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c_1fy3fvucyieg | In musical competitions, it's named reprise or winner reprise to the winner's last performance, once its victory is proclaimed, and before the end of show. This tradition began in San Remo Festival (1951) and was adopted by several competitions, as Eurovision Song Contest. | Reprise |
c_66854ievtnzc | In musical composition, a sound mass (also sound collective, sound complex, tone shower, sound crowd, or cloud) is the result of compositional techniques, in which, "the importance of individual pitches", is minimized, "in preference for texture, timbre, and dynamics as primary shapers of gesture and impact", obscuring... | Sound mass |
c_tcw8f8ww7yun | "Unlike most tonal and non-tonal linear dissonances, tone clusters are essentially static. The individual pitches are of secondary importance; it is the sound mass that is foremost." One French composer active in this period whose music takes a sound-mass approach directly influenced by both Debussy and Varèse is Mauri... | Sound mass |
c_52wocausxf5w | In musical composition, developing variation is a formal technique in which the concepts of development and variation are united in that variations are produced through the development of existing material. The term was coined by Arnold Schoenberg, twentieth-century composer and inventor of the twelve-tone technique, w... | Developing variation |
c_dm7283fowaoy | Schoenberg distinguished this from the "unravelling" procedures of contrapuntal tonal music but developing variation may be related to other textures and to Schoenberg's own freely atonal pieces which employ a "method of atonal developing variation each chord, line, and harmony results from the subtle alteration and re... | Developing variation |
c_zj1rtpym9bd6 | In musical instruments, hum is usually treated as a nuisance, and various electrical modifications are made to eliminate it. For instance, humbucker pickups on electric guitars are designed to "buck" or reduce the hum. Sometimes hum is used creatively, for example in dub and glitch music. | Mains hum |
c_acep938pdl61 | In musical instruments, strings under tension, as in lutes, harps, guitars, pianos, violins and so forth, have resonant frequencies directly related to the mass, length, and tension of the string. The wavelength that will create the first resonance on the string is equal to twice the length of the string. Higher resona... | Air column |
c_ycqzx1bo8ywa | The speed of a wave through a string or wire is related to its tension T and the mass per unit length ρ: v = T ρ {\displaystyle v={\sqrt {T \over \rho }}} So the frequency is related to the properties of the string by the equation f = n T ρ 2 L = n T m / L 2 L {\displaystyle f={n{\sqrt {T \over \rho }} \over 2L}={n{\sq... | Air column |
c_2jf491526xr2 | In musical notation, a bar (or measure) is a segment of music bounded by vertical lines, known as bar lines (or barlines), usually indicating one of more recurring beats. The length of the bar, measured by the number of note values it contains, is normally indicated by the time signature. | Hypermeasure |
c_o3hst306vmzp | In musical notation, a cue note is or cue notes are indications informing players, "of important passages being played by other instruments, entrance after a long period of rest." A cue may also function as a guideline for another instrument for musical improvisation or if there are many bars rest to help the performe... | Cue note |
c_xaxtv5ee7f09 | "The cued instrument is indicated with text and the cue notes are smaller than the rest. The stems of cue notes all go in the same direction and cue notes are transposed into the key of the part entering. == References == | Cue note |
c_b50tx3tw9pb5 | In musical notation, a natural sign (♮) is a sign used to cancel a flat or sharp from either a preceding note or the key signature. But, naturals are assumed (by default) in key signatures and mentioned only in key signature changes. When used as an accidental, it is written to the left of the note head. When used as a... | Natural sign |
c_rl44hqkfl5t8 | In musical notation, all unmodified note values have a duration equal to a whole note divided by a power of two; for example a half note (1/2), a quarter note (1/4), an eighth note (1/8) and a sixteenth note (1/16). Dotted or otherwise modified notes have other durations. In time signatures the lower numeral, the beat ... | Powers of two |
c_9abet23a3e1w | In musical pieces from the Baroque music era and the Classical era of music and in Western popular music, traditional music and folk music, when pieces or songs modulate to a new key, these modulations are often associated with the circle of fifths. In practice, compositions rarely make use of the entire circle of fift... | Circle of fourths |
c_4jmrn0e70y96 | In musical rights management, the CAE number was previously used to identify rights holders. The acronym "CAE" was devised by the national society of Switzerland, SUISA, and consisted of the French words Compositeur, Auteur and Editeur, for Composer, Author and Publisher. A CAE number is 9 digits long. It is being phas... | CAE number |
c_kryrly7q42kt | In musical set theory or atonal theory, complement is used in both the sense above (in which the perfect fourth is the complement of the perfect fifth, 5+7=12), and in the additive inverse sense of the same melodic interval in the opposite direction – e.g. a falling 5th is the complement of a rising 5th. | Hexachordal complementation |
c_p5wb7bgxjunj | In musical set theory, a Forte number is the pair of numbers Allen Forte assigned to the prime form of each pitch class set of three or more members in The Structure of Atonal Music (1973, ISBN 0-300-02120-8). The first number indicates the number of pitch classes in the pitch class set and the second number indicates ... | Forte number |
c_4n43k0hs10p5 | The normal form of a set is that which is transposed so as to be most compact. For example, a second inversion major chord contains the pitch classes 7, 0, and 4. The normal form would then be 0, 4 and 7. | Forte number |
c_fhkec6u30e3w | Its (transposed) inversion, which happens to be the minor chord, contains the pitch classes 0, 3, and 7; and is the prime form. The major and minor chords are both given Forte number 3-11, indicating that it is the eleventh in Forte's ordering of pitch class sets with three pitches. In contrast, the Viennese trichord, ... | Forte number |
c_dnasfu1nvy93 | The normal form of the diatonic scale, such as C major; 0, 2, 4, 5, 7, 9, and 11; is 11, 0, 2, 4, 5, 7, and 9; while its prime form is 0, 1, 3, 5, 6, 8, and 10; and its Forte number is 7-35, indicating that it is the thirty-fifth of the seven-member pitch class sets. Sets of pitches which share the same Forte number ha... | Forte number |
c_qqgdat3ppj7h | In musical set theory, a Z-relation, also called isomeric relation, is a relation between two pitch class sets in which the two sets have the same intervallic content (and thus the same interval vector) but they are not transpositionally related (are of different Tn-type ) or inversionally related (are of different Tn/... | Interval vector |
c_8pz360uj8i3o | See: 6-Z44, 6-Z17, 6-Z11, and Forte number. The term, for "zygotic" (yoked or the fusion of two reproductive cells),: 98 Schuijer (2008), p.98 and 98n18. | Interval vector |
c_a6qzpkqifmwv | originated with Allen Forte in 1964, but the notion seems to have first been considered by Howard Hanson. Hanson called this the isomeric relationship, and defined two such sets as isomeric. See: isomer. | Interval vector |
c_qjphbtx1vtss | According to Michiel Schuijer (2008), the hexachord theorem, that any two pitch-class complementary hexachords have the same interval vector, even if they are not equivalent under transposition and inversion, was first proposed by Milton Babbitt, and, "the discovery of the relation," was, "reported," by David Lewin in ... | Interval vector |
c_qbzaxx5qwjsz | In 16-ET, Z-related sets are found as triplets. Lewin's student Jonathan Wild continued this work for other tuning systems, finding Z-related tuplets with up to 16 members in higher ET systems.The equivalence relationship of `having the same interval content', allowing the trivial isometric case, was initially studied ... | Interval vector |
c_piv0473n41y9 | In musical set theory, an interval class (often abbreviated: ic), also known as unordered pitch-class interval, interval distance, undirected interval, or "(even completely incorrectly) as 'interval mod 6'" (Rahn 1980, 29; Whittall 2008, 273–74), is the shortest distance in pitch class space between two unordered pitch... | Interval class |
c_tllk8gwsh9tj | In musical set theory, an interval vector is an array of natural numbers which summarize the intervals present in a set of pitch classes. (That is, a set of pitches where octaves are disregarded.) Other names include: ic vector (or interval-class vector), PIC vector (or pitch-class interval vector) and APIC vector (or ... | Interval class vector |
c_8gi8nliepbyd | ): 48 While primarily an analytic tool, interval vectors can also be useful for composers, as they quickly show the sound qualities that are created by different collections of pitch class. That is, sets with high concentrations of conventionally dissonant intervals (i.e., seconds and sevenths) sound more dissonant, wh... | Interval class vector |
c_hwl024rkm3xk | In musical set theory, pitch-class intervals do not distinguish between octaves since pitch-classes themselves treat all octaves as being equivalent. There are two kinds of pitch-class intervals: ordered pitch-class interval (also called a pitch-interval class - PIC) unordered pitch-class interval (also called an 'inte... | Ordered pitch interval |
c_7v0a52dy1lr6 | In musical set theory, there are four kinds of interval: Ordered pitch interval Unordered pitch interval Ordered pitch-class interval Unordered pitch-class interval | Pitch interval |
c_gl8jdssw3o0j | In musical sonata form or rondo, a reprised theme occurs at the beginning and end of the work, or returns periodically. A framing device may take the form of a recurrent element at the beginning and end of the narrative. For example, a story may begin with a character visiting a park under one set of circumstances, the... | Frame narrative |
c_dz6hzhqmoxb6 | In musical temperament, the simple ratios of just intonation are mapped to nearby irrational approximations. This operation, if successful, does not change the relative harmonic complexity of the different intervals, but it can complicate the use of the harmonic limit concept. Since some chords (such as the diminished ... | Undecimal tuning |
c_jelbwfnew3gx | In musical terminology, tempo (Italian, 'time'; plural tempos, or tempi from the Italian plural) also known as Beats per minute, is the speed or pace of a given piece. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and is usually mea... | Beats per minute |
c_c9ika2r6vy99 | While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is changeable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight tempo rubato or drastic variances. In ensembles, the tempo is often indicated by a conductor or by one ... | Beats per minute |
c_b82jl8efhudh | In musical terms, particularly in the fields of music history and music analysis, some common terms for different types of texture are: Many classical pieces feature different kinds of texture within a short space of time. An example is the Scherzo from Schubert’s piano sonata in B major, D575. The first four bars are ... | Musical texture |
c_uxqc3yhdnjt0 | The lowest part imitates the rhythm of the upper two at the distance of three beats. The passage climaxes abruptly with a bar’s silence: After the silence, the polyphonic texture expands from three to four independent parts moving simultaneously in bars 21–24. The upper two parts are imitative, the lowest part consists... | Musical texture |
c_ve5mu4zc7kek | In musical theater, a vamp, or intro, is the few bars, one to eight, of music without lyrics that begin a printed copy of a song. The orchestra may repeat the vamp or other accompaniment during dialogue or stage business, as accompaniment for onstage transitions of indeterminate length. The score provides a one or two ... | Ground bass |
c_m0i21vf6w4gs | Once the vamp section is over, the music continues to the next section. The vamp may be written by the composer of the song, a copyist employed by the publisher, or the arranger for the vocalist. The vamp serves three main purposes: it provides the key, establishes the tempo, and provides emotional context. The vamp ma... | Ground bass |
c_7tclk1jzfgpn | In musical theatre, pastiche is often an indispensable tool for evoking the sounds of a particular era for which a show is set. For the 1971 musical Follies, a show about a reunion of performers from a musical revue set between the World Wars, Stephen Sondheim wrote over a dozen songs in the style of Broadway songwrite... | Genre parodies |
c_skkqowdaazms | In musical theatre, reprises are any repetition of an earlier song or theme, usually with changed lyrics and shortened music to reflect the development of the story. Also, it is common for songs sung by the same character or regarding the same narrative motif to have similar tunes and lyrics, or incorporate similar tun... | Reprise |
c_gferf3b8wfcs | Les Misérables in general reprises many musical themes.. Often the reprised version of a song has exactly the same tune and lyrics as the original, though frequently featuring different characters singing or including them with the original character in the reprised version. For example, in The Sound of Music, the repr... | Reprise |
c_th0y56hyb4l6 | And in Jerome Kern and Oscar Hammerstein II's Show Boat, the song "Ol' Man River" is reprised three times after it is first sung, as if it were a commentary on the situation in the story. In some musicals, a reprise of an earlier song is sung by a different character from the one who originally sang it, with different ... | Reprise |
c_919eak9zyw7c | In Mamma Mia!, however, the reprises for the title track, Dancing Queen, and Waterloo have no altering of the lyrics, and are just shortened versions of the originals featured earlier. In RENT, the song, "I'll Cover You" gets a reprise at Angel's funeral. It is sung primarily by Collins and is slower and more emotional... | Reprise |
c_cigqgytqi9dc | Nearing the end of the song, the rest of the company begins singing a slower version of the first verse of "Seasons of Love". In addition, the second half of "Goodbye Love" features the piano playing an instrumental which is a faster version of the instrumental in "Halloween". In Hamilton, the song, "Best Of Wives, And... | Reprise |
c_gajxmpnpetgn | In musical theatre, the lyrics of the individual song numbers are integrated with the narrative of the libretto (or "book"). As early as 1917, Jerome Kern wrote that "musical numbers should carry on the action of the play, and should be representative of the personalities of the characters who sing them." The lyricist ... | Musical numbers |
c_2bz29ir2b213 | For McMillin, the start of a musical number creates a noticeably different "feel" in which the singer becomes a "performer" not simply a character. For Horn, the individual numbers can serve not only to advance the narrative but also to directly address and engage the audience in an experience which stands apart from t... | Musical numbers |
c_2q0zdywrlyp3 | In musical theory, 34 equal temperament, also referred to as 34-TET, 34-EDO or 34-ET, is the tempered tuning derived by dividing the octave into 34 equal-sized steps (equal frequency ratios). Each step represents a frequency ratio of 34√2, or 35.29 cents . | 34 equal temperament |
c_cd6ndqmkp8w0 | In musical tuning and harmony, the Tonnetz (German for 'tone network') is a conceptual lattice diagram representing tonal space first described by Leonhard Euler in 1739. Various visual representations of the Tonnetz can be used to show traditional harmonic relationships in European classical music. | Tonnetz |
c_t9d6tm864nw4 | In musical tuning systems, the hexany, invented by Erv Wilson, represents one of the simplest structures found in his combination product sets. It is referred to as an uncentered structure, meaning that it implies no tonic. It achieves this by using consonant relations as opposed to the dissonance methods normally empl... | Hexany |
c_lxrjebk2i8mw | The Euler Fokker Genus fails to see 1 as a possible member of a set except as a starting point. The numbers of vertices of his combination sets follow the numbers in Pascal's triangle. In this construction, the hexany is the third cross-section of the four-factor set and the first uncentered one. | Hexany |
c_8nnxgrwx4clw | hexany is the name that Erv Wilson gave to the six notes in the 2-out-of-4 combination product set, abbreviated as 2*4 CPS.Simply, the hexany is the 2 out of 4 set. It is constructed by taking any four factors and a set of two at a time, then multiplying them in pairs. For instance, the harmonic factors 1, 3, 5 and 7 a... | Hexany |
c_5gwkw4cr8496 | The notes are usually octave shifted to place them all within the same octave, which has no effect on interval relations and the consonance of the triads. The possibility of an octave being a solution is not outside of Wilson's conception and is used in cases of placing larger combination product sets upon Generalized ... | Hexany |
c_ran3h279r76l | The notes are arranged so that each point represents a pitch, each edge an interval and each face a triad. It thus has eight just intonation triads where each triad has two notes in common with three of the other chords. Each triad occurs just once with its inversion represented by the opposing 3 tones. | Hexany |
c_trtwcutp22p5 | The edges of the octahedron show musical intervals between the vertices, usually chosen to be consonant intervals from the harmonic series. The points represent musical notes, and the three notes that make each of the triangular faces represent musical triads. Wilson also pointed out and explored the idea of melodic He... | Hexany |
c_u8l9tb2gzi7w | In musical tuning theory, a Pythagorean interval is a musical interval with a frequency ratio equal to a power of two divided by a power of three, or vice versa. For instance, the perfect fifth with ratio 3/2 (equivalent to 31/ 21) and the perfect fourth with ratio 4/3 (equivalent to 22/ 31) are Pythagorean intervals. ... | Pythagorean interval |
c_xrrg7yqqbpm1 | In musical tuning, a lattice "is a way of modeling the tuning relationships of a just intonation system. It is an array of points in a periodic multidimensional pattern. Each point on the lattice corresponds to a ratio (i.e., a pitch, or an interval with respect to some other point on the lattice). The lattice can be t... | Lattice (music) |
c_pc46jlu69oxn | When listed in a spreadsheet a lattice may be referred to as a tuning table. The points in a lattice represent pitch classes (or pitches if octaves are represented), and the connectors in a lattice represent the intervals between them. The connecting lines in a lattice display intervals as vectors, so that a line of th... | Lattice (music) |
c_5av6p11qbqnr | Repeatedly adding the same vector (repeatedly stacking the same interval) moves you further in the same direction. Lattices in just intonation (limited to intervals comprising primes, their powers, and their products) are theoretically infinite (because no power of any prime equals any power of another prime). However,... | Lattice (music) |
c_wwc1ney06zzq | Examples of musical lattices include the Tonnetz of Euler (1739) and Hugo Riemann and the tuning systems of composer-theorists Ben Johnston and James Tenney. Musical intervals in just intonation are related to those in equal tuning by Adriaan Fokker's Fokker periodicity blocks. Many multi-dimensional higher-limit tunin... | Lattice (music) |
c_8bth2oazol12 | The limit is the highest prime number used in the ratios that define the intervals used by a tuning. Thus Pythagorean tuning, which uses only the perfect fifth (3/2) and octave (2/1) and their multiples (powers of 2 and 3), is represented through a two-dimensional lattice (or, given octave equivalence, a single dimensi... | Lattice (music) |
c_9vnjasz2y6rb | In other words, the circle of fifths on one dimension and a series of major thirds on those fifths in the second (horizontal and vertical), with the option of imagining depth to model octaves: 5-limit A----E----B----F#+ 5/3--5/4-15/8-45/32 | | | | | | | | F----C----G----D = 4/3--1/1--3/2--9/8 | | | | | | | | (Db—)-Ab-—... | Lattice (music) |
c_ewntyl3o5vu7 | Wilson would commonly use 10-squares-to-the-inch graph paper. That way, he had room to notate both ratios and often the scale degree, which explains why he didn't use a template where all the numbers where divided by 2. The scale degree always followed a period or dot to separate it from the ratios. Examples: One dimen... | Lattice (music) |
c_g0p9a4vcocc3 | In musical tuning, a temperament is a tuning system that slightly compromises the pure intervals of just intonation to meet other requirements. Most modern Western musical instruments are tuned in the equal temperament system. Tempering is the process of altering the size of an interval by making it narrower or wider t... | Musical temperament |
c_4tl2045eajmw | "Any plan that describes the adjustments to the sizes of some or all of the twelve fifth intervals in the circle of fifths so that they accommodate pure octaves and produce certain sizes of major thirds is called a temperament." Temperament is especially important for keyboard instruments, which typically allow a playe... | Musical temperament |
c_ibfpd4kvlh4s | In the words of William Hubbard's Musical Dictionary (1908), an anomalous chord is a "chord containing an interval" that "has been made very sharp or flat in tempering the scale for instruments of fixed pitches".The development of well temperament allowed fixed-pitch instruments to play reasonably well in all of the ke... | Musical temperament |
c_jjl0mm3rscqy | This variation led in the 18th century to an increase in the use of equal temperament, in which the frequency ratio between each pair of adjacent notes on the keyboard was made equal. In other words, the ratio between two notes that were one octave apart was kept pure, and the twelve notes in between the octave were eq... | Musical temperament |
c_7t21unjd9ys7 | In musical tuning, the Pythagorean comma (or ditonic comma), named after the ancient mathematician and philosopher Pythagoras, is the small interval (or comma) existing in Pythagorean tuning between two enharmonically equivalent notes such as C and B♯, or D♭ and C♯. It is equal to the frequency ratio (1.5)12⁄27 = 53144... | Pythagorean comma |
c_eproa745f0eo | In musicology, electronic musical instruments are known as electrophones. Electrophones are the fifth category of musical instrument under the Hornbostel-Sachs system. Musicologists typically only classify music as electrophones if the sound is initially produced by electricity, excluding electronically controlled acou... | Electronic musical instrument |
c_ofdlnwplcxe1 | The category was added to the Hornbostel-Sachs musical instrument classification system by Sachs in 1940, in his 1940 book The History of Musical Instruments; the original 1914 version of the system did not include it. Sachs divided electrophones into three subcategories: 51=electrically actuated acoustic instruments (... | Electronic musical instrument |
c_81r4r32cb213 | In musicology, string instruments are known as chordophones. It is one of the five main divisions of instruments in the Hornbostel–Sachs scheme of musical instrument classification. Hornbostel–Sachs divides chordophones into two main groups: instruments without a resonator as an integral part of the instrument (which h... | Stringed instruments |
c_fvoerqg38uhg | Hornbostel and Sachs' criterion for determining which sub-group an instrument falls into is that if the resonator can be removed without destroying the instrument, then it is classified as 31. The idea that the piano's casing, which acts as a resonator, could be removed without destroying the instrument, may seem odd, ... | Stringed instruments |
c_fqywie5h0xzo | Curt Sachs also broke chordophones into four basic subcategories, "zithers, lutes, lyres and harps." Zithers include stick zithers such as the musical bow, tube zithers with a tube as the resonator such as the valiha, raft zithers in which tube zithers are tied into a single "raft", board zithers including clavichord a... | Stringed instruments |
c_9nkza24kvfzh | The lute family includes not only short-necked plucked lutes such as the lute, oud, pipa, guitar, citole, gittern, mandore, rubab, and gambus and long-necked plucked lutes such as the tanbura, swarabat, bağlama, bouzouki, veena, theorbo, archlute, pandura, sitar, setar, but also bowed instruments such as the Yaylı tamb... | Stringed instruments |
c_bk6x2e4l9lbu | In musicology, the opus number is the "work number" that is assigned to a musical composition, or to a set of compositions, to indicate the chronological order of the composer's production. Opus numbers are used to distinguish among compositions with similar titles; the word is abbreviated as "Op." for a single work, o... | Opus number |
c_fe8l68fjzid4 | when referring to more than one work. To indicate the specific place of a given work within a music catalogue, the opus number is paired with a cardinal number; for example, Beethoven's Piano Sonata No. 14 in C-sharp minor (1801, nicknamed Moonlight Sonata) is "Opus 27, No. 2", whose work-number identifies it as a comp... | Opus number |
c_pa2d4jvo19no | In musique concrete and electronic music theory the term sound object (originally l'objet sonore) is used to refer to a primary unit of sonic material and often specifically refers to recorded sound rather than written music using manuscript or a score. It was coined by Pierre Schaeffer in his publication Traité des ob... | Sound object |
c_lcpoiu382yl0 | In mutant Knockout mice of CDK6, the hematopoietic function is impaired, regardless of otherwise organism normal development. This might hint additional roles of CDK6 in the development of blood components. There are additional functions of CDK6 not associated with its kinase activity. For example, CDK6 is involved in ... | Cyclin-dependent kinase 6 |
c_z9tpjhxf1v60 | In mutant yellow-orange mice and human redheads, both with nonfunctional MC1R, both genotypes display reduced sensitivity to noxious stimuli and increased analgesic responsiveness to morphine-metabolite analgesics. These observations suggest a role for mammalian MC1R outside the pigment cell, though the exact mechanism... | Melanocortin 1 receptor |
c_p966ah6a0nd8 | In mutual authentication schemes that require a user's input password as part of the verification process, there is a higher vulnerability to hackers because the password is human-made rather than a computer-generated certificate. While applications could simply require users to use a computer-generated password, it is... | Mutual authentication |
c_3q77k0wbosb5 | Researchers note that a password based protocol with mutual authentication is important because user identities and passwords are still protected, as the messages are only readable to the two parties involved.However, a negative aspect about password-based authentication is that password tables can take up a lot of mem... | Mutual authentication |
c_7wi2dirmx54d | In mutual funds, there are a few differences which set the share classes apart. In terms of fees, Class A share funds charge a “front load”, meaning that a percentage of the purchase amount has to be paid each time shares are bought as commission for the mutual fund’s managers. These front loads can go up to 5% or even... | Class C share |
c_9h777kkhr6tu | This means that when the investor chooses to sell, a percentage of the dollar value of shares sold has to be paid. This back-end load, however, decreases directly proportional to the holding period of the fund, and is eventually eliminated. Class B shares can also automatically be converted to Class A shares after a sp... | Class C share |
c_hynkxsg9la7c | In mycological jargon, virgate and virgulate are used to describe mushroom caps (pilei) with pronounced radiating stripes or ribs, as in Tricholoma virgatum. == References == | Virgate (botany) |
c_xw5p10so183a | In mycology a tissue or feature is said to be amyloid if it has a positive amyloid reaction when subjected to a crude chemical test using iodine as an ingredient of either Melzer's reagent or Lugol's solution, producing a blue to blue-black staining. The term "amyloid" is derived from the Latin amyloideus ("starch-like... | Amyloid (mycology) |
c_2w27c63yjowx | The test can be on microscopic features, such as spore walls or hyphal walls, or the apical apparatus or entire ascus wall of an ascus, or be a macroscopic reaction on tissue where a drop of the reagent is applied. Negative reactions, called inamyloid or nonamyloid, are for structures that remain pale yellow-brown or c... | Amyloid (mycology) |
c_j2izzpydez9u | In mycology, "setae" refer to dark brown, thick-walled, thorn-like cystidia found in corticioid and poroid fungi in the family Hymenochaetaceae. Though mainly microscopic, the setae of some species may be sufficiently prominent to be visible with a hand lens. | Seta |
c_64t654r6ieue | In mycology, a lamella (PL: lamellae), or gill, is a papery hymenophore rib under the cap of some mushroom species, most often agarics. The gills are used by the mushrooms as a means of spore dispersal, and are important for species identification. The attachment of the gills to the stem is classified based on the shap... | Adnate gills |
c_mq3n2q05qc86 | For instance, Lactarius species typically seep latex from their gills. It was originally believed that all gilled fungi were Agaricales, but as fungi were studied in more detail, some gilled species were demonstrated not to be. It is now clear that this is a case of convergent evolution (i.e. gill-like structures evolv... | Adnate gills |
c_12vj54y1kqiu | The apparent reason that various basidiomycetes have evolved gills is that it is the most effective means of increasing the ratio of surface area to mass, which increases the potential for spore production and dispersal. Other groups of fungi to bear gills include: The genera Russula and Lactarius of the Russulales. Se... | Adnate gills |
c_fkrd9c9neuzw | Such polypore-like fungi such as daedaleopsis confragosa, Lenzites betulina and Gloeophyllum sepiarium.Members of the two related genera of chanterelles, Cantharellus and Craterellus, have rudimentary lamellar structures which are sometimes referred to as "false gills". They are distinguished from "true gills" because ... | Adnate gills |
c_ffzthzengw7u | In mycology, a nurse cell is any hyphae that supplies food material to spores that have detached from the basidia; used especially in reference to taxa from the family Sclerodermataceae. | Nurse cell |
c_be8mp6ocsi80 | In mycology, a partial veil (also called an inner veil, to differentiate it from the "outer", or universal veil) is a temporary structure of tissue found on the fruiting bodies of some basidiomycete fungi, typically agarics. Its role is to isolate and protect the developing spore-producing surface, represented by gills... | Partial veil |
c_xoo7r4ofqm0e | The partial veil later disintegrates, once the fruiting body has matured and the spores are ready for dispersal. It might then give rise to a stem ring, or fragments attached to the stem or cap edge. In some mushrooms, both a partial veil and a universal veil may be present. | Partial veil |
c_h84pputixi1k | In mycology, a sanctioned name is a name that was adopted (but not necessarily coined) in certain works of Christiaan Hendrik Persoon or Elias Magnus Fries, which are considered major points in fungal taxonomy. | Sanctioned name |
c_44itkyof3e1m | In mycology, a stolon is defined as an occasionally septate hypha, which connects sporangiophores together. Root-like structures called rhizoids may appear on the stolon as well, anchoring the hyphae to the substrate. The stolon is commonly found in bread molds, and are seen as horizontally expanding across the mold. | Stolon |
c_0lemenpul4zs | In mycology, a tubercle is used to refer to a mass of hyphae from which a mushroom is made. | Tubercle |
c_vew0rrh0vs9l | In mycology, acanthocyte refers to stellate cells found on the hyphae of fungi of the genus Stropharia. Recent work, published in 2006, on those of Stropharia rugosoannulata has shown them to have nematode-killing properties. == References == | Acanthocyte (mycology) |
c_tq74uj39v06w | In mycology, anastomosis is the fusion between branches of the same or different hyphae. Hence the bifurcating fungal hyphae can form true reticulating networks. By sharing materials in the form of dissolved ions, hormones, and nucleotides, the fungus maintains bidirectional communication with itself. The fungal networ... | Anastomosis |
c_gv1i5uz6w3ym | Once encountering the tip of another expanding, exploring self, the tips press against each other in pheromonal recognition or by an unknown recognition system, fusing to form a genetic singular clonal colony that can cover hectares called a genet or just microscopical areas.For fungi, anastomosis is also a component o... | Anastomosis |
c_8lnfeconoxnp | In mycology, the term trama is used in two ways. In the broad sense, it is the inner, fleshy portion of a mushroom's basidiocarp, or fruit body. It is distinct from the outer layer of tissue, known as the pileipellis or cuticle, and from the spore-bearing tissue layer known as the hymenium. In essence, the trama is the... | Trama (mycology) |
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