From Cave Paintings to the Internet A Chronological and Thematic Database on the History of Information and Media Music Timeline

 A bone flute with five finger holes, carved from the hollow bone of a gryphon (griffon) vulture, and found in 2009 at Hohle Fels Cave in the hills west of Ulm, Germany, is the most complete of the musical instruments so far recovered from the caves in the region. A three-hole flute carved from mammoth ivory was uncovered from another cave in the area, as well as two flutes made from the wing bones of a mute swan.

"In an article published online by the journal Nature, Nicholas J. Conard of the University of Tübingen, in Germany, and colleagues wrote, 'These finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe.'

"Although radiocarbon dates earlier than 30,000 years ago can be imprecise, samples from the bones and associated material were tested independently by two laboratories, in England and Germany, using different methods. Scientists said the data agreed on ages of at least 35,000 years old.

"Dr. Conard, a professor of archaeology, said in an e-mail message from Germany that 'the new flutes must be very close to 40,000 calendar years old and certainly date to the initial settlement of the region.'

"Dr. Conard’s team said that an abundance of stone and ivory artifacts, flint-knapping debris and bones of hunted animals were found in the sediments with the flutes. Many people appeared to have lived and worked there soon after their arrival in Europe, assumed to be around 40,000 years ago and 10,000 years before the native Neanderthals were to become extinct" (http://www.nytimes.com/2009/06/25/science/25flute.html?scp=1&sq=nicholas%20j%20conard&st=cse).

You can listen to a melody played on a replica of a prehistoric flute at The New York Times link.

The Mawangdui Silk Texts (Chinese: 馬王堆帛書; pinyin: Mǎwángduī Bóshū), texts of Chinese philosophical and medical works written on silk, were found buried in Tomb no. 3 at Mawangdui, in the city of Changsha, Hunan, China in 1973. 

"They include the earliest attested manuscripts of existing texts such as the I Ching, two copies of the Tao Te Ching, one similar copy of Strategies of the Warring States and a similar school of works of Gan De and Shi Shen. Scholars arranged them into silk books of 28 kinds. Together they count to about 120,000 words covering military strategy, mathematics, cartography and the six classical arts of ritual, music, archery, horsemanship, writing and arithmetic" (Wikipedia article on Mawangdui Silk Texts, accessed 01-31-2010).

Most of the Mawangdui Silk Texts are preserved in the Hunan Provincial Museum.

Ancient musicians had two completely separate systems of musical notation,  one meant for voice, and another for instruments.

The Yale Musical Papyrus, P. Yale CtYBR inv. 4510, a fragment of probably two Greek songs, "contains the sort of musical notation sometimes used by professional singers in antiquity. In between the lines of Greek text can be seen symbols which resemble ancient Greek letters but which are in fact vocal musical notation. The papyrus is a fragment from what was apparently a collection of songs for performance, intended for a baritone voice with a wide range" (William A. Johnson, Fragments of Ancient Greek Songs from the Early Empire).

♦ If you click on a line in the reproduction of the papyrus on Johnson's website you can hear a midi rendition of how the song might have sounded.

The Michigan Instrumental Papyrus, P. Mich. inv. 1205r, is a "Roman era" papyrus containing the sort of musical notation used by instrumental musicians in antiquity. "The papyrus is a fragment from what was probably a collection of melodies for performance, perhaps intended for the ancient aulos, a woodwind not unlike a modern oboe; or, less likely, the ancient kithara, the performance version of a lyre" (William A. Johnson, Fragments of Ancient Instrumental Music).

♦ If you click on any line of the papyrus on Johnson's website you can hear a midi rendition by an oboist of how the music might have sounded. 

The earliest surviving fragments of the writings on music by the fourth century BCE Greek peripatetic philosopher and writer on harmonic theory, music and rhythm, Aristoxenus (Ἀριστόξενος) of Tarentum, are papyri found at Oxyrhynchus.

"Perhaps the most amazing papyrus fragment is a large excerpt from Aristoxenus' Rhythmica, a part of which was first published in 1898 as fragment 9 of the Oxyrhynchus Papyri. In 1968 it was revealed that fragment 2687 of the Oxyrhynchus Papyri completed columns 2-4 by supplying fourteen or fifteen lines at the bottom; this same fragment added substantially to columns 1 and 5. Nearly one hundred lines of the text have now been uncovered in papyrus dating from the third century C.E. But this is not all. Fragments 667 and 3706 of the Oxyrhynchus Papyri preserve in characteristic Aristoxenian language an analysis of conjunct and disjunct scales and of genera. These fragments, too, date from the second or third centuries C.E. and may very well contain parts of the sections of Aristoxenus' Harmonica missing in the manuscript tradition" (Mathiesen, "Hermes or Clio? The transmission of Ancient Greek Music Theory", Palisca, Baker, Hanning [eds.] Musical Humanism and its Legacy. Essays in Honor of Claude Palisca [1992] 5-6).

On charges of treason, Theodoric the Great, Ostrogothic ruler of Italy, executes Hellenist and philosopher Anicius Manlius Severinus Boëthius, who had risen to the office of Magister officiorum (head of all government and court services) in Theodoric's court.

The execution took place in 524 or 525,  possibly because Theodoric suspected Boëthius's involvement in a plot with the Byzantine Emperor Justin I, whose religious orthodoxy, in contrast to Theodoric's Arian opinions, increased their political rivalry.

♦ The date of Boëthius's execution is often used as a reckoning of the onset of the Middle Ages.

"Boethius's most popular work is the Consolation of Philosophy, which he wrote in prison while awaiting his execution, but his lifelong project was a deliberate attempt to preserve ancient classical knowledge, particularly philosophy. He intended to translate all the works of Aristotle and Plato from the original Greek into Latin. His completed translations of Aristotle's works on logic were the only significant portions of Aristotle available in Europe until the 12th century. However, some of his translations (such as his treatment of the topoi in The Topics) were mixed with his own commentary, which reflected both Aristotelian and Platonic concepts.

"Boethius also wrote a commentary on the Isagoge by Porphyry, which highlighted the existence of the problem of universals: whether these concepts are subsistent entities which would exist whether anyone thought of them, or whether they only exist as ideas. This topic concerning the ontological nature of universal ideas was one of the most vocal controversies in medieval philosophy.

"Besides these advanced philosophical works, Boethius is also reported to have translated important Greek texts for the topics of the quadrivium.His loose translation of Nicomachus's treatise on arithmetic (De institutione arithmetica libri duo) and his textbook on music (De institutione musica libri quinque, unfinished) contributed to medieval education. His translations of Euclid on geometry and Ptolemy on astronomy, if they were completed, no longer survive.

"In his "De Musica", Boethius introduced the threefold classification of music:
1. Musica mundana - music of the spheres/world
2. Musica humana - harmony of human body and spiritual harmony
3. Musica instrumentalis - instrumental music (incl. human voice)" (Wikipedia article on Anicius Manlius Severinus Boethius, accessed 11-28-2008).

Note: "Boëthius" has four syllables; the o and e  are pronounced separately. This was traditionally written with a diæresis, viz. "Boëthius," a spelling which has been disappearing due to the limitations of word processors.

The Banu Musa brothers, three Persian scholars active in the library and translation institute called the House of Wisdom in Baghdad, publish in manuscript the Book of Ingenious Devices. This describes and illustrates and number of automata, including some derived from Hero of Alexandria.

Among the original inventions by the Banu Musa brothers are a feedback controller,  and "the earliest known mechanical musical instrument, in this case a hydropowered organ which played interchangeable cylinders automatically. According to Charles B. Fowler, this 'cylinder with raised pins on the surface remained the basic device to produce and reproduce music mechanically until the second half of the nineteenth century.' "

The Banu Musa also invented an automatic flute player, which appears to have been the first programmable machine.

The earliest codex preserving ancient Greek music theory is Heidelbergensis Palatinus gr. 281. It was probably written in Seleucia in Mesopotamia, by the scribe, Nikolaos Kalligraphos, and completed on January 14, 1040. The manuscript is preserved at Heidelberg University Library.

"The scribe's colophon states that 'this book was assembled from many works among the private papers of Romanus, judge at Seleucia and my master. All you who read it, pray for him.' The codex was conceived as a complete book; there are no blank leaves or sides. It preserves [Michael] Psellus' complete Syntagma together with the preliminary Logices, and this is followed by his Opiniones de anima, a short excert from Leontinius on the hypostatases, chapter 38 from Photius Quaestiones ad Amphilochium, and ten short theological treatises by Theodore Abucara, an author represented in Arethas' collection of books. It is surely no coindicence that this codex preserves these particular works, which point back to libraries of the ninth century, as well as the work of Psellus. After Theodor Abucara, the codex includes the koine hormasia and an accompanying canon; three sections from Theon of Smyna's treatise, here titled Μομσικομ κανονοξ κατατομη, or 'Division of the Musical Canon'; a short explanation of the musical ratios and genera, part of which corresponds to section 103 of the so-called Bellermann's Anonymous, and a series of excepts from Bacchius' treatise. . . "(Mathiesen, "Hermes of Clio? The Transmission of Ancient Greek Music Theory", Palisca, Baker, Hanning [eds.] Musical Humanism and its Legacy. Essays in Honor of Claude V. Palisca [1992] 9-10).

Benedictine monk Theophilus Presbyter writes Schedula diversarum artium ("List of various arts") or De diversibus artibus ("On various arts"), containing detailed descriptions of various medieval applied arts, including drawing, painting,  manuscript illumination, and bookbinding.

"The work is divided into three volumes. The first covers the production and use of painting and drawing materials (painting techniques, paints, and inks), especially for illumination of texts and painting of walls. The second deals with the production of stained glass and techniques of glass painting, while the last deals with various techniques of goldsmithing. It also includes an introduction into the building of organs. Theophilus contains perhaps the earliest reference to oil paint."

Volume 1 includes directions for making glue and gold leaf.

"Vol. III on metal work covers: openwork sheets of silver and copper for book covers inter alia (chapter 72); die-stamping, also used for book covers (chapter 75); studs for fastening leather covers to the boards (chapter 76) and repoussé work for book covers (chapter 78)" (Pollard, Early Bookbinding Manuals [1984] no. 3).

Theophilus also provides some of the earliest instructions for the use of metalpoints in drawing:

"Indications of the use of metalpoints for artistic purposes, other than those mentioned in connection with manuscripts, were rare until the late fourteenth century, a period which can be associated with the early fourishing of drawing as an important art form. Therefore, instructions for the use of metalpoints by the monk Theophilus, written sometime during the tenth to twelfth centuries, were exceptional. In Diversarum Artium Schedula Theophilus wrote that preparatory designs for windows were delineated upon large boards or 'tables' which had been rubbed with chalk. Over this surface one drew images with lead or tin. Moreover, in his directions for design figures to be incised on ivroy Theophilus recommended that the ivory tablet be covered with chalk, upon which one drew figures  with a piece of lead. These medieval 'grounds' of chalk dust were antecedents of a rudimentary method of preparing metalpoint surfaces with the dust of bones, chalk, or white lead which was described by Cennino in the late fourteen or early fifteenth century, and of a similar practice used during the seventeenth, eighteenth, and nineteenth centuries for quickly preparing a metalpoint ground for sketching outlines for miniatures or for writing on little ivory sheets.

"It is impossible to determine when metalpoint media were first used for producing sketches and studies in the form and character we now assign to master drawings. But during the fourteenth century both Petrarch and Boccaccio mention drawing with the stylus. The former, in his sonnets to Laura, wrote of Simone (Martini) taking the likeness of his love with the metalpoint and the latter in the Decamerone expressed his admiration for the skill of the incomparable Giotto in the statement that there was nothing in nature which the master could not draw or paint with the stylus, pen, or brush. Although we may hesitate to accept these statements at face value, nevertheless they indicate that the metallic stylus was an accepted instrument for drawing by artists of the late middle ages" (Watrous, The Craft of Old Master Drawings [1957] 4).

The oldest surviving copies of Theophilus's work are Codex 2527 preserved at the Austrian National Library, Vienna, and Codex Guelf 69 preserved at the Herzog-August-Bibliothek, Wolfenbüttel.

For centuries after the Middle Ages Theophilus's work was forgotten until the poet, philosopher, and critic Gotthold Ephraim Lessing rediscovered the text while he worked as librarian in Wolfenbüttel around 1770.

The Hortus deliciarum (Garden of Delights), a medieval manuscript compiled by and illuminated by the nun, Herrad of Landsberg, at the Hohenburg Abbey in Alsace, was an illuminated encyclopedia, written as a pedagogical tool for young novices at the convent.

"Most of the manuscript was not original, but was a compendium of 12th century knowledge. The manuscript contained poems, illustrations, and music, and drew from texts by classical and Arab writers. Interspersed with writings from other sources were poems by Herrad, addressed to the nuns, almost all of which were set to music. The most famous portion of the manuscript is the illustrations, of which there were 336, which symbolised various themes, including theosophical, philosophical, and literary themes."

Having been preserved for centuries at the Hohenburg Abbey, the Hortus Deliciarum passed into the municipal Library of Strasbourg about the time of the French Revolution. There the minatures were copied in 1818 by Christian Moritz (or Maurice) Engelhardt; the text was copied and published by Straub and Keller, 1879-1899. Thus, although the original perished in the burning of the Library of Strasbourg during the Siege of Strasbourg in the Franco-Prussian War, we can still appreciate the artistic and literary value of Herrad's work.

"Hortus deliciarum is one of the first sources of polyphony originating from a nunnery. The manuscript contained at least 20 song texts, all of which were originally notated with music. Those which can be recognized now are from the conductus repertory, and are mainly note against note in texture. The notation was in semi-quadratic neumes with pairs of four-line staves.Two songs survive with music intact: Primus parens hominum, a monophonic song, and a two part work, Sol oritur occasus" (Wikipedia article on Hortus deliciarum, accessed 12-25-2008).

The Rossi Codex contains 37 secular musical works including madrigals, cacce and, uniquely among trecento sources, monophonic ballatas.  For many years it was considered the earliest source of fourteenth-century Italian music, and although other pre-1380 sources of secular, polyphonic, Italian music have more recently been identified, none are nearly so extensive, even though only 18 folios of the original 32 in the manuscript survive.

"The largest part of the Rossi Codex is currently in the Vatican Library . . .  This section comprises seven bifolios, ff. 1–8 and ff. 18–21. In the early nineteenth century, it was in the possession of Italian collector Giovan Francesco de Rossi, for whom this manuscript and the collection in the Vatican is named. In 1857 his widow gave the manuscripts to the Jesuit library in Linz, later transferred to Vienna. . . .In 1922, the Jesuits gave the collection to the Vatican. The manuscript was first brought to the attention of the musical community by Monsignor Gino Borghezio in 1925 and then described in more depth by the musicologists Heinrich Besseler (1927), Friedrich Ludwig (1928), and Johannes Wolf (1939). Although all three of these scholars contended that the manuscript, like most of the surviving trecento sources, was Florentine, the Italian scholars Ferdinando Liuzzi, Ugo Sesini, and Ettore Li Gotti noted that linguistic evidence in the texts pointed to northern Italy, and the Veneto in particular as more likely point of origin. Most recently, Pirrotta has asserted a specific origin in Verona on the basis of symbols in the codex's works.

"The source's whereabouts prior to Rossi's possession are unclear. . . .

"A smaller section of the manuscript is in the library of the Fondazione Greggiati in Ostiglia (Biblioteca musicale Opera Pia "G. Greggiati"). . . . These two bifolios were discovered by Oscar Mischiati in 1963. Since the folios did not appear in any library catalogs prior to 1963, and since the folios show evidence of having been folded, they were likely used as covers or cover reinforcements for other volumes" (Wikipedia article on Rossi Codex).

The Squarcialupi Codex, an illuminated manuscript produced in Florence, Italy, is one of the few contemporary sources for the study of non-religious, i.e. "profane" music between the 13th and 14th centuries, and the largest primary source for music of the Trecento, also known as the "Italian ars nova."

"It consists of 216 parchment folios, richly illuminated and in good condition, so complete pieces of music are preserved. Included in the codex are 146 complete pieces by Francesco Landini, 37 by Bartolino da Padova, 36 by Niccolò da Perugia, 29 by Andrea da Firenze, 28 by Jacopo da Bologna, 17 by Lorenzo da Firenze, 16 by Gherardello da Firenze, 15 by Donato da Cascia, 12 pieces by Giovanni da Cascia, 6 by Vincenzo da Rimini, and smaller amounts of music by others. It contains 16 blank folios, intended for the music of Paolo da Firenze, since they are labeled as such and include his portrait; the usual presumption by scholars is that Paolo's music was not ready at the time the manuscript was compiled, since he was away from Florence until 1409. There is also a section marked out for Giovanni Mazzuoli which contains no music.

"The manuscript was almost certainly compiled in Florence at the monastery of Santa Maria degli Angeli, probably around 1410–1415. Paolo da Firenze may have had some part in supervising the effort, though it cannot be proven, and the omission of his music has been a puzzle for musicologists. The manuscript was owned by renowned organist Antonio Squarcialupi in the middle of the 15th century, then by his nephew, and then passed into the estate of Giuliano di Lorenzo de' Medici, who gave it to the Biblioteca Palatina in the early 16th century. At the end of the 18th century it passed into the ownership of the Biblioteca Medicea Laurenziana.

"The first folio in the codex states: "This book is owned by Antonio di Bartolomeo Squarcialupi, organist of Santa Maria del Fiore." Illumination is done in gold, red, blue and purple.

"All of the compositions in the codex are secular songs: ballata, madrigals, and cacce: there are 353 in all, and they can be dated to the period from 1340 to 1415. The other substantial collection of music from the period, the Rossi Codex (compiled between 1350 and 1370), contains some earlier music" (Wikipedia article on Squarcialupi Codex).

Johann Fust and Peter Schöffer, a scribe who adopted the new technology of printing, publish the Psalterium latinum at Mainz. The work is cited in the Incunabula Short Title Catalogue ip01036000 as Psalterium. With canticles, hymns, capitula, preces maiores and minores. There are two issues: "a) of 143 leaves b) of 175 leaves, the latter designed for use in the diocese of Mainz."
All known copies are printed on vellum.

This magnificent book was:

• The first printed book to include a colophon giving both the name of the printer and the date of printing.

• The first work to incorporate color printing, with initial letters printed in red, light purple, and blue (from an engraved metal plate).

• The first printed book to include music— two lines of music printed with a 4-line staff.

The colophon of the Mainz Psalter boasts of the new technology involved in its production. The colophon reads in translation:

“The present copy of the Psalms, adorned with beauty of capital letters, and sufficiently marked out with rubrics, has been thus fashioned by an ingenious invention of printing and stamping without any driving of the pen. . . .”

Ten copies survived, and according to the ISTC, nearly all surviving copies are either incomplete or fragmentary.

The only complete copy of the 175 leaf version is preserved in the Österreichischen Nationalbibliothek, Vienna. That copy is also the only one to include on its colophon leaf the first printer's mark: the two linked shields of Fust and Schöffer hanging from a branch, the first of which was inscribed with the Greek letter χ for Christ, the second inscribed with the Greek letter Λ (for logos = word).  None of the other extant copies of the 1457 psalter include this mark, and it is unclear whether it was originally published with only some of the edition, or might have been added to the colophon leaf of unsold sheets at some later date, after much of the edition had been distributed. (My thanks for Paul Needham for clarifying the problem of the printer's mark in the first Mainz Psalter.)

The earliest printed music, after the single line of music published in the 1457 Mainz Psalter, appears in the Missale Speciale Constantiense  (sometimes called simply Missale Speciale) perhaps issued in Basel by Johann Meister (Koch)?, or possibly issued in Mainz, probably about 1473. Much scholarship has been devoted to trying to determine the correct printing date, the printer, and the printing location of this exceptionally rare publication. Nearly all known copies are incomplete. The copy in the Morgan Library and Museum is the closest to complete in the United States, lacking only one leaf.

ISTC no. im00732500.

English printer Wynkyn de Worde, successor to William Caxton, prints at Westminister an edition of the encyclopedic work by Bartholomaeus Anglicus,  De proprietatibus rerum, in the English translation of John Trevisa, illustrated with woodcuts, mostly derived from the numerous earlier editions. This work was the first book printed in England on paper made at the first English paper mill, operated by John Tate from around 1495 till his death in 1507.

Remarkably, the original unillustrated manuscript, substantially marked up by the compositors, for a portion of this work, is preserved in the Plimpton Collection at Columbia University Library. Plimpton

"purchased it from Quaritch who had bought it when Lord Middleton's library was sold at auction in 1925. The large and beautiful codex was made for Sir Thomas Chaworth of Wiverton, Notts., about 1440; it apparently soon became the property of the Willoughby family, neighbors and kin of the Chaworths, in whose possession it remained until the sale of Lord Middleton's books in 1925. (Thomas Willoughby was created Baron Middleton 1 January 1711/12). Throughout the nearly 500 years in which the MS. was in private hands it was all but unknown to scholars" (Three Lions cited below, 18).

Wynkyn de Worde's printed text deviates substantially from the manuscript. A second manuscript source, no longer extant, was also a source for the edition. 

♦ Three Lions and the Cross of Lorraine: Bartholomaeus Anglicus, John of Trevisa, John Tate, Wynkyn de Worde and De Proprietatibus Reum. A Leaf Book with Essays by Howell Heaney, Dr. Lotte Hellinga, Dr. Richard Hills. Newton, PA: Bird & Bull Press (1992) details my role in supplying the very incomplete copy of the Wynkyn de Worde printing, containing 138 leaves, which became the basis for the edition, and determined the number of copies printed.

"Worde is generally credited for moving English printing away from its late-Medieval beginnings and toward a modern model of functioning. Caxton had depended on noble patrons to sustain his enterprise; while de Worde enjoyed the support of patrons too (principally Margaret Beaufort, mother of King Henry VII), he shifted his emphasis to the creation of relatively inexpensive books for a commercial audience and the beginnings of a mass market. Where Caxton had used paper imported from the Low Countries, de Worde exploited the product of John Tate, the first English papermaker. De Worde published more than 400 books in over 800 editions (though some are extant only in single copies and many others are extremely rare). His greatest success, in terms of volume, was the Latin grammar of Robert Whittington, which he issued in 155 editions. Religious works dominated his output, in keeping with the tenor of the time; but de Worde also printed volumes ranging from romantic novels to poetry (he published the work of John Skelton and Stephen Hawes), and from children's books to volumes on household practice and animal husbandry. He innovated in the use of illustrations: while only about 20 of Caxton's editions contained woodcuts, 500 of de Worde's editions were illustrated.

"He moved his firm from Caxton's location in Westminster to London; he was the first printer to set up a site on Fleet Street (1500), which for centuries became synonymous with printing. He was also the first man to build a book stall in St. Paul's Churchyard, which soon became a center of the book trade in London.

"De Worde was the first to use italic type (1528) and Hebrew and Arabic characters (1524) in English books; and his 1495 version of Polychronicon by Ranulf Higdon was the first English work to use movable type to print music" (Wikipedia article on Wynkyn de Worde, accessed 01-10-2008).

Dard Hunter, The Literature of Papermaking 1390-1800 (1925) 13. ISTC no. ib00143000.

The Venetian Senate grants Ottaviano Petrucci a twenty-year patent for the double-impression technique of printing polyphonic music for voices, organ, and lute using moveable type.

This was the "first known record of a privilege granted for music printing. It is also one of the early records of patents for invention and improvement in the mechanism of printing, showing that there was no legal distinction between books and printed music or other works of art produced through the press" (Primary Sources on Copyright (1450-1900), eds L. Bently & M. Kretschmer, www.copyrighthistory.org, reproducing an image of the document, and providing a translation and an extremely detailed, and thoroughly documented commentary).

Having obtained in 1498 a twenty-year exclusive license for printing music in the Venetian Republic, Octaviano Petrucci publishes Harmonice Musices Odhecaton.

This was the first book of sheet music printed using moveable type. It was an anthology of 96 secular songs,  mostly polyphonic French chansons, for three or four voice parts. For this work Petrucci printed two parts on the right-hand side of a page, and two parts on the left, so that four singers or instrumentalists could read from the same sheet.

"The type was probably designed, cut, and cast by Francesco Griffo and Jacomo Ungaro, both of whom were in Venice at the time. The collection included music by some of the most famous composers of the time, including Johannes Ockeghem, Josquin des Prez, Antoine Brumel, Antoine Busnois, Alexander Agricola, Jacob Obrecht, and many others, and was edited by Petrus Castellanus, a Dominican friar who was maestro di cappella of San Giovanni e Paolo. Inclusion of composers in this famous collection did much to enhance their notability, since the prints, and the technology, were to spread around Europe in the coming decades.

"The Odhecaton used the double-impression technique, in which first the musical staff was printed, and then the notes in a second impression. Most of the 96 pieces, although they were written as songs, were not provided with the text, implying that instrumental performance was intended for many of them. Texts for most can be found in other manuscript sources or later publications."

When Petrucci printed music with verbal text or lyrics he employed three impressions: first for the staffs, second for the notes, and third for the lyrics.

♦ No complete copy of the first edition of the Odhecaton (Harmonice Musices Odhecaton A) survives, and its exact publication date is not known, but it includes a dedication dated May 15, 1501. The second and third editions were printed on January 14, 1503 and May 25, 1504, respectively. Each corrected several errors of the previous editions. Petrucci published two further anthologies, the Harmonice Musices Odhecaton B and C, in 1502 and 1504, respectively.

"Petrucci's publication not only revolutionized music distribution: it contributed to making the Franco-Flemish style the international musical language of Europe for the next century, since even though Petrucci was working in Italy, he chiefly chose the music of Franco-Flemish composers for inclusion in the Odhecaton, as well as in his next several publications. A few years later he published several books of native Italian frottole, a popular song style which was the predecessor to the madrigal, but the inclusion of Franco-Flemish composers in his many publications was decisive on the diffusion of the musical language" (Wikipedia article on Harmonice Musices Odhecaton).

In a formal process called Dissolution of the Monasteries, Henry VIII disbands monastic communities in England, Wales and Ireland and confiscates their property.

Henry was given the authority to do this by the Act of Supremacy, passed by Parliament in 1534, which made him Supreme Head of the Church in England, and by the First Suppression Act (1536) and the Second Suppression Act (1539).

"Along with the destruction of the monasteries, some of them many hundreds of years old, the related destruction of the monastic libraries was perhaps the greatest cultural loss caused by the English Reformation. Worcester Priory (now Worcester Cathedral) had 600 books at the time of the dissolution. Only six of them are known to have survived intact to the present day. At the abbey of the Augustinian Friars at York, a library of 646 volumes was destroyed, leaving only three known survivors. Some books were destroyed for their precious bindings, others were sold off by the cartload. The antiquarian John Leland was commissioned by the King to rescue items of particular interest (especially manuscript sources of Old English history), and other collections were made by private individuals; notably Matthew Parker. Nevertheless much was lost, especially manuscript books of English church music, none of which had then been printed.

A great nombre of them whych purchased those supertycyous mansyons, resrved of those lybrarye bokes, some to serve theyr jakes, some to scoure candelstyckes, and some to rubbe their bootes. Some they solde to the grossers and soapsellers.

-John Bale, 1549

(Wikipedia article on Dissolution of the Monasteries, accessed 11-25-2008)

Albrecht V, Duke of Bavaria acquires the library of the humanist, orientalist, philologist, and theologian, Johann Albrecht Widmannstetter. This is the origin of the Bayerische Staatsbibliothek, München.

"Albert was a patron of the arts and a collector whose personal accumulations are the basis of the Wittelsbach antique collection of Greek and Roman antiquities, the coin collection and the Wittelsbach treasury in the Munich Residenz; some of his Egyptian antiquities remain in the collection of Egyptian art. His personal library has come to the Bavarian State Library in Munich, inheritor of the Wittelsbach court library.

"Like an American millionaire of the Gilded Age, he bought whole collections in Rome and Venice; in Venice, after tiresome drawn-out negotiations with the aged Andrea Loredan, he purchased the Loredan collection virtually in its entirety: 120 bronzes, 2480 medals and coins, 91 marble heads, 43 marble statues, 33 reliefs and 14 various curiosities, for the sum of 7000 ducats; 'they were all exported from Venice secretly at night in large chests'. At the same time, squabbles among the heirs of Gabriele Vendramin thwarted him in his attempt to purchase the single most important collection in Venice and paintings and antiquities, drawings by the masters and ancient coins. To house his antiquities he commissioned the Antiquarium in the Munich Residenz, the largest Renaissance hall north of the Alps.

"He appointed Orlando di Lasso to a court post and patronized many other artists; this led to a huge burden of debts (½ Mio. Fl.)" (Wikipedia article on Albert V, Duke of Bavaria, accessed 01-03-2010).

Jacques Vaucanson begins construction his first automaton, or android— The Flute Player.

Vaucanson's Flute Player was most probably the first automaton to perform a series of mechanical procedures long enough and complex enough to provide a credible imitation of life. When finally completed seven years later, the automaton was "a life-size figure of a shepherd that played the tabor and the pipe and had a repertoire of twelve songs."

In 1738 Vaucanson presented The Flute Player at the Académie Royale des Sciences, and published a pamphlet in Paris entitled Le mécanisme du fluteur automate, presenté a messieurs de L'Académie Royale des Sciences. Avec la description d'un canard artificial, mangeant, beuvant, digerant & se vuidant, épluchantses aîles & ses plumes, imitant en div. maniers un canard vivant. . . .

Austro-Hungarian author and inventor, Wolfgang von Kempelen, publishes in Vienna Mechanismus der mensclichen Sprache nebst Beschreibung seiner sprechenden Maschine, in which he discusses the origins and development of languages, and describes the first successful speech synthesizer.

Unlike von Kempelen’s fraudulent chess-playing Turk automaton (1769, and noticed in this database), Kempelin's speech synthesizer actually worked.  Kempelen's synthesizer was the first that produced not only some speech sounds, but also whole words and short sentences. He believed that it was possible to acquire skill in using the machine within three weeks, especially if one chose to synthesize sentences in Latin, French, or Italian. German von Kempelen considered much more difficult to synthesize because of its many closed syllables and consonant clusters.

"The machine consisted of a bellows that simulated the lungs and was to be operated with the right forearm (uppermost drawing). A counterweight provided for inhalation. The middle and lower drawings show the 'wind box' that was provided with some levers to be actuated with the fingers of the right hand, the 'mouth', made of rubber, and the 'nose' of the machine. The two nostrils had to be covered with two fingers unless a nasal was to be produced. The whole speech production mechanism was enclosed in a box with holes for the hands and additional holes in its cover.

"The air flow was conducted into the mouth not only by way of an oscillating reed, but also through a narrow shunting tube. This allowed the air pressure in the mouth cavity to increase when its opening was covered tightly in order to produce unvoiced speech sounds. Driven by a spring, a small auxiliary bellows would then deliver an extra puff of air at the release.

"With the left hand, it was also possible to control the resonance properties of the mouth by varied covering of its opening. In this way, some vowels and consonants could be simulated in sufficient approximation. This was not really a simulation of natural articulation, since the shape of the mouth of the machine in itself remained constant. Some vowels and, especially, the consonants [d t g k] could not be simulated in this way, but only feigned, at best. An [l] could be produced by putting the thumb into the mouth.

"The function of the vocal cords was simulated by a slamming reed made of ivory (leftmost drawing). Although the effective length of the reed could be varied, this could not be done during speech production, so that the machine spoke on a monotone.

"Two of the levers to be actuated with the right hand served the production of the fricatives [s] and . . . as well as [z] and . . . by means of separate, hissing whistles (right drawing). A third one effectuated the production of a rattling [R] by dropping a wire on the vibrating reed (middle drawing)." (http://www.ling.su.se/staff/hartmut/kemplne.htm, accessed 12-14-2008).

Kempelin's final version of the machine, which differs slightly from the version shown in the book, is preserved in the Deutsches Museum, in the department of musical instruments.

Because Kempelin's speech synthesizer required a human for its operation it was not literally an automation but may be thought of as a forerunner of robotic or computer speech synthesizers.

Composer and music publisher Johann Anton André publishes Thematisches Verzeichniss sämmtlicher Kompositionen von W. A. Mozart.

This was:

"the first thematic index of a composer's works (and probably the first book [on music] produced by lithographic process). André, a composer and, as music publisher, successor to his equally famous father, Johann, had in 1800 acquired Mozart's manuscripts, including his [Mozart's own] 'Verzeichniss aller meiner Werke,' on which this index is based" (Breslauer & Folter, Bibliography: Its History and Development [1984] no. 116).

During ceremonies dedicating a new statue of Johannes Gutenberg, in the city of Leipzig's quadicentennial celebration of the invention of printing, Felix Mendelssohn's Festgesang -- a cantata for male chorus, brass, and tympani -- is first performed in the town square by a chorus of 200 men, 16 trumpets, and 20 trombones.

The Parisian typesetter and tinkerer, Edouard-Leon Scott de Martinville produces the earliest known recording of the human voice and the earliest known recording of music on his phonautograph, a machine designed to record sounds visually but not to play them back.

"In 2008, the New York Times reported the discovery of a phonautogram from 9 April 1860. The announcement of the discovery was accompanied by an announcement that the visual recording was made playable — 'converted from squiggles on paper to sound — by scientists at the Lawrence Berkeley National Laboratory in Berkeley, California.' The phonautogram was one of Leon Scott's forgotten images in Paris; they were scanned then processed by a sophisticated computer program developed a few years earlier by the Library of Congress.

"The recording was a ten-second snippet of a singer, probably a daughter of the inventor performing the French folk song 'Au Clair de la Lune'. This phonautograph recording is now the earliest known recording of a human voice and the earliest known recording of music in existence, predating, by twenty-eight years, the longest surviving Edison phonographic recording of a Handel chorus, made in 1888" (Wikipedia article on Edouard-Leon Scott de Martinville, accessed 04-18-2009).

You can listen to the earliest known music recording at the Wikipedia article on Scott.

Thomas Alva Edison invents the phonograph.

In the first test of the machine Edison recited the nursery rhyme, "Mary had a little lamb."

Edison's phonograph recorded on a metal cylinder wrapped with metal foil. He applied for the patent on December 24.

An aspect of this invention that has been observed is that before Edison invented the phonograph few people ever imagined a need for such a device.

David Edward Hughes invents the loose-contact carbon microphone.

Hughes's microphone was vital to telephony and later to broadcasting and sound recording.

In an article published in the North American Review Thomas Edison describes future uses for his phonograph:

1. Letter writing and all kinds of dictation without the aid of a stenographer.
2. Phonographic books, which will speak to blind people without effort on their part.
3. The teaching of elocution.
4. Reproduction of music.
5. The "Family Record"--a registry of sayings, reminiscences, etc., by members of a family in their own voices, and of the last words of dying persons.
6. Music-boxes and toys.
7. Clocks that should announce in articulate speech the time for going home, going to meals, etc.
8. The preservation of languages by exact reproduction of the manner of pronouncing.
9. Educational purposes; such as preserving the explanations made by a teacher, so that the pupil can refer to them at any moment, and spelling or other lessons placed upon the phonograph for convenience in committing to memory.
10. Connection with the telephone, so as to make that instrument an auxiliary in the transmission of permanent and invaluable records, instead of being the recipient of momentary and fleeting communication."

Emile Berliner invents the flat disc Gramophone. This eventually replaced the Edison wax cylinder as a recording and playback device, and enabled the birth of the recording industry.

At the World Exposition in Paris Danish inventor Valdemar Poulsen records the voice of Emperor Franz Josef of Austria on his Telegraphone magnetic wire recorder. This is the oldest surviving magnetic audio recording.

You can listen to this recording at this link.

Lee de Forest introduces a third electrode called the grid into the vacuum tube. The resulting triode could be used both as an amplifier and a switch.

Leon Theremin invents the Theremin, one of the first electronic musical instruments, and the first musical instrument that is played without being touched.

"The controlling section usually consists of two metal antennas which sense the position of the player's hands and control radio frequency oscillator(s) for frequency with one hand, and volume with the other. The electric signals from the theremin are amplified and sent to a loudspeaker. The theremin is an electrophone, a subset of the quintephone family.

"To play, the player moves his or her hands around the antennas, controlling frequency (pitch) and amplitude (volume). The theremin is associated with an "eerie" sound, which has led to its use in movie soundtracks such as those in Spellbound, The Lost Weekend, and The Day the Earth Stood Still. Theremins are also used in art music (especially avant-garde and 20th century "new music") and in popular music genres such as rock."

"The theremin was originally the product of Russian government-sponsored research into proximity sensors. The instrument was invented by a young Russian physicist named Lev Sergeivich Termen (known in the West as Léon Theremin) in 1919 after the outbreak of the Russian civil war. After positive reviews at Moscow electronics conferences, Theremin demonstrated the device to Bolshevik leader Vladimir Lenin. Lenin was so impressed with the device that he began taking lessons in playing it, commissioned six hundred of the instruments for distribution throughout the Soviet Union, and sent Theremin on a trip around the world to demonstrate the latest Soviet technology and the invention of electronic music. After a lengthy tour of Europe, during which time he demonstrated his invention to packed houses, Theremin found his way to the United States, where he patented his invention in 1928 (US1661058 ). Subsequently, Theremin granted commercial production rights to RCA."

The research organization that would in 1925 be known as Bell Labs develops the first high-fidelity sound recording. It extends the reproducible sound range by more than an octave on the high and low end.

Fritz Pfleumer invents magnetic tape for recording sound, coating very thin paper with iron-oxide using lacquer as glue. He sold the rights to AEG in 1932.

American engineer and inventory Laurens Hammond receives patent 1,956,350 for an "Electrical Musical Instrument," and introduces the Hammond Organ Model A the following year.

The Hammond Organ was originally sold to churches as a lower-cost alternative to wind-driven pipe organs, but in the 1960s and 1970s it became a standard keyboard instrument for jazz, blues, rock music and gospel music.

"The original Hammond organ used additive synthesis of waveforms from harmonic series made by mechanical tonewheels which rotate in front of electromagnetic pickups. The component waveform ratios are mixed by sliding drawbars mounted above the two keyboards. Although many different models of Hammond organs were produced, the Hammond B-3 organ is the most well-known type. In the late 1960s and throughout the 1970s, the overdriven sound of B-3 (and in Europe, the C-3) organs were widely used in progressive rock bands and blues-rock groups. Although the last electromechanical Hammond organ came off the assembly line in the mid-1970s, thousands are still in daily use.

"In the 1980s and 1990s, musicians began using electronic and digital devices to imitate the sound of the Hammond, because the vintage Hammond organ is heavy and hard to transport. By the 1990s and 2000s digital signal processing and sampling technologies allowed for better imitation of the original Hammond sound" (Wikipedia article on Hammond organ, accessed 08-30-2009).

Engineers at AEG develop the Magnetophon K1.

The K1 was the first practical reel-to-reel magnetic tape recorder, using magnetic tape invented by Fritz Pfleumer.

With the onset of World War II, the most precious holdings of the Sächsische Landesbibliothek at Dresden were dispersed to eighteen castles and offices. As a  result they largely survived the bombing raids of February and March 1945 on this major industrial center by the British and American Air Forces.

However, the raids destroyed the former library buildings and virtually the whole historic center of Dresden— with losses of about 200,000 volumes of twentieth-century manuscript and printed holdings. The losses included  irreplaceable musical manuscripts, including the major corpus of Tomasso Albinoni's unpublished music, though Georg Philipp Telemann's manuscripts were preserved. After the war, some 250,000 books from the library were taken to Russia.

Columbia Records introduces the 33 1/3 rpm Long Playing microgroove record with 17 minutes of music on each side.

American musician, bandleader, talent scout, and record producer Ike Turner and his band, the Kings of Rhythm, record in Memphis, Tennessee the rhythm and blues song, "Rocket 88."

This " hymn of praise" for the first American muscle car, the Oldsmobile Rocket 88, which had been introduced in 1949, has been called "the first rocket and roll song."  However:

"Rock 'n' roll was an evolutionary process – we just looked around and it was here. . . . To name any one record as the first would make any of us look a fool.

—Billy Vera, Foreword to "What Was the First Rock'n'Roll Record", Jim Dawson and Steve Propes, 1992" (Wikipedia article on First rock and roll recording, accessed 06-01-2009).

Geoff Hill, a computer programmer with perfect pitch, programs the CSIR Mk1, the first stored-program computer in Australia, to play a melody, and runs the program at the inaugural Conference of Automatic Computing Machines in Sydney.

This was the first demonstration of computer music.

"The CSIR Mk1 operated in Sydney Australia from about November 1949 to June 1955. Geoff Hill was the main programmer at that time and he used the machine to play musical melodies. These melodies, mostly from popular songs, were; 'Colonel Bogey', 'Bonnie Banks', 'Girl with Flaxen Hair' and so on.

"The CSIR Mk1 was dismantled in mid 1955 and moved to The University of Melbourne, where it was renamed CSIRAC. Professor of Mathematics, Thomas Cherry, later Sir Thomas Cherry FRS, had a great interest in programming and music and he created music with CSIRAC. In Melbourne the practice of how CSIRAC was programmed for music was altered and refined somewhat. The program tapes for a couple of test scales still exist, along with the popular melodies 'So early in the Morning' and 'In Cellar Cool', which was a popular drinking song - it appears that the pursuit of computer music and social drinking have been intimately linked since the earliest years. There was also other music on the tape. In about 1957 Cherry wrote a music performance program that would allow a computer user who understood simple standard music notation to enter it easily into CSIRAC for performance, without negotiating all of the timing problems such as was normally required. The music itself may now seem very crude unless it is understood in the context of its creation. It was created by engineers who were not knowledgeable of the latest in musical composition practice and at a time when there was little thought of digital sound. The idea of using a computer, the world's most flexible machine, to create music was a leap of imagination at the time. It is a pity that composers were not invited to use CSIRAC, as they were with the Bell Labs developments, to discover how it could have solved several compositional problems."

The Ferranti Mark 1 performs  Baa Baa Black Sheep and a truncated version of In the Mood in Manchester, England. The recording of these brief performances, which you can listen to from the BBC website at this link, are thought to be the oldest known recordings of computer-generated music.

English cybernetician and psychologist Gordon Pask creates MusiColour, a computer-controlled aesthetic system that "drove an array of lights that adapted to a musician's performance" (Mason, a computer in the art room. the origins of british computer arts 1950-1980 [2008] 6). This was one of the earliest examples of "computer art."

California inventor Henry Chamberlin introduces the Chamberlin, the first sample-playback keyboard.

Lejaren Hiller and Leonard Isaacson collaborate on the first significant computer music composition, the Illiac Suite. 

The Illiac Suite was composed on the University of Illinois ILLIAC I computer, the first von Neumann architecture computer built and owned by an American university.

Lejaren Hiller and Leonard Isaacson publish the first book on computer-generated music: Experimental Music: Composition with an Electronic Computer, based on work done on the University of Illinois’s ILLIAC computer.

Robert Moog creates the first substractive synthesizer to utilize a keyboard as a controller, and demonstrates it at the at the Audio Engineering Society convention.

The Moog synthesizer became one of the first widely used electronic musical instruments. It is a member of the quintephone family of musical instruments, which generate sounds "informatically."

American showman, songwriter, and artist Bobb Goldsteinn (Bob Goldstein) coins the term multimedia to promote the July 1966 opening of his "LightWorks at L'Oursin" show at Southampton, Long Island. "On August 10, 1966, Richard Albarino of Variety borrowed the terminology, reporting: 'Brainchild of songscribe-comic Bob (‘Washington Square’) Goldstein, the ‘Lightworks’ is the latest multi-media music-cum-visuals to debut as discothèque fare' " (Wikipedia article on Multimedia, accessed 08-29-2010).

The evolving concept of multimedia involves combinations of text, still images, video, animation, sound, and interactivity. Thus, technically an illustrated book could be considered a multimedia object with a combination of texts and images; however, multimedia primarily implies combinations of electronic media.

"The first digital sampler was the EMS(Electronic Music Studios) Musys system developed by Peter Grogono (software), David Cockerell (hardware and interfacing) and Peter Zinovieff (system design and operation) at their London (Putney) Studio c. 1969. The system ran on two mini-computers, a pair of Digital Equipment’s PDP-8s. These had the tiny memory of 12,000 (12k) bytes, backed up by a hard drive of 32k and by tape storage (DecTape)—all of this absolutely minuscule by today’s standards. Nevertheless, the EMS equipment was used as the world’s first music sampler and the computers were used to control the world's first digital studio" (Wikipedia article on Sampler (musical instrument), with hyperlinks that I added, accessed 08-29-2009).

Phillips and Sony develop the compact disc (CD).

"Philips publicly demonstrated a prototype of an optical digital audio disc at a press conference called "Philips Introduce Compact Disc" in Eindhoven, The Netherlands on March 8, 1979. Three years earlier, Sony first publicly demonstrated an optical digital audio disc in September 1976. In September 1978, they demonstrated an optical digital audio disc with a 150 minute playing time, and with specifications of 44,056 Hz sampling rate, 16-bit linear resolution, cross-interleaved error correction code, that were similar to those of the Compact Disc introduced in 1982. Technical details of Sony's digital audio disc were presented during the 62nd AES Convention, held on March 13-16, 1979 in Brussels.

"The first test CD was pressed in Hannover, Germany by the Polydor Pressing Operations plant in 1981. The disc contained a recording of Richard Strauss's Eine Alpensinfonie, played by the Berlin Philharmonic and conducted by Herbert von Karajan. The first public demonstration was on the BBC TV show Tomorrow's World when The Bee Gees' 1981 album Living Eyes was played. In August 1982 the real pressing was ready to begin in the new factory, not far from the place where Emil Berliner had produced his first gramophone record 93 years earlier. By now, Deutsche Grammophon, Berliner's company and the publisher of the Strauss recording, had become a part of PolyGram. The first CD to be manufactured at the new factory was The Visitors by ABBA. The first album to be released on CD was Billy Joel's 52nd Street, that reached the market alongside Sony's CD player CDP-101 on October 1, 1982 in Japan. Early the following year on March 2, 1983 CD players and discs (16 titles from CBS Records) were released in the United States and other markets. This event is often seen as the "Big Bang" of the digital audio revolution. The new audio disc was enthusiastically received, especially in the early-adopting classical music and audiophile communities and its handling quality received particular praise. As the price of players sank rapidly, the CD began to gain popularity in the larger popular and rock music markets. The first artist to sell a million copies on CD was Dire Straits, with its 1985 album Brothers in Arms. The first major artist to have his entire catalogue converted to CD was David Bowie, whose 15 studio albums were made available by RCA Records in February 1985, along with four Greatest Hits albums. In 1988, 400 million CDs were manufactured by 50 pressing plants around the world. To date, the biggest selling CD (as opposed to the biggest selling title) is Beatles "1", released in November 2000, with worldwide sales of 30 million discs" I(Wikipedia article on Compact Disc, assessed 01-17-2010).

Andrew Economos founds Radio Computing Services.

RCS's first product was Selector, a music scheduling system.

"The original Selector was developed on a PDP-11/03 under RT-11 and was programmed in Fortran and FMS-11. The goal of Selector is to help music directors of radio stations to handle day-to-day operations such as daily schedule generation, maintenance of music library and format hours" (Wikipedia article on Radio Computing Services).

A Rolling Stones concert becomes the "first cyberspace multicast concert" over Internet radio. Mick Jagger opens the concert by saying, "I wanna say a special welcome to everyone that's, uh, climbed into the Internet tonight and, uh, has got into the Mbone. And I hope it doesn't all collapse." (quoted from the Wikipedia article on Internet radio).

MP3 (MPEG Audio Layer 3) is introduced. It is an audio compression technology being a part of the MPEG-1 and MPEG-2 specifications. MP3 compresses CD quality sound by a factor of 8­12, while maintaining almost the same high-fidelity sound quality.

Shawn Fanning releases the Napster file sharing service for MP3 files.

"It was the first of the massively popular peer-to-peer file sharing systems, although it was not fully peer-to-peer since it used central servers to maintain lists of connected systems and the files they provided, while actual transactions were conducted directly between machines. Although there were already media which facilitated the sharing of files across the Internet, such as IRC, Hotline, and USENET, Napster specialized exclusively in music in the form of MP3 files and presented a friendly user-interface. The result was a system whose popularity generated an enormous selection of music to download."

The Ninth Circuit Court issues an injunction ordering Napster to prevent the trading of copyrighted music on its network..

Apple launches the iPod line of portable media players.

Ali and Hadi Partovi found the social music discovery service site iLike.

Francis W. M. R. Schwartze, Melanie Spycher, and Siegfried Fink. of the Section of Wood Protection and Biotechnology, Wood Laboratory, Swiss Federal Laboratories for Materials Testing and Research (EMPA) publish "Superior wood for violins – wood decay fungi as a substitute for cold climate," New Phytologist 179 (2008) 1095-1104.

ABSTRACT 

"• Violins produced by Antonio Stradivari during the late 17th and early 18th centuries are reputed to have superior tonal qualities. Dendrochronological studies show that Stradivari used Norway spruce that had grown mostly during the Maunder Minimum, a period of reduced solar activity when relatively low temperatures caused trees to lay down wood with narrow annual rings, resulting in a high modulus of elasticity and low density. 

"• The main objective was to determine whether wood can be processed using selected decay fungi so that it becomes acoustically similar to the wood of trees that have grown in a cold climate (i.e. reduced density and unchanged modulus of elasticity). 

"• This was investigated by incubating resonance wood specimens of Norway spruce (Picea abies) and sycamore (Acer pseudoplatanus) with fungal species that can reduce wood density, but lack the ability to degrade the compound middle lamellae, at least in the earlier stages of decay. 

"• Microscopic assessment of the incubated specimens and measurement of five physical properties (density, modulus of elasticity, speed of sound, radiation ratio, and the damping factor) using resonance frequency revealed that in the wood of both species there was a reduction in density, accompanied by relatively little change in the speed of sound. Thus, radiation ratio was increased from 'poor' to 'good', on a par with 'superior' resonance wood grown in a cold climate."

Atlantic Records, a unit of Warner Music Group, reports that more than half its revenue comes from downloads and ringtones sold over the Internet, rather than CDs. This is the first major record label to record this change.

Having sold over a billion songs through the iTunes store in 2008, Apple announces that it has reached agreements with record companies to remove anticopying restrictions on all tunes in the iTunes store. It will also allow record companies to set a range of prices for the songs.

The YouTube Symphony Orchesta, under the direction of San Francisco Symphony conductor, Michael Tilson Thomas, debuts at Carnegie Hall in New York. Considered the first collaborative online orchestra, promoted on YouTube, auditioned entirely through YouTube videos, and sponsored by Google, the owner of YouTube, "The YouTube Symphony Orchestra's show features soloists, chamber groups, chamber orchestra, large orchestra, electronica and multi-media, and samples diverse periods and styles of classical music, including works by Gabrieli, Bach, Mozart, Brahms, Villa-Lobos, John Cage and Tan Dun’s Internet Symphony No. 1 'Eroica.'

"It could be described as something between a summit conference, scout jamboree or musical get-together. It'll be the first time that people from so many different countries will have had a chance to discover one another online and then actually meet up and make music together." - Michael Tilson Thomas on NPR’s All Things Considered" (Carnegie Hall website, accessed 04-11-2009).

Psychologist Adena Schachner of Harvard University and co-authors publish "Spontaneous Motor Entrainment to Music in Multiple Vocal Mimicking Species," Current Biology (30 April 2009) doi:10.1016/j.cub.2009.03.061.

Basing their research on the examination of more than 1000 YouTube videos of dancing animals, the researchers found 14 parrot species and one elephant genunely capable of keeping time, showing that "an ability to appreciate music and keep a rhythm is not unique to humans.

"Schachner analyzed the videos frame-by-frame, comparing the animals' movements with the speed of the music and the alignment of individual beats. The group also studied another bird, Alex, an African grey parrot, which had exhibited similar abilities to Snowball, nodding its head appreciatively to a series of drum tracks.

" 'Our analyses showed that these birds' movements were more lined up with the musical beat than we'd expect by chance,' says Schachner. 'We found strong evidence that they were synchronizing with the beat, something that has not been seen before in other species.' 

"Aniruddh Patel of The Neurosciences Institute in San Diego, who led another study of Snowball's performance, said that the bird had demonstrated an ability to adjust the tempo of his dancing to stay synchronized to the beat.

"Scientists had previously thought that 'moving to a musical beat might be a uniquely human ability because animals are not commonly seen moving rhythmically in the wild,' Patel said.

"Schachner said there was no evidence to suggest that animals such as apes, dogs or cats could recognize music, despite their extensive experience of humans. That leads researchers to believe that an ability to process musical sounds may be linked to an ability to mimic sounds -- something that each of the parrots studied by researchers was able to do excellently, she said.

"Other 'vocal-learning species' include dolphins, elephants, seals and walruses.

" 'A natural question about these results is whether they generalize to other parrots, or more broadly, to other vocal-learning species,' Schachner said.

"Researchers believe a possible link between vocal mimicry and an ability to hear music may explain the development of music in human societies. advertisement

" 'The question of why music is found in every known human culture is a longstanding puzzle. Many argue that it is an adaptive behaviour that helped our species to evolve. But equally plausible is the possibility that it emerged as a by-product of other abilities -- such as vocal learning,' music psychologist Lauren Stewart of Goldsmiths, University of London told CNN.

" 'Parrots and humans both have the ability to imitate sounds that they hear, unlike our closer simian relatives. Once a species has the neural machinery in place for coupling the perception and production of vocal sounds, it may be only a small step to use the same circuits for synchronizing movements to a beat.' " ( http://www.cnn.com/2009/TECH/science/05/01/dancing.parrots/?iref=hpmostpop#cnnSTCText )

You can watch one of the most popular videos of Snowball, the dancing cockatoo, at this link: http://www.youtube.com/watch?v=N7IZmRnAo6s, accessed 05-04-2009.

The death of American entertainer Michael Jackson had a remarkably dramatic impact on the Internet:

"The news of Jackson's death spread quickly online, causing websites to crash and slow down from user overload. Both TMZ and the Los Angeles Times, two websites that were the first to confirm the news, suffered outages. Google believed the millions of people searching 'Michael Jackson' meant it was under attack. Twitter reported a crash, as did Wikipedia at 3:15 PDT. The Wikimedia Foundation reported nearly one million visitors to the article Michael Jackson within one hour, which they said may be the most visitors in a one-hour period to any article in Wikipedia's history. AOL Instant Messenger collapsed for 40 minutes. AOL called it a seminal moment in Internet history,' adding, 'We've never seen anything like it in terms of scope or depth.' Around 15 percent of Twitter posts (or 5,000 tweets per minute) mentioned Jackson when the news broke, compared to topics such as the 2009 Iranian election and swine flu, which never rose above 5 percent of total tweets. Overall, web traffic was 11 percent higher than normal" (Wikipedia article on Death of Michael Jackson, accessed 07-04-2009).

MySpace, a division of Fox Interactive Media, announces that it will acquire the "social music discovery service" iLike.

Swiss  Empa scientist Francis Schwarze and the Swiss violin maker Michael Rhonheimer receive confirmation that the violin they had created using wood treated with a specially selected fungus compared favorably in a blind test against an instrument made in 1711 by the master violin maker of Cremona, Antonio Stradivari. Schwartze's scientific research on the topic, published in June 2008, is noticed in this database.

"In the test, the British star violinist Matthew Trusler played five different instruments behind a curtain, so that the audience did not know which was being played. One of the violins Trusler played was his own strad, worth two million dollars. The other four were all made by Rhonheimer – two with fungally-treated wood, the other two with untreated wood. A jury of experts, together with the conference participants, judged the tone quality of the violins. Of the more than 180 attendees, an overwhelming number – 90 persons – felt the tone of the fungally treated violin "Opus 58" to be the best. Trusler’s stradivarius reached second place with 39 votes, but amazingly enough 113 members of the audience thought that "Opus 58" was actually the strad! "Opus 58" is made from wood which had been treated with fungus for the longest time, nine months.

"Skepticism before the blind test

"Judging the tone quality of a musical instrument in a blind test is, of course, an extremely subjective matter, since it is a question of pleasing the human senses. Empa scientist Schwarze is fully aware of this, and as he says, 'There is no unambiguous scientific way of measuring tone quality.' He was therefore, understandably, rather nervous before the test. Since the beginning of the 19th century violins made by Stradivarius have been compared to instruments made by others in so called blind tests, the most serious of all probably being that organized by the BBC in 1974. In that test the world famous violinists Isaac Stern and Pinchas Zukerman together with the English violin dealer Charles Beare were challenged to identify blind the 'Chaconne' Stradivarius made in 1725, a "Guarneri del Gesu" of 1739, a 'Vuillaume' of 1846 and a modern instrument made by the English master violin maker Roland Praill. The result was rather sobering – none of the experts was able to correctly identify more than two of the four instruments, and in fact two of the jurors thought that the modern instrument was actually the "Chaconne" stradivarius.

'Biotech wood, a revolution in the art of violin making

"Violins made by the Italian master Antonio Giacomo Stradivarius are regarded as being of unparalleled quality even today, with enthusiasts being prepared to pay millions for a single example. Stradivarius himself knew nothing of fungi which attack wood, but he received inadvertent help from the 'Little Ice Age' which occurred from 1645 to 1715. During this period Central Europe suffered long winters and cool summers which caused trees to grow slowly and uniformly – ideal conditions in fact for producing wood with excellent acoustic qualities.

"Horst Heger of the Osnabruck City Conservatory is convinced that the success of the 'fungus violin' represents a revolution in the field of classical music. 'In the future even talented young musicians will be able to afford a violin with the same tonal quality as an impossibly expensive Stradivarius,' he believes. In his opinion, the most important factor in determining the tone of a violin is the quality of the wood used in its manufacture. This has now been confirmed by the results of the blind test in Osnabruck. The fungal attack changes the cell structure of the wood, reducing its density and simultaneously increasing its homogeneity. 'Compared to a conventional instrument, a violin made of wood treated with the fungus has a warmer, more rounded sound,' explains Francis Schwarze" (http://www.sciencedaily.com/releases/2009/09/090914111418.htm, accessed 10-08-2009).