text stringlengths 9 2.4k |
|---|
In 1998, the length of a copyright in the United States was increased by 20 years under the "Copyright Term Extension Act". This legislation was the subject of substantial criticism following allegations that the bill was strongly promoted by corporations which had valuable copyrights which otherwise would have expired.
Limitations and exceptions.
In many jurisdictions, copyright law makes exceptions to these restrictions when the work is copied for the purpose of commentary or other related uses. United States copyright law does not cover names, titles, short phrases or listings (such as ingredients, recipes, labels, or formulas). However, there are protections available for those areas copyright does not cover, such as trademarks and patents.
Idea–expression dichotomy and the merger doctrine.
The idea–expression divide differentiates between ideas and expression, and states that copyright protects only the original expression of ideas, and not the ideas themselves. This principle, first clarified in the 1879 case of "Baker v. Selden", has since been codified by the "Copyright Act of 1976" at 17 U.S.C. § 102(b).
|
The first-sale doctrine and exhaustion of rights.
Copyright law does not restrict the owner of a copy from reselling legitimately obtained copies of copyrighted works, provided that those copies were originally produced by or with the permission of the copyright holder. It is therefore legal, for example, to resell a copyrighted book or CD. In the United States this is known as the first-sale doctrine, and was established by the courts to clarify the legality of reselling books in second-hand bookstores.
Some countries may have parallel importation restrictions that allow the copyright holder to control the aftermarket. This may mean for example that a copy of a book that does not infringe copyright in the country where it was printed does infringe copyright in a country into which it is imported for retailing. The first-sale doctrine is known as exhaustion of rights in other countries and is a principle which also applies, though somewhat differently, to patent and trademark rights. While this doctrine permits the transfer of the particular legitimate copy involved, it does not permit making or distributing additional copies.
|
In "Kirtsaeng v. John Wiley & Sons, Inc.", in 2013, the United States Supreme Court held in a 6–3 decision that the first-sale doctrine applies to goods manufactured abroad with the copyright owner's permission and then imported into the US without such permission. The case involved a plaintiff who imported Asian editions of textbooks that had been manufactured abroad with the publisher-plaintiff's permission. The defendant, without permission from the publisher, imported the textbooks and resold on eBay. The Supreme Court's holding severely limits the ability of copyright holders to prevent such importation.
In addition, copyright, in most cases, does not prohibit one from acts such as modifying, defacing, or destroying one's own legitimately obtained copy of a copyrighted work, so long as duplication is not involved. However, in countries that implement moral rights, a copyright holder can in some cases successfully prevent the mutilation or destruction of a work that is publicly visible.
Fair use and fair dealing.
|
Copyright does not prohibit all copying or replication. In the United States, the fair use doctrine, codified by the "Copyright Act of 1976" as 17 U.S.C. Section 107, permits some copying and distribution without permission of the copyright holder or payment to same. The statute does not clearly define fair use, but instead gives four non-exclusive factors to consider in a fair use analysis. Those factors are:
In the United Kingdom and many other Commonwealth countries, a similar notion of fair dealing was established by the courts or through legislation. The concept is sometimes not well defined; however, in Canada, private copying for personal use has been expressly permitted by statute since 1999. In "Alberta (Education) v. Canadian Copyright Licensing Agency (Access Copyright)", 2012 SCC 37, the Supreme Court of Canada concluded that limited copying for educational purposes could also be justified under the fair dealing exemption. In Australia, the fair dealing exceptions under the "Copyright Act 1968" (Cth) are a limited set of circumstances under which copyrighted material can be legally copied or adapted without the copyright holder's consent. Fair dealing uses are research and study; review and critique; news reportage and the giving of professional advice (i.e. legal advice). Under current Australian law, although it is still a breach of copyright to copy, reproduce or adapt copyright material for personal or private use without permission from the copyright owner, owners of a legitimate copy are permitted to "format shift" that work from one medium to another for personal, private use, or to "time shift" a broadcast work for later, once and only once, viewing or listening. Other technical exemptions from infringement may also apply, such as the temporary reproduction of a work in machine readable form for a computer.
|
In the United States the AHRA ("Audio Home Recording Act" Codified in Section 10, 1992) prohibits action against consumers making noncommercial recordings of music, in return for royalties on both media and devices plus mandatory copy-control mechanisms on recorders.
Later acts amended US copyright law so that for certain purposes making 10 copies or more is construed to be commercial, but there is no general rule permitting such copying. Indeed, making one complete copy of a work, or in many cases using a portion of it, for commercial purposes will not be considered fair use. The "Digital Millennium Copyright Act" prohibits the manufacture, importation, or distribution of devices whose intended use, or only significant commercial use, is to bypass an access or copy control put in place by a copyright owner. An appellate court has held that fair use is not a defense to engaging in such distribution. In "Lenz v. Universal Music Corp.," the United States Court of Appeals for the Ninth Circuit affirmed the lower court decision, holding that "fair use is 'authorized by the law' and a copyright holder must consider the existence of fair use before sending a takedown notification" under the "Digital Millennium Copyright Act".
|
EU copyright laws recognise the right of EU member states to implement some national exceptions to copyright. Examples of those exceptions are:
Accessible copies.
It is legal in several countries including the United Kingdom and the United States to produce alternative versions (for example, in large print or braille) of a copyrighted work to provide improved access to a work for blind and visually impaired people without permission from the copyright holder.
Religious Service Exemption.
In the US there is a Religious Service Exemption (1976 law, section 110[3]), namely "performance of a non-dramatic literary or musical work or of a dramatico-musical work of a religious nature or display of a work, in the course of services at a place of worship or other religious assembly" shall not constitute infringement of copyright.
Useful articles.
In Canada, items deemed "useful articles" such as clothing designs are exempted from copyright protection under the "Copyright Act" if reproduced more than 50 times. Fast fashion brands may reproduce clothing designs from smaller companies without violating copyright protections.
|
Transfer, assignment and licensing.
A copyright, or aspects of it (e.g. reproduction alone, all but moral rights), may be assigned or transferred from one party to another. For example, a musician who records an album will often sign an agreement with a record company in which the musician agrees to transfer all copyright in the recordings in exchange for royalties and other considerations. The creator (and original copyright holder) benefits, or expects to, from production and marketing capabilities far beyond those of the author. In the digital age of music, music may be copied and distributed at minimal cost through the Internet; however, the record industry attempts to provide promotion and marketing for the artist and their work so it can reach a much larger audience. A copyright holder need not transfer all rights completely, though many publishers will insist. Some of the rights may be transferred, or else the copyright holder may grant another party a non-exclusive license to copy or distribute the work in a particular region or for a specified period of time.
|
A transfer or license may have to meet particular formal requirements in order to be effective, for example under the Australian Copyright Act 1968 the copyright itself must be expressly transferred in writing. Under the US Copyright Act, a transfer of ownership in copyright must be memorialized in a writing signed by the transferor. For that purpose, ownership in copyright includes exclusive licenses of rights. Thus, exclusive licenses, to be effective, must be granted in a written instrument signed by the grantor. No special form of transfer or grant is required. A simple document that identifies the work involved and the rights being granted is sufficient. Non-exclusive grants (often called non-exclusive licenses) need not be in writing under US law. They can be oral or even implied by the behavior of the parties. Transfers of copyright ownership, including exclusive licenses, may and should be recorded in the U.S. Copyright Office. (Information on recording transfers is available on the Office's web site.) While recording is not required to make the grant effective, it offers important benefits, much like those obtained by recording a deed in a real estate transaction.
|
Copyright may also be licensed. Some jurisdictions may provide that certain classes of copyrighted works be made available under a prescribed statutory license (e.g. musical works in the United States used for radio broadcast or performance). This is also called a compulsory license, because under this scheme, anyone who wishes to copy a covered work does not need the permission of the copyright holder, but instead merely files the proper notice and pays a set fee established by statute (or by an agency decision under statutory guidance) for every copy made. Failure to follow the proper procedures would place the copier at risk of an infringement suit. Because of the difficulty of following every individual work, copyright collectives or collecting societies and performing rights organizations (such as ASCAP, BMI, and SESAC) have been formed to collect royalties for hundreds (thousands and more) works at once. Though this market solution bypasses the statutory license, the availability of the statutory fee still helps dictate the price per work collective rights organizations charge, driving it down to what avoidance of procedural hassle would justify.
|
Free licenses.
Copyright licenses known as "open" or free licenses seek to grant several rights to licensees, either for a fee or not. "Free" in this context is not as much of a reference to price as it is to freedom. What constitutes free licensing has been characterised in a number of similar definitions, including by order of longevity the Free Software Definition, the Debian Free Software Guidelines, the Open Source Definition and the Definition of Free Cultural Works. Further refinements to these definitions have resulted in categories such as copyleft and permissive. Common examples of free licenses are the GNU General Public License, BSD licenses and some Creative Commons licenses.
Founded in 2001 by James Boyle, Lawrence Lessig, and Hal Abelson, the Creative Commons (CC) is a non-profit organization which aims to facilitate the legal sharing of creative works. To this end, the organization provides a number of generic copyright license options to the public, gratis. These licenses allow copyright holders to define conditions under which others may use a work and to specify what types of use are acceptable.
|
Terms of use have traditionally been negotiated on an individual basis between copyright holder and potential licensee. Therefore, a general CC license outlining which rights the copyright holder is willing to waive enables the general public to use such works more freely. Six general types of CC licenses are available (although some of them are not properly free per the above definitions and per Creative Commons' own advice). These are based upon copyright-holder stipulations such as whether they are willing to allow modifications to the work, whether they permit the creation of derivative works and whether they are willing to permit commercial use of the work. approximately 130 million individuals had received such licenses.
Criticism.
Some sources are critical of particular aspects of the copyright system. This is known as a debate over copynorms. Particularly to the background of uploading content to internet platforms and the digital exchange of original work, there is discussion about the copyright aspects of downloading and streaming, the copyright aspects of hyperlinking and framing.
|
Concerns are often couched in the language of digital rights, digital freedom, database rights, open data or censorship. Discussions include "Free Culture", a 2004 book by Lawrence Lessig. Lessig coined the term permission culture to describe a worst-case system. The documentaries "Good Copy Bad Copy" and "" discuss copyright. Some suggest an alternative compensation system. In Europe consumers are acting up against the rising costs of music, film and books, and as a result Pirate Parties have been created. Some groups reject copyright altogether, taking an anti-copyright stance. The perceived inability to enforce copyright online leads some to advocate ignoring legal statutes when on the web.
Public domain.
Copyright, like other intellectual property rights, is subject to a statutorily determined term. Once the term of a copyright has expired, the formerly copyrighted work enters the public domain and may be used or exploited by anyone without obtaining permission, and normally without payment. However, in paying public domain regimes the user may still have to pay royalties to the state or to an authors' association. Courts in common law countries, such as the United States and the United Kingdom, have rejected the doctrine of a common law copyright. Public domain works should not be confused with works that are publicly available. Works posted in the internet, for example, are publicly available, but are not generally in the public domain. Copying such works may therefore violate the author's copyright. |
Catalan language
Catalan () is a Western Romance language and is the official language of Andorra, and the official language of three autonomous communities in eastern Spain: Catalonia, the Balearic Islands and the Valencian Community, where it is called "Valencian" (). It has semi-official status in the Italian "comune" of Alghero, and it is spoken in the Pyrénées-Orientales department of France and in two further areas in eastern Spain: the eastern strip of Aragon and the Carche area in the Region of Murcia. The Catalan-speaking territories are often called the or "Catalan Countries".
The language evolved from Vulgar Latin in the Middle Ages around the eastern Pyrenees. Nineteenth-century Spain saw a Catalan literary revival, culminating in the early 1900s.
Etymology and pronunciation.
The word "Catalan" is derived from the territorial name of Catalonia, itself of disputed etymology. The main theory suggests that () derives from the name or ('Land of the Goths'), since the origins of the Catalan counts, lords and people were found in the March of Gothia, whence "Gothland" > "Gothlandia" > "Gothalania" > "Catalonia" theoretically derived.
|
In English, the term referring to a person first appears in the mid 14th century as "Catelaner", followed in the 15th century as (from Middle French). It is attested a language name since at least 1652. The word "Catalan" can be pronounced in English as or .
The endonym is pronounced in the Eastern Catalan dialects, and in the Western dialects. In the Valencian Community and Carche, the term is frequently used instead. Thus, the name "Valencian", although often employed for referring to the varieties specific to the Valencian Community and Carche, is also used by Valencians as a name for the language as a whole, synonymous with "Catalan". Both uses of the term have their respective entries in the dictionaries by the "Acadèmia Valenciana de la Llengua" (AVL) and the "Institut d'Estudis Catalans" (IEC). (See also status of Valencian below).
History.
Middle Ages.
By the 9th century, Catalan had evolved from Vulgar Latin on both sides of the eastern end of the Pyrenees, as well as the territories of the Roman province of Hispania Tarraconensis to the south. From the 8th century onwards the Catalan counts extended their territory southwards and westwards at the expense of the Muslims, bringing their language with them. This process was given definitive impetus with the separation of the County of Barcelona from the Carolingian Empire in 988.
|
In the 11th century, documents written in macaronic Latin begin to show Catalan elements, with texts written almost completely in Romance appearing by 1080. Old Catalan shared many features with Gallo-Romance, diverging from Old Occitan between the 11th and 14th centuries.
During the 11th and 12th centuries the Catalan rulers expanded southward to the Ebro river, and in the 13th century they conquered the lands that would become the Kingdoms of Valencia and the Majorca. The city of Alghero in Sardinia was repopulated with Catalan speakers in the 14th century. The language also reached Murcia, which became Spanish-speaking in the 15th century.
In the Low Middle Ages, Catalan went through a golden age, reaching a peak of maturity and cultural richness. Examples include the work of Majorcan polymath Ramon Llull (1232–1315), the Four Great Chronicles (13th–14th centuries), and the Valencian school of poetry culminating in Ausiàs March (1397–1459). By the 15th century, the city of Valencia had become the sociocultural center of the Crown of Aragon, and Catalan was present all over the Mediterranean world. During this period, the Royal Chancery propagated a highly standardized language. Catalan was widely used as an official language in Sicily until the 15th century, and in Sardinia until the 17th. During this period, the language was what Costa Carreras terms "one of the 'great languages' of medieval Europe".
|
Martorell's novel of chivalry "Tirant lo Blanc" (1490) shows a transition from Medieval to Renaissance values, something that can also be seen in Metge's work. The first book produced with movable type in the Iberian Peninsula was printed in Catalan.
Start of the modern era.
Spain.
With the union of the crowns of Castille and Aragon in 1479, the Spanish kings ruled over different kingdoms, each with its own cultural, linguistic and political particularities, and they had to swear by the laws of each territory before the respective parliaments. But after the War of the Spanish Succession, Spain became an absolute monarchy under Philip V, which led to the assimilation of the Crown of Aragon by the Crown of Castile through the Nueva Planta decrees, as a first step in the creation of the Spanish nation-state; as in other contemporary European states, this meant the imposition of the political and cultural characteristics of the dominant groups. Since the political unification of 1714, Spanish assimilation policies towards national minorities have been a constant.
|
The process of assimilation began with secret instructions to the corregidores of the Catalan territory: they "will take the utmost care to introduce the Castilian language, for which purpose he will give the most temperate and disguised measures so that the effect is achieved, without the care being noticed". From there, actions in the service of assimilation, discreet or aggressive, were continued, and reached to the last detail, such as, in 1799, the Royal Certificate forbidding anyone to "represent, sing and dance pieces that were not in Spanish". The use of Spanish gradually became more prestigious and marked the start of the decline of Catalan. Starting in the 16th century, Catalan literature came under the influence of Spanish, and the nobles, part of the urban and literary classes became bilingual.
France.
With the Treaty of the Pyrenees (1659), Spain ceded the northern part of Catalonia to France, and soon thereafter the local Catalan varieties came under the influence of French, which in 1700 became the sole official language of the region.
|
Shortly after the French Revolution (1789), the French First Republic prohibited official use of, and enacted discriminating policies against, the regional languages of France, such as Catalan, Alsatian, Breton, Occitan, Flemish, and Basque.
France: 19th to 20th century.
After the French colony of Algeria was established in 1830, many Catalan-speaking settlers moved there. People from the Spanish province of Alicante settled around Oran, while those from French Catalonia and Menorca migrated to Algiers.
By 1911, there were around 100,000 speakers of "Patuet", as their speech was called. After the Algerian declaration of independence in 1962, almost all the "Pied-Noir" Catalan speakers fled to Northern Catalonia or Alicante.
The French government only recognizes French as an official language. Nevertheless, on 10 December 2007, the then General Council of the Pyrénées-Orientales officially recognized Catalan as one of the départment's languages and seeks to further promote it in public life and education.
Spain: 18th to 20th century.
|
In 1807, the Statistics Office of the French Ministry of the Interior asked the prefects for an official survey on the limits of the French language. The survey found that in Roussillon, almost only Catalan was spoken, and since Napoleon wanted to incorporate Catalonia into France, as happened in 1812, the consul in Barcelona was also asked. He declared that Catalan "is taught in schools, it is printed and spoken, not only among the lower class, but also among people of first quality, also in social gatherings, as in visits and congresses", indicating that it was spoken everywhere "with the exception of the royal courts". He also indicated that Catalan was spoken "in the Kingdom of Valencia, in the islands of Mallorca, Menorca, Ibiza, Sardinia, Corsica and much of Sicily, in the Vall d "Aran and Cerdaña".
The defeat of the pro-Habsburg coalition in the War of Spanish Succession (1714) initiated a series of laws which, among other centralizing measures, imposed the use of Spanish in legal documentation all over Spain. Because of this, use of the Catalan language declined into the 18th century.
|
However, the 19th century saw a Catalan literary revival (), which has continued up to the present day. This period starts with Aribau's "Ode to the Homeland" (1833); followed in the second half of the 19th century, and the early 20th by the work of Verdaguer (poetry), Oller (realist novel), and Guimerà (drama). In the 19th century, the region of Carche, in the province of Murcia was repopulated with Valencian speakers. Catalan spelling was standardized in 1913 and the language became official during the Second Spanish Republic (1931–1939). The Second Spanish Republic saw a brief period of tolerance, with most restrictions against Catalan lifted. The Generalitat (the autonomous government of Catalonia, established during the Republic in 1931) made a normal use of Catalan in its administration and put efforts to promote it at the social level, including in schools and the University of Barcelona.
|
In addition to the loss of prestige for Catalan and its prohibition in schools, migration during the 1950s into Catalonia from other parts of Spain also contributed to the diminished use of the language. These migrants were often unaware of the existence of Catalan, and thus felt no need to learn or use it. Catalonia was the economic powerhouse of Spain, so these migrations continued to occur from all corners of the country. Employment opportunities were reduced for those who were not bilingual. Daily newspapers remained exclusively in Spanish until after Franco's death, when the first one in Catalan since the end of the Civil War, Avui, began to be published in 1976.
Present day.
Since the Spanish transition to democracy (1975–1982), Catalan has been institutionalized as an official language, language of education, and language of mass media; all of which have contributed to its increased prestige. In Catalonia, there is an unparalleled large bilingual European non-state linguistic community. The teaching of Catalan is mandatory in all schools, but it is possible to use Spanish for studying in the public education system of Catalonia in two situations—if the teacher assigned to a class chooses to use Spanish, or during the learning process of one or more recently arrived immigrant students. There is also some intergenerational shift towards Catalan.
|
More recently, several Spanish political forces have tried to increase the use of Spanish in the Catalan educational system. As a result, in May 2022 the Spanish Supreme Court urged the Catalan regional government to enforce a measure by which 25% of all lessons must be taught in Spanish.
According to the Statistical Institute of Catalonia, in 2013 the Catalan language is the second most commonly used in Catalonia, after Spanish, as a native or self-defining language: 7% of the population self-identifies with both Catalan and Spanish equally, 36.4% with Catalan and 47.5% only Spanish. In 2003 the same studies concluded no language preference for self-identification within the population above 15 years old: 5% self-identified with both languages, 44.3% with Catalan and 47.5% with Spanish. To promote use of Catalan, the Generalitat de Catalunya (Catalonia's official Autonomous government) spends part of its annual budget on the promotion of the use of Catalan in Catalonia and in other territories, with entities such as (Consortium for Linguistic Normalization).
|
In Andorra, Catalan has always been the sole official language. Since the promulgation of the 1993 constitution, several policies favoring Catalan have been enforced, such as Catalan medium education.
On the other hand, there are several language shift processes currently taking place. In the Northern Catalonia area of France, Catalan has followed the same trend as the other minority languages of France, with most of its native speakers being 60 or older (as of 2004). Catalan is studied as a foreign language by 30% of the primary education students, and by 15% of the secondary. The cultural association promotes a network of community-run schools engaged in Catalan language immersion programs.
In Alicante province, Catalan is being replaced by Spanish and in Alghero by Italian. There is also well ingrained diglossia in the Valencian Community, Ibiza, and to a lesser extent, in the rest of the Balearic islands.
During the 20th century many Catalans emigrated or went into exile to Venezuela, Mexico, Cuba, Argentina, and other South American countries. They formed a large number of Catalan colonies that today continue to maintain the Catalan language. They also founded many Catalan casals (associations).
|
Classification and relationship with other Romance languages.
One classification of Catalan is given by Pèire Bèc:
However, the ascription of Catalan to the Occitano-Romance branch of Gallo-Romance languages is not shared by all linguists and philologists, particularly among Spanish ones, such as Ramón Menéndez Pidal.
Catalan bears varying degrees of similarity to the linguistic varieties subsumed under the cover term "Occitan language" (see also differences between Occitan and Catalan and Gallo-Romance languages). Thus, as it should be expected from closely related languages, Catalan today shares many traits with other Romance languages.
Relationship with other Romance languages.
Some include Catalan in Occitan, as the linguistic distance between this language and some Occitan dialects (such as the Gascon dialect) is similar to the distance among different Occitan dialects. Catalan was considered a dialect of Occitan until the end of the 19th century and still today remains its closest relative.
Catalan shares many traits with the other neighboring Romance languages (Occitan, French, Italian, Sardinian as well as Spanish and Portuguese among others). However, despite being spoken mostly on the Iberian Peninsula, Catalan has marked differences with the Iberian Romance group (Spanish and Portuguese) in terms of pronunciation, grammar, and especially vocabulary; it shows instead its closest affinity with languages native to France and northern Italy, particularly Occitan and to a lesser extent Gallo-Romance (Franco-Provençal, French, Gallo-Italian).
|
According to Ethnologue, the lexical similarity between Catalan and other Romance languages is: 87% with Italian; 85% with Portuguese and Spanish; 76% with Ladin and Romansh; 75% with Sardinian; and 73% with Romanian.
During much of its history, and especially during the Francoist dictatorship (1939–1975), the Catalan language was ridiculed as a mere dialect of Spanish. This view, based on political and ideological considerations, has no linguistic validity. Spanish and Catalan have important differences in their sound systems, lexicon, and grammatical features, placing the language in features closer to Occitan (and French).
There is evidence that, at least from the 2nd century AD, the vocabulary and phonology of Roman Tarraconensis was different from the rest of Roman Hispania. Differentiation arose generally because Spanish, Asturian, and Galician-Portuguese share certain peripheral archaisms (Spanish , Asturian and Portuguese vs. Catalan , Occitan "to boil") and innovatory regionalisms (Spanish , Asturian vs. Catalan , Occitan "bullock"), while Catalan has a shared history with the Western Romance innovative core, especially Occitan.
|
Like all Romance languages, Catalan has a handful of native words which are unique to it, or rare elsewhere. These include:
The Gothic superstrate produced different outcomes in Spanish and Catalan. For example, Catalan "mud" and "to roast", of Germanic origin, contrast with Spanish and , of Latin origin; whereas Catalan "spinning wheel" and "temple", of Latin origin, contrast with Spanish and , of Germanic origin.
The same happens with Arabic loanwords. Thus, Catalan "large earthenware jar" and "tile", of Arabic origin, contrast with Spanish and , of Latin origin; whereas Catalan "oil" and "olive", of Latin origin, contrast with Spanish and . However, the Arabic element is generally much more prevalent in Spanish.
Situated between two large linguistic blocks (Iberian Romance and Gallo-Romance), Catalan has many unique lexical choices, such as "to miss somebody", "to calm somebody down", and "reject".
Geographic distribution.
Catalan-speaking territories.
Traditionally Catalan-speaking territories are sometimes called the (Catalan Countries), a denomination based on cultural affinity and common heritage, that has also had a subsequent political interpretation but no official status. Various interpretations of the term may include some or all of these regions.
|
Number of speakers.
The number of people known to be fluent in Catalan varies depending on the sources used. A 2004 study did not count the total number of speakers, but estimated a total of 9–9.5 million by matching the percentage of speakers to the population of each area where Catalan is spoken. The web site of the Generalitat de Catalunya estimated that as of 2004 there were 9,118,882 speakers of Catalan. These figures only reflect potential speakers; today it is the native language of only 35.6% of the Catalan population. According to "Ethnologue", Catalan had 4.1 million native speakers and 5.1 million second-language speakers in 2021.
According to a 2011 study the total number of Catalan speakers was over 9.8 million, with 5.9 million residing in Catalonia. More than half of them spoke Catalan as a second language, with native speakers being about 4.4 million of those (more than 2.8 in Catalonia). Very few Catalan monoglots exist; virtually all of the Catalan speakers in Spain are bilingual speakers of Catalan and Spanish, with 99.7% of Catalan speakers in Catalonia able to speak Spanish and 99.9% able to understand it.
|
In Roussillon, only a minority of French Catalans speak Catalan nowadays, with French being the majority language for the inhabitants after a continued process of language shift. According to a 2019 survey by the Catalan government, 31.5% of the inhabitants of Catalonia predominantly spoke Catalan at home whereas 52.7% spoke Spanish, 2.8% both Catalan and Spanish and 10.8% other languages.
Spanish was the most spoken language in Barcelona (according to the linguistic census held by the Government of Catalonia in 2013) and it is understood almost universally. According to 2013 census, Catalan was also very commonly spoken in the city of 1,501,262: it was understood by 95% of the population, while 72.3% over the age of two could speak it (1,137,816), 79% could read it (1,246.555), and 53% could write it (835,080). The share of Barcelona residents who could speak it (72.3%) was lower than that of the overall Catalan population, of whom 81.2% over the age of 15 spoke the language. Knowledge of Catalan has increased significantly in recent decades thanks to a language immersion educational system. An important social characteristic of the Catalan language is that all the areas where it is spoken are bilingual in practice: together with French in Roussillon, with Italian in Alghero, with Spanish and French in Andorra, and with Spanish in the rest of the territories.
|
Level of knowledge.
(% of the population 15 years old and older).
Social use.
(% of the population 15 years old and older).
Native language.
To calculate the absolute number the figures have been proportioned to the whole population regardless of the age, rounded to the nearest 500.
Phonology.
Catalan phonology varies by dialect. Notable features include:
In contrast to other Romance languages, Catalan has many monosyllabic words, and these may end in a wide variety of consonants, including some consonant clusters. Additionally, Catalan has final obstruent devoicing, which gives rise to an abundance of such couplets as ("male friend") vs. ("female friend").
Central Catalan pronunciation is considered to be standard for the language. The descriptions below are mostly representative of this variety. For the differences in pronunciation between the different dialects, see the section on pronunciation of dialects in this article.
Vowels.
Catalan has inherited the typical vowel system of Vulgar Latin, with seven stressed phonemes: , a common feature in Western Romance, with the exception of Spanish. Balearic also has instances of stressed . Dialects differ in the different degrees of vowel reduction, and the incidence of the pair .
|
In Central Catalan, unstressed vowels reduce to three: ; ; remains distinct. The other dialects have different vowel reduction processes (see the section pronunciation of dialects in this article).
Consonants.
The consonant system of Catalan is rather conservative.
Phonological evolution.
Catalan shares features with neighboring Romance languages (Occitan, Italian, Sardinian, French, Spanish).
In contrast with other Romance languages, Catalan has many monosyllabic words; and those ending in a wide variety of consonants and some consonant clusters. Also, Catalan has final obstruent devoicing, thus featuring many couplets like ('male friend') vs. ('female friend').
Sociolinguistics.
Catalan sociolinguistics studies the situation of Catalan in the world and the different varieties that this language presents. It is a subdiscipline of Catalan philology and other affine studies and has as an objective to analyze the relation between the Catalan language, the speakers and the close reality (including the one of other languages in contact).
|
Dialects.
Overview.
The dialects of the Catalan language feature a relative uniformity, especially when compared to other Romance languages; both in terms of vocabulary, semantics, syntax, morphology, and phonology. Mutual intelligibility between dialects is very high, estimates ranging from 90% to 95%. The only exception is the isolated idiosyncratic Algherese dialect.
Catalan is split in two major dialectal blocks: Eastern and Western. The main difference lies in the treatment of unstressed and ; which have merged to in Eastern dialects, but which remain distinct as and in Western dialects. There are a few other differences in pronunciation, verbal morphology, and vocabulary.
Western Catalan comprises the two dialects of North-Western Catalan and Valencian; the Eastern block comprises four dialects: Central Catalan, Balearic, Roussillonese, and Algherese. Each dialect can be further subdivided in several subdialects. The terms "Catalan" and "Valencian" (respectively used in Catalonia and the Valencian Community) refer to two varieties of the same language. There are two institutions regulating the two standard varieties, the Institute of Catalan Studies in Catalonia and the Valencian Academy of the Language in the Valencian Community.
|
Central Catalan is considered the standard pronunciation of the language and has the largest number of speakers. It is spoken in the densely populated regions of the Barcelona province, the eastern half of the province of Tarragona, and most of the province of Girona.
Catalan has an inflectional grammar. Nouns have two genders (masculine, feminine), and two numbers (singular, plural). Pronouns additionally can have a neuter gender, and some are also inflected for case and politeness, and can be combined in very complex ways. Verbs are split in several paradigms and are inflected for person, number, tense, aspect, mood, and gender. In terms of pronunciation, Catalan has many words ending in a wide variety of consonants and some consonant clusters, in contrast with many other Romance languages.
Pronunciation.
Vowels.
Catalan has inherited the typical vowel system of Vulgar Latin, with seven stressed phonemes: , a common feature in Western Romance, except Spanish. Balearic has also instances of stressed . Dialects differ in the different degrees of vowel reduction, and the incidence of the pair .
|
In Eastern Catalan (except Majorcan), unstressed vowels reduce to three: ; ; remains distinct. There are a few instances of unreduced , in some words. Algherese has lowered to .
In Majorcan, unstressed vowels reduce to four: follow the Eastern Catalan reduction pattern; however reduce to , with remaining distinct, as in Western Catalan.
In Western Catalan, unstressed vowels reduce to five: ; ; remain distinct. This reduction pattern, inherited from Proto-Romance, is also found in Italian and Portuguese. Some Western dialects present further reduction or vowel harmony in some cases.
Central, Western, and Balearic differ in the lexical incidence of stressed and . Usually, words with in Central Catalan correspond to in Balearic and in Western Catalan. Words with in Balearic almost always have in Central and Western Catalan as well. As a result, Central Catalan has a much higher incidence of .
Consonants.
Catalan dialects are characterized by final-obstruent devoicing, lenition and voicing assimilation. Additionally, many dialects contrast two rhotics () and two laterals (().
|
Most Catalan dialects are also renowned by the usage of "dark l" (i.e. velarization of → ), which is especially noticeable in syllable final position, in comparison to neighbouring languages, such as Spanish, Italian and French (that lack this pronunciation).
There is dialectal variation in regard to:
Morphology.
Western Catalan: In verbs, the ending for 1st-person present indicative is in verbs of the 1st conjugation and -∅ in verbs of the 2nd and 3rd conjugations in most of the Valencian Community, or in all verb conjugations in the Northern Valencian Community and Western Catalonia.E.g. , , (Valencian); , , (North-Western Catalan).
Eastern Catalan: In verbs, the ending for 1st-person present indicative is , , or -∅ in all conjugations. E.g. (Central), (Balearic), and (Northern), all meaning ('I speak').
Western Catalan: In verbs, the inchoative endings are /, , , /.
Eastern Catalan: In verbs, the inchoative endings are , , , .
Western Catalan: In nouns and adjectives, maintenance of of medieval plurals in proparoxytone words.E.g. 'men', 'youth'.
|
Eastern Catalan: In nouns and adjectives, loss of of medieval plurals in proparoxytone words.E.g. 'men', 'youth' (Ibicencan, however, follows the model of Western Catalan in this case).
Vocabulary.
Despite its relative lexical unity, the two dialectal blocks of Catalan (Eastern and Western) show some differences in word choices. Any lexical divergence within any of the two groups can be explained as an archaism. Also, usually Central Catalan acts as an innovative element.
Standards.
Standard Catalan, virtually accepted by all speakers, is mostly based on Eastern Catalan, which is the most widely used dialect. Nevertheless, the standards of the Valencian Community and the Balearics admit alternative forms, mostly traditional ones, which are not current in eastern Catalonia.
The most notable difference between both standards is some tonic accentuation, for instance: (IEC) – (AVL). Nevertheless, AVL's standard keeps the grave accent , while pronouncing it as rather than , in some words such as: ('what'), or . Other divergences include the use of (AVL) in some words instead of like in / ('almond'), / ('back'), the use of elided demonstratives ( 'this', 'that') in the same level as reinforced ones () or the use of many verbal forms common in Valencian, and some of these common in the rest of Western Catalan too, such as subjunctive mood or inchoative conjugation in at the same level as or the priority use of morpheme in 1st person singular in present indicative ( verbs): instead of ('I buy').
|
In the Balearic Islands, IEC's standard is used but adapted for the Balearic dialect by the University of the Balearic Islands's philological section. In this way, for instance, IEC says it is correct writing as much as ('we sing'), but the university says that the priority form in the Balearic Islands must be in all fields. Another feature of the Balearic standard is the non-ending in the 1st person singular present indicative: ('I buy'), ('I fear'), ('I sleep').
In Alghero, the IEC has adapted its standard to the Algherese dialect. In this standard one can find, among other features: the definite article instead of , special possessive pronouns and determinants ('mine'), ('his/her'), ('yours'), and so on, the use of in the imperfect tense in all conjugations: , , ; the use of many archaic words, usual words in Algherese: instead of ('less'), instead of ('someone'), instead of ('which'), and so on; and the adaptation of weak pronouns. In 1999, Catalan (Algherese dialect) was among the twelve minority languages officially recognized as Italy's "historical linguistic minorities" by the Italian State under Law No. 482/1999.
|
In 2011, the Aragonese government passed a decree approving the statutes of a new language regulator of Catalan in La Franja (the so-called Catalan-speaking areas of Aragon) as originally provided for by Law 10/2009. The new entity, designated as , shall allow a facultative education in Catalan and a standardization of the Catalan language in La Franja.
Status of Valencian.
Valencian is classified as a Western dialect, along with the North-Western varieties spoken in Western Catalonia (provinces of Lleida and the western half of Tarragona). Central Catalan has 90% to 95% inherent intelligibility for speakers of Valencian.
Linguists, including Valencian scholars, deal with Catalan and Valencian as the same language. The official regulating body of the language of the Valencian Community, the Valencian Academy of Language ("Acadèmia Valenciana de la Llengua", AVL) declares the linguistic unity between Valencian and Catalan varieties.
The AVL, created by the Valencian parliament, is in charge of dictating the official rules governing the use of Valencian, and its standard is based on the Norms of Castelló ("Normes de Castelló"). Currently, everyone who writes in Valencian uses this standard, except the Royal Academy of Valencian Culture ("Real Acadèmia de Cultura Valenciana", RACV), which uses an independent standard for Valencian.
|
Despite the position of the official organizations, an opinion poll carried out between 2001 and 2004 showed that the majority of the Valencian people consider Valencian different from Catalan. This position is promoted by people who do not use Valencian regularly. Furthermore, the data indicates that younger generations educated in Valencian are much less likely to hold these views. A minority of Valencian scholars active in fields other than linguistics defends the position of the Royal Academy of Valencian Culture ("Real Acadèmia de Cultura Valenciana", RACV), which uses for Valencian a standard independent from Catalan.
This clash of opinions has sparked much controversy. For example, during the drafting of the European Constitution in 2004, the Spanish government supplied the EU with translations of the text into Basque, Galician, Catalan, and Valencian, but the latter two were identical.
Vocabulary.
Word choices.
Despite its relative lexical unity, the two dialectal blocks of Catalan (Eastern and Western) show some differences in word choices. Any lexical divergence within any of the two groups can be explained as an archaism. Also, usually Central Catalan acts as an innovative element.
|
Literary Catalan allows the use of words from different dialects, except those of very restricted use. However, from the 19th century onwards, there has been a tendency towards favoring words of Northern dialects to the detriment of others.
Latin and Greek loanwords.
Like other languages, Catalan has a large list of loanwords from Greek and Latin. This process started very early, and one can find such examples in Ramon Llull's work. In the 14th and 15th centuries Catalan had a far greater number of Greco-Latin loanwords than other Romance languages, as is attested for example in Roís de Corella's writings. The incorporation of learned, or "bookish" words from its own ancestor language, Latin, into Catalan is arguably another form of lexical borrowing through the influence of written language and the liturgical language of the Church. Throughout the Middle Ages and into the early modern period, most literate Catalan speakers were also literate in Latin; and thus they easily adopted Latin words into their writing—and eventually speech—in Catalan.
|
Word formation.
The process of morphological derivation in Catalan follows the same principles as the other Romance languages, where inflection is common. Many times, several affixes are appended to a preexisting lexeme, and some sound alternations can occur, for example ("electrical") vs. . Prefixes are usually appended to verbs, as in ("foresee").
There is greater regularity in the process of word-compounding, where one can find compounded words formed much like those in English.
Writing system.
Catalan uses the Latin script, with some added symbols and digraphs. The Catalan orthography is systematic and largely phonologically based. Standardization of Catalan was among the topics discussed during the First International Congress of the Catalan Language, held in Barcelona October 1906. Subsequently, the Philological Section of the "Institut d'Estudis Catalans" (IEC, founded in 1911) published the "Normes ortogràfiques" in 1913 under the direction of Antoni Maria Alcover and Pompeu Fabra. In 1932, Valencian writers and intellectuals gathered in Castelló de la Plana to make a formal adoption of the so-called "Normes de Castelló", a set of guidelines following Pompeu Fabra's Catalan language norms.
|
Grammar.
The grammar of Catalan is similar to other Romance languages. Features include:
Gender and number inflection.
In gender inflection, the most notable feature is (compared to Portuguese, Spanish or Italian), the loss of the typical masculine suffix . Thus, the alternance of /, has been replaced by "ø"/. There are only a few exceptions, such as / ("scarce"). Many not completely predictable morphological alternations may occur, such as:
Catalan has few suppletive couplets, like Italian and Spanish, and unlike French. Thus, Catalan has / ("boy"/"girl") and / ("cock"/"hen"), whereas French has / and /.
There is a tendency to abandon traditionally gender-invariable adjectives in favor of marked ones, something prevalent in Occitan and French. Thus, one can find / ("boiling") in contrast with traditional /.
As in the other Western Romance languages, the main plural expression is the suffix , which may create morphological alternations similar to the ones found in gender inflection, albeit more rarely. The most important one is the addition of before certain consonant groups, a phonetic phenomenon that does not affect feminine forms: / ("the pulse"/"the pulses") vs. / ("the dust"/"the dusts").
|
Determiners.
The inflection of determinatives is complex, specially because of the high number of elisions, but is similar to the neighboring languages. Catalan has more contractions of preposition + article than Spanish, such as ("of + the [plural]"), but not as many as Italian (which has , , , etc.).
Central Catalan has abandoned almost completely unstressed possessives (, etc.) in favor of constructions of article + stressed forms (, etc.), a feature shared with Italian.
Personal pronouns.
The morphology of Catalan personal pronouns is complex, especially in unstressed forms, which are numerous (13 distinct forms, compared to 11 in Spanish or 9 in Italian). Features include the gender-neutral and the great degree of freedom when combining different unstressed pronouns (65 combinations).
Catalan pronouns exhibit T–V distinction, like all other Romance languages (and most European languages, but not Modern English). This feature implies the use of a different set of second person pronouns for formality.
This flexibility allows Catalan to use extraposition extensively, much more than French or Spanish. Thus, Catalan can have ("they recommended me to him"), whereas in French one must say , and Spanish . This allows the placement of almost any nominal term as a sentence topic, without having to use so often the passive voice (as in French or English), or identifying the direct object with a preposition (as in Spanish).
|
Verbs.
Like all the Romance languages, Catalan verbal inflection is more complex than the nominal. Suffixation is omnipresent, whereas morphological alternations play a secondary role. Vowel alternances are active, as well as infixation and suppletion. However, these are not as productive as in Spanish, and are mostly restricted to irregular verbs.
The Catalan verbal system is basically common to all Western Romance, except that most dialects have replaced the synthetic indicative perfect with a periphrastic form of ("to go") + infinitive.
Catalan verbs are traditionally divided into three conjugations, with vowel themes , , , the last two being split into two subtypes. However, this division is mostly theoretical. Only the first conjugation is nowadays productive (with about 3500 common verbs), whereas the third (the subtype of , with about 700 common verbs) is semiproductive. The verbs of the second conjugation are fewer than 100, and it is not possible to create new ones, except by compounding.
Syntax.
The grammar of Catalan follows the general pattern of Western Romance languages. The primary word order is subject–verb–object. However, word order is very flexible. Commonly, verb-subject constructions are used to achieve a semantic effect. The sentence "The train has arrived" could be translated as or . Both sentences mean "the train has arrived", but the former puts a focus on the train, while the latter puts a focus on the arrival. This subtle distinction is described as "what you might say while waiting in the station" versus "what you might say on the train".
|
Catalan names.
In Spain, every person officially has two surnames, one of which is the father's first surname and the other is the mother's first surname. The law contemplates the possibility of joining both surnames with the Catalan conjunction "i" ("and").
Sample text.
Selected text from Manuel de Pedrolo's 1970 novel ("A love affair outside the city").
External links.
Institutions
About the Catalan/Valencian language
Monolingual dictionaries
Bilingual and multilingual dictionaries
Automated translation systems
Learning resources
Catalan-language online encyclopedia |
STS-51-F
STS-51-F (also known as Spacelab 2) was the 19th flight of NASA's Space Shuttle program and the eighth flight of Space Shuttle "Challenger". It launched from Kennedy Space Center, Florida, on July 29, 1985, and landed eight days later on August 6, 1985.
While STS-51-F's primary payload was the Spacelab 2 laboratory module, the payload that received the most publicity was the Carbonated Beverage Dispenser Evaluation, which was an experiment in which both Coca-Cola and Pepsi tried to make their carbonated drinks available to astronauts. A helium-cooled infrared telescope (IRT) was also flown on this mission, and while it did have some problems, it observed 60% of the galactic plane in infrared light.
During launch, "Challenger" experienced multiple sensor failures in its Engine 1 Center SSME engine, which led to it shutting down and the shuttle had to perform an "Abort to Orbit" (ATO) emergency procedure. It is the only Shuttle mission to have carried out an abort after launching. As a result of the ATO, the mission was carried out at a slightly lower orbital altitude.
|
Launch.
STS-51-F's first launch attempt on July 12, 1985, was halted with the countdown at T−3 seconds after main engine ignition, when a malfunction of the number two RS-25 coolant valve caused an automatic launch abort. "Challenger" launched successfully on its second attempt on July 29, 1985, at 17:00 p.m. EDT, after a delay of 1 hour 37 minutes due to a problem with the table maintenance block update uplink.
At 3 minutes 31 seconds into the ascent, one of the center engine's two high-pressure fuel turbopump turbine discharge temperature sensors failed. Two minutes and twelve seconds later, the second sensor failed, causing the shutdown of the center engine. This was the only in-flight RS-25 failure of the Space Shuttle program. Approximately 8 minutes into the flight, one of the same temperature sensors in the right engine failed, and the remaining right-engine temperature sensor displayed readings near the redline for engine shutdown. Booster Systems Engineer Jenny M. Howard acted quickly to recommend that the crew inhibit any further automatic RS-25 shutdowns based on readings from the remaining sensors, preventing the potential shutdown of a second engine and a possible abort mode that may have resulted in the loss of crew and vehicle (LOCV).
|
The failed RS-25 resulted in an Abort to Orbit (ATO) trajectory, whereby the shuttle achieved a lower-than-planned orbital altitude. The plan had been for a by orbit, but the mission was carried out at by .
Mission summary.
STS-51-F's primary payload was the laboratory module Spacelab 2. A special part of the modular Spacelab system, the "igloo", which was located at the head of a three-pallet train, provided on-site support to instruments mounted on pallets. The main mission objective was to verify performance of Spacelab systems, determine the interface capability of the orbiter, and measure the environment created by the spacecraft. Experiments covered life sciences, plasma physics, astronomy, high-energy astrophysics, solar physics, atmospheric physics and technology research. Despite mission replanning necessitated by "Challenger"s abort to orbit trajectory, the Spacelab mission was declared a success.
The flight marked the first time the European Space Agency (ESA) Instrument Pointing System (IPS) was tested in orbit. This unique pointing instrument was designed with an accuracy of one arcsecond. Initially, some problems were experienced when it was commanded to track the Sun, but a series of software fixes were made and the problem was corrected. In addition, Anthony W. England became the second amateur radio operator to transmit from space during the mission.
|
Spacelab Infrared Telescope.
The Spacelab Infrared Telescope (IRT) was also flown on the mission. The IRT was a aperture helium-cooled infrared telescope, observing light between wavelengths of 1.7 to 118 μm. It was thought heat emissions from the Shuttle would corrupt long-wavelength data, however it still returned useful astronomical data. Another problem was that a piece of mylar insulation broke loose and floated in the line-of-sight of the telescope. IRT collected infrared data on 60% of the galactic plane. (see also List of largest infrared telescopes) A later space mission that experienced a stray light problem from debris was "Gaia" astrometry spacecraft launch in 2013 by the ESA - the source of the stray light was later identified as the fibers of the sunshield, protruding beyond the edges of the shield.
Other payloads.
The Plasma Diagnostics Package (PDP), which had been previously flown on STS-3, made its return on the mission, and was part of a set of plasma physics experiments designed to study the Earth's ionosphere. During the third day of the mission, it was grappled out of the payload bay by the Remote Manipulator System (Canadarm) and released for six hours. During this time, "Challenger" maneuvered around the PDP as part of a targeted proximity operations exercise. The PDP was successfully grappled by the Canadarm and returned to the payload bay at the beginning of the fourth day of the mission.
|
In a heavily publicized marketing experiment, astronauts aboard STS-51-F drank carbonated beverages from specially designed cans from Cola Wars competitors Coca-Cola and Pepsi. According to Acton, after Coke developed its experimental dispenser for an earlier shuttle flight, Pepsi insisted to American president Ronald Reagan that Coke should not be the first cola in space. The experiment was delayed until Pepsi could develop its own system, and the two companies' products were assigned to STS-51-F.
Blue Team tested Coke, and Red Team tested Pepsi. As part of the experiment, each team was photographed with the cola logo. Acton said that while the sophisticated Coke system "dispensed soda kind of like what we're used to drinking on Earth", the Pepsi can was a shaving cream can with the Pepsi logo on a paper wrapper, which "dispensed soda filled with bubbles" that was "not very drinkable". Acton said that when he gives speeches in schools, audiences are much more interested in hearing about the cola experiment than in solar physics. Post-flight, the astronauts revealed that they preferred Tang, in part because it could be mixed on-orbit with existing chilled-water supplies, whereas there was no dedicated refrigeration equipment on board to chill the cans, which also fizzed excessively in microgravity.
|
In an experiment during the mission, thruster rockets were fired at a point over Tasmania and also above Boston to create two "holes" – plasma depletion regions – in the ionosphere. A worldwide group of geophysicists collaborated with the observations made from Spacelab 2.
Landing.
"Challenger" landed at Edwards Air Force Base, California, on August 6, 1985, at 12:45:26 p.m. PDT. Its rollout distance was . The mission had been extended by 17 orbits for additional payload activities due to the Abort to Orbit. The orbiter arrived back at Kennedy Space Center on August 11, 1985.
Mission insignia.
The mission insignia was designed by Houston, Texas, artist Skip Bradley. is depicted ascending toward the heavens in search of new knowledge in the field of solar and stellar astronomy, with its Spacelab 2 payload. The constellations Leo and Orion are shown in the positions they were in relative to the Sun during the flight. The nineteen stars indicate that the mission is the 19th shuttle flight.
Legacy.
One of the purposes of the mission was to test how suitable the Shuttle was for conducting infrared observations, and the IRT was operated on this mission. However, the orbiter was found to have some draw-backs for infrared astronomy, and this led to later infrared telescopes being free-flying from the Shuttle orbiter. |
Classical period (music)
The Classical Period was an era of classical music between roughly 1750 and 1820.
The classical period falls between the Baroque and Romantic periods. It is mainly homophonic, using a clear melody line over a subordinate chordal accompaniment, but counterpoint was by no means forgotten, especially in liturgical vocal music and, later in the period, secular instrumental music. It also makes use of "style galant" which emphasizes light elegance in place of the Baroque's dignified seriousness and impressive grandeur. Variety and contrast within a piece became more pronounced than before, and the orchestra increased in size, range, and power.
The harpsichord was replaced as the main keyboard instrument by the piano (or fortepiano). Unlike the harpsichord, which plucks strings with quills, pianos strike the strings with leather-covered hammers when the keys are pressed, which enables the performer to play louder or softer (hence the original name "fortepiano," literally "loud soft") and play with more expression; in contrast, the force with which a performer plays the harpsichord keys does not change the sound. Instrumental music was considered important by Classical period composers. The main kinds of instrumental music were the sonata, trio, string quartet, quintet, symphony (performed by an orchestra), and the solo concerto, which featured a virtuoso solo performer playing a solo work for violin, piano, flute, or another instrument, accompanied by an orchestra. Vocal music, such as songs for a singer and piano (notably the work of Schubert), choral works, and opera (a staged dramatic work for singers and orchestra), was also important during this period.
|
The best-known composers from this period are Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, and Franz Schubert; other names in this period include: Carl Philipp Emanuel Bach, Johann Christian Bach, Luigi Boccherini, Domenico Cimarosa, Joseph Martin Kraus, Muzio Clementi, Christoph Willibald Gluck, Carl Ditters von Dittersdorf, André Grétry, Pierre-Alexandre Monsigny, Leopold Mozart, Michael Haydn, Giovanni Paisiello, Johann Baptist Wanhal, François-André Danican Philidor, Niccolò Piccinni, Antonio Salieri, Etienne Nicolas Mehul, Georg Christoph Wagenseil, Johann Simon Mayr, Georg Matthias Monn, Johann Gottlieb Graun, Carl Heinrich Graun, Franz Benda, Georg Anton Benda, Johann Georg Albrechtsberger, Mauro Giuliani, Christian Cannabich and the Chevalier de Saint-Georges. Beethoven is regarded either as a Romantic composer or a Classical period composer who was part of the transition to the Romantic era. Schubert is also a transitional figure, as were Johann Nepomuk Hummel, Luigi Cherubini, Gaspare Spontini, Gioachino Rossini, Carl Maria von Weber, Jan Ladislav Dussek and Niccolò Paganini. The period is sometimes referred to as the era of "Viennese Classicism" (), since Gluck, Haydn, Salieri, Mozart, Beethoven, and Schubert all worked in Vienna.
|
Classicism.
In the middle of the 18th century, Europe began to move toward a new style in architecture, literature, and the arts, generally known as Neoclassicism. This style sought to emulate the ideals of Classical antiquity, especially those of Classical Greece. Classical music used formality and emphasis on order and hierarchy and a "clearer", "cleaner" style that used divisions between parts (notably a clear, single melody accompanied by chords), brighter contrasts, and "timbre" (achieved by the use of dynamic changes and modulations to more keys). In contrast with the richly layered music of the Baroque era, Classical music moved towards simplicity rather than complexity. In addition, the typical size of orchestras began to increase, giving orchestras a more powerful sound.
The remarkable development of ideas in "natural philosophy" had already established itself in the public consciousness. In particular, Newton's physics was taken as a paradigm: structures should be well-founded in axioms and be both well-articulated and orderly. This taste for structural clarity began to affect music, which moved away from the layered polyphony of the Baroque period toward a style known as homophony, in which the melody is played over a subordinate harmony. This move meant that chords became a much more prevalent feature of music, even if they interrupted the melodic smoothness of a single part. As a result, the tonal structure of a piece of music became more audible.
|
The new style was also encouraged by changes in the economic order and social structure. As the 18th century progressed well, the nobility became the primary patrons of instrumental music, while public taste increasingly preferred lighter, funny comic operas. This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the "continuo"—the rhythmic and harmonic groundwork of a piece of music, typically played by a keyboard (harpsichord or organ) and usually accompanied by a varied group of bass instruments, including cello, double bass, bass viol, and theorbo. One way to trace the decline of the continuo and its figured chords is to examine the disappearance of the term "obbligato", meaning a mandatory instrumental part in a work of chamber music. In Baroque compositions, additional instruments could be added to the continuo group according to the group or leader's preference; in Classical compositions, all parts were specifically noted, though not always "notated", so the term "obbligato" became redundant. By 1800, basso continuo was practically extinct, except for the occasional use of a pipe organ continuo part in a religious Mass in the early 1800s.
|
Economic changes also had the effect of altering the balance of availability and quality of musicians. While in the late Baroque, a major composer would have the entire musical resources of a town to draw on, the musical forces available at an aristocratic hunting lodge or small court were smaller and more fixed in their level of ability. This was a spur to having simpler parts for ensemble musicians to play, and in the case of a resident virtuoso group, a spur to writing spectacular, idiomatic parts for certain instruments, as in the case of the Mannheim orchestra, or virtuoso solo parts for particularly skilled violinists or flutists. In addition, the appetite by audiences for a continual supply of new music carried over from the Baroque. This meant that works had to be performable with, at best, one or two rehearsals. Even after 1790, Mozart writes about "the rehearsal," with the implication that his concerts would have only one rehearsal.
Since there was a greater emphasis on a single melodic line, there was greater emphasis on notating that line for dynamics and phrasing. This contrasts with the Baroque era, when melodies were typically written with no dynamics, phrasing marks, ornaments, as it was assumed that the performer would improvise these elements on the spot. In the Classical era, it became more common for composers to indicate where they wanted performers to play ornaments such as trills or turns. The simplification of texture made such instrumental detail more important, and alit so made the use of characteristic rhythms, such as attention-getting opening fanfares, the funeral march rhythm, or the minuet genre, more important in establishing and unifying the tone of a single movement.
|
The Classical period also saw the gradual development of sonata form, a set of structural principles for music that reconciled the Classical preference for melodic material with harmonic development, which could be applied across musical genres. The sonata itself continued to be the principal form for solo and chamber music, while later in the Classical period, the string quartet became a prominent genre. The symphony form for orchestra was created in this period (this is popularly attributed to Joseph Haydn). The "concerto grosso" (a concerto for more than one musician), a very popular form in the Baroque era, began to be replaced by the "solo concerto", featuring only one soloist. Composers began to place more importance on the particular soloist's ability to show off virtuoso skills, with challenging, fast scale and arpeggio runs. Nonetheless, some "concerti grossi" remained, the most famous of which was Mozart's Sinfonia Concertante for Violin and Viola in E-flat major.
Main characteristics.
In the classical period, the theme consists of phrases with contrasting melodic figures and rhythms. These phrases are relatively brief, typically four bars in length, and can occasionally seem sparse or terse. The texture is mainly homophonic, with a clear melody above a subordinate chordal accompaniment, for instance an Alberti bass. This contrasts with the practice in Baroque music, where a piece or movement would typically have only one musical subject, which would then be worked out in a number of voices according to the principles of counterpoint, while maintaining a consistent rhythm or metre throughout. As a result, Classical music tends to have a lighter, clearer texture than the Baroque. The classical style draws on the "style galant", a musical style which emphasized light elegance in place of the Baroque's dignified seriousness and impressive grandeur.
|
Structurally, Classical music generally has a clear musical form, with a well-defined contrast between tonic and dominant, introduced by clear cadences. Dynamics are used to highlight the structural characteristics of the piece. In particular, sonata form and its variants were developed during the early classical period and was frequently used. The Classical approach to structure again contrasts with the Baroque, where a composition would normally move between tonic and dominant and back again, but through a continual progress of chord changes and without a sense of "arrival" at the new key. While counterpoint was less emphasised in the classical period, it was by no means forgotten, especially later in the period, and composers still used counterpoint in "serious" works such as symphonies and string quartets, as well as religious pieces, such as Masses.
The classical musical style was supported by technical developments in instruments. The widespread adoption of equal temperament made classical musical structure possible, by ensuring that cadences in all keys sounded similar. The fortepiano and then the pianoforte replaced the harpsichord, enabling more dynamic contrast and more sustained melodies. Over the Classical period, keyboard instruments became richer, more sonorous and more powerful.
|
The orchestra increased in size and range, and became more standardised. The harpsichord or pipe organ basso continuo role in orchestra fell out of use between 1750 and 1775, leaving the string section. Woodwinds became a self-contained section, consisting of clarinets, oboes, flutes and bassoons.
While vocal music such as comic opera was popular, great importance was given to instrumental music. The main kinds of instrumental music were the sonata, trio, string quartet, quintet, symphony, concerto (usually for a virtuoso solo instrument accompanied by orchestra), and light pieces such as serenades and divertimentos. Sonata form developed and became the most important form. It was used to build up the first movement of most large-scale works in symphonies and string quartets. Sonata form was also used in other movements and in single, standalone pieces such as overtures.
History.
Baroque/Classical transition c. 1750–1760.
In his book "The Classical Style", author and pianist Charles Rosen claims that from 1755 to 1775, composers groped for a new style that was more effectively dramatic. In the High Baroque period, dramatic expression was limited to the representation of individual "affects" (the "doctrine of affections", or what Rosen terms "dramatic sentiment"). For example, in Handel's oratorio "Jephtha", the composer renders four emotions separately, one for each character, in the quartet "O, spare your daughter". Eventually this depiction of individual emotions came to be seen as simplistic and unrealistic; composers sought to portray multiple emotions, simultaneously or progressively, within a single character or movement ("dramatic action"). Thus in the finale of act 2 of Mozart's "Die Entführung aus dem Serail", the lovers move "from joy through suspicion and outrage to final reconciliation."
|
Musically speaking, this "dramatic action" required more musical variety. Whereas Baroque music was characterized by seamless flow within individual movements and largely uniform textures, composers after the High Baroque sought to interrupt this flow with abrupt changes in texture, dynamic, harmony, or tempo. Among the stylistic developments which followed the High Baroque, the most dramatic came to be called "Empfindsamkeit", (roughly "sensitive style"), and its best-known practitioner was Carl Philipp Emanuel Bach. Composers of this style employed the above-discussed interruptions in the most abrupt manner, and the music can sound illogical at times. The Italian composer Domenico Scarlatti took these developments further. His more than five hundred single-movement keyboard sonatas also contain abrupt changes of texture, but these changes are organized into periods, balanced phrases that became a hallmark of the classical style. However, Scarlatti's changes in texture still sound sudden and unprepared. The outstanding achievement of the great classical composers (Haydn, Mozart and Beethoven) was their ability to make these dramatic surprises sound logically motivated, so that "the expressive and the elegant could join hands."
|
Between the death of J. S. Bach and the maturity of Haydn and Mozart (roughly 1750–1770), composers experimented with these new ideas, which can be seen in the music of Bach's sons. Johann Christian developed a style which we now call "Roccoco", comprising simpler textures and harmonies, and which was "charming, undramatic, and a little empty." As mentioned previously, Carl Philipp Emmanuel sought to increase drama, and his music was "violent, expressive, brilliant, continuously surprising, and often incoherent." And finally Wilhelm Friedemann, J.S. Bach's eldest son, extended Baroque traditions in an idiomatic, unconventional way.
At first the new style took over Baroque forms—the ternary "da capo aria", the "sinfonia" and the "concerto"—but composed with simpler parts, more notated ornamentation, rather than the improvised ornaments that were common in the Baroque era, and more emphatic division of pieces into sections. However, over time, the new aesthetic caused radical changes in how pieces were put together, and the basic formal layouts changed. Composers from this period sought dramatic effects, striking melodies, and clearer textures. One of the big textural changes was a shift away from the complex, dense polyphonic style of the Baroque, in which multiple interweaving melodic lines were played simultaneously, and towards homophony, a lighter texture which uses a clear single melody line accompanied by chords.
|
Baroque music generally uses many harmonic fantasies and polyphonic sections that focus less on the structure of the musical piece, and there was less emphasis on clear musical phrases. In the classical period, the harmonies became simpler. However, the structure of the piece, the phrases and small melodic or rhythmic motives, became much more important than in the Baroque period.
Another important break with the past was the radical overhaul of opera by Christoph Willibald Gluck, who cut away a great deal of the layering and improvisational ornaments and focused on the points of modulation and transition. By making these moments where the harmony changes more of a focus, he enabled powerful dramatic shifts in the emotional color of the music. To highlight these transitions, he used changes in instrumentation (orchestration), melody, and mode. Among the most successful composers of his time, Gluck spawned many emulators, including Antonio Salieri. Their emphasis on accessibility brought huge successes in opera, and in other vocal music such as songs, oratorios, and choruses. These were considered the most important kinds of music for performance and hence enjoyed greatest public success.
|
The phase between the Baroque and the rise of the Classical (around 1730), was home to various competing musical styles. The diversity of artistic paths are represented in the sons of Johann Sebastian Bach: Wilhelm Friedemann Bach, who continued the Baroque tradition in a personal way; Johann Christian Bach, who simplified textures of the Baroque and most clearly influenced Mozart; and Carl Philipp Emanuel Bach, who composed passionate and sometimes violently eccentric music of the "Empfindsamkeit" movement. Musical culture was caught at a crossroads: the masters of the older style had the technique, but the public hungered for the new. This is one of the reasons C. P. E. Bach was held in such high regard: he understood the older forms quite well and knew how to present them in new garb, with an enhanced variety of form.
1750–1775.
By the late 1750s there were flourishing centers of the new style in Italy, Vienna, Mannheim, and Paris; dozens of symphonies were composed and there were bands of players associated with musical theatres. Opera or other vocal music accompanied by orchestra was the feature of most musical events, with concertos and symphonies (arising from the overture) serving as instrumental interludes and introductions for operas and church services. Over the course of the Classical period, symphonies and concertos developed and were presented independently of vocal music.
|
The "normal" orchestra ensemble—a body of strings supplemented by winds—and movements of particular rhythmic character were established by the late 1750s in Vienna. However, the length and weight of pieces was still set with some Baroque characteristics: individual movements still focused on one "affect" (musical mood) or had only one sharply contrasting middle section, and their length was not significantly greater than Baroque movements. There was not yet a clearly enunciated theory of how to compose in the new style. It was a moment ripe for a breakthrough.
The first great master of the style was the composer Joseph Haydn. In the late 1750s he began composing symphonies, and by 1761 he had composed a triptych ("Morning", "Noon", and "Evening") solidly in the contemporary mode. As a vice-Kapellmeister and later Kapellmeister, his output expanded: he composed over forty symphonies in the 1760s alone. And while his fame grew, as his orchestra was expanded and his compositions were copied and disseminated, his voice was only one among many.
|
While some scholars suggest that Haydn was later overshadowed by Mozart and Beethoven, it would be difficult to overstate Haydn's centrality to the new style, and therefore to the future of Western art music as a whole. At the time, before the pre-eminence of Mozart or Beethoven, and with Johann Sebastian Bach known primarily to connoisseurs of keyboard music, Haydn reached a place in music that set him above all other composers except perhaps the Baroque era's George Frideric Handel. Haydn took existing ideas, and radically altered how they functioned—earning him the titles "father of the symphony" and "father of the string quartet".
One of the forces that worked as an impetus for his pressing forward was the first stirring of what would later be called Romanticism—the "Sturm und Drang", or "storm and stress" phase in the arts, a short period where obvious and dramatic emotionalism was a stylistic preference. Haydn accordingly wanted more dramatic contrast and more emotionally appealing melodies, with sharpened character and individuality in his pieces. This period faded away in music and literature: however, it influenced what came afterward and would eventually be a component of aesthetic taste in later decades.
|
The "Farewell Symphony", No. 45 in F minor, exemplifies Haydn's integration of the differing demands of the new style, with surprising sharp turns and a long slow adagio to end the work. In 1772, Haydn completed his Opus 20 set of six string quartets, in which he deployed the polyphonic techniques he had gathered from the previous Baroque era to provide structural coherence capable of holding together his melodic ideas. For some, this marks the beginning of the "mature" Classical style, a transitional period in which reaction against late Baroque complexity yielded to integration of Baroque and Classical elements.
1775–1790.
Haydn, having worked for over a decade as the music director for a prince, had far more resources and scope for composing than most other composers. His position also gave him the ability to shape the forces that would play his music, as he could select skilled musicians. This opportunity was not wasted, as Haydn, beginning quite early on his career, sought to press forward the technique of building and developing ideas in his music. His next important breakthrough was in the Opus 33 string quartets (1781), in which the melodic and the harmonic roles segue among the instruments: it is often momentarily unclear what is melody and what is harmony. This changes the way the ensemble works its way between dramatic moments of transition and climactic sections: the music flows smoothly and without obvious interruption. He then took this integrated style and began applying it to orchestral and vocal music.
|
Haydn's gift to music was a way of composing, a way of structuring works, which was at the same time in accord with the governing aesthetic of the new style. However, a younger contemporary, Wolfgang Amadeus Mozart, brought his genius to Haydn's ideas and applied them to two of the major genres of the day: opera, and the virtuoso concerto. Whereas Haydn spent much of his working life as a court composer, Mozart wanted public success in the concert life of cities, playing for the general public. This meant he needed to write operas and write and perform virtuoso pieces. Haydn was not a virtuoso at the international touring level; nor was he seeking to create operatic works that could play for many nights in front of a large audience. Mozart wanted to achieve both. Moreover, Mozart also had a taste for more chromatic chords (and greater contrasts in harmonic language generally), a greater love for creating a welter of melodies in a single work, and a more Italianate sensibility in music as a whole. He found, in Haydn's music and later in his study of the polyphony of J.S. Bach, the means to discipline and enrich his artistic gifts.
|
Mozart rapidly came to the attention of Haydn, who hailed the new composer, studied his works, and considered the younger man his only true peer in music. In Mozart, Haydn found a greater range of instrumentation, dramatic effect and melodic resource. The learning relationship moved in both directions. Mozart also had a great respect for the older, more experienced composer, and sought to learn from him.
Mozart's arrival in Vienna in 1780 brought an acceleration in the development of the Classical style. There, Mozart absorbed the fusion of Italianate brilliance and Germanic cohesiveness that had been brewing for the previous 20 years. His own taste for flashy brilliances, rhythmically complex melodies and figures, long cantilena melodies, and virtuoso flourishes was merged with an appreciation for formal coherence and internal connectedness. It is at this point that war and economic inflation halted a trend to larger orchestras and forced the disbanding or reduction of many theater orchestras. This pressed the Classical style inwards: toward seeking greater ensemble and technical challenges—for example, scattering the melody across woodwinds, or using a melody harmonized in thirds. This process placed a premium on small ensemble music, called chamber music. It also led to a trend for more public performance, giving a further boost to the string quartet and other small ensemble groupings.
|
It was during this decade that public taste began, increasingly, to recognize that Haydn and Mozart had reached a high standard of composition. By the time Mozart arrived at age 25, in 1781, the dominant styles of Vienna were recognizably connected to the emergence in the 1750s of the early Classical style. By the end of the 1780s, changes in performance practice, the relative standing of instrumental and vocal music, technical demands on musicians, and stylistic unity had become established in the composers who imitated Mozart and Haydn. During this decade Mozart composed his most famous operas, his six late symphonies that helped to redefine the genre, and a string of piano concerti that still stand at the pinnacle of these forms.
One composer who was influential in spreading the more serious style that Mozart and Haydn had formed is Muzio Clementi, a gifted virtuoso pianist who tied with Mozart in a musical "duel" before the emperor in which they each improvised on the piano and performed their compositions. Clementi's sonatas for the piano circulated widely, and he became the most successful composer in London during the 1780s. Also in London at this time was Jan Ladislav Dussek, who, like Clementi, encouraged piano makers to extend the range and other features of their instruments, and then fully exploited the newly opened up possibilities. The importance of London in the Classical period is often overlooked, but it served as the home to the Broadwood's factory for piano manufacturing and as the base for composers who, while less notable than the "Vienna School", had a decisive influence on what came later. They were composers of many fine works, notable in their own right. London's taste for virtuosity may well have encouraged the complex passage work and extended statements on tonic and dominant.
|
Around 1790–1820.
When Haydn and Mozart began composing, symphonies were played as single movements—before, between, or as interludes within other works—and many of them lasted only ten or twelve minutes; instrumental groups had varying standards of playing, and the continuo was a central part of music-making.
In the intervening years, the social world of music had seen dramatic changes. International publication and touring had grown explosively, and concert societies formed. Notation became more specific, more descriptive—and schematics for works had been simplified (yet became more varied in their exact working out). In 1790, just before Mozart's death, with his reputation spreading rapidly, Haydn was poised for a series of successes, notably his late oratorios and London symphonies. Composers in Paris, Rome, and all over Germany turned to Haydn and Mozart for their ideas on form.
In the 1790s, a new generation of composers, born around 1770, emerged. While they had grown up with the earlier styles, they heard in the recent works of Haydn and Mozart a vehicle for greater expression. In 1788 Luigi Cherubini settled in Paris and in 1791 composed "Lodoiska", an opera that raised him to fame. Its style is clearly reflective of the mature Haydn and Mozart, and its instrumentation gave it a weight that had not yet been felt in the grand opera. His contemporary Étienne Méhul extended instrumental effects with his 1790 opera "Euphrosine et Coradin", from which followed a series of successes. The final push towards change came from Gaspare Spontini, who was deeply admired by future romantic composers such as Weber, Berlioz and Wagner. The innovative harmonic language of his operas, their refined instrumentation and their "enchained" closed numbers (a structural pattern which was later adopted by Weber in Euryanthe and from him handed down, through Marschner, to Wagner), formed the basis from which French and German romantic opera had its beginnings.
|
The most fateful of the new generation was Ludwig van Beethoven, who launched his numbered works in 1794 with a set of three piano trios, which remain in the repertoire. Somewhat younger than the others, though equally accomplished because of his youthful study under Mozart and his native virtuosity, was Johann Nepomuk Hummel. Hummel studied under Haydn as well; he was a friend to Beethoven and Franz Schubert. He concentrated more on the piano than any other instrument, and his time in London in 1791 and 1792 generated the composition and publication in 1793 of three piano sonatas, opus 2, which idiomatically used Mozart's techniques of avoiding the expected cadence, and Clementi's sometimes modally uncertain virtuoso figuration. Taken together, these composers can be seen as the vanguard of a broad change in style and the center of music. They studied one another's works, copied one another's gestures in music, and on occasion behaved like quarrelsome rivals.
The crucial differences with the previous wave can be seen in the downward shift in melodies, increasing durations of movements, the acceptance of Mozart and Haydn as paradigmatic, the greater use of keyboard resources, the shift from "vocal" writing to "pianistic" writing, the growing pull of the minor and of modal ambiguity, and the increasing importance of varying accompanying figures to bring "texture" forward as an element in music. In short, the late Classical was seeking music that was internally more complex. The growth of concert societies and amateur orchestras, marking the importance of music as part of middle-class life, contributed to a booming market for pianos, piano music, and virtuosi to serve as exemplars. Hummel, Beethoven, and Clementi were all renowned for their improvising.
|
The direct influence of the Baroque continued to fade: the figured bass grew less prominent as a means of holding performance together, the performance practices of the mid-18th century continued to die out. However, at the same time, complete editions of Baroque masters began to become available, and the influence of Baroque style continued to grow, particularly in the ever more expansive use of brass. Another feature of the period is the growing number of performances where the composer was not present. This led to increased detail and specificity in notation; for example, there were fewer "optional" parts that stood separately from the main score.
The force of these shifts became apparent with Beethoven's 3rd Symphony, given the name "Eroica", which is Italian for "heroic", by the composer. As with Stravinsky's "The Rite of Spring", it may not have been the first in all of its innovations, but its aggressive use of every part of the Classical style set it apart from its contemporary works: in length, ambition, and harmonic resources as well making it the first symphony of the Romantic era.
|
First Viennese School.
The First Viennese School is a name mostly used to refer to three composers of the Classical period in late-18th-century Vienna: Haydn, Mozart, and Beethoven. Franz Schubert is occasionally added to the list.
In German-speaking countries, the term "Wiener Klassik" (lit. "Viennese classical era/art") is used. That term is often more broadly applied to the Classical era in music as a whole, as a means to distinguish it from other periods that are colloquially referred to as "classical", namely Baroque and Romantic music.
The term "Viennese School" was first used by Austrian musicologist Raphael Georg Kiesewetter in 1834, although he only counted Haydn and Mozart as members of the school. Other writers followed suit, and eventually Beethoven was added to the list. The designation "first" is added today to avoid confusion with the Second Viennese School.
Whilst, Schubert apart, these composers certainly knew each other (with Haydn and Mozart even being occasional chamber-music partners), there is no sense in which they were engaged in a collaborative effort in the sense that one would associate with 20th-century schools such as the Second Viennese School, or Les Six. Nor is there any significant sense in which one composer was "schooled" by another (in the way that Berg and Webern were taught by Schoenberg), though it is true that Beethoven for a time received lessons from Haydn.
|
Attempts to extend the First Viennese School to include such later figures as Anton Bruckner, Johannes Brahms, and Gustav Mahler are merely journalistic, and never encountered in academic musicology. According to scholar James F. Daugherty, the Classical period itself from approximately 1775 to 1825 is sometimes referred to as "the Viennese Classic period".
Classical influence on later composers.
Musical eras and their prevalent styles, forms and instruments seldom disappear at once; instead, features are replaced over time, until the old approach is simply felt as "old-fashioned". The Classical style did not "die" suddenly; rather, it gradually got phased out under the weight of changes. To give just one example, while it is generally stated that the Classical era stopped using the harpsichord in orchestras, this did not happen all of a sudden at the start of the Classical era in 1750. Rather, orchestras slowly stopped using the harpsichord to play basso continuo until the practice was discontinued by the end of the 1700s.
|
One crucial change was the shift towards harmonies centering on "flatward" keys: shifts in the subdominant direction. In the Classical style, major key was far more common than minor, chromaticism being moderated through the use of "sharpward" modulation (e.g., a piece in C major modulating to G major, D major, or A major, all of which are keys with more sharps). As well, sections in the minor mode were often used for contrast. Beginning with Mozart and Clementi, there began a creeping colonization of the subdominant region (the ii or IV chord, which in the key of C major would be the keys of d minor or F major). With Schubert, subdominant modulations flourished after being introduced in contexts in which earlier composers would have confined themselves to dominant shifts (modulations to the dominant chord, e.g., in the key of C major, modulating to G major). This introduced darker colors to music, strengthened the minor mode, and made structure harder to maintain. Beethoven contributed to this by his increasing use of the fourth as a consonance, and modal ambiguity—for example, the opening of the Symphony No. 9 in D minor.
|
Ludwig van Beethoven, Franz Schubert, Carl Maria von Weber, Johann Nepomuk Hummel, and John Field are among the most prominent in this generation of "Proto-Romantics", along with the young Felix Mendelssohn. Their sense of form was strongly influenced by the Classical style. While they were not yet "learned" composers (imitating rules which were codified by others), they directly responded to works by Haydn, Mozart, Clementi, and others, as they encountered them. The instrumental forces at their disposal in orchestras were also quite "Classical" in number and variety, permitting similarity with Classical works.
However, the forces destined to end the hold of the Classical style gathered strength in the works of many of the above composers, particularly Beethoven. The most commonly cited one is harmonic innovation. Also important is the increasing focus on having a continuous and rhythmically uniform accompanying figuration: Beethoven's Moonlight Sonata was the model for hundreds of later pieces—where the shifting movement of a rhythmic figure provides much of the drama and interest of the work, while a melody drifts above it. Greater knowledge of works, greater instrumental expertise, increasing variety of instruments, the growth of concert societies, and the unstoppable domination of the increasingly more powerful piano (which was given a bolder, louder tone by technological developments such as the use of steel strings, heavy cast-iron frames and sympathetically vibrating strings) all created a huge audience for sophisticated music. All of these trends contributed to the shift to the "Romantic" style.
|
Drawing the line between these two styles is very difficult: some sections of Mozart's later works, taken alone, are indistinguishable in harmony and orchestration from music written 80 years later—and some composers continued to write in normative Classical styles into the early 20th century. Even before Beethoven's death, composers such as Louis Spohr were self-described Romantics, incorporating, for example, more extravagant chromaticism in their works (e.g., using chromatic harmonies in a piece's chord progression). Conversely, works such as Schubert's Symphony No. 5, written during the chronological end of the Classical era and dawn of the Romantic era, exhibit a deliberately anachronistic artistic paradigm, harking back to the compositional style of several decades before.
However, Vienna's fall as the most important musical center for orchestral composition during the late 1820s, precipitated by the deaths of Beethoven and Schubert, marked the Classical style's final eclipse—and the end of its continuous organic development of one composer learning in close proximity to others. Franz Liszt and Frédéric Chopin visited Vienna when they were young, but they then moved on to other cities. Composers such as Carl Czerny, while deeply influenced by Beethoven, also searched for new ideas and new forms to contain the larger world of musical expression and performance in which they lived.
|
Renewed interest in the formal balance and restraint of 18th century classical music led in the early 20th century to the development of so-called Neoclassical style, which numbered Stravinsky and Prokofiev among its proponents, at least at certain times in their careers.
Classical period instruments.
Guitar.
The Baroque guitar, with four or five sets of double strings or "courses" and elaborately decorated soundhole, was a very different instrument from the early classical guitar which more closely resembles the modern instrument with the standard six strings. Judging by the number of instructional manuals published for the instrument – over three hundred texts were published by over two hundred authors between 1760 and 1860 – the classical period marked a golden age for guitar.
Strings.
In the Baroque era, there was more variety in the bowed stringed instruments used in ensembles, with instruments such as the viola d'amore and a range of fretted viols being used, ranging from small viols to large bass viols. In the Classical period, the string section of the orchestra was standardized as just four instruments:
|
In the Baroque era, the double bass players were not usually given a separate part; instead, they typically played the same basso continuo bassline that the cellos and other low-pitched instruments (e.g., theorbo, serpent wind instrument, viols), albeit an octave below the cellos, because the double bass is a transposing instrument that sounds one octave lower than it is written. In the Classical era, some composers continued to write only one bass part for their symphony, labeled "bassi"; this bass part was played by cellists and double bassists. During the Classical era, some composers began to give the double basses their own part.
Woodwinds.
It was commonplace for all orchestras to have at least 2 winds, usually oboes, flutes, clarinets, or sometimes English horns (see Symphony No. 22 (Haydn). Patrons also usually employed an ensemble of entirely winds, called the "harmonie", which would be employed for certain events. The harmonie would sometimes join the larger string orchestra to serve as the wind section. |
Character encoding
Character encoding is the process of assigning numbers to graphical characters, especially the written characters of human language, allowing them to be stored, transmitted, and transformed using computers. The numerical values that make up a character encoding are known as code points and collectively comprise a code space or a code page.
Early character encodings that originated with optical or electrical telegraphy and in early computers could only represent a subset of the characters used in written languages, sometimes restricted to upper case letters, numerals and some punctuation only. Over time, character encodings capable of representing more characters were created, such as ASCII, the ISO/IEC 8859 encodings, various computer vendor encodings, and Unicode encodings such as UTF-8 and UTF-16.
The most popular character encoding on the World Wide Web is UTF-8, which is used in 98.2% of surveyed web sites, as of May 2024. In application programs and operating system tasks, both UTF-8 and UTF-16 are popular options.
|
History.
The history of character codes illustrates the evolving need for machine-mediated character-based symbolic information over a distance, using once-novel electrical means. The earliest codes were based upon manual and hand-written encoding and cyphering systems, such as Bacon's cipher, Braille, international maritime signal flags, and the 4-digit encoding of Chinese characters for a Chinese telegraph code (Hans Schjellerup, 1869). With the adoption of electrical and electro-mechanical techniques these earliest codes were adapted to the new capabilities and limitations of the early machines. The earliest well-known electrically transmitted character code, Morse code, introduced in the 1840s, used a system of four "symbols" (short signal, long signal, short space, long space) to generate codes of variable length. Though some commercial use of Morse code was via machinery, it was often used as a manual code, generated by hand on a telegraph key and decipherable by ear, and persists in amateur radio and aeronautical use. Most codes are of fixed per-character length or variable-length sequences of fixed-length codes (e.g. Unicode).
|
Common examples of character encoding systems include Morse code, the Baudot code, the American Standard Code for Information Interchange (ASCII) and Unicode. Unicode, a well-defined and extensible encoding system, has replaced most earlier character encodings, but the path of code development to the present is fairly well known.
The Baudot code, a five-bit encoding, was created by Émile Baudot in 1870, patented in 1874, modified by Donald Murray in 1901, and standardized by CCITT as International Telegraph Alphabet No. 2 (ITA2) in 1930. The name "baudot" has been erroneously applied to ITA2 and its many variants. ITA2 suffered from many shortcomings and was often improved by many equipment manufacturers, sometimes creating compatibility issues.
Herman Hollerith invented punch card data encoding in the late 19th century to analyze census data. Initially, each hole position represented a different data element, but later, numeric information was encoded by numbering the lower rows 0 to 9, with a punch in a column representing its row number. Later alphabetic data was encoded by allowing more than one punch per column. Electromechanical tabulating machines represented date internally by the timing of pulses relative to the motion of the cards through the machine.
|
When IBM went to electronic processing, starting with the IBM 603 Electronic Multiplier, it used a variety of binary encoding schemes that were tied to the punch card code. IBM used several binary-coded decimal (BCD) six-bit character encoding schemes, starting as early as 1953 in its 702 and 704 computers, and in its later 7000 Series and 1400 series, as well as in associated peripherals. Since the punched card code then in use only allowed digits, upper-case English letters and a few special characters, six bits were sufficient. These BCD encodings extended existing simple four-bit numeric encoding to include alphabetic and special characters, mapping them easily to punch-card encoding which was already in widespread use. IBM's codes were used primarily with IBM equipment; other computer vendors of the era had their own character codes, often six-bit, such as the encoding used by the , but usually had the ability to read tapes produced on IBM equipment. IBM's BCD encodings were the precursors of their Extended Binary-Coded Decimal Interchange Code (usually abbreviated as EBCDIC), an eight-bit encoding scheme developed in 1963 for the IBM System/360 that featured a larger character set, including lower case letters.
|
In 1959 the U.S. military defined its Fieldata code, a six-or seven-bit code, introduced by the U.S. Army Signal Corps. While Fieldata addressed many of the then-modern issues (e.g. letter and digit codes arranged for machine collation), it fell short of its goals and was short-lived. In 1963 the first ASCII code was released (X3.4-1963) by the ASCII committee (which contained at least one member of the Fieldata committee, W. F. Leubbert), which addressed most of the shortcomings of Fieldata, using a simpler seven-bit code. Many of the changes were subtle, such as collatable character sets within certain numeric ranges. ASCII63 was a success, widely adopted by industry, and with the follow-up issue of the 1967 ASCII code (which added lower-case letters and fixed some "control code" issues) ASCII67 was adopted fairly widely. ASCII67's American-centric nature was somewhat addressed in the European ECMA-6 standard. Eight-bit extended ASCII encodings, such as various vendor extensions and the ISO/IEC 8859 series, supported all ASCII characters as well as additional non-ASCII characters.
|
In trying to develop universally interchangeable character encodings, researchers in the 1980s faced the dilemma that, on the one hand, it seemed necessary to add more bits to accommodate additional characters, but on the other hand, for the users of the relatively small character set of the Latin alphabet (who still constituted the majority of computer users), those additional bits were a colossal waste of then-scarce and expensive computing resources (as they would always be zeroed out for such users). In 1985, the average personal computer user's hard disk drive could store only about 10 megabytes, and it cost approximately US$250 on the wholesale market (and much higher if purchased separately at retail), so it was very important at the time to make every bit count.
The compromise solution that was eventually found and was to break the assumption (dating back to telegraph codes) that each character should always directly correspond to a particular sequence of bits. Instead, characters would first be mapped to a universal intermediate representation in the form of abstract numbers called code points. Code points would then be represented in a variety of ways and with various default numbers of bits per character (code units) depending on context. To encode code points higher than the length of the code unit, such as above 256 for eight-bit units, the solution was to implement variable-length encodings where an escape sequence would signal that subsequent bits should be parsed as a higher code point.
|
Terminology.
Informally, the terms "character encoding", "character map", "character set" and "code page" are often used interchangeably. Historically, the same standard would specify a repertoire of characters and how they were to be encoded into a stream of code units — usually with a single character per code unit. However, due to the emergence of more sophisticated character encodings, the distinction between these terms has become important.
Code pages.
"Code page" is a historical name for a coded character set.
Originally, a code page referred to a specific page number in the IBM standard character set manual, which would define a particular character encoding. Other vendors, including Microsoft, SAP, and Oracle Corporation, also published their own sets of code pages; the most well-known code page suites are "Windows" (based on Windows-1252) and "IBM"/"DOS" (based on code page 437).
Despite no longer referring to specific page numbers in a standard, many character encodings are still referred to by their code page number; likewise, the term "code page" is often still used to refer to character encodings in general.
|
The term "code page" is not used in Unix or Linux, where "charmap" is preferred, usually in the larger context of locales. IBM's Character Data Representation Architecture (CDRA) designates entities with coded character set identifiers (CCSIDs), each of which is variously called a "charset", "character set", "code page", or "CHARMAP".
Code units.
The code unit size is equivalent to the bit measurement for the particular encoding:
Code points.
A code point is represented by a sequence of code units. The mapping is defined by the encoding. Thus, the number of code units required to represent a code point depends on the encoding:
Characters.
Exactly what constitutes a character varies between character encodings.
For example, for letters with diacritics, there are two distinct approaches that can be taken to encode them: they can be encoded either as a single unified character (known as a precomposed character), or as separate characters that combine into a single glyph. The former simplifies the text handling system, but the latter allows any letter/diacritic combination to be used in text. Ligatures pose similar problems.
|
Exactly how to handle glyph variants is a choice that must be made when constructing a particular character encoding. Some writing systems, such as Arabic and Hebrew, need to accommodate things like graphemes that are joined in different ways in different contexts, but represent the same semantic character.
Unicode encoding model.
Unicode and its parallel standard, the ISO/IEC 10646 Universal Character Set, together constitute a unified standard for character encoding. Rather than mapping characters directly to bytes, Unicode separately defines a coded character set that maps characters to unique natural numbers (code points), how those code points are mapped to a series of fixed-size natural numbers (code units), and finally how those units are encoded as a stream of octets (bytes). The purpose of this decomposition is to establish a universal set of characters that can be encoded in a variety of ways. To describe this model precisely, Unicode uses its own set of terminology to describe its process:
An abstract character repertoire (ACR) is the full set of abstract characters that a system supports. Unicode has an open repertoire, meaning that new characters will be added to the repertoire over time.
|
A coded character set (CCS) is a function that maps characters to "code points" (each code point represents one character). For example, in a given repertoire, the capital letter "A" in the Latin alphabet might be represented by the code point 65, the character "B" by 66, and so on. Multiple coded character sets may share the same character repertoire; for example ISO/IEC 8859-1 and IBM code pages 037 and 500 all cover the same repertoire but map them to different code points.
A character encoding form (CEF) is the mapping of code points to "code units" to facilitate storage in a system that represents numbers as bit sequences of fixed length (i.e. practically any computer system). For example, a system that stores numeric information in 16-bit units can only directly represent code points 0 to 65,535 in each unit, but larger code points (say, 65,536 to 1.4 million) could be represented by using multiple 16-bit units. This correspondence is defined by a CEF.
A character encoding scheme (CES) is the mapping of code units to a sequence of octets to facilitate storage on an octet-based file system or transmission over an octet-based network. Simple character encoding schemes include UTF-8, UTF-16BE, UTF-32BE, UTF-16LE, and UTF-32LE; compound character encoding schemes, such as UTF-16, UTF-32 and ISO/IEC 2022, switch between several simple schemes by using a byte order mark or escape sequences; compressing schemes try to minimize the number of bytes used per code unit (such as SCSU and BOCU).
|
Although UTF-32BE and UTF-32LE are simpler CESes, most systems working with Unicode use either UTF-8, which is backward compatible with fixed-length ASCII and maps Unicode code points to variable-length sequences of octets, or UTF-16BE, which is backward compatible with fixed-length UCS-2BE and maps Unicode code points to variable-length sequences of 16-bit words. See comparison of Unicode encodings for a detailed discussion.
Finally, there may be a higher-level protocol which supplies additional information to select the particular variant of a Unicode character, particularly where there are regional variants that have been 'unified' in Unicode as the same character. An example is the XML attribute xml:lang.
The Unicode model uses the term "character map" for other systems which directly assign a sequence of characters to a sequence of bytes, covering all of the CCS, CEF and CES layers.
Unicode code points.
In Unicode, a character can be referred to as 'U+' followed by its codepoint value in hexadecimal. The range of valid code points (the codespace) for the Unicode standard is U+0000 to U+10FFFF, inclusive, divided in 17 planes, identified by the numbers 0 to 16. Characters in the range U+0000 to U+FFFF are in plane 0, called the Basic Multilingual Plane (BMP). This plane contains the most commonly-used characters. Characters in the range U+10000 to U+10FFFF in the other planes are called supplementary characters.
|
The following table shows examples of code point values:
Example.
Consider a string of the letters "ab̲c𐐀"—that is, a string containing a Unicode combining character () as well as a supplementary character (). This string has several Unicode representations which are logically equivalent, yet while each is suited to a diverse set of circumstances or range of requirements:
Note in particular that 𐐀 is represented with either one 32-bit value (UTF-32), two 16-bit values (UTF-16), or four 8-bit values (UTF-8). Although each of those forms uses the same total number of bits (32) to represent the glyph, it is not obvious how the actual numeric byte values are related.
Transcoding.
As a result of having many character encoding methods in use (and the need for backward compatibility with archived data), many computer programs have been developed to translate data between character encoding schemes, a process known as transcoding. Some of these are cited below.
Cross-platform:
Windows:
Common character encodings.
The most used character encoding on the web is UTF-8, used in 98.2% of surveyed web sites, as of May 2024. In application programs and operating system tasks, both UTF-8 and UTF-16 are popular options. |
Control character
In computing and telecommunications, a control character or non-printing character (NPC) is a code point in a character set that does not represent a written character or symbol. They are used as in-band signaling to cause effects other than the addition of a symbol to the text. All other characters are mainly "graphic characters", also known as "printing characters" (or "printable characters"), except perhaps for "space" characters. In the ASCII standard there are 33 control characters, such as code 7, , which rings a terminal bell.
History.
Procedural signs in Morse code are a form of control character.
A form of control characters were introduced in the 1870 Baudot code: NUL and DEL.
The 1901 Murray code added the carriage return (CR) and line feed (LF), and other versions of the Baudot code included other control characters.
The bell character (BEL), which rang a bell to alert operators, was also an early teletype control character.
Some control characters have also been called "format effectors".
|
In ASCII.
There were quite a few control characters defined (33 in ASCII, and the ECMA-48 standard adds 32 more). This was because early terminals had very primitive mechanical or electrical controls that made any kind of state-remembering API quite expensive to implement, thus a different code for each and every function looked like a requirement. It quickly became possible and inexpensive to interpret sequences of codes to perform a function, and device makers found a way to send hundreds of device instructions. Specifically, they used ASCII code 2710 (escape), followed by a series of characters called a "control sequence" or "escape sequence". The mechanism was invented by Bob Bemer, the father of ASCII. For example, the sequence of code 2710, followed by the printable characters "[2;10H", would cause a Digital Equipment Corporation VT100 terminal to move its cursor to the 10th cell of the 2nd line of the screen. Several standards exist for these sequences, notably ANSI X3.64, but the number of non-standard variations is large.
|
All entries in the ASCII table below code 3210 (technically the C0 control code set) are of this kind, including CR and LF used to separate lines of text. The code 12710 (DEL) is also a control character. Extended ASCII sets defined by ISO 8859 added the codes 12810 through 15910 as control characters. This was primarily done so that if the high bit was stripped, it would not change a printing character to a C0 control code. This second set is called the C1 set.
These 65 control codes were carried over to Unicode. Unicode added more characters that could be considered controls, but it makes a distinction between these "Formatting characters" (such as the zero-width non-joiner) and the 65 control characters.
The Extended Binary Coded Decimal Interchange Code (EBCDIC) character set contains 65 control codes, including all of the ASCII control codes plus additional codes which are mostly used to control IBM peripherals.
The control characters in ASCII still in common use include:
Control characters may be described as doing something when the user inputs them, such as code 3 (End-of-Text character, ETX, ) to interrupt the running process, or code 4 (End-of-Transmission character, EOT, ), used to end text input on Unix or to exit a Unix shell. These uses usually have little to do with their use when they are in text being output.
|
In Unicode.
In Unicode, "Control-characters" are U+0000—U+001F (C0 controls), U+007F (delete), and U+0080—U+009F (C1 controls). Their General Category is "Cc". Formatting codes are distinct, in General Category "Cf". The Cc control characters have no Name in Unicode, but are given labels such as "<control-001A>" instead.
Display.
There are a number of techniques to display non-printing characters, which may be illustrated with the bell character in ASCII encoding:
How control characters map to keyboards.
ASCII-based keyboards have a key labelled "Control", "Ctrl", or (rarely) "Cntl" which is used much like a shift key, being pressed in combination with another letter or symbol key. In one implementation, the control key generates the code 64 places below the code for the (generally) uppercase letter it is pressed in combination with (i.e., subtract 0x40 from ASCII code value of the (generally) uppercase letter). The other implementation is to take the ASCII code produced by the key and bitwise AND it with 0x1F, forcing bits 5 to 7 to zero. For example, pressing "control" and the letter "g" (which is 0110 0111 in binary), produces the code 7 (BELL, 7 in base ten, or 0000 0111 in binary). The NULL character (code 0) is represented by Ctrl-@, "@" being the code immediately before "A" in the ASCII character set. For convenience, some terminals accept Ctrl-Space as an alias for Ctrl-@. In either case, this produces one of the 32 ASCII control codes between 0 and 31. Neither approach works to produce the DEL character because of its special location in the table and its value (code 12710), Ctrl-? is sometimes used for this character.
|
When the control key is held down, letter keys produce the same control characters regardless of the state of the shift or caps lock keys. In other words, it does not matter whether the key would have produced an upper-case or a lower-case letter. The interpretation of the control key with the space, graphics character, and digit keys (ASCII codes 32 to 63) varies between systems. Some will produce the same character code as if the control key were not held down. Other systems translate these keys into control characters when the control key is held down. The interpretation of the control key with non-ASCII ("foreign") keys also varies between systems.
Control characters are often rendered into a printable form known as caret notation by printing a caret (^) and then the ASCII character that has a value of the control character plus 64. Control characters generated using letter keys are thus displayed with the upper-case form of the letter. For example, ^G represents code 7, which is generated by pressing the G key when the control key is held down.
|
Keyboards also typically have a few single keys which produce control character codes. For example, the key labelled "Backspace" typically produces code 8, "Tab" code 9, "Enter" or "Return" code 13 (though some keyboards might produce code 10 for "Enter").
Many keyboards include keys that do not correspond to any ASCII printable or control character, for example cursor control arrows and word processing functions. The associated keypresses are communicated to computer programs by one of four methods: appropriating otherwise unused control characters; using some encoding other than ASCII; using multi-character control sequences; or using an additional mechanism outside of generating characters. "Dumb" computer terminals typically use control sequences. Keyboards attached to stand-alone personal computers made in the 1980s typically use one (or both) of the first two methods. Modern computer keyboards generate scancodes that identify the specific physical keys that are pressed; computer software then determines how to handle the keys that are pressed, including any of the four methods described above.
|
The design purpose.
The control characters were designed to fall into a few groups: printing and display control, data structuring, transmission control, and miscellaneous.
Printing and display control.
Printing control characters were first used to control the physical mechanism of printers, the earliest output device. An early example of this idea was the use of Figures (FIGS) and Letters (LTRS) in Baudot code to shift between two code pages. A later, but still early, example was the out-of-band ASA carriage control characters. Later, control characters were integrated into the stream of data to be printed.
The carriage return character (CR), when sent to such a device, causes it to put the character at the edge of the paper at which writing begins (it may, or may not, also move the printing position to the next line).
The line feed character (LF/NL) causes the device to put the printing position on the next line. It may (or may not), depending on the device and its configuration, also move the printing position to the start of the next line (which would be the leftmost position for left-to-right scripts, such as the alphabets used for Western languages, and the rightmost position for right-to-left scripts such as the Hebrew and Arabic alphabets).
|
The vertical and horizontal tab characters (VT and HT/TAB) cause the output device to move the printing position to the next tab stop in the direction of reading.
The form feed character (FF/NP) starts a new sheet of paper, and may or may not move to the start of the first line.
The backspace character (BS) moves the printing position one character space backwards. On printers, including hard-copy terminals, this is most often used so the printer can overprint characters to make other, not normally available, characters. On video terminals and other electronic output devices, there are often software (or hardware) configuration choices that allow a destructive backspace (e.g., a BS, SP, BS sequence), which erases, or a non-destructive one, which does not.
The shift in and shift out characters (SI and SO) selected alternate character sets, fonts, underlining, or other printing modes. Escape sequences were often used to do the same thing.
With the advent of computer terminals that did not physically print on paper and so offered more flexibility regarding screen placement, erasure, and so forth, printing control codes were adapted. Form feeds, for example, usually cleared the screen, there being no new paper page to move to. More complex escape sequences were developed to take advantage of the flexibility of the new terminals, and indeed of newer printers. The concept of a control character had always been somewhat limiting, and was extremely so when used with new, much more flexible, hardware. Control sequences (sometimes implemented as escape sequences) could match the new flexibility and power and became the standard method. However, there were, and remain, a large variety of standard sequences to choose from.
|
Data structuring.
The separators (File, Group, Record, and Unit: FS, GS, RS and US) were made to structure data, usually on a tape, in order to simulate punched cards.
End of medium (EM) warns that the tape (or other recording medium) is ending.
While many systems use CR/LF and TAB for structuring data, it is possible to encounter the separator control characters in data that needs to be structured. The separator control characters are not overloaded; there is no general use of them except to separate data into structured groupings. Their numeric values are contiguous with the space character, which can be considered a member of the group, as a word separator.
For example, the RS separator is used by (JSON Text Sequences) to encode a sequence of JSON elements. Each sequence item starts with a RS character and ends with a line feed. This allows to serialize open-ended JSON sequences. It is one of the JSON streaming protocols.
Transmission control.
The transmission control characters were intended to structure a data stream, and to manage re-transmission or graceful failure, as needed, in the face of transmission errors.
|
The start of heading (SOH) character was to mark a non-data section of a data stream—the part of a stream containing addresses and other housekeeping data. The start of text character (STX) marked the end of the header, and the start of the textual part of a stream. The end of text character (ETX) marked the end of the data of a message. A widely used convention is to make the two characters preceding ETX a checksum or CRC for error-detection purposes. The end of transmission block character (ETB) was used to indicate the end of a block of data, where data was divided into such blocks for transmission purposes.
The escape character (ESC) was intended to "quote" the next character, if it was another control character it would print it instead of performing the control function. It is almost never used for this purpose today. Various printable characters are used as visible "escape characters", depending on context.
The substitute character (SUB) was intended to request a translation of the next character from a printable character to another value, usually by setting bit 5 to zero. This is handy because some media (such as sheets of paper produced by typewriters) can transmit only printable characters. However, on MS-DOS systems with files opened in text mode, "end of text" or "end of file" is marked by this Ctrl-Z character, instead of the Ctrl-C or Ctrl-D, which are common on other operating systems.
|
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.