joseph P. Kennedy saw the broadcast, then called his lawyer, Clark Clifford, yelling: "Sue the bastards for fifty million dollars!"[6] Soon Clifford and Robert Kennedy showed up at ABC and told executives that the Kennedys would sue unless the network issued a full retraction and apology. Mike Wallace and Drew Pearson insisted that the story was true and refused to back off. Nevertheless, ABC made the retraction and apology, which made Wallace furious.[6]
According to The Straight Dope, Herbert Parmet later analyzed the text of Profiles in Courage and wrote in his book Jack: The Struggles of John F. Kennedy (1980) that although Kennedy did oversee the production and provided for the direction and message of the book, it was clearly Sorensen who provided most of the work that went into the end product.[8] The thematic essays that comprise the first and last chapters "may be viewed largely as [Kennedy's] own work", however.[3]:401
In addition to Kennedy’s speechwriter Sorensen, Jacqueline Kennedy recruited her history instructor from Georgetown University, Jules Davids, to work on the project. Davids told a Kennedy biographer that he and Sorensen had researched and written drafts of most of the book. Kennedy's handwritten notes, which Senator Kennedy showed to reporters to prove his authorship, are now in the Kennedy Library, but are mostly preliminary notes about John Quincy Adams, a particular interest of Kennedy's, and are not a readable draft of the chapter on Adams. During the six-month period when the book was being written, Sorensen worked full-time on the project, sometimes twelve-hour days; Kennedy spent most of the same period travelling, campaigning, or hospitalized. Kennedy’s preserved notes show that he kept up with the book’s progress, but historian Garry Wills remarked that Kennedy’s notes contain no draft of any stage of the manuscript, or of any substantial part of it.[9]
In Sorensen's autobiography, Counselor: A Life at the Edge of History, he said he wrote "a first draft of most of the chapters" of Profiles in Courage and "helped choose the words of many of its sentences".[10][11] Sorensen also wrote: "While in Washington, I received from Florida almost daily instructions and requests by letter and telephone – books to send, memoranda to draft, sources to check, materials to assemble, and Dictaphone drafts or revisions of early chapters." (Sorensen, p. 146) Sorensen wrote that Kennedy "worked particularly hard and long on the first and last chapters, setting the tone and philosophy of the book". Kennedy "publicly acknowledged in his introduction to the book my extensive role in its composition". (p. 147) Sorensen claimed that in May 1957, Kennedy "unexpectedly and generously offered, and I happily accepted, a sum to be spread over several years, that I regarded as more than fair" for his work on the book. Indeed, this supported a long-standing recognition of the collaborative effort that Kennedy and Sorensen had developed since 1953.
Accuracy[edit]
David O. Stewart has questioned the accuracy of the book's chapter on the impeachment of Andrew Johnson. Of Johnson's defenders in the Senate, Profiles in Courage stated that "Not a single one of them escaped the terrible torture of vicious criticism engendered by their vote to acquit." However, Stewart wrote of the supposed suffering: "It is a myth, ..." and "None was a victim of postimpeachment retribution. Indeed, their careers were not wildly different from those of the thirty-five senators who voted to convict Andrew Johnson ..."[12] However, Ross lost his bid for re-election two years after casting the vote acquitting Johnson. There is also evidence that Edmund Ross was bribed to vote for Johnson's acquittal,[13] which is not mentioned in Profiles in Courage.
Kennedy also praised Lucius Lamar, who, while working in the public eye towards reconciliation, privately was an instigator, according to the claim of author Lemann, of growing racial agitation.[14] In the profile of Lamar, Kennedy had also included a single paragraph condemning Adelbert Ames, the Maine-born governor of Mississippi from 1873 to 1876, as an opportunistic Carpetbagger whose administration was "sustained and nourished by Federal bayonets". Ames' daughter, Blanche Ames Ames, was outraged, and regularly wrote to Kennedy for years afterward in protest, demanding a retraction of the "defamatory insinuations" and accused him of pandering to Southern readers.[15] The letter-writing continued even after Kennedy had been elected to the Presidency; this prompted Kennedy to turn to George Plimpton, Ames' grandson and a classmate of Robert F. Kennedy at Harvard, asking him if he could get his grandmother to cease and desist, claiming her letters were interfering with government business. Blanche Ames Ames would eventually publish her own biography of her father in 1964.[16]
In popular culture[edit]
In the 1985 Infocom interactive fiction game A Mind Forever Voyaging, Profiles in Courage is on the list of banned books, tapes, and programs, issued by the Morality Bureau of the government in Rockvil's Main Library in the 2071 simulation.
See also[edit]
Why England Slept (published version of Kennedy's bachelor's thesis)
A Nation of Immigrants
Profile in Courage Award
Portraits of Courage (George W. Bush book, 2017)
References[edit]
Jump up ^ "Frontpiece: Item 3 – Edmund Burke quotation, typescript". Jfklibrary.org. Retrieved 28 December 2014.
Jump up ^ Sorensen, Ted; Myers, Joanne J., (May 21, 2008). Counselor: A Life at the Edge of History (Private Lunch), Carnegie Council for Ethics in International Affairs.
^ Jump up to: a b Leamer, Laurence (2001). The Kennedy Men: 1901–1963. HarperCollins. ISBN 0-688-16315-7. :402–403
Jump up ^ Nichols, Lewis (December 15, 1963). "In and Out of Books; 'Profiles' East Europe Mr. Caldwell James Bond Publishers' Row". The New York Times.
Jump up ^ "Drew Pearson". Harry Ransom Humanities Research Center, School of Information, University of Texas. Retrieved 28 December 2014.
^ Jump up to: a b c d Walls, p. 34
Jump up ^ Brothers: The Hidden History of the Kennedy Years, David Talbot, New York: Free Press (2007), p36.
Jump up ^ Adams, Cecil (November 7, 2003). "Did John F. Kennedy really write "Profiles in Courage?"". The Straight Dope. Retrieved 19 December 2009.
Jump up ^ Garry Wills, The Kennedy Imprisonment (Boston: Little, Brown, 1982) 135–137, ISBN 0-316-94385-1
Jump up ^ "Her Story, Their Words: Behind the Scenes of the Best-Sellers". 11 June 2014. |access-date= requires |url= (help)
Jump up ^ Farhi, Paul (9 June 2014). "Who wrote that political memoir? No, who actually wrote it?". The Washington Post. Retrieved 11 June 2014.
Jump up ^ Stewart, David O., (2009). Impeached: the Trial of President Andrew Johnson and the Fight for Lincoln's Legacy. Simon & Schuster. New York, N.Y. ISBN 978-1-4165-4749-5. Page 308.
Jump up ^ Stewart, David O. Impeached: The Trial of President Andrew Johnson and the Fight for Lincoln's Legacy. Simon & Schuster, 2009, pp.185, 186, 188, 189, 242, 269, 278, 279, 280, 282, 285, 292, 297–99, 309.
Jump up ^ Nicholas Lemann, Redemption: The Last Battle of the Civil War by Nicholas Lemann. Farrar, Straus &Giroux. New York, NY. ISBN 978-0-374-53069-3. Pages 205–209.
Jump up ^ Turkel, Stanley, (2005). Heroes of the American Reconstruction: Profiles of Sixteen Educators, Politicians, and Activists. McFarland & Company. Jefferson, N.C. ISBN 978-0-7864-1943-2. Pages 17–19.
Jump up ^ Ames' daughter dogged JFK over characterization in 'Profiles' – The Lowell Sun, July 2, 2008
External links[edit]
Wikimedia Commons has media related to Profiles in Courage.
Profiles in Courage Summary, Analysis and Discussion Study guide providing background, history, major characters, chapter summary, and other information on the work. Used for the history section listed above.
Did John F. Kennedy really write Profiles in Courage? (from The Straight Dope)
Photos of the first edition of Profiles In Courage
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