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Built around 1915, the Alaska Railroad (ARR) played a key role in the development of Alaska through the 20th century. It links north Pacific shipping through providing critical infrastructure with tracks that run from Seward to Interior Alaska by way of South Central Alaska, passing through Anchorage, Eklutna, Wasilla, Talkeetna, Denali, and Fairbanks, with spurs to Whittier, Palmer and North Pole. The cities, towns, villages, and region served by ARR tracks are known statewide as "The Railbelt". In recent years, the ever-improving paved highway system began to eclipse the railroad's importance in Alaska's economy. |
The Alaska Railroad was one of the last railroads in North America to use cabooses in regular service and still uses them on some gravel trains. It continues to offer one of the last flag stop routes in the country. A stretch of about 60 miles (100 km) of track along an area north of Talkeetna remains inaccessible by road; the railroad provides the only transportation to rural homes and cabins in the area. Until construction of the Parks Highway in the 1970s, the railroad provided the only land access to most of the region along its entire route. |
Alaska's well-developed state-owned ferry system (known as the Alaska Marine Highway) serves the cities of southeast, the Gulf Coast and the Alaska Peninsula. The ferries transport vehicles as well as passengers. The system also operates a ferry service from Bellingham, Washington and Prince Rupert, British Columbia in Canada through the Inside Passage to Skagway. The Inter-Island Ferry Authority also serves as an important marine link for many communities in the Prince of Wales Island region of Southeast and works in concert with the Alaska Marine Highway. |
Cities not served by road, sea, or river can be reached only by air, foot, dogsled, or snowmachine, accounting for Alaska's extremely well developed bush air services—an Alaskan novelty. Anchorage and, to a lesser extent Fairbanks, is served by many major airlines. Because of limited highway access, air travel remains the most efficient form of transportation in and out of the state. Anchorage recently completed extensive remodeling and construction at Ted Stevens Anchorage International Airport to help accommodate the upsurge in tourism (in 2012-2013, Alaska received almost 2 million visitors). |
Regular flights to most villages and towns within the state that are commercially viable are challenging to provide, so they are heavily subsidized by the federal government through the Essential Air Service program. Alaska Airlines is the only major airline offering in-state travel with jet service (sometimes in combination cargo and passenger Boeing 737-400s) from Anchorage and Fairbanks to regional hubs like Bethel, Nome, Kotzebue, Dillingham, Kodiak, and other larger communities as well as to major Southeast and Alaska Peninsula communities. |
The bulk of remaining commercial flight offerings come from small regional commuter airlines such as Ravn Alaska, PenAir, and Frontier Flying Service. The smallest towns and villages must rely on scheduled or chartered bush flying services using general aviation aircraft such as the Cessna Caravan, the most popular aircraft in use in the state. Much of this service can be attributed to the Alaska bypass mail program which subsidizes bulk mail delivery to Alaskan rural communities. The program requires 70% of that subsidy to go to carriers who offer passenger service to the communities. |
Many communities have small air taxi services. These operations originated from the demand for customized transport to remote areas. Perhaps the most quintessentially Alaskan plane is the bush seaplane. The world's busiest seaplane base is Lake Hood, located next to Ted Stevens Anchorage International Airport, where flights bound for remote villages without an airstrip carry passengers, cargo, and many items from stores and warehouse clubs. In 2006 Alaska had the highest number of pilots per capita of any U.S. state. |
Another Alaskan transportation method is the dogsled. In modern times (that is, any time after the mid-late 1920s), dog mushing is more of a sport than a true means of transportation. Various races are held around the state, but the best known is the Iditarod Trail Sled Dog Race, a 1,150-mile (1,850 km) trail from Anchorage to Nome (although the distance varies from year to year, the official distance is set at 1,049 miles or 1,688 km). The race commemorates the famous 1925 serum run to Nome in which mushers and dogs like Togo and Balto took much-needed medicine to the diphtheria-stricken community of Nome when all other means of transportation had failed. Mushers from all over the world come to Anchorage each March to compete for cash, prizes, and prestige. The "Serum Run" is another sled dog race that more accurately follows the route of the famous 1925 relay, leaving from the community of Nenana (southwest of Fairbanks) to Nome. |
Alaska's internet and other data transport systems are provided largely through the two major telecommunications companies: GCI and Alaska Communications. GCI owns and operates what it calls the Alaska United Fiber Optic system and as of late 2011 Alaska Communications advertised that it has "two fiber optic paths to the lower 48 and two more across Alaska. In January 2011, it was reported that a $1 billion project to run connect Asia and rural Alaska was being planned, aided in part by $350 million in stimulus from the federal government. |
To finance state government operations, Alaska depends primarily on petroleum revenues and federal subsidies. This allows it to have the lowest individual tax burden in the United States. It is one of five states with no state sales tax, one of seven states that do not levy an individual income tax, and one of the two states that has neither. The Department of Revenue Tax Division reports regularly on the state's revenue sources. The Department also issues an annual summary of its operations, including new state laws that directly affect the tax division. |
Alaska regularly supports Republicans in presidential elections and has done so since statehood. Republicans have won the state's electoral college votes in all but one election that it has participated in (1964). No state has voted for a Democratic presidential candidate fewer times. Alaska was carried by Democratic nominee Lyndon B. Johnson during his landslide election in 1964, while the 1960 and 1968 elections were close. Since 1972, however, Republicans have carried the state by large margins. In 2008, Republican John McCain defeated Democrat Barack Obama in Alaska, 59.49% to 37.83%. McCain's running mate was Sarah Palin, the state's governor and the first Alaskan on a major party ticket. Obama lost Alaska again in 2012, but he captured 40% of the state's vote in that election, making him the first Democrat to do so since 1968. |
The Alaska Bush, central Juneau, midtown and downtown Anchorage, and the areas surrounding the University of Alaska Fairbanks campus and Ester have been strongholds of the Democratic Party. The Matanuska-Susitna Borough, the majority of Fairbanks (including North Pole and the military base), and South Anchorage typically have the strongest Republican showing. As of 2004[update], well over half of all registered voters have chosen "Non-Partisan" or "Undeclared" as their affiliation, despite recent attempts to close primaries to unaffiliated voters. |
The Unorganized Borough has no government of its own, but the U.S. Census Bureau in cooperation with the state divided the Unorganized Borough into 11 census areas solely for the purposes of statistical analysis and presentation. A recording district is a mechanism for administration of the public record in Alaska. The state is divided into 34 recording districts which are centrally administered under a State Recorder. All recording districts use the same acceptance criteria, fee schedule, etc., for accepting documents into the public record. |
As reflected in the 2010 United States Census, Alaska has a total of 355 incorporated cities and census-designated places (CDPs). The tally of cities includes four unified municipalities, essentially the equivalent of a consolidated city–county. The majority of these communities are located in the rural expanse of Alaska known as "The Bush" and are unconnected to the contiguous North American road network. The table at the bottom of this section lists the 100 largest cities and census-designated places in Alaska, in population order. |
Of Alaska's 2010 Census population figure of 710,231, 20,429 people, or 2.88% of the population, did not live in an incorporated city or census-designated place. Approximately three-quarters of that figure were people who live in urban and suburban neighborhoods on the outskirts of the city limits of Ketchikan, Kodiak, Palmer and Wasilla. CDPs have not been established for these areas by the United States Census Bureau, except that seven CDPs were established for the Ketchikan-area neighborhoods in the 1980 Census (Clover Pass, Herring Cove, Ketchikan East, Mountain Point, North Tongass Highway, Pennock Island and Saxman East), but have not been used since. The remaining population was scattered throughout Alaska, both within organized boroughs and in the Unorganized Borough, in largely remote areas. |
The Alaska State Troopers are Alaska's statewide police force. They have a long and storied history, but were not an official organization until 1941. Before the force was officially organized, law enforcement in Alaska was handled by various federal agencies. Larger towns usually have their own local police and some villages rely on "Public Safety Officers" who have police training but do not carry firearms. In much of the state, the troopers serve as the only police force available. In addition to enforcing traffic and criminal law, wildlife Troopers enforce hunting and fishing regulations. Due to the varied terrain and wide scope of the Troopers' duties, they employ a wide variety of land, air, and water patrol vehicles. |
There are many established music festivals in Alaska, including the Alaska Folk Festival, the Fairbanks Summer Arts Festival, the Anchorage Folk Festival, the Athabascan Old-Time Fiddling Festival, the Sitka Jazz Festival, and the Sitka Summer Music Festival. The most prominent orchestra in Alaska is the Anchorage Symphony Orchestra, though the Fairbanks Symphony Orchestra and Juneau Symphony are also notable. The Anchorage Opera is currently the state's only professional opera company, though there are several volunteer and semi-professional organizations in the state as well. |
One of the most prominent movies filmed in Alaska is MGM's Eskimo/Mala The Magnificent, starring Alaska Native Ray Mala. In 1932 an expedition set out from MGM's studios in Hollywood to Alaska to film what was then billed as "The Biggest Picture Ever Made." Upon arriving in Alaska, they set up "Camp Hollywood" in Northwest Alaska, where they lived during the duration of the filming. Louis B. Mayer spared no expense in spite of the remote location, going so far as to hire the chef from the Hotel Roosevelt in Hollywood to prepare meals. |
Popper is known for his rejection of the classical inductivist views on the scientific method, in favour of empirical falsification: A theory in the empirical sciences can never be proven, but it can be falsified, meaning that it can and should be scrutinized by decisive experiments. He used the black swan fallacy to discuss falsification. If the outcome of an experiment contradicts the theory, one should refrain from ad hoc manoeuvres that evade the contradiction merely by making it less falsifiable. Popper is also known for his opposition to the classical justificationist account of knowledge, which he replaced with critical rationalism, "the first non-justificational philosophy of criticism in the history of philosophy." |
Karl Popper was born in Vienna (then in Austria-Hungary) in 1902, to upper middle-class parents. All of Karl Popper's grandparents were Jewish, but the Popper family converted to Lutheranism before Karl was born, and so he received Lutheran baptism. They understood this as part of their cultural assimilation, not as an expression of devout belief. Karl's father Simon Siegmund Carl Popper was a lawyer from Bohemia and a doctor of law at the Vienna University, and mother Jenny Schiff was of Silesian and Hungarian descent. After establishing themselves in Vienna, the Poppers made a rapid social climb in Viennese society: Simon Siegmund Carl became a partner in the law firm of Vienna's liberal Burgomaster Herr Grübl and, after Grübl's death in 1898, Simon took over the business. (Malachi Hacohen records that Herr Grübl's first name was Raimund, after which Karl received his middle name. Popper himself, in his autobiography, erroneously recalls that Herr Grübl's first name was Carl.) His father was a bibliophile who had 12,000–14,000 volumes in his personal library. Popper inherited both the library and the disposition from him. |
Popper left school at the age of 16 and attended lectures in mathematics, physics, philosophy, psychology and the history of music as a guest student at the University of Vienna. In 1919, Popper became attracted by Marxism and subsequently joined the Association of Socialist School Students. He also became a member of the Social Democratic Workers' Party of Austria, which was at that time a party that fully adopted the Marxist ideology. After the street battle in the Hörlgasse on 15 June 1919, when police shot eight of his unarmed party comrades, he became disillusioned by what he saw to be the "pseudo-scientific" historical materialism of Marx, abandoned the ideology, and remained a supporter of social liberalism throughout his life. |
He worked in street construction for a short amount of time, but was unable to cope with the heavy labour. Continuing to attend university as a guest student, he started an apprenticeship as cabinetmaker, which he completed as a journeyman. He was dreaming at that time of starting a daycare facility for children, for which he assumed the ability to make furniture might be useful. After that he did voluntary service in one of psychoanalyst Alfred Adler's clinics for children. In 1922, he did his matura by way of a second chance education and finally joined the University as an ordinary student. He completed his examination as an elementary teacher in 1924 and started working at an after-school care club for socially endangered children. In 1925, he went to the newly founded Pädagogisches Institut and continued studying philosophy and psychology. Around that time he started courting Josefine Anna Henninger, who later became his wife. |
In 1928, he earned a doctorate in psychology, under the supervision of Karl Bühler. His dissertation was entitled "Die Methodenfrage der Denkpsychologie" (The question of method in cognitive psychology). In 1929, he obtained the authorisation to teach mathematics and physics in secondary school, which he started doing. He married his colleague Josefine Anna Henninger (1906–1985) in 1930. Fearing the rise of Nazism and the threat of the Anschluss, he started to use the evenings and the nights to write his first book Die beiden Grundprobleme der Erkenntnistheorie (The Two Fundamental Problems of the Theory of Knowledge). He needed to publish one to get some academic position in a country that was safe for people of Jewish descent. However, he ended up not publishing the two-volume work, but a condensed version of it with some new material, Logik der Forschung (The Logic of Scientific Discovery), in 1934. Here, he criticised psychologism, naturalism, inductionism, and logical positivism, and put forth his theory of potential falsifiability as the criterion demarcating science from non-science. In 1935 and 1936, he took unpaid leave to go to the United Kingdom for a study visit. |
In 1937, Popper finally managed to get a position that allowed him to emigrate to New Zealand, where he became lecturer in philosophy at Canterbury University College of the University of New Zealand in Christchurch. It was here that he wrote his influential work The Open Society and its Enemies. In Dunedin he met the Professor of Physiology John Carew Eccles and formed a lifelong friendship with him. In 1946, after the Second World War, he moved to the United Kingdom to become reader in logic and scientific method at the London School of Economics. Three years later, in 1949, he was appointed professor of logic and scientific method at the University of London. Popper was president of the Aristotelian Society from 1958 to 1959. He retired from academic life in 1969, though he remained intellectually active for the rest of his life. In 1985, he returned to Austria so that his wife could have her relatives around her during the last months of her life; she died in November that year. After the Ludwig Boltzmann Gesellschaft failed to establish him as the director of a newly founded branch researching the philosophy of science, he went back again to the United Kingdom in 1986, settling in Kenley, Surrey. |
Popper died of "complications of cancer, pneumonia and kidney failure" in Kenley at the age of 92 on 17 September 1994. He had been working continuously on his philosophy until two weeks before, when he suddenly fell terminally ill. After cremation, his ashes were taken to Vienna and buried at Lainzer cemetery adjacent to the ORF Centre, where his wife Josefine Anna Popper (called ‘Hennie’) had already been buried. Popper's estate is managed by his secretary and personal assistant Melitta Mew and her husband Raymond. Popper's manuscripts went to the Hoover Institution at Stanford University, partly during his lifetime and partly as supplementary material after his death. Klagenfurt University possesses Popper's library, including his precious bibliophilia, as well as hard copies of the original Hoover material and microfilms of the supplementary material. The remaining parts of the estate were mostly transferred to The Karl Popper Charitable Trust. In October 2008 Klagenfurt University acquired the copyrights from the estate. |
Popper won many awards and honours in his field, including the Lippincott Award of the American Political Science Association, the Sonning Prize, the Otto Hahn Peace Medal of the United Nations Association of Germany in Berlin and fellowships in the Royal Society, British Academy, London School of Economics, King's College London, Darwin College, Cambridge, and Charles University, Prague. Austria awarded him the Grand Decoration of Honour in Gold for Services to the Republic of Austria in 1986, and the Federal Republic of Germany its Grand Cross with Star and Sash of the Order of Merit, and the peace class of the Order Pour le Mérite. He received the Humanist Laureate Award from the International Academy of Humanism. He was knighted by Queen Elizabeth II in 1965, and was elected a Fellow of the Royal Society in 1976. He was invested with the Insignia of a Companion of Honour in 1982. |
Other awards and recognition for Popper included the City of Vienna Prize for the Humanities (1965), Karl Renner Prize (1978), Austrian Decoration for Science and Art (1980), Dr. Leopold Lucas Prize (1981), Ring of Honour of the City of Vienna (1983) and the Premio Internazionale of the Italian Federico Nietzsche Society (1988). In 1992, he was awarded the Kyoto Prize in Arts and Philosophy for "symbolising the open spirit of the 20th century" and for his "enormous influence on the formation of the modern intellectual climate". |
Karl Popper's rejection of Marxism during his teenage years left a profound mark on his thought. He had at one point joined a socialist association, and for a few months in 1919 considered himself a communist. During this time he became familiar with the Marxist view of economics, class-war, and history. Although he quickly became disillusioned with the views expounded by Marxism, his flirtation with the ideology led him to distance himself from those who believed that spilling blood for the sake of a revolution was necessary. He came to realise that when it came to sacrificing human lives, one was to think and act with extreme prudence. |
The failure of democratic parties to prevent fascism from taking over Austrian politics in the 1920s and 1930s traumatised Popper. He suffered from the direct consequences of this failure, since events after the Anschluss, the annexation of Austria by the German Reich in 1938, forced him into permanent exile. His most important works in the field of social science—The Poverty of Historicism (1944) and The Open Society and Its Enemies (1945)—were inspired by his reflection on the events of his time and represented, in a sense, a reaction to the prevalent totalitarian ideologies that then dominated Central European politics. His books defended democratic liberalism as a social and political philosophy. They also represented extensive critiques of the philosophical presuppositions underpinning all forms of totalitarianism. |
Popper puzzled over the stark contrast between the non-scientific character of Freud and Adler's theories in the field of psychology and the revolution set off by Einstein's theory of relativity in physics in the early 20th century. Popper thought that Einstein's theory, as a theory properly grounded in scientific thought and method, was highly "risky", in the sense that it was possible to deduce consequences from it which were, in the light of the then-dominant Newtonian physics, highly improbable (e.g., that light is deflected towards solid bodies—confirmed by Eddington's experiments in 1919), and which would, if they turned out to be false, falsify the whole theory. In contrast, nothing could, even in principle, falsify psychoanalytic theories. He thus came to the conclusion that psychoanalytic theories had more in common with primitive myths than with genuine science. |
This led Popper to conclude that what were regarded[by whom?] as the remarkable strengths of psychoanalytical theories were actually their weaknesses. Psychoanalytical theories were crafted in a way that made them able to refute any criticism and to give an explanation for every possible form of human behaviour. The nature of such theories made it impossible for any criticism or experiment - even in principle - to show them to be false. This realisation had an important consequence when Popper later tackled the problem of demarcation in the philosophy of science, as it led him to posit that the strength of a scientific theory lies in its both being susceptible to falsification, and not actually being falsified by criticism made of it. He considered that if a theory cannot, in principle, be falsified by criticism, it is not a scientific theory. |
Popper coined the term "critical rationalism" to describe his philosophy. Concerning the method of science, the term indicates his rejection of classical empiricism, and the classical observationalist-inductivist account of science that had grown out of it. Popper argued strongly against the latter, holding that scientific theories are abstract in nature, and can be tested only indirectly, by reference to their implications. He also held that scientific theory, and human knowledge generally, is irreducibly conjectural or hypothetical, and is generated by the creative imagination to solve problems that have arisen in specific historico-cultural settings. |
Logically, no number of positive outcomes at the level of experimental testing can confirm a scientific theory, but a single counterexample is logically decisive: it shows the theory, from which the implication is derived, to be false. To say that a given statement (e.g., the statement of a law of some scientific theory) -- [call it "T"] -- is "falsifiable" does not mean that "T" is false. Rather, it means that, if "T" is false, then (in principle), "T" could be shown to be false, by observation or by experiment. Popper's account of the logical asymmetry between verification and falsifiability lies at the heart of his philosophy of science. It also inspired him to take falsifiability as his criterion of demarcation between what is, and is not, genuinely scientific: a theory should be considered scientific if, and only if, it is falsifiable. This led him to attack the claims of both psychoanalysis and contemporary Marxism to scientific status, on the basis that their theories are not falsifiable. |
In All Life is Problem Solving, Popper sought to explain the apparent progress of scientific knowledge – that is, how it is that our understanding of the universe seems to improve over time. This problem arises from his position that the truth content of our theories, even the best of them, cannot be verified by scientific testing, but can only be falsified. Again, in this context the word "falsified" does not refer to something being "fake"; rather, that something can be (i.e., is capable of being) shown to be false by observation or experiment. Some things simply do not lend themselves to being shown to be false, and therefore, are not falsifiable. If so, then how is it that the growth of science appears to result in a growth in knowledge? In Popper's view, the advance of scientific knowledge is an evolutionary process characterised by his formula: |
In response to a given problem situation (), a number of competing conjectures, or tentative theories (), are systematically subjected to the most rigorous attempts at falsification possible. This process, error elimination (), performs a similar function for science that natural selection performs for biological evolution. Theories that better survive the process of refutation are not more true, but rather, more "fit"—in other words, more applicable to the problem situation at hand (). Consequently, just as a species' biological fitness does not ensure continued survival, neither does rigorous testing protect a scientific theory from refutation in the future. Yet, as it appears that the engine of biological evolution has, over many generations, produced adaptive traits equipped to deal with more and more complex problems of survival, likewise, the evolution of theories through the scientific method may, in Popper's view, reflect a certain type of progress: toward more and more interesting problems (). For Popper, it is in the interplay between the tentative theories (conjectures) and error elimination (refutation) that scientific knowledge advances toward greater and greater problems; in a process very much akin to the interplay between genetic variation and natural selection. |
Among his contributions to philosophy is his claim to have solved the philosophical problem of induction. He states that while there is no way to prove that the sun will rise, it is possible to formulate the theory that every day the sun will rise; if it does not rise on some particular day, the theory will be falsified and will have to be replaced by a different one. Until that day, there is no need to reject the assumption that the theory is true. Nor is it rational according to Popper to make instead the more complex assumption that the sun will rise until a given day, but will stop doing so the day after, or similar statements with additional conditions. |
Popper held that rationality is not restricted to the realm of empirical or scientific theories, but that it is merely a special case of the general method of criticism, the method of finding and eliminating contradictions in knowledge without ad-hoc-measures. According to this view, rational discussion about metaphysical ideas, about moral values and even about purposes is possible. Popper's student W.W. Bartley III tried to radicalise this idea and made the controversial claim that not only can criticism go beyond empirical knowledge, but that everything can be rationally criticised. |
To Popper, who was an anti-justificationist, traditional philosophy is misled by the false principle of sufficient reason. He thinks that no assumption can ever be or needs ever to be justified, so a lack of justification is not a justification for doubt. Instead, theories should be tested and scrutinised. It is not the goal to bless theories with claims of certainty or justification, but to eliminate errors in them. He writes, "there are no such things as good positive reasons; nor do we need such things [...] But [philosophers] obviously cannot quite bring [themselves] to believe that this is my opinion, let alone that it is right" (The Philosophy of Karl Popper, p. 1043) |
In The Open Society and Its Enemies and The Poverty of Historicism, Popper developed a critique of historicism and a defence of the "Open Society". Popper considered historicism to be the theory that history develops inexorably and necessarily according to knowable general laws towards a determinate end. He argued that this view is the principal theoretical presupposition underpinning most forms of authoritarianism and totalitarianism. He argued that historicism is founded upon mistaken assumptions regarding the nature of scientific law and prediction. Since the growth of human knowledge is a causal factor in the evolution of human history, and since "no society can predict, scientifically, its own future states of knowledge", it follows, he argued, that there can be no predictive science of human history. For Popper, metaphysical and historical indeterminism go hand in hand. |
As early as 1934, Popper wrote of the search for truth as "one of the strongest motives for scientific discovery." Still, he describes in Objective Knowledge (1972) early concerns about the much-criticised notion of truth as correspondence. Then came the semantic theory of truth formulated by the logician Alfred Tarski and published in 1933. Popper writes of learning in 1935 of the consequences of Tarski's theory, to his intense joy. The theory met critical objections to truth as correspondence and thereby rehabilitated it. The theory also seemed, in Popper's eyes, to support metaphysical realism and the regulative idea of a search for truth. |
According to this theory, the conditions for the truth of a sentence as well as the sentences themselves are part of a metalanguage. So, for example, the sentence "Snow is white" is true if and only if snow is white. Although many philosophers have interpreted, and continue to interpret, Tarski's theory as a deflationary theory, Popper refers to it as a theory in which "is true" is replaced with "corresponds to the facts". He bases this interpretation on the fact that examples such as the one described above refer to two things: assertions and the facts to which they refer. He identifies Tarski's formulation of the truth conditions of sentences as the introduction of a "metalinguistic predicate" and distinguishes the following cases: |
Upon this basis, along with that of the logical content of assertions (where logical content is inversely proportional to probability), Popper went on to develop his important notion of verisimilitude or "truthlikeness". The intuitive idea behind verisimilitude is that the assertions or hypotheses of scientific theories can be objectively measured with respect to the amount of truth and falsity that they imply. And, in this way, one theory can be evaluated as more or less true than another on a quantitative basis which, Popper emphasises forcefully, has nothing to do with "subjective probabilities" or other merely "epistemic" considerations. |
Knowledge, for Popper, was objective, both in the sense that it is objectively true (or truthlike), and also in the sense that knowledge has an ontological status (i.e., knowledge as object) independent of the knowing subject (Objective Knowledge: An Evolutionary Approach, 1972). He proposed three worlds: World One, being the physical world, or physical states; World Two, being the world of mind, or mental states, ideas, and perceptions; and World Three, being the body of human knowledge expressed in its manifold forms, or the products of the second world made manifest in the materials of the first world (i.e., books, papers, paintings, symphonies, and all the products of the human mind). World Three, he argued, was the product of individual human beings in exactly the same sense that an animal path is the product of individual animals, and that, as such, has an existence and evolution independent of any individual knowing subjects. The influence of World Three, in his view, on the individual human mind (World Two) is at least as strong as the influence of World One. In other words, the knowledge held by a given individual mind owes at least as much to the total accumulated wealth of human knowledge, made manifest, as to the world of direct experience. As such, the growth of human knowledge could be said to be a function of the independent evolution of World Three. Many contemporary philosophers, such as Daniel Dennett, have not embraced Popper's Three World conjecture, due mostly, it seems, to its resemblance to mind-body dualism. |
The creation–evolution controversy in the United States raises the issue of whether creationistic ideas may be legitimately called science and whether evolution itself may be legitimately called science. In the debate, both sides and even courts in their decisions have frequently invoked Popper's criterion of falsifiability (see Daubert standard). In this context, passages written by Popper are frequently quoted in which he speaks about such issues himself. For example, he famously stated "Darwinism is not a testable scientific theory, but a metaphysical research program—a possible framework for testable scientific theories." He continued: |
Popper had his own sophisticated views on evolution that go much beyond what the frequently-quoted passages say. In effect, Popper agreed with some of the points of both creationists and naturalists, but also disagreed with both views on crucial aspects. Popper understood the universe as a creative entity that invents new things, including life, but without the necessity of something like a god, especially not one who is pulling strings from behind the curtain. He said that evolution must, as the creationists say, work in a goal-directed way but disagreed with their view that it must necessarily be the hand of god that imposes these goals onto the stage of life. |
Instead, he formulated the spearhead model of evolution, a version of genetic pluralism. According to this model, living organisms themselves have goals, and act according to these goals, each guided by a central control. In its most sophisticated form, this is the brain of humans, but controls also exist in much less sophisticated ways for species of lower complexity, such as the amoeba. This control organ plays a special role in evolution—it is the "spearhead of evolution". The goals bring the purpose into the world. Mutations in the genes that determine the structure of the control may then cause drastic changes in behaviour, preferences and goals, without having an impact on the organism's phenotype. Popper postulates that such purely behavioural changes are less likely to be lethal for the organism compared to drastic changes of the phenotype. |
Popper contrasts his views with the notion of the "hopeful monster" that has large phenotype mutations and calls it the "hopeful behavioural monster". After behaviour has changed radically, small but quick changes of the phenotype follow to make the organism fitter to its changed goals. This way it looks as if the phenotype were changing guided by some invisible hand, while it is merely natural selection working in combination with the new behaviour. For example, according to this hypothesis, the eating habits of the giraffe must have changed before its elongated neck evolved. Popper contrasted this view as "evolution from within" or "active Darwinism" (the organism actively trying to discover new ways of life and being on a quest for conquering new ecological niches), with the naturalistic "evolution from without" (which has the picture of a hostile environment only trying to kill the mostly passive organism, or perhaps segregate some of its groups). |
About the creation-evolution controversy, Popper wrote that he considered it "a somewhat sensational clash between a brilliant scientific hypothesis concerning the history of the various species of animals and plants on earth, and an older metaphysical theory which, incidentally, happened to be part of an established religious belief" with a footnote to the effect that "[he] agree[s] with Professor C.E. Raven when, in his Science, Religion, and the Future, 1943, he calls this conflict "a storm in a Victorian tea-cup"; though the force of this remark is perhaps a little impaired by the attention he pays to the vapours still emerging from the cup—to the Great Systems of Evolutionist Philosophy, produced by Bergson, Whitehead, Smuts, and others." |
In an interview that Popper gave in 1969 with the condition that it shall be kept secret until after his death, he summarised his position on God as follows: "I don't know whether God exists or not. ... Some forms of atheism are arrogant and ignorant and should be rejected, but agnosticism—to admit that we don't know and to search—is all right. ... When I look at what I call the gift of life, I feel a gratitude which is in tune with some religious ideas of God. However, the moment I even speak of it, I am embarrassed that I may do something wrong to God in talking about God." He objected to organised religion, saying "it tends to use the name of God in vain", noting the danger of fanaticism because of religious conflicts: "The whole thing goes back to myths which, though they may have a kernel of truth, are untrue. Why then should the Jewish myth be true and the Indian and Egyptian myths not be true?" In a letter unrelated to the interview, he stressed his tolerant attitude: "Although I am not for religion, I do think that we should show respect for anybody who believes honestly." |
Popper played a vital role in establishing the philosophy of science as a vigorous, autonomous discipline within philosophy, through his own prolific and influential works, and also through his influence on his own contemporaries and students. Popper founded in 1946 the Department of Philosophy, Logic and Scientific Method at the London School of Economics and there lectured and influenced both Imre Lakatos and Paul Feyerabend, two of the foremost philosophers of science in the next generation of philosophy of science. (Lakatos significantly modified Popper's position,:1 and Feyerabend repudiated it entirely, but the work of both is deeply influenced by Popper and engaged with many of the problems that Popper set.) |
While there is some dispute as to the matter of influence, Popper had a long-standing and close friendship with economist Friedrich Hayek, who was also brought to the London School of Economics from Vienna. Each found support and similarities in the other's work, citing each other often, though not without qualification. In a letter to Hayek in 1944, Popper stated, "I think I have learnt more from you than from any other living thinker, except perhaps Alfred Tarski." Popper dedicated his Conjectures and Refutations to Hayek. For his part, Hayek dedicated a collection of papers, Studies in Philosophy, Politics, and Economics, to Popper, and in 1982 said, "...ever since his Logik der Forschung first came out in 1934, I have been a complete adherent to his general theory of methodology." |
He does not argue that any such conclusions are therefore true, or that this describes the actual methods of any particular scientist.[citation needed] Rather, it is recommended as an essential principle of methodology that, if enacted by a system or community, will lead to slow but steady progress of a sort (relative to how well the system or community enacts the method). It has been suggested that Popper's ideas are often mistaken for a hard logical account of truth because of the historical co-incidence of their appearing at the same time as logical positivism, the followers of which mistook his aims for their own. |
The Quine-Duhem thesis argues that it's impossible to test a single hypothesis on its own, since each one comes as part of an environment of theories. Thus we can only say that the whole package of relevant theories has been collectively falsified, but cannot conclusively say which element of the package must be replaced. An example of this is given by the discovery of the planet Neptune: when the motion of Uranus was found not to match the predictions of Newton's laws, the theory "There are seven planets in the solar system" was rejected, and not Newton's laws themselves. Popper discussed this critique of naïve falsificationism in Chapters 3 and 4 of The Logic of Scientific Discovery. For Popper, theories are accepted or rejected via a sort of selection process. Theories that say more about the way things appear are to be preferred over those that do not; the more generally applicable a theory is, the greater its value. Thus Newton's laws, with their wide general application, are to be preferred over the much more specific "the solar system has seven planets".[dubious – discuss] |
Popper claimed to have recognised already in the 1934 version of his Logic of Discovery a fact later stressed by Kuhn, "that scientists necessarily develop their ideas within a definite theoretical framework", and to that extent to have anticipated Kuhn's central point about "normal science". (But Popper criticised what he saw as Kuhn's relativism.) Also, in his collection Conjectures and Refutations: The Growth of Scientific Knowledge (Harper & Row, 1963), Popper writes, "Science must begin with myths, and with the criticism of myths; neither with the collection of observations, nor with the invention of experiments, but with the critical discussion of myths, and of magical techniques and practices. The scientific tradition is distinguished from the pre-scientific tradition in having two layers. Like the latter, it passes on its theories; but it also passes on a critical attitude towards them. The theories are passed on, not as dogmas, but rather with the challenge to discuss them and improve upon them." |
Another objection is that it is not always possible to demonstrate falsehood definitively, especially if one is using statistical criteria to evaluate a null hypothesis. More generally it is not always clear, if evidence contradicts a hypothesis, that this is a sign of flaws in the hypothesis rather than of flaws in the evidence. However, this is a misunderstanding of what Popper's philosophy of science sets out to do. Rather than offering a set of instructions that merely need to be followed diligently to achieve science, Popper makes it clear in The Logic of Scientific Discovery that his belief is that the resolution of conflicts between hypotheses and observations can only be a matter of the collective judgment of scientists, in each individual case. |
In a book called Science Versus Crime, Houck writes that Popper's falsificationism can be questioned logically: it is not clear how Popper would deal with a statement like "for every metal, there is a temperature at which it will melt." The hypothesis cannot be falsified by any possible observation, for there will always be a higher temperature than tested at which the metal may in fact melt, yet it seems to be a valid scientific hypothesis. These examples were pointed out by Carl Gustav Hempel. Hempel came to acknowledge that Logical Positivism's verificationism was untenable, but argued that falsificationism was equally untenable on logical grounds alone. The simplest response to this is that, because Popper describes how theories attain, maintain and lose scientific status, individual consequences of currently accepted scientific theories are scientific in the sense of being part of tentative scientific knowledge, and both of Hempel's examples fall under this category. For instance, atomic theory implies that all metals melt at some temperature. |
In 2004, philosopher and psychologist Michel ter Hark (Groningen, The Netherlands) published a book, called Popper, Otto Selz and the rise of evolutionary epistemology, in which he claimed that Popper took some of his ideas from his tutor, the German psychologist Otto Selz. Selz never published his ideas, partly because of the rise of Nazism, which forced him to quit his work in 1933, and the prohibition of referring to Selz' work. Popper, the historian of ideas and his scholarship, is criticised in some academic quarters for his rejection of Plato, Hegel and Marx. |
According to John N. Gray, Popper held that "a theory is scientific only in so far as it is falsifiable, and should be given up as soon as it is falsified." By applying Popper's account of scientific method, Gray's Straw Dogs states that this would have "killed the theories of Darwin and Einstein at birth." When they were first advanced, Gray claims, each of them was "at odds with some available evidence; only later did evidence become available that gave them crucial support." Against this, Gray seeks to establish the irrationalist thesis that "the progress of science comes from acting against reason." |
Gray does not, however, give any indication of what available evidence these theories were at odds with, and his appeal to "crucial support" illustrates the very inductivist approach to science that Popper sought to show was logically illegitimate. For, according to Popper, Einstein's theory was at least equally as well corroborated as Newton's upon its initial conception; they both equally well accounted for all the hitherto available evidence. Moreover, since Einstein also explained the empirical refutations of Newton's theory, general relativity was immediately deemed suitable for tentative acceptance on the Popperian account. Indeed, Popper wrote, several decades before Gray's criticism, in reply to a critical essay by Imre Lakatos: |
Such a theory would be true with higher probability, because it cannot be attacked so easily: to falsify the first one, it is sufficient to find that the sun has stopped rising; to falsify the second one, one additionally needs the assumption that the given day has not yet been reached. Popper held that it is the least likely, or most easily falsifiable, or simplest theory (attributes which he identified as all the same thing) that explains known facts that one should rationally prefer. His opposition to positivism, which held that it is the theory most likely to be true that one should prefer, here becomes very apparent. It is impossible, Popper argues, to ensure a theory to be true; it is more important that its falsity can be detected as easily as possible. |
In his early years Popper was impressed by Marxism, whether of Communists or socialists. An event that happened in 1919 had a profound effect on him: During a riot, caused by the Communists, the police shot several unarmed people, including some of Popper's friends, when they tried to free party comrades from prison. The riot had, in fact, been part of a plan by which leaders of the Communist party with connections to Béla Kun tried to take power by a coup; Popper did not know about this at that time. However, he knew that the riot instigators were swayed by the Marxist doctrine that class struggle would produce vastly more dead men than the inevitable revolution brought about as quickly as possible, and so had no scruples to put the life of the rioters at risk to achieve their selfish goal of becoming the future leaders of the working class. This was the start of his later criticism of historicism. Popper began to reject Marxist historicism, which he associated with questionable means, and later socialism, which he associated with placing equality before freedom (to the possible disadvantage of equality). |
A mandolin (Italian: mandolino pronounced [mandoˈliːno]; literally "small mandola") is a musical instrument in the lute family and is usually plucked with a plectrum or "pick". It commonly has four courses of doubled metal strings tuned in unison (8 strings), although five (10 strings) and six (12 strings) course versions also exist. The courses are normally tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin, mandocello and mandobass. |
There are many styles of mandolin, but four are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin. The round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, and an arched top—both carved out of wood. The flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument has its own sound quality and is associated with particular forms of music. Neapolitan mandolins feature prominently in European classical music and traditional music. Carved-top instruments are common in American folk music and bluegrass music. Flat-backed instruments are commonly used in Irish, British and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course. |
Much of mandolin development revolved around the soundboard (the top). Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, and were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings. The modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but generally round or teardrop-shaped, sometimes with scrolls or other projections. There is usually one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic F (f-hole). A round or oval sound hole may be covered or bordered with decorative rosettes or purfling. |
Beside the introduction of the lute to Spain (Andalusia) by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or later by Muslim musicians. There were singer-lutenists at the court in Palermo following the Norman conquest of the island from the Muslims, and the lute is depicted extensively in the ceiling paintings in the Palermo’s royal Cappella Palatina, dedicated by the Norman King Roger II of Sicily in 1140. His Hohenstaufen grandson Frederick II, Holy Roman Emperor (1194 - 1250) continued integrating Muslims into his court, including Moorish musicians. By the 14th century, lutes had disseminated throughout Italy and, probably because of the cultural influence of the Hohenstaufen kings and emperor, based in Palermo, the lute had also made significant inroads into the German-speaking lands. |
There is confusion currently as to the name of the eldest Vinaccia luthier who first ran the shop. His name has been put forth as Gennaro Vinaccia (active c. 1710 to c. 1788) and Nic. Vinaccia. His son Antonio Vinaccia was active c. 1734 to c. 1796. An early extant example of a mandolin is one built by Antonio Vinaccia in 1759, which resides at the University of Edinburgh. Another is by Giuseppe Vinaccia, built in 1893, is also at the University of Edinburgh. The earliest extant mandolin was built in 1744 by Antonio's son, Gaetano Vinaccia. It resides in the Conservatoire Royal de Musique in Brussels, Belgium. |
The transition from the mandolino to the mandolin began around 1744 with the designing of the metal-string mandolin by the Vinaccia family, 3 brass strings and one of gut, using friction tuning pegs on a fingerboard that sat "flush" with the sound table. The mandolin grew in popularity over the next 60 years, in the streets where it was used by young men courting and by street musicians, and in the concert hall. After the Napoleonic Wars of 1815, however, its popularity began to fall. The 19th century produced some prominent players, including Bartolomeo Bortolazzi of Venice and Pietro Vimercati. However, professional virtuosity was in decline, and the mandolin music changed as the mandolin became a folk instrument; "the large repertoire of notated instrumental music for the mandolino and the mandoline was completely forgotten". The export market for mandolins from Italy dried up around 1815, and when Carmine de Laurentiis wrote a mandolin method in 1874, the Music World magazine wrote that the mandolin was "out of date." Salvador Léonardi mentioned this decline in his 1921 book, Méthode pour Banjoline ou Mandoline-Banjo, saying that the mandolin had been declining in popularity from previous times. |
Beginning with the Paris Exposition of 1878, the instrument's popularity rebounded. The Exposition was one of many stops for a popular new performing group the Estudiantes Españoles (Spanish Students). They danced and played guitars, violins and the bandurria, which became confused with the mandolin. Along with the energy and awareness created by the day's hit sensation, a wave of Italian mandolinists travelled Europe in the 1880s and 1890s and in the United States by the mid-1880s, playing and teaching their instrument. The instrument's popularity continued to increase during the 1890s and mandolin popularity was at its height in "early years of the 20th century." Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating not only the mandolin family of instruments, but also guitars, double basses and zithers. |
The second decline was not as complete as the first. Thousands of people had learned to play the instrument. Even as the second wave of mandolin popularity declined in the early 20th century, new versions of the mandolin began to be used in new forms of music. Luthiers created the resonator mandolin, the flatback mandolin, the carved-top or arched-top mandolin, the mandolin-banjo and the electric mandolin. Musicians began playing it in Celtic, Bluegrass, Jazz and Rock-n-Roll styles — and Classical too. |
Like any plucked instrument, mandolin notes decay to silence rather than sound out continuously as with a bowed note on a violin, and mandolin notes decay faster than larger stringed instruments like the guitar. This encourages the use of tremolo (rapid picking of one or more pairs of strings) to create sustained notes or chords. The mandolin's paired strings facilitate this technique: the plectrum (pick) strikes each of a pair of strings alternately, providing a more full and continuous sound than a single string would. |
The Neapolitan style has an almond-shaped body resembling a bowl, constructed from curved strips of wood. It usually has a bent sound table, canted in two planes with the design to take the tension of the 8 metal strings arranged in four courses. A hardwood fingerboard sits on top of or is flush with the sound table. Very old instruments may use wooden tuning pegs, while newer instruments tend to use geared metal tuners. The bridge is a movable length of hardwood. A pickguard is glued below the sound hole under the strings. European roundbacks commonly use a 13-inch scale instead of the 13.876 common on archtop Mandolins. |
Another family of bowlback mandolins came from Milan and Lombardy. These mandolins are closer to the mandolino or mandore than other modern mandolins. They are shorter and wider than the standard Neapolitan mandolin, with a shallow back. The instruments have 6 strings, 3 wire treble-strings and 3 gut or wire-wrapped-silk bass-strings. The strings ran between the tuning pegs and a bridge that was glued to the soundboard, as a guitar's. The Lombardic mandolins were tuned g b e' a' d" g". A developer of the Milanese stye was Antonio Monzino (Milan) and his family who made them for 6 generations. |
Samuel Adelstein described the Lombardi mandolin in 1893 as wider and shorter than the Neapolitan mandolin, with a shallower back and a shorter and wider neck, with six single strings to the regular mandolin's set of 4. The Lombardi was tuned C, D, A, E, B, G. The strings were fastened to the bridge like a guitar's. There were 20 frets, covering three octaves, with an additional 5 notes. When Adelstein wrote, there were no nylon strings, and the gut and single strings "do not vibrate so clearly and sweetly as the double steel string of the Neapolitan." |
In his 1805 mandolin method, Anweisung die Mandoline von selbst zu erlernen nebst einigen Uebungsstucken von Bortolazzi, Bartolomeo Bortolazzi popularised the Cremonese mandolin, which had four single-strings and a fixed bridge, to which the strings were attached. Bortolazzi said in this book that the new wire strung mandolins were uncomfortable to play, when compared with the gut-string instruments. Also, he felt they had a "less pleasing...hard, zither-like tone" as compared to the gut string's "softer, full-singing tone." He favored the four single strings of the Cremonese instrument, which were tuned the same as the Neapolitan. |
At the very end of the 19th century, a new style, with a carved top and back construction inspired by violin family instruments began to supplant the European-style bowl-back instruments in the United States. This new style is credited to mandolins designed and built by Orville Gibson, a Kalamazoo, Michigan luthier who founded the "Gibson Mandolin-Guitar Manufacturing Co., Limited" in 1902. Gibson mandolins evolved into two basic styles: the Florentine or F-style, which has a decorative scroll near the neck, two points on the lower body and usually a scroll carved into the headstock; and the A-style, which is pear shaped, has no points and usually has a simpler headstock. |
These styles generally have either two f-shaped soundholes like a violin (F-5 and A-5), or an oval sound hole (F-4 and A-4 and lower models) directly under the strings. Much variation exists between makers working from these archetypes, and other variants have become increasingly common. Generally, in the United States, Gibson F-hole F-5 mandolins and mandolins influenced by that design are strongly associated with bluegrass, while the A-style is associated other types of music, although it too is most often used for and associated with bluegrass. The F-5's more complicated woodwork also translates into a more expensive instrument. |
Numerous modern mandolin makers build instruments that largely replicate the Gibson F-5 Artist models built in the early 1920s under the supervision of Gibson acoustician Lloyd Loar. Original Loar-signed instruments are sought after and extremely valuable. Other makers from the Loar period and earlier include Lyon and Healy, Vega and Larson Brothers. Some notable modern American carved mandolin manufacturers include, in addition to Kay, Gibson, Weber, Monteleone and Collings. Mandolins from other countries include The Loar (China), Santa, Rosa (China), Michael Kelly (Korea), Eastman (China), Kentucky (China), Heiden (Canada), Gilchrist (Australia) and Morgan Monroe (China). |
The international repertoire of music for mandolin is almost unlimited, and musicians use it to play various types of music. This is especially true of violin music, since the mandolin has the same tuning of the violin. Following its invention and early development in Italy the mandolin spread throughout the European continent. The instrument was primarily used in a classical tradition with Mandolin orchestras, so called Estudiantinas or in Germany Zupforchestern appearing in many cities. Following this continental popularity of the mandolin family local traditions appeared outside of Europe in the Americas and in Japan. Travelling mandolin virtuosi like Giuseppe Pettine, Raffaele Calace and Silvio Ranieri contributed to the mandolin becoming a "fad" instrument in the early 20th century. This "mandolin craze" was fading by the 1930s, but just as this practice was falling into disuse, the mandolin found a new niche in American country, old-time music, bluegrass and folk music. More recently, the Baroque and Classical mandolin repertory and styles have benefited from the raised awareness of and interest in Early music, with media attention to classical players such as Israeli Avi Avital, Italian Carlo Aonzo and American Joseph Brent. |
Phil Skinner played a key role in 20th century development of the mandolin movement in Australia, and was awarded an MBE in 1979 for services to music and the community. He was born Harry Skinner in Sydney in 1903 and started learning music at age 10 when his uncle tutored him on the banjo. Skinner began teaching part-time at age 18, until the Great Depression forced him to begin teaching full-time and learn a broader range of instruments. Skinner founded the Sydney Mandolin Orchestra, the oldest surviving mandolin orchestra in Australia. |
The Sydney Mandolins (Artistic Director: Adrian Hooper) have contributed greatly to the repertoire through commissioning over 200 works by Australian and International composers. Most of these works have been released on Compact Disks and can regularly be heard on radio stations on the ABC and MBS networks. One of their members, mandolin virtuoso Paul Hooper, has had a number of Concertos written for him by composers such as Eric Gross. He has performed and recorded these works with the Sydney Symphony Orchestra and the Tasmanian Symphony Orchestra. As well, Paul Hooper has had many solo works dedicated to him by Australian composers e.g., Caroline Szeto, Ian Shanahan, Larry Sitsky and Michael Smetanin. |
In the early 20th century several mandolin orchestras (Estudiantinas) were active in Belgium. Today only a few groups remain: Royal Estudiantina la Napolitaine (founded in 1904) in Antwerp, Brasschaats mandoline orkest in Brasschaat and an orchestra in Mons (Bergen). Gerda Abts is a well known mandolin virtuoso in Belgium. She is also mandolin teacher and gives lessons in the music academies of Lier, Wijnegem and Brasschaat. She is now also professor mandolin at the music high school “Koninklijk Conservatorium Artesis Hogeschool Antwerpen”. She also gives various concerts each year in different ensembles. She is in close contact to the Brasschaat mandolin Orchestra. Her site is www.gevoeligesnaar.be |
Prior to the Golden Age of Mandolins, France had a history with the mandolin, with mandolinists playing in Paris until the Napoleonic Wars. The players, teachers and composers included Giovanni Fouchetti, Eduardo Mezzacapo, Gabriele Leon, and Gervasio. During the Golden age itself (1880s-1920s), the mandolin had a strong presence in France. Prominent mandolin players or composers included Jules Cottin and his sister Madeleine Cottin, Jean Pietrapertosa, and Edgar Bara. Paris had dozens of "estudiantina" mandolin orchestras in the early 1900s. Mandolin magazines included L'Estudiantina, Le Plectre, École de la mandolie. |
On the island of Crete, along with the lyra and the laouto (lute), the mandolin is one of the main instruments used in Cretan Music. It appeared on Crete around the time of the Venetian rule of the island. Different variants of the mandolin, such as the "mantola," were used to accompany the lyra, the violin, and the laouto. Stelios Foustalierakis reported that the mandolin and the mpoulgari were used to accompany the lyra in the beginning of the 20th century in the city of Rethimno. There are also reports that the mandolin was mostly a woman's musical instrument. Nowadays it is played mainly as a solo instrument in personal and family events on the Ionian islands and Crete. |
Many adaptations of the instrument have been done to cater to the special needs of Indian Carnatic music. In Indian classical music and Indian light music, the mandolin, which bears little resemblance to the European mandolin, is usually tuned E-B-E-B. As there is no concept of absolute pitch in Indian classical music, any convenient tuning maintaining these relative pitch intervals between the strings can be used. Another prevalent tuning with these intervals is C-G-C-G, which corresponds to Sa-Pa-Sa-Pa in the Indian carnatic classical music style. This tuning corresponds to the way violins are tuned for carnatic classical music. This type of mandolin is also used in Bhangra, dance music popular in Punjabi culture. |
Though almost any variety of acoustic mandolin might be adequate for Irish traditional music, virtually all Irish players prefer flat-backed instruments with oval sound holes to the Italian-style bowl-back mandolins or the carved-top mandolins with f-holes favoured by bluegrass mandolinists. The former are often too soft-toned to hold their own in a session (as well as having a tendency to not stay in place on the player's lap), whilst the latter tend to sound harsh and overbearing to the traditional ear. The f-hole mandolin, however, does come into its own in a traditional session, where its brighter tone cuts through the sonic clutter of a pub. Greatly preferred for formal performance and recording are flat-topped "Irish-style" mandolins (reminiscent of the WWI-era Martin Army-Navy mandolin) and carved (arch) top mandolins with oval soundholes, such as the Gibson A-style of the 1920s. |
Noteworthy Irish mandolinists include Andy Irvine (who, like Johnny Moynihan, almost always tunes the top E down to D, to achieve an open tuning of GDAD), Paul Brady, Mick Moloney, Paul Kelly and Claudine Langille. John Sheahan and the late Barney McKenna, respectively fiddle player and tenor banjo player with The Dubliners, are also accomplished Irish mandolin players. The instruments used are either flat-backed, oval hole examples as described above (made by UK luthier Roger Bucknall of Fylde Guitars), or carved-top, oval hole instruments with arched back (made by Stefan Sobell in Northumberland). The Irish guitarist Rory Gallagher often played the mandolin on stage, and he most famously used it in the song "Going To My Hometown." |
Antonio Vivaldi composed a mandolin concerto (Concerto in C major Op.3 6) and two concertos for two mandolins and orchestra. Wolfgang Amadeus Mozart placed it in his 1787 work Don Giovanni and Beethoven created four variations of it. Antonio Maria Bononcini composed La conquista delle Spagne di Scipione Africano il giovane in 1707 and George Frideric Handel composed Alexander Balus in 1748. Others include Giovani Battista Gervasio (Sonata in D major for Mandolin and Basso Continuo), Giuseppe Giuliano (Sonata in D major for Mandolin and Basso Continuo), Emanuele Barbella (Sonata in D major for Mandolin and Basso Continuo), Domenico Scarlatti (Sonata n.54 (K.89) in D minor for Mandolin and Basso Continuo), and Addiego Guerra (Sonata in G major for Mandolin and Basso Continuo). |
The expansion of mandolin use continued after World War II through the late 1960s, and Japan still maintains a strong classical music tradition using mandolins, with active orchestras and university music programs. New orchestras were founded and new orchestral compositions composed. Japanese mandolin orchestras today may consist of up to 40 or 50 members, and can include woodwind, percussion, and brass sections. Japan also maintains an extensive collection of 20th Century mandolin music from Europe and one of the most complete collections of mandolin magazines from mandolin's golden age, purchased by Morishige Takei. |
The bandolim (Portuguese for "mandolin") was a favourite instrument within the Portuguese bourgeoisie of the 19th century, but its rapid spread took it to other places, joining other instruments. Today you can see mandolins as part of the traditional and folk culture of Portuguese singing groups and the majority of the mandolin scene in Portugal is in Madeira Island. Madeira has over 17 active mandolin Orchestras and Tunas. The mandolin virtuoso Fabio Machado is one of Portugal's most accomplished mandolin players. The Portuguese influence brought the mandolin to Brazil. |
The mandolin has been used extensively in the traditional music of England and Scotland for generations. Simon Mayor is a prominent British player who has produced six solo albums, instructional books and DVDs, as well as recordings with his mandolin quartet the Mandolinquents. The instrument has also found its way into British rock music. The mandolin was played by Mike Oldfield (and introduced by Vivian Stanshall) on Oldfield's album Tubular Bells, as well as on a number of his subsequent albums (particularly prominently on Hergest Ridge (1974) and Ommadawn (1975)). It was used extensively by the British folk-rock band Lindisfarne, who featured two members on the instrument, Ray Jackson and Simon Cowe, and whose "Fog on the Tyne" was the biggest selling UK album of 1971-1972. The instrument was also used extensively in the UK folk revival of the 1960s and 1970s with bands such as Fairport Convention and Steeleye Span taking it on as the lead instrument in many of their songs. Maggie May by Rod Stewart, which hit No. 1 on both the British charts and the Billboard Hot 100, also featured Jackson's playing. It has also been used by other British rock musicians. Led Zeppelin's bassist John Paul Jones is an accomplished mandolin player and has recorded numerous songs on mandolin including Going to California and That's the Way; the mandolin part on The Battle of Evermore is played by Jimmy Page, who composed the song. Other Led Zeppelin songs featuring mandolin are Hey Hey What Can I Do, and Black Country Woman. Pete Townshend of The Who played mandolin on the track Mike Post Theme, along with many other tracks on Endless Wire. McGuinness Flint, for whom Graham Lyle played the mandolin on their most successful single, When I'm Dead And Gone, is another example. Lyle was also briefly a member of Ronnie Lane's Slim Chance, and played mandolin on their hit How Come. One of the more prominent early mandolin players in popular music was Robin Williamson in The Incredible String Band. Ian Anderson of Jethro Tull is a highly accomplished mandolin player (beautiful track Pussy Willow), as is his guitarist Martin Barre. The popular song Please Please Please Let Me Get What I Want by The Smiths featured a mandolin solo played by Johnny Marr. More recently, the Glasgow-based band Sons and Daughters featured the mandolin, played by Ailidh Lennon, on tracks such as Fight, Start to End, and Medicine. British folk-punk icons the Levellers also regularly use the mandolin in their songs. Current bands are also beginning to use the Mandolin and its unique sound - such as South London's Indigo Moss who use it throughout their recordings and live gigs. The mandolin has also featured in the playing of Matthew Bellamy in the rock band Muse. It also forms the basis of Paul McCartney's 2007 hit "Dance Tonight." That was not the first time a Beatle played a mandolin, however; that distinction goes to George Harrison on Gone Troppo, the title cut from the 1982 album of the same name. The mandolin is taught in Lanarkshire by the Lanarkshire Guitar and Mandolin Association to over 100 people. Also more recently hard rock supergroup Them Crooked Vultures have been playing a song based primarily using a mandolin. This song was left off their debut album, and features former Led Zeppelin bassist John Paul Jones.[citation needed] |
The mandolin's popularity in the United States was spurred by the success of a group of touring young European musicians known as the Estudiantina Figaro, or in the United States, simply the "Spanish Students." The group landed in the U.S. on January 2, 1880 in New York City, and played in Boston and New York to wildly enthusiastic crowds. Ironically, this ensemble did not play mandolins but rather bandurrias, which are also small, double-strung instruments that resemble the mandolin. The success of the Figaro Spanish Students spawned other groups who imitated their musical style and costumes. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing the Figaro Spanish Students perform; his group of Italian born Americans called themselves the "Original Spanish Students," counting on the American public to not know the difference between the Spanish bandurrias and Italian mandolins. The imitators' use of mandolins helped to generate enormous public interest in an instrument previously relatively unknown in the United States. |
Mandolin awareness in the United States blossomed in the 1880s, as the instrument became part of a fad that continued into the mid-1920s. According to Clarence L. Partee, the first mandolin made in the United States was made in 1883 or 1884 by Joseph Bohmann, who was an established maker of violins in Chicago. Partee characterized the early instrument as being larger than the European instruments he was used to, with a "peculiar shape" and "crude construction," and said that the quality improved, until American instruments were "superior" to imported instruments. At the time, Partee was using an imported French-made mandolin. |
Instruments were marketed by teacher-dealers, much as the title character in the popular musical The Music Man. Often, these teacher-dealers conducted mandolin orchestras: groups of 4-50 musicians who played various mandolin family instruments. However, alongside the teacher-dealers were serious musicians, working to create a spot for the instrument in classical music, ragtime and jazz. Like the teacher-dealers, they traveled the U.S., recording records, giving performances and teaching individuals and mandolin orchestras. Samuel Siegel played mandolin in Vaudeville and became one of America's preeminent mandolinists. Seth Weeks was an African American who not only taught and performed in the United States, but also in Europe, where he recorded records. Another pioneering African American musician and director who made his start with a mandolin orchestra was composer James Reese Europe. W. Eugene Page toured the country with a group, and was well known for his mandolin and mandola performances. Other names include Valentine Abt, Samuel Adelstein, William Place, Jr., and Aubrey Stauffer. |
The instrument was primarily used in an ensemble setting well into the 1930s, and although the fad died out at the beginning of the 1930s, the instruments that were developed for the orchestra found a new home in bluegrass. The famous Lloyd Loar Master Model from Gibson (1923) was designed to boost the flagging interest in mandolin ensembles, with little success. However, The "Loar" became the defining instrument of bluegrass music when Bill Monroe purchased F-5 S/N 73987 in a Florida barbershop in 1943 and popularized it as his main instrument. |
The mandolin orchestras never completely went away, however. In fact, along with all the other musical forms the mandolin is involved with, the mandolin ensemble (groups usually arranged like the string section of a modern symphony orchestra, with first mandolins, second mandolins, mandolas, mandocellos, mando-basses, and guitars, and sometimes supplemented by other instruments) continues to grow in popularity. Since the mid-nineties, several public-school mandolin-based guitar programs have blossomed around the country, including Fretworks Mandolin and Guitar Orchestra, the first of its kind. The national organization, Classical Mandolin Society of America, founded by Norman Levine, represents these groups. Prominent modern mandolinists and composers for mandolin in the classical music tradition include Samuel Firstman, Howard Fry, Rudy Cipolla, Dave Apollon, Neil Gladd, Evan Marshall, Marilynn Mair and Mark Davis (the Mair-Davis Duo), Brian Israel, David Evans, Emanuil Shynkman, Radim Zenkl, David Del Tredici and Ernst Krenek. |
When Cowan Powers and his family recorded their old-time music from 1924-1926, his daughter Orpha Powers was one of the earliest known southern-music artists to record with the mandolin. By the 1930s, single mandolins were becoming more commonly used in southern string band music, most notably by brother duets such as the sedate Blue Sky Boys (Bill Bolick and Earl Bolick) and the more hard-driving Monroe Brothers (Bill Monroe and Charlie Monroe). However, the mandolin's modern popularity in country music can be directly traced to one man: Bill Monroe, the father of bluegrass music. After the Monroe Brothers broke up in 1939, Bill Monroe formed his own group, after a brief time called the Blue Grass Boys, and completed the transition of mandolin styles from a "parlor" sound typical of brother duets to the modern "bluegrass" style. He joined the Grand Ole Opry in 1939 and its powerful clear-channel broadcast signal on WSM-AM spread his style throughout the South, directly inspiring many musicians to take up the mandolin. Monroe famously played Gibson F-5 mandolin, signed and dated July 9, 1923, by Lloyd Loar, chief acoustic engineer at Gibson. The F-5 has since become the most imitated tonally and aesthetically by modern builders. |
Monroe's style involved playing lead melodies in the style of a fiddler, and also a percussive chording sound referred to as "the chop" for the sound made by the quickly struck and muted strings. He also perfected a sparse, percussive blues style, especially up the neck in keys that had not been used much in country music, notably B and E. He emphasized a powerful, syncopated right hand at the expense of left-hand virtuosity. Monroe's most influential follower of the second generation is Frank Wakefield and nowadays Mike Compton of the Nashville Bluegrass Band and David Long, who often tour as a duet. Tiny Moore of the Texas Playboys developed an electric five-string mandolin and helped popularize the instrument in Western Swing music. |
Other major bluegrass mandolinists who emerged in the early 1950s and are still active include Jesse McReynolds (of Jim and Jesse) who invented a syncopated banjo-roll-like style called crosspicking—and Bobby Osborne of the Osborne Brothers, who is a master of clarity and sparkling single-note runs. Highly respected and influential modern bluegrass players include Herschel Sizemore, Doyle Lawson, and the multi-genre Sam Bush, who is equally at home with old-time fiddle tunes, rock, reggae, and jazz. Ronnie McCoury of the Del McCoury Band has won numerous awards for his Monroe-influenced playing. The late John Duffey of the original Country Gentlemen and later the Seldom Scene did much to popularize the bluegrass mandolin among folk and urban audiences, especially on the east coast and in the Washington, D.C. area. |
Jethro Burns, best known as half of the comedy duo Homer and Jethro, was also the first important jazz mandolinist. Tiny Moore popularized the mandolin in Western swing music. He initially played an 8-string Gibson but switched after 1952 to a 5-string solidbody electric instrument built by Paul Bigsby. Modern players David Grisman, Sam Bush, and Mike Marshall, among others, have worked since the early 1970s to demonstrate the mandolin's versatility for all styles of music. Chris Thile of California is a well-known player, and has accomplished many feats of traditional bluegrass, classical, contemporary pop and rock; the band Nickel Creek featured his playing in its blend of traditional and pop styles, and he now plays in his band Punch Brothers. Most commonly associated with bluegrass, mandolin has been used a lot in country music over the years. Some well-known players include Marty Stuart, Vince Gill, and Ricky Skaggs. |
Mandolin has also been used in blues music, most notably by Ry Cooder, who performed outstanding covers on his very first recordings, Yank Rachell, Johnny "Man" Young, Carl Martin, and Gerry Hundt. Howard Armstrong, who is famous for blues violin, got his start with his father's mandolin and played in string bands similar to the other Tennessee string bands he came into contact with, with band makeup including "mandolins and fiddles and guitars and banjos. And once in a while they would ease a little ukulele in there and a bass fiddle." Other blues players from the era's string bands include Willie Black (Whistler And His Jug Band), Dink Brister, Jim Hill, Charles Johnson, Coley Jones (Dallas String Band), Bobby Leecan (Need More Band), Alfred Martin, Charlie McCoy (1909-1950), Al Miller, Matthew Prater, and Herb Quinn. |
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