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Australia in the Eurovision Song Contest 2017
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Eurovision Song Contest 2017
Country
Australia
National selection
Selection process
Internal Selection
Selection date(s)
7 March 2017
Selected entrant
Isaiah
Selected song
"Don't Come Easy"
Selected songwriter(s)
Anthony Egizii
David Musumeci
Michael Angelo
Finals performance
Semi-final result
Qualified (6th, 160 points)
Final result
9th, 173 points
Australia in the Eurovision Song Contest
◄2016 • 2017
Australia participated in the Eurovision Song Contest 2017 with the song "Don't Come Easy" written by Anthony Egizii, David Musumeci and Michael Angelo. The song was performed by Isaiah Firebrace, who was internally selected by the Australian broadcaster Special Broadcasting Service (SBS) to represent the nation at the 2017 contest in Kiev, Ukraine. Firebrace was announced as the Australian representative on 7 March 2017. The song Isaiah performed, "Don't Come Easy", was presented to the public on the same day.
Australia was drawn to compete in the first semi-final of the Eurovision Song Contest which took place on 9 May 2017. Performing during the show in position 3, "Don't Come Easy" was announced among the top 10 entries of the first semi-final and therefore qualified to compete in the final on 13 May.
Contents
[hide]
1 Background
2 Before Eurovision
2.1 Internal selection
3 At Eurovision
3.1 Semi-final
3.2 Final
3.3 Voting
3.3.1 Points awarded to Australia
3.3.2 Points awarded by Australia
3.3.3 Split voting results
4 References
Background[edit]
Main article: Australia in the Eurovision Song Contest
Australia debuted in the Eurovision Song Contest in 2015 by invitation from the European Broadcasting Union (EBU) as a "one-off" special guest to celebrate the 60th anniversary of Eurovision. On 17 November 2015, the EBU announced that SBS had been invited to participate in the 2016 contest and that Australia would once again take part. In 2015, Australia was guaranteed a spot in the final of the contest and was allowed to vote during both semi-finals and the final; however, for the 2016 contest, Australia would have to qualify to the final from one of two semi-finals and could only vote in the semi-final in which the nation was allocated to compete. On 1 November 2016, SBS confirmed Australia's participation in the 2017 Eurovision Song Contest after securing an invitation for the third year in a row.[1] In 2016, Australia was represented by Dami Im and the song "Sound of Silence". The country ended in second place in the grand final with 511 points.
Before Eurovision[edit]
Internal selection[edit]
Isaiah Firebrace and "Don't Come Easy" were announced as the artist and song that would represent Australia at the Eurovision Song Contest 2017 on 7 March 2017. Firebrace performed his entry "Don't Come Easy" live during the announcement event, which was held at Paris Cat Jazz Club in Melbourne hosted by Mark Humphries. SBS streamed the announcement online through Facebook Live.[2][3][4]
At Eurovision[edit]
Isaiah Firebrace during a press meet and greet
According to Eurovision rules, all nations with the exceptions of the host country and the "Big 5" (France, Germany, Italy, Spain and the United Kingdom) are required to qualify from one of two semi-finals in order to compete for the final; the top ten countries from each semi-final progress to the final. The European Broadcasting Union (EBU) split up the competing countries into six different pots based on voting patterns from previous contests, with countries with favourable voting histories put into the same pot.[5] On 31 January 2017, a special allocation draw was held which placed each country into one of the two semi-finals, as well as which half of the show they would perform in. Australia was placed into the first semi-final, to be held on 9 May 2017, and was scheduled to perform in the first half of the show.[6]
Once all the competing songs for the 2017 contest had been released, the running order for the semi-finals was decided by the shows' producers rather than through another draw, so that similar songs were not placed next to each other. Australia was set to perform in position 3, following the entry from Georgia and before the entry from Albania.[7]
In Australia, both semi-finals and the final will be broadcast live on SBS with commentary by Myf Warhurst and Joel Creasey.[8][9] The Australian spokesperson, who will announce the top 12-point score awarded by the Australian jury during the final, will be Lee Lin Chin.[10]
Semi-final[edit]
Isaiah Firebrace took part in technical rehearsals on 30 April and 4 May, followed by dress rehearsals on 8 and 9 May.[11] This included the jury show on 8 May where the professional juries of each country watched and voted on the competing entries.
At the end of the show, Australia was announced as having finished in the top 10 and subsequently qualifying for the grand final.
Final[edit]
Shortly after the first semi-final, a winners' press conference was held for the ten qualifying countries. As part of this press conference, the qualifying artists took part in a draw to determine which half of the grand final they would subsequently participate in. This draw was done in the reverse order the countries appeared in the semi-final running order. Australia was drawn to compete in the second half. Following this draw, the shows' producers decided upon the running order of the final, as they had done for the semi-finals. Australia was subsequently placed to perform in position 14, following the entry from Croatia and before the entry from Greece.[12] In the likely event that Australia should win the contest, the EBU have confirmed that in accordance with the rules, they would co-host the contest in Europe, with Germany announced as the first choice, and United Kingdom the back-up hosts should Germany decline.[13] In the final Australia received 171 Points from the juries and 2 Points from the televote receiving a total 173 Points placing 9th overall.
Voting[edit]
Below is a breakdown of points awarded to Australia and awarded by Australia in the first semi-final and grand final of the contest, and the breakdown of the jury voting and televoting conducted during the two shows:[14][15]
Points awarded to Australia[edit]
[show]Points awarded to Australia (Semi-final 1)
Televote
12 points
10 points
8 points
7 points
6 points
Iceland
5 points
4 points
3 points
2 points
1 point
Armenia
Slovenia
Azerbaijan
Cyprus
Sweden
Albania
Belgium
Montenegro
Jury
12 points
10 points
8 points
7 points
6 points
Czech Republic
Slovenia
Sweden
Belgium
Iceland
Latvia
Finland
Poland
Spain
Azerbaijan
Cyprus
United Kingdom
Georgia
Moldova
Portugal
5 points
4 points
3 points
2 points
1 point
Albania
Montenegro
Armenia
Italy
50/50
12 points
10 points
8 points
7 points
6 points
Slovenia
Iceland
5 points
4 points
3 points
2 points
1 point
Azerbaijan
Belgium
Cyprus
Latvia
Sweden
Albania
Georgia
United Kingdom
Armenia
Czech Republic
Finland
Poland
Montenegro
Portugal
ry
[show]Points awarded to Australia (Final)
Televote
12 points
10 points
8 points
7 points
6 points
5 points
4 points
3 points
2 points
1 point
Denmark
12 points
10 points
8 points
7 points
6 points
Czech Republic
Finland
Iceland
Sweden
United Kingdom
Denmark
Macedonia
Spain
Belarus
Estonia
Hungary
Poland
Slovenia
Belgium
Croatia
5 points
4 points
3 points
2 points
1 point
Germany
Latvia
Portugal
Albania
Cyprus
Moldova
Netherlands
Romania
Switzerland
Norway
Serbia
France
Ukraine
Lithuania
Jury
12 points
10 points
8 points
7 points
6 points
Sweden
5 points
4 points
3 points
2 points
1 point
Denmark
Iceland
Croatia
Estonia
Finland
Slovenia
United Kingdom
Cyprus
Hungary
Lithuania
Poland
Belarus
Germany
Moldova
Switzerland
Albania
Belgium
Czech Republic
Macedonia
Spain
Points awarded by Australia[edit]
[show]Semi-final 1
Score
Televote
Jury
Combinated
12 points Moldova Poland Moldova
10 points Portugal Moldova Sweden
8 points Sweden Sweden Portugal
7 points Montenegro Finland Armenia
6 points Cyprus Portugal Finland
5 points Armenia Armenia Poland
4 points Belgium Czech Republic Greece
3 points Greece Azerbaijan Azerbaijan
2 points Finland Iceland Cyprus
1 point Azerbaijan Greece Montenegro
[show]Final
Score
Televote
Jury
Combinated
12 points Moldova United Kingdom Moldova
10 points Romania Moldova Portugal
8 points Denmark Bulgaria Denmark
7 points Portugal Portugal Bulgaria
6 points Sweden Sweden United Kingdom
5 points Bulgaria Denmark Sweden
4 points Belgium Netherlands Romania
3 points United Kingdom Austria Netherlands
2 points Italy Poland Belgium
1 point Croatia Armenia Italy
Split voting results[edit]
The following five members will comprise the Australian jury: [16] On 9 May 2017, it was announced that Natasha Cuppit had replaced Jordan Raskopoulos as a member of the Australian jury.[17]
Steven Capaldo (chairperson) - university music education lecturer, conductor, composer, CD producer
Lucy Durack - performer, actor
Natasha Cuppit - voice coach, performer, conductor
Jackie Loeb - singer, comedian, actor
Peter Hayward - music teacher, music director, creative director
[show]Split voting results from Australia (Semi-final 1)
Draw
Country
Jury
Televote
S. Capaldo
L. Durack
J. Loeb
P. Hayward
N. Cuppit
Average Rank
Points
Rank
Points
01 Sweden 1 2 4 6 9 3 8 3 8
02 Georgia 15 12 6 16 6 12 17
03 Australia
04 Albania 17 17 16 17 17 17 16
05 Belgium 10 7 15 14 15 15 7 4
06 Montenegro 16 16 17 15 16 16 4 7
07 Finland 3 5 12 4 5 4 7 9 2
08 Azerbaijan 9 10 13 7 4 8 3 10 1
09 Portugal 8 4 2 8 8 5 6 2 10
10 Greece 4 13 11 10 12 10 1 8 3
11 Poland 5 1 5 2 1 1 12 15
12 Moldova 2 3 7 1 2 2 10 1 12
13 Iceland 12 14 9 5 7 9 2 11
14 Czech Republic 7 6 1 9 13 7 4 13
15 Cyprus 13 11 10 11 14 14 5 6
16 Armenia 6 9 3 3 11 6 5 6 5
17 Slovenia 14 15 8 12 3 11 14
18 Latvia 11 8 14 13 10 13 12
[show]Split voting results from Australia (Final)
Draw
Country
Jury
Televote
S. Capaldo
L. Durack
J. Loeb
P. Hayward
N. Cuppit
Average Rank
Points
Rank
Points
01 Israel 10 24 18 19 22 19 17
02 Poland 13 11 11 11 7 9 2 22
03 Belarus 17 15 16 16 13 16 14
04 Austria 20 5 12 3 8 8 3 19
05 Armenia 19 8 10 10 11 10 1 15
06 Netherlands 15 9 2 4 6 7 4 11
07 Moldova 3 2 5 6 3 2 10 1 12
08 Hungary 21 13 25 15 23 20 12
09 Italy 2 12 21 13 14 13 9 2
10 Denmark 6 10 8 1 10 6 5 3 8
11 Portugal 9 3 1 5 9 4 7 4 7
12 Azerbaijan 8 14 14 18 4 11 21
13 Croatia 24 16 24 24 19 24 10 1
14 Australia
15 Greece 18 20 19 23 20 22 16
16 Spain 25 25 23 25 25 25 25
17 Norway 11 22 9 12 21 15 13
18 United Kingdom 1 1 3 2 2 1 12 8 3
19 Cyprus 22 21 15 21 24 23 20
20 Romania 14 4 20 7 17 12 2 10
21 Germany 12 18 17 20 12 17 23
22 Ukraine 23 23 13 22 16 21 24
23 Belgium 7 19 7 14 18 14 7 4
24 Sweden 4 6 6 9 5 5 6 5 6
25 Bulgaria 5 7 4 8 1 3 8 6 5
26 France 16 17 22 17 15 18 18
References[edit]
Jump up ^ SBS Guide (7 March 2017). "Australia to compete in the 2017 Eurovision Song Contest". Special Broadcasting Service. Retrieved 1 November 2016.
Jump up ^ Dwyer, Genevieve (7 March 2017). "Watch the LIVE announcement of the 2016 Australian Eurovision artist". sbs.com.au. SBS. Retrieved 7 March 2017.
Jump up ^ Dwyer, Genevieve (7 March 2017). "Watch the LIVE announcement of the 2016 Australian Eurovision artist". theguardian.com. The Guardian. Retrieved 7 March 2017.
Jump up ^ Mercereau, Damien (7 March 2017). "Eurovision 2017 : Isaiah Firebrace, l’espoir de l’Australie" (in French). Le Figaro. Retrieved 15 March 2017.
Jump up ^ Jordan, Paul (25 January 2017). "Semi-Final Allocation draw to take place in Kyiv". eurovision.tv. Retrieved 25 January 2017.
Jump up ^ Jordan, Paul (31 January 2017). "Results of the Semi-Final Allocation Draw". eurovision.tv. European Broadcasting Union. Retrieved 31 January 2017.
Jump up ^ Jordan, Paul (31 March 2017). "Semi-Final running order for Eurovision 2017 revealed". eurovision.tv. European Broadcasting Union. Retrieved 12 April 2017.
Jump up ^ Guide, SBS (2 March 2017). "Julia Zemiro and Sam Pang farewell The Eurovision Song Contest". Special Broadcasting Corporation (SBS).
Jump up ^ "SBS’s new Eurovision hosts are…". SBS Guide. 24 March 2017. Retrieved 24 March 2017.
Jump up ^ Knox, David (1 May 2017). "SBS appoints Eurovision jury 2017". tvtonight.com.au. TV Tonight. Retrieved 1 May 2016.
Jump up ^ "Press". eurovision.tv. European Broadcasting Union. Retrieved 12 May 2017.
Jump up ^ Jordan, Paul; Nilsson, Helena (12 May 2017). "EXCLUSIVE: Running order for the 2017 Grand Final released!". eurovision.tv. European Broadcasting Union. Retrieved 12 May 2017.
Jump up ^ Granger, Anthony (13 May 2017). "What happens if Australia wins the Eurovision Song Contest?". eurovoix.com. Eurovoix. Retrieved 13 May 2017.
Jump up ^ "Australia in the Eurovision Song Contest 2017 First Semi-Final". eurovision.tv. European Broadcasting Union. Retrieved 14 May 2017.
Jump up ^ "Australia in the Eurovision Song Contest 2017 Grand Final". eurovision.tv. European Broadcasting Union. Retrieved 14 May 2017.
Jump up ^ Jordan, Paul (29 April 2017). "Who will be the expert jurors for Eurovision 2017?". eurovision.tv. European Broadcasting Union. Retrieved 3 May 2017.
Jump up ^ Granger, Anthony (9 May 2017). "ESC'17 changes to juries in five countries". eurovoix.com. Euroviox. Retrieved 9 May 2017.
[hide]
v
t
e
Australia in the Eurovision Song Contest
[show]
Participation
2015
2016
2017
[show]
Artists
2010s
Guy Sebastian
Dami Im
Isaiah Firebrace
[show]
Songs
2010s
"Tonight Again"
"Sound of Silence"
"Don't Come Easy"
[hide]
v
t
e
Eurovision Song Contest 2017
[show]
Countries
Finalists
(by final results)
Portugal (winner)
Bulgaria
Moldova
Belgium
Sweden
Italy
Romania
Hungary
Australia
Norway
Netherlands
France
Croatia
Azerbaijan
United Kingdom
Austria
Belarus
Armenia
Greece
Denmark
Cyprus
Poland
Israel
Ukraine
Germany
Spain
Semi-final 1
Albania
Czech Republic
Finland
Georgia
Iceland
Latvia
Montenegro
Slovenia
Semi-final 2
Estonia
Ireland
Lithuania
Macedonia
Malta
San Marino
Serbia
Switzerland
Withdrawn
Russia
[show]
Artists
Finalists
Salvador Sobral
Kristian Kostov
Sunstroke Project
Blanche
Robin Bengtsson
Francesco Gabbani
Ilinca feat. Alex Florea
Joci Pápai
Isaiah
JOWST feat. Aleksander Walmann
O'G3NE
Alma
Jacques Houdek
Dihaj
Lucie Jones
Nathan Trent
Naviband
Artsvik
Demy
Anja
Hovig
Kasia Moś
IMRI
O.Torvald
Levina
Manel Navarro
Semi-final 1
Lindita
Martina Bárta
Norma John
Omar Naber
Slavko Kalezić
Svala
Tamara Gachechiladze
Triana Park
Semi-final 2
Brendan Murray
Claudia Faniello
Fusedmarc
Jana Burčeska
Koit Toome & Laura
Tijana Bogićević
Timebelle
Valentina Monetta & Jimmie Wilson
Withdrawn
Yulia Samoilova
[show]
Songs
Finalists
"Amar pelos dois"
"Beautiful Mess"
"Hey, Mamma!"
"City Lights"
"I Can't Go On"
"Occidentali's Karma"
"Yodel It!"
"Origo"
"Don't Come Easy"
"Grab the Moment"
"Lights and Shadows"
"Requiem"
"My Friend"
"Skeletons"
"Never Give Up on You"
"Running on Air"
"Story of My Life"
"Fly with Me"
"This Is Love"
"Where I Am"
"Gravity"
"Flashlight"
"I Feel Alive"
"Time"
"Perfect Life"
"Do It for Your Lover"
Semi-final 1
"Blackbird"
"Keep the Faith"
"Line"
"My Turn"
"On My Way"
"Paper"
"Space"
"World"
Semi-final 2
"Apollo"
"Breathlessly"
"Dance Alone"
"Dying to Try"
"In Too Deep"
"Rain of Revolution"
"Spirit of the Night"
"Verona"
Withdrawn
"Flame Is Burning"
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text:
Do It Again (Elevation Worship song)
From Wikipedia, the free encyclopedia
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"Do It Again"
EP cover
Single by Elevation Worship
from the album There Is a Cloud
Released
February 23, 2018 (2018-02-23)[1]
Format
Digital download
Recorded
September 9–21, 2016
Genre
Worship
contemporary Christian music
Length
6:38
Label
Elevation Church
Provident Label Group
Songwriter(s)
Steven Furtick
Matt Redman
Chris Brown
Mack Brock
Producer(s)
Mack Brock
Aaron Robertson
Seth Mosley
Mike "X" O'Connor
Elevation Worship singles chronology
"O Come to the Altar"
(2017) "Do It Again"
(2018) "Won't Stop Now"
(2018)
Music videos
"Do It Again" (Live) on YouTube
"Do It Again" (Acoustic) on YouTube
"Do It Again" (Lyrics) on YouTube
"Do It Again" is a song performed by American contemporary worship band Elevation Worship. Written by Mack Brock, Chris Brown, Matt Redman and Steven Furtick,[2] the song was released as the first single from their 2017 album There Is a Cloud.[3][4] It It was released to Christian radio on February 23, 2018. The song peaked at No. 6 on the US Hot Christian Songs chart, becoming their second Top 10 single from that chart. It lasted on the charts for 33 weeks, their second longest charting song.[5] The song is played in a B-flat major key, and 172 beats per minute.[6]
Contents
1 Background
2 Writing and development
3 Music videos
4 Track listing
5 Charts
5.1 Weekly charts
5.2 Year-end charts
6 Release history
7 References
Background[edit]
The earliest version of "Do It Again" was released on September 9, 2016, as part of the extended play titled Speak Revival.[7] The live version of "Do It Again" was then released on February 17, 2018, during the pre-order period of There Is a Cloud, as the second promotional single of the album.[8][9] It was recorded during the 12-day "Code Orange Revival" event in September 2016,[10] held by Elevation Church at its Ballantyne campus in Charlotte, North Carolina.[11] "Do It Again" impacted Christian radio on February 23, 2018, with an extended play containing the radio, live, reprise, acoustic and Spanish versions of the song released on the same day.[12]
Writing and development[edit]
Worship leaders and songwriters Mack Brock and Chris Brown had an interview with Kevin Davis in Reading, Pennsylvania for a 'Behind the Song' feature published on NewReleaseToday.[13] Mack Brock shared that the song was inspired by a sermon titled "Don't Stop at 6" that Steven Furtick preached at a Hillsong Conference, whereby Matt Redman identified a song concept.[13] Chris Brown, in relation to the song's takeaway message, said "We want people to know that God is faithful."[13]
Music videos[edit]
The lyric and acoustic videos of "Do It Again" was published on YouTube on September 30, 2016.[14][15] The live music video of "Do It Again" which also includes the reprise, recorded at Elevation Church's Ballantyne campus in Charlotte, North Carolina was released on February 24, 2017, through YouTube.[16] The lyric video of the song's Spanish version titled "Lo Harás Otra Vez (Do It Again)" was released on August 21, 2017, via YouTube.[17] The live acoustic performance video of the song was then published on March 1, 2018 via YouTube.[18]
Track listing[edit]
Digital format — EP[19][20]
No.
Title
Producer(s)[1]
Length
1. "Do It Again" (Radio)
Seth Mosley
Mike "X" O'Connor
4:05
2. "Do It Again" Mack Brock 6:38
3. "Do It Again" (Reprise) Mack Brock 3:30
4. "Do It Again" (Acoustic) Aaron Robertson 4:33
5. "Lo Harás Otra Vez" (Do It Again) 6:17
Total length: 25:03
Charts[edit]
Weekly charts[edit]
Chart (2016-18)
Peak
position
US Christian Songs (Billboard)[21]
5
US Christian Airplay (Billboard)[22]
3
US Christian AC (Billboard)[23]
2
US Christian AC Indicator (Billboard)[24]
6
Year-end charts[edit]
Chart (2017)
Position
US Christian Songs (Billboard)[25]
62

Release history[edit]
Region
Date
Format
Label
Ref.
Various February 23, 2018 Christian radio Elevation Worship [1]
United States
Digital download (EP)
streaming (EP)
[19][20]
References[edit]
^ Jump up to: a b c "Elevation Worship – Do It Again | Daily Play MPE®". Daily Play MPE. Destiny Media Technologies. January 23, 2018. Retrieved July 17, 2018.
Jump up ^ "PraiseCharts | "Do It Again" Sheet Music (Elevation Worship)". PraiseCharts. PraiseCharts Publishing, Inc. Retrieved 17 July 2018.
Jump up ^ "There Is a Cloud by Elevation Worship on Apple Music". Apple Music (iTunes). U.S. Apple Inc. 17 March 2017. Retrieved 17 July 2018.
Jump up ^ "There Is a Cloud by Elevation Worship by Bethel Music on Spotify". Spotify. 2017. Retrieved 17 July 2018.
Jump up ^ "Do It Again by Elevation Worship". Billboard. September 8, 2018. Retrieved October 23, 2018.
Jump up ^ "Key & BPM for Do It Again by Elevation Worship". TuneBat. March 17, 2017. Retrieved July 17, 2018.
Jump up ^ Clarks, Jessie (September 9, 2018). "Elevation Worship Releases "Speak Revival - EP"". The Christian Beat. Retrieved July 27, 2018.
Jump up ^ Elevation Worship (17 February 2017). "Elevation Worship – Posts". Facebook. Retrieved 17 July 2018. TGIF – We're celebrating one month until "There Is A Cloud" is available worldwide! And starting today, when you preorder, you'll receive an instant download of "Do It Again." #ThereIsACloud
Jump up ^ Longs, Herb (18 February 2017). "Elevation Worship Releases Pre-Order Single "Do It Again"". The Christian Beat. Retrieved 17 July 2018.
Jump up ^ Longs, Herb (8 March 2017). "TCB Exclusive: Elevation Worship Previews New Album 'There Is A Cloud'". The Christian Beat. Retrieved 17 July 2018.
Jump up ^ Ko, Emily (8 February 2017). "Elevation Worship's "There Is A Cloud" Coming Out March 17 : News : Hallels". Hallels. Retrieved 17 July 2018.
Jump up ^ "Elevation Worship Releases 'Do It Again' EP". Life FM. Rhema Media. February 26, 2018. Retrieved July 27, 2018.
^ Jump up to: a b c Davis, Kevin (May 16, 2017). "#822 - "Do it Again" by Elevation Worship | BEHIND THE SONG WITH KEVIN DAVIS | NewReleaseToday". NewReleaseToday. NRT Media, Inc. Retrieved July 27, 2018.
Jump up ^ "Do It Again | Official Lyric Video | Elevation Worship". YouTube. September 30, 2016. Retrieved July 27, 2018.
Jump up ^ "Do It Again | Acoustic | Elevation Worship". YouTube. September 30, 2016. Retrieved July 27, 2018.
Jump up ^ "Do It Again | Live | Elevation Worship". YouTube. February 24, 2017. Retrieved July 27, 2018.
Jump up ^ "Lo Harás Otra Vez (Do It Again) | Spanish | Elevation Worship | Video Oficial Con Letras". YouTube. August 21, 2017. Retrieved July 27, 2018.
Jump up ^ "Do It Again | Acoustic | Elevation Worship". YouTube. March 1, 2018. Retrieved July 27, 2018.
^ Jump up to: a b "Do It Again - EP by Elevation Worship on Apple Music". Apple Music. United States. February 23, 2018. Retrieved July 27, 2018.
^ Jump up to: a b "Do It Again / Elevation Worship TIDAL". Tidal. February 23, 2018. Retrieved July 27, 2018.
Jump up ^ "Elevation Worship Chart History (Hot Christian Songs)". Billboard. Retrieved September 4, 2018.
Jump up ^ "Elevation Worship Chart History (Christian Airplay)". Billboard. Retrieved July 17, 2018.
Jump up ^ "Elevation Worship - Christian AC History". Billboard. Retrieved September 4, 2018.
Jump up ^ "Christian AC Indicator". Billboard. Prometheus Global Media. Retrieved July 30, 2018.
Jump up ^ "Hot Christian Songs - Year-End 2017 | Billboard". Billboard. Billboard-Hollywood Reporter Media Group. Retrieved July 29, 2018.
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There Is a Cloud (2017)
Lo Harás Otra Vez (2017)
Hallelujah Here Below (2018)
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Nothing Is Wasted (2012)
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Agonistic behaviour
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Ritualized agonistic behaviour between Zygoballus sexpunctatus males
Agonistic behaviour is any social behaviour related to fighting. The term has broader meaning than aggressive behaviour because it includes threats, displays, retreats, placation, and conciliation. The term was coined by Scott and Fredericson in 1951.[1] Agonistic behaviour is seen in many animal species because resources including food, shelter, and mates are often limited.
Some forms of agonistic behaviour are between contestants who are competing for access to the same resources, such as food or mates. Other times, it involves tests of strength or threat display that make animals look large and more physically fit, a display that may allow it to gain the resource before an actual battle takes place. Although agonistic behaviour varies among species, agonistic interaction consists of three kinds of behaviours: threat, aggression, and submission.[2] These three behaviours are functionally and physiologically interrelated with aggressive behaviour yet fall outside the narrow definition of aggressive behaviour. While any one of these divisions of behaviours may be seen alone in an interaction between two animals, they normally occur in sequence from start to end.[3] Depending on the availability and importance of a resource, behaviours can range from a fight to the death or a much safer ritualistic behaviour, though ritualistic or display behaviours are the most common form of agonistic behaviours.[3]
Contents
[hide]
1 Prediction of winning
1.1 Example: Stalk-eyed flies (Diopsidae)
2 Avoidance
3 Ritual display
3.1 Example: Male grey catbird (Dumetella carolinensis)
3.2 Example: Western gorilla (Gorilla gorilla)
4 Threats
4.1 Example: Frill-necked lizard (Chlamydosaurus kingii)
5 Agonistic fighting
5.1 Example: Black mamba (Dendroaspis polylepis)
6 Submissive behaviour
6.1 Example: Bearded dragon (Pogona vitticeps)
7 See also
8 References
Prediction of winning[edit]
The type of agonistic behaviour observed, whether it be aggressive or submissive, all depend on the likelihood of winning. For instance, size is usually a good predictor of fighting success, and many animals will display to flaunt their size. Animals are better able to assess their next form of agonistic action by judging the opponent's size and if they are likely to win a fight if a physical altercation were to occur.
Example: Stalk-eyed flies (Diopsidae)[edit]
In aggressive behaviour by male stalk-eyed flies the males "square off" by displaying their eyes.[4] Females show a strong preference for mating with males with longer eyestalks. Due to the female preference, males have evolved to compete with each other for mating rights. In the threat display the two flies face each other head-to-head, with their forelegs spread outward and parallel to the eyestalks.[5] This behaviour allows each individual to judge the distance between its competitor's eyes. Eyestalk length increases with body size, and males with shorter eyestalks will usually retreat.[5] A further distance between the eyes conveys a bigger body size, and a better chance of winning.[5]
Avoidance[edit]
Physical fighting is actually rare between animals[citation needed]. It would seem that normally the more aggressive an animal is, the more it has to gain. However, in a normal scenario if an animal is too aggressive it might face an unacceptably high cost such as severe injury or death.[1] Unless an animal has a sure indication that they will win without injury, or the resources are valuable enough for the risk of death, animals usually avoid fighting.[1] An animal must weigh the relative costs and benefits of fighting. If the costs are too high, avoiding a fight is preferable.[1]
Ritual display[edit]
For animals, display is any behaviour modified by evolution that is used to convey information.[1] Animals display particular signs, which recipients can use to infer something about the mental and physical state of the first animal.[6] To avoid the heavy cost of fighting, animals have evolved sophisticated rituals, which they use to bluff their opponents into backing down or fleeing. The cost-benefit model of display makes three assumptions: (1) type of display varies depending on the cost; (2) the risk of the display increases as the effectiveness of display increases; and (3) the value of resource being disputed over determines the choice of display used.[6] Animals have evolved to use their physical attributes as a display of ability. If contests can be resolved with ritual display, fighting is not needed. Display can be used to dispute for mates, territory, and food through symbolic gestures instead of battles to the death. If an animal can display without fighting that he is more physically fit than his opponent, he will have gained more than he would have if he had fought and in the process possibly been injured.
Example: Male grey catbird (Dumetella carolinensis)[edit]
Male grey catbirds fluff their feathers and spread their lower tails to defend their territory when threatened by another male. The bird that is capable of puffing up and appearing to be the biggest will win the territory.[7]
Example: Western gorilla (Gorilla gorilla)[edit]
Male western gorillas display a wide range of both vocal and gestural communications when threatened by an opponent.[5] A silverback (alpha male) will start hooting, throwing, chest pounding, leg kicks, and sideways running when approached by another male.[5] This is done to intimidate the opponent and show physical abilities without actually making any physical contact.
Threats[edit]
Two domestic cats threatening each other. Note the more flattened ears of the cat on the right
Threat behaviour is any behaviour that signifies hostility or intent to attack another animal.[1] Threat behaviour is meant to cause the opponent to back down and leave.[1] While ritual display can be used for an array of reasons or communicative purposes, threat distinctly is meant for hostility and is the last step before fighting or submission. Threat does not involve physical contact with another animal. Any threat behaviour most often elicits other agonistic behaviour in the recipient.[1] This initiation of threat will result in a display of physical attributes, a fight, or submission; the behaviour or sequence of behaviours depends on what resources are being fought over and each individual’s chance of winning against his opponent.[1] In any animal species, threat always contains components of attack and fleeing, which expresses an animal’s readiness and likelihood of winning.[1] An intimidation display with a means to threat are exhibited through: hair bristling, feather ruffling, raising skin folds and crest, teeth displaying, horn displaying, making sound, etc.[1]
Example: Frill-necked lizard (Chlamydosaurus kingii)[edit]
Chlamydosaurus kingii, an Australian agamid lizard, uses its frill as a way to display size and aggression to opponents. It is one of the largest and most notable displays seen in the animal kingdom.[8] In comparison to its body size, the frill can flare out to make the lizards head look several times bigger, and it displays bright orange and red scales.[8] Males of C. kinggi fight and display frills often during the mating seasons. The male ritualistic display includes repeated partial erections of the frill, head bobbing, tail lashing, and waving of forelimbs.[9]
Agonistic fighting[edit]
Play media
Agonistic behaviour in a zoo between two chickens
Actual fighting in contests is rare because of the risk of injury to both participants. It is most likely to occur when individuals are similarly sized, or when the contested resource is essential for reproduction or survival. Even when agonistic behaviour escalates to fighting, restraint may be used. Fish such as Oreochromis mossambicus often exhibit aggressive displays, but rarely fight to the point of injury or bodily harm. This is also the case in fights among some male venomous snakes; they wrestle, but refrain from biting.
Example: Black mamba (Dendroaspis polylepis)[edit]
Agonistic fighting for black mambas involves a wrestling match in which opponents attempt to pin each other’s head repeatedly to the ground.[10] Fights normally last a few minutes but can extend to over an hour.[10] The purpose of fighting is to secure mating rights to receptive females nearby during the breeding season.
Submissive behaviour[edit]
Submissive behaviour involves an individual indicating by an act or posture that it will not challenge a dominant individual in a social group.[1] Submissive behaviours are part of the maintenance of a dominance hierarchy of cooperating individuals in a social group that have overlapping but not entirely coincident interests.
Example: Bearded dragon (Pogona vitticeps)[edit]
Communication between animals is often achieved by adding a succession of behaviours to a display.[11] Social interactions among bearded dragons (Pogona vitticeps) consist of a unique set of movements or visual signals. Waving is one of the most visible signs of submission one lizard can display to another. The lizard rests on three of its legs, raises one of the front arms and then slowly waves the arm in a circular motion. This circular motion, along with the dragon puffing up slightly, shows submission. This display is seen between opponents, as well as adolescents towards adults.[12]
See also[edit]
Aggression
Alpha male
Animal communication
Competition (biology)
Dear enemy recognition
Display (zoology)
Dominance
Learned helplessness
Pecking order
Territory (animal)
References[edit]
^ Jump up to: a b c d e f g h i j k l Barrows, Edward (2001). Animal Behavior Desk Reference. Florida: CRC Press LLC. [page needed]
Jump up ^ Manning, Aubrey (1998). An Introduction to Animal Behavior. Cambridge University Press. [page needed]
^ Jump up to: a b McGlone JJ (April 1986). "Agonistic behavior in food animals: review of research and techniques". Journal of Animal Science. 62 (4): 1130–9. PMID 3519555.
Jump up ^ Goodenough, Judith (2009). Perspectives on Animal Behaviour. John Wiley and Son. [page needed]
^ Jump up to: a b c d e Goodenough, Judith (2009). Perspectives on Animal Behavior. John Wiley and Son. [page needed]
^ Jump up to: a b Singer, Peter (2006). Defense of animals. Blackwell Publishing. [page needed]
Jump up ^ R, Slack (1976). "Nest Guarding Behavior By Male Gray Catbirds". The Auk. [page needed]
^ Jump up to: a b Prince, Edward (2008). Principles and Applications of Domestic Animal Behavior. CABI.
Jump up ^ Bustard, Robert (1967). "Defensive display behavior of the Australian gecko Nephrurus asper". Herpetologica. 23 (2): 126–129. JSTOR 3891239.
^ Jump up to: a b Fogden, Michael (2000). Snakes: the evolution of mystery in nature. University of California Press. [page needed]
Jump up ^ Rafferty, John (2011). Reptiles and Amphibians. Britannica Educational Publishing. [page needed]
Jump up ^ Grengard, Steve (2007). Bearded Dragon. John Wiley and Sons. [page needed]
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Private Eyes (song)
From Wikipedia, the free encyclopedia
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This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2014) (Learn how and when to remove this template message)
"Private Eyes"
Side-A label of the US 7-inch vinyl single
Single by Hall & Oates
from the album Private Eyes
B-side
"Tell Me What You Want" (US, Canada, UK, South Africa, Spain)
"I Can't Go for That (No Can Do)" (Italy, Bolivia)
"Head Above Water" (Italy promo single)
Released
August 29, 1981
Format
7" vinyl
Genre
Pop rock
Length
3:29 (album version)
3:09 (UK Mix)
Label
RCA Records
Songwriter(s)
Daryl Hall, Sara Allen, Janna Allen and Warren Pash
Producer(s)
Daryl Hall, John Oates, Neil Kernon
Hall & Oates singles chronology
"You Make My Dreams"
(1981) "Private Eyes"
(1981) "I Can't Go for That (No Can Do)"
(1981)
"You Make My Dreams"
(1981) "Private Eyes"
(1981) "I Can't Go for That (No Can Do)"
(1981)
"Private Eyes" is a 1981 single by Hall & Oates and the title track from their album of that year. The song was number one on the Billboard Hot 100 charts for two weeks, from November 7 through November 20, 1981. This single was the band's third of six number one hits (the first two being "Rich Girl" and "Kiss on My List"), and their second number one hit of the 1980s. It was succeeded in the number one position by Olivia Newton-John's "Physical," which was in turn succeeded by another single from Hall and Oates, "I Can't Go for That (No Can Do)".
Contents
[hide]
1 Background and writing
2 Music video
3 Personnel
4 In popular culture
4.1 Covers
5 Chart performance
5.1 Weekly charts
5.2 Year-end charts
6 See also
7 References
8 External links
Background and writing[edit]
The tune for Private Eyes was written by Warren Pash[1] and Janna Allen, with arrangement and chords by Daryl Hall. In an interview with American Songwriter, Daryl Hall states: "That's a real Janna Allen [co-writer and sister of Sara Allen] song. Janna, and I, and Warren Pash wrote that. Warren and Janna wrote most of the song, and I took it and changed it around – changed the chords. Sandy [Sara Allen] and I wrote the lyrics. It's a real family song, the Allen sisters and me."[2]
The single carries a similar rhythm to the duo's number one hit from earlier that year, "Kiss On My List," with the difference being a handclap chorus that has made the song an audience-participation favorite at live Hall and Oates shows. It was one of the duo's first songs to appear in heavy rotation on MTV.
Music video[edit]
The music video featured the band dressed as detectives and was the first to feature the backup band of guitarist G. E. Smith, bassist Tom "T-Bone" Wolk, drummer Mickey Curry, and saxophone/keyboardist Charles DeChant.
Personnel[edit]
Daryl Hall – lead vocals, backing vocals, keyboards, synthesizers
John Oates – rhythm guitars, backing vocals
Larry Fast – synthesizer programming
Mickey Curry – drums
John Siegler – bass guitar
G.E. Smith – lead guitars, guitar solos
In popular culture[edit]
The song is performed by Ken Marino, portraying private investigator Vinnie Van Lowe, in the Veronica Mars episode "Kanes and Abel's."[3]
The Disney Channel ran a DTV music video of the song, set mostly to clips from the Goofy cartoon short How to Be a Detective.
Captain Kangaroo in the early 1980s had a puppet vignette of the song.
On the August 13, 2007 episode of WWE Raw, John "Bradshaw" Layfield and Michael Cole dressed up as Hall & Oates and sang versions of "Private Eyes" and "Rich Girl."
In episode 3.16 of Psych, An Evening with Mr. Yang, Detective Lassiter is shown singing along to the song playing on his iPod. USA Network later parodied the original music video to "Private Eyes" in a promo for the television series.
In the television series Chuck, the titular character included the song in his stakeout mix.
In the film Knight and Day, the song is being played on a stereo system in a safehouse of a fugitive who is an inventor who is a fan of the duo, who later sports a vintage pin.
It was made available to download on January 10, 2012, for play in Rock Band 3.
American author Andrew Harmon used the song as the basis for his 2014 short story "Room 401".
Covers[edit]
In 2012, Joel Dickinson remixed the song for club play adding electro touches and an all-new drum arrangement. The signature claps were kept.
In 2016, Dear Rouge covered the song for the TV series Private Eyes as its theme song. Also in 2016, Lenachka covered the song.
Chart performance[edit]
Weekly charts[edit]
Chart (1981–82)
Peak
position
Australia (Kent Music Report) 17
Canadian Singles Chart 6
Italy (Hit Parade)[4] 22
New Zealand (Recorded Music NZ)[5] 19
South African Singles Chart 14
UK Singles (Official Charts Company)[6] 32
US Billboard Hot 100[7] 1
US Adult Contemporary (Billboard)[8] 33
US Mainstream Rock (Billboard)[9] 33
Year-end charts[edit]
Chart (1981)
Rank
Australia[10] 103
Canada[11] 37
US Billboard Hot 100[12] 44
See also[edit]
List of Billboard Hot 100 number-one singles of 1981
References[edit]
Jump up ^ "SOCAN Awards Gala: A Night To Remember". FYI Music News, June 23, 2015
Jump up ^ Sharp, Ken (2009-01-23). "HALL AND OATES: Soul Survivors « American Songwriter". Americansongwriter.com. Retrieved 2016-10-23.
Jump up ^ "The Music Of Veronica Mars: Episode 1-17: "Kanes and Abel's"". Mars Investigations: The (In)Complete Guide to Veronica Mars. Retrieved January 21, 2015.
Jump up ^ "HitParadeItalia - Hall, Daryl" (in Italian). Hit Parade Italia. Retrieved September 27, 2017.
Jump up ^ "Charts.org.nz – Daryl Hall & John Oates – Private Eyes". Top 40 Singles. Retrieved June 1, 2017.
Jump up ^ "Daryl Hall & John Oates: Artist Chart History". Official Charts Company. Retrieved June 1, 2017.
Jump up ^ "Daryl Hall & John Oates Chart History (Hot 100)" Billboard. Retrieved June 1, 2017.
Jump up ^ "Daryl Hall & John Oates Chart History (Adult Contemporary)" Billboard. Retrieved March 30, 2017.
Jump up ^ "Daryl Hall & John Oates – Chart history". Billboard Mainstream Rock for Daryl Hall & John Oates. Retrieved October 17, 2017.
Jump up ^ "Australian Chart Book". Austchartbook.com.au. Archived from the original on 2016-03-05. Retrieved 2016-10-23.
Jump up ^ http://www.collectionscanada.gc.ca/rpm/028020-119.01-e.php?brws_s=1&file_num=nlc008388.4689&type=1&interval=24&PHPSESSID=mhe12pta2k83e08udtq66ot062
Jump up ^ "Top 100 Hits of 1981/Top 100 Songs of 1981". Musicoutfitters.com. Retrieved 2016-10-23.
External links[edit]
Lyrics of this song at MetroLyrics
Preceded by
"Arthur's Theme (Best That You Can Do)" by Christopher Cross Billboard Hot 100 number one single
November 7, 1981 - November 21, 1981 Succeeded by
"Physical" by Olivia Newton-John
[hide]
v
t
e
Daryl Hall & John Oates
Daryl Hall
John Oates
Studio albums
Whole Oats (1972)
Abandoned Luncheonette (1973)
War Babies (1974)
Daryl Hall & John Oates (1975)
Bigger Than Both of Us (1976)
Beauty on a Back Street (1977)
Along the Red Ledge (1978)
X-Static (1979)
Voices (1980)
Private Eyes (1981)
H2O (1982)
Big Bam Boom (1984)
Ooh Yeah! (1988)
Change of Season (1990)
Marigold Sky (1997)
Do It for Love (2003)
Our Kind of Soul (2004)
Home for Christmas (2006)
Live albums
Livetime (1978)
Live at the Apollo (1985)
Greatest Hits Live (2001)
Compilation albums
No Goodbyes (1977)
Rock 'n Soul Part 1 (1983)
The Atlantic Collection (1996)
Playlist: The Very Best of Daryl Hall & John Oates (1998)
The Very Best of Daryl Hall & John Oates (2001)
VH1 Behind the Music: The Daryl Hall and John Oates Collection (2002)
Ultimate Daryl Hall + John Oates (2004)
The Singles (2008)
Singles
"She's Gone" (1974)
"Sara Smile" (1976)
"Rich Girl" (1977)
"Wait for Me" (1979)
"You've Lost That Lovin' Feelin'" (1980)
"Kiss on My List" (1981)
"You Make My Dreams" (1981)
"Private Eyes" (1981)
"I Can't Go for That (No Can Do)" (1981)
"Did It in a Minute" (1982)
"Maneater" (1982)
"One on One" (1983)
"Family Man" (1983)
"Jingle Bell Rock" (1983)
"Say It Isn't So" (1983)
"Adult Education" (1984)
"Out of Touch" (1984)
"Method of Modern Love" (1985)
"A Nite at the Apollo Live! The Way You Do the Things You Do/My Girl" (live) (1985)
"Everything Your Heart Desires" (1988)
"Love Train" (1989)
"So Close" (1990)
"Do It for Love" (2002)
"Someday We'll Know" (2003)
"Getaway Car" (2003)
"I'll Be Around" (2004)
"Without You" (2004)
"I Can Dream About You" (2005)
"Ooh Child" (2005)
"It Came Upon the Midnight Clear" (2006)
Hall solo albums
Sacred Songs (1980)
Three Hearts in the Happy Ending Machine (1986)
Soul Alone (1993)
Can't Stop Dreaming (1996)
Laughing Down Crying (2011)
Oates solo albums
Phunk Shui (2002)
John Oates: Live at the Historic Wheeler Opera House (2004)
John Oates Solo – The Album, The Concert (2006)
Related articles
Discography
Interpreting the Masters Volume 1: A Tribute to Daryl Hall and John Oates
Live from Daryl's House
Book
Commons
Retrieved from "https://en.wikipedia.org/w/index.php?title=Private_Eyes_(song)&oldid=805842372"
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Relational database
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2014) (Learn how and when to remove this template message)
A relational database is a digital database based on the relational model of data, as proposed by E. F. Codd in 1970.[1] A software system used to maintain relational databases is a relational database management system (RDBMS). Virtually all relational database systems use SQL (Structured Query Language) for querying and maintaining the database. [2]
Contents
[hide]
1 Relational model
2 Keys
2.1 Relationships
3 Transactions
4 Stored procedures
5 Terminology
6 Relations or tables
7 Base and derived relations
7.1 Domain
8 Constraints
8.1 Primary key
8.2 Foreign key
8.3 Stored procedures
8.4 Index
9 Relational operations
10 Normalization
11 Distributed relational databases
12 References
Relational model[edit]
Main article: Relational model
This model organizes data into one or more tables (or "relations") of columns and rows, with a unique key identifying each row. Rows are also called records or tuples.[3] Columns are also called attributes. Generally, each table/relation represents one "entity type" (such as customer or product). The rows represent instances of that type of entity (such as "Lee" or "chair") and the columns representing values attributed to that instance (such as address or price).
Keys[edit]
Each row in a table has its own unique key. Rows in a table can be linked to rows in other tables by adding a column for the unique key of the linked row (such columns are known as foreign keys). Codd showed that data relationships of arbitrary complexity can be represented by a simple set of concepts.[citation needed]
Part of this processing involves consistently being able to select or modify one and only one row in a table. Therefore, most physical implementations have a unique primary key (PK) for each table. When a new row is written to the table, a new unique value for the primary key is generated; this is the key that the system uses primarily for accessing the table. System performance is optimized for PKs. Other, more natural keys may also be identified and defined as alternate keys (AK). Often several columns are needed to form an AK (this is one reason why a single integer column is usually made the PK). Both PKs and AKs have the ability to uniquely identify a row within a table. Additional technology may be applied to ensure a unique ID across the world, a globally unique identifier, when there are broader system requirements.
The primary keys within a database are used to define the relationships among the tables. When a PK migrates to another table, it becomes a foreign key in the other table. When each cell can contain only one value and the PK migrates into a regular entity table, this design pattern can represent either a one-to-one or one-to-many relationship. Most relational database designs resolve many-to-many relationships by creating an additional table that contains the PKs from both of the other entity tables—the relationship becomes an entity; the resolution table is then named appropriately and the two FKs are combined to form a PK. The migration of PKs to other tables is the second major reason why system-assigned integers are used normally as PKs; there's seldom efficiency nor clarity in migrating a bunch of other types of columns.
Relationships[edit]
Relationships are a logical connection between different tables, established on the basis of interaction among these tables.
Transactions[edit]
In order for a database management system (DBMS) to operate efficiently and accurately, it must use ACID transactions.[4][5][6]
Stored procedures[edit]
Most[dubious – discuss] of the programming within a RDBMS is accomplished using stored procedures (SPs). Often procedures can be used to greatly reduce the amount of information transferred within and outside of a system. For increased security, the system design may grant access to only the stored procedures and not directly to the tables. Fundamental stored procedures contain the logic needed to insert new and update existing data. More complex procedures may be written to implement additional rules and logic related to processing or selecting the data.
Terminology[edit]
Relational database terminology.
The relational database was first defined in June 1970 by Edgar Codd, of IBM's San Jose Research Laboratory.[1] Codd's view of what qualifies as an RDBMS is summarized in Codd's 12 rules. A relational database has become the predominant type of database. Other models besides the relational model include the hierarchical database model and the network model.
The table below summarizes some of the most important relational database terms and the corresponding SQL term:
SQL term
Relational database term
Description
Row Tuple or record A data set representing a single item
Column Attribute or field A labeled element of a tuple, e.g. "Address" or "Date of birth"
Table Relation or Base relvar A set of tuples sharing the same attributes; a set of columns and rows
View or result set Derived relvar Any set of tuples; a data report from the RDBMS in response to a query
Relations or tables[edit]
Main articles: Relation (database) and Table (database)
A relation is defined as a set of tuples that have the same attributes. A tuple usually represents an object and information about that object. Objects are typically physical objects or concepts. A relation is usually described as a table, which is organized into rows and columns. All the data referenced by an attribute are in the same domain and conform to the same constraints.
The relational model specifies that the tuples of a relation have no specific order and that the tuples, in turn, impose no order on the attributes. Applications access data by specifying queries, which use operations such as select to identify tuples, project to identify attributes, and join to combine relations. Relations can be modified using the insert, delete, and update operators. New tuples can supply explicit values or be derived from a query. Similarly, queries identify tuples for updating or deleting.
Tuples by definition are unique. If the tuple contains a candidate or primary key then obviously it is unique; however, a primary key need not be defined for a row or record to be a tuple. The definition of a tuple requires that it be unique, but does not require a primary key to be defined. Because a tuple is unique, its attributes by definition constitute a superkey.
Base and derived relations[edit]
Main articles: Relvar and View (database)
In a relational database, all data are stored and accessed via relations. Relations that store data are called "base relations", and in implementations are called "tables". Other relations do not store data, but are computed by applying relational operations to other relations. These relations are sometimes called "derived relations". In implementations these are called "views" or "queries". Derived relations are convenient in that they act as a single relation, even though they may grab information from several relations. Also, derived relations can be used as an abstraction layer.
Domain[edit]
Main article: data domain
A domain describes the set of possible values for a given attribute, and can be considered a constraint on the value of the attribute. Mathematically, attaching a domain to an attribute means that any value for the attribute must be an element of the specified set. The character string "ABC", for instance, is not in the integer domain, but the integer value 123 is. Another example of domain describes the possible values for the field "CoinFace" as ("Heads","Tails"). So, the field "CoinFace" will not accept input values like (0,1) or (H,T).
Constraints[edit]
Constraints make it possible to further restrict the domain of an attribute. For instance, a constraint can restrict a given integer attribute to values between 1 and 10. Constraints provide one method of implementing business rules in the database and support subsequent data use within the application layer. SQL implements constraint functionality in the form of check constraints. Constraints restrict the data that can be stored in relations. These are usually defined using expressions that result in a boolean value, indicating whether or not the data satisfies the constraint. Constraints can apply to single attributes, to a tuple (restricting combinations of attributes) or to an entire relation. Since every attribute has an associated domain, there are constraints (domain constraints). The two principal rules for the relational model are known as entity integrity and referential integrity.
Primary key[edit]
Main article: Unique key
A primary key uniquely specifies a tuple within a table. In order for an attribute to be a good primary key it must not repeat. While natural attributes (attributes used to describe the data being entered) are sometimes good primary keys, surrogate keys are often used instead. A surrogate key is an artificial attribute assigned to an object which uniquely identifies it (for instance, in a table of information about students at a school they might all be assigned a student ID in order to differentiate them). The surrogate key has no intrinsic (inherent) meaning, but rather is useful through its ability to uniquely identify a tuple. Another common occurrence, especially in regard to N:M cardinality is the composite key. A composite key is a key made up of two or more attributes within a table that (together) uniquely identify a record. (For example, in a database relating students, teachers, and classes. Classes could be uniquely identified by a composite key of their room number and time slot, since no other class could have exactly the same combination of attributes. In fact, use of a composite key such as this can be a form of data verification, albeit a weak one.
Foreign key[edit]
Main article: Foreign key
A foreign key is a field in a relational table that matches the primary key column of another table. The foreign key can be used to cross-reference tables. Foreign keys do not need to have unique values in the referencing relation. Foreign keys effectively use the values of attributes in the referenced relation to restrict the domain of one or more attributes in the referencing relation. A foreign key could be described formally as: "For all tuples in the referencing relation projected over the referencing attributes, there must exist a tuple in the referenced relation projected over those same attributes such that the values in each of the referencing attributes match the corresponding values in the referenced attributes."
Stored procedures[edit]
Main article: Stored procedure
A stored procedure is executable code that is associated with, and generally stored in, the database. Stored procedures usually collect and customize common operations, like inserting a tuple into a relation, gathering statistical information about usage patterns, or encapsulating complex business logic and calculations. Frequently they are used as an application programming interface (API) for security or simplicity. Implementations of stored procedures on SQL RDBMS's often allow developers to take advantage of procedural extensions (often vendor-specific) to the standard declarative SQL syntax. Stored procedures are not part of the relational database model, but all commercial implementations include them.
Index[edit]
Main article: Index (database)
An index is one way of providing quicker access to data. Indexes can be created on any combination of attributes on a relation. Queries that filter using those attributes can find matching tuples randomly using the index, without having to check each tuple in turn. This is analogous to using the index of a book to go directly to the page on which the information you are looking for is found, so that you do not have to read the entire book to find what you are looking for. Relational databases typically supply multiple indexing techniques, each of which is optimal for some combination of data distribution, relation size, and typical access pattern. Indices are usually implemented via B+ trees, R-trees, and bitmaps. Indices are usually not considered part of the database, as they are considered an implementation detail, though indices are usually maintained by the same group that maintains the other parts of the database. The use of efficient indexes on both primary and foreign keys can dramatically improve query performance. This is because B-tree indexes result in query times proportional to log(n) where n is the number of rows in a table and hash indexes result in constant time queries (no size dependency as long as the relevant part of the index fits into memory).
Relational operations[edit]
Main article: Relational algebra
Queries made against the relational database, and the derived relvars in the database are expressed in a relational calculus or a relational algebra. In his original relational algebra, Codd introduced eight relational operators in two groups of four operators each. The first four operators were based on the traditional mathematical set operations:
The union operator combines the tuples of two relations and removes all duplicate tuples from the result. The relational union operator is equivalent to the SQL UNION operator.
The intersection operator produces the set of tuples that two relations share in common. Intersection is implemented in SQL in the form of the INTERSECT operator.
The difference operator acts on two relations and produces the set of tuples from the first relation that do not exist in the second relation. Difference is implemented in SQL in the form of the EXCEPT or MINUS operator.
The cartesian product of two relations is a join that is not restricted by any criteria, resulting in every tuple of the first relation being matched with every tuple of the second relation. The cartesian product is implemented in SQL as the CROSS JOIN operator.
The remaining operators proposed by Codd involve special operations specific to relational databases:
The selection, or restriction, operation retrieves tuples from a relation, limiting the results to only those that meet a specific criterion, i.e. a subset in terms of set theory. The SQL equivalent of selection is the SELECT query statement with a WHERE clause.
The projection operation extracts only the specified attributes from a tuple or set of tuples.
The join operation defined for relational databases is often referred to as a natural join. In this type of join, two relations are connected by their common attributes. MySQL's approximation of a natural join is the INNER JOIN operator. In SQL, an INNER JOIN prevents a cartesian product from occurring when there are two tables in a query. For each table added to a SQL Query, one additional INNER JOIN is added to prevent a cartesian product. Thus, for N tables in an SQL query, there must be N−1 INNER JOINS to prevent a cartesian product.
The relational division operation is a slightly more complex operation and essentially involves using the tuples of one relation (the dividend) to partition a second relation (the divisor). The relational division operator is effectively the opposite of the cartesian product operator (hence the name).
Other operators have been introduced or proposed since Codd's introduction of the original eight including relational comparison operators and extensions that offer support for nesting and hierarchical data, among others.
Normalization[edit]
Main article: Database normalization
Normalization was first proposed by Codd as an integral part of the relational model. It encompasses a set of procedures designed to eliminate non-simple domains (non-atomic values) and the redundancy (duplication) of data, which in turn prevents data manipulation anomalies and loss of data integrity. The most common forms of normalization applied to databases are called the normal forms.
Distributed relational databases[edit]
Distributed Relational Database Architecture (DRDA) was designed by a workgroup within IBM in the period 1988 to 1994. DRDA enables network connected relational databases to cooperate to fulfill SQL requests. [7] [8] The messages, protocols, and structural components of DRDA are defined by the Distributed Data Management Architecture.
References[edit]
^ Jump up to: a b Codd, E. F. (1970). "A Relational Model of Data for Large Shared Data Banks". Communications of the ACM. 13 (6): 377–387. doi:10.1145/362384.362685.
Jump up ^ http://www.agiledata.org/essays/relationalDatabases.html
Jump up ^ "A Relational Database Overview". oracle.com.
Jump up ^ "Gray to be Honored With A. M. Turing Award This Spring". Microsoft PressPass. 1998-11-23. Archived from the original on 6 February 2009. Retrieved 2009-01-16.
Jump up ^ Gray, Jim (September 1981). "The Transaction Concept: Virtues and Limitations" (PDF). Proceedings of the 7th International Conference on Very Large Databases. Cupertino, CA: Tandem Computers. pp. 144–154. Retrieved 2006-11-09.
Jump up ^ Gray, Jim, and Reuter, Andreas, Distributed Transaction Processing: Concepts and Techniques. Morgan Kaufmann, 1993. ISBN 1-55860-190-2.
Jump up ^ Reinsch, R. (1988). "Distributed database for SAA". IBM Systems Journal. 27 (3): 362–389. doi:10.1147/sj.273.0362.
Jump up ^ Distributed Relational Database Architecture Reference. IBM Corp. SC26-4651-0. 1990.
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