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Butterfield's version in July 1862 replaced a previous French bugle call used to signal "lights out". Butterfield's bugler, Oliver Wilcox Norton, [10] [2] of East Springfield, Pennsylvania, [11] was the first to sound the new call. [2] Within months "Taps" was used by both Union and Confederate forces. [2]
The original concept of this call was played on the snare drum and was known as "tap-too", with the same rule applying. Later on, the name was applied to more elaborate military performances, known as military tattoos. The etymology of the military tattoo is from Dutch "tap toe", unrelated to the Tahitian origin of an ink tattoo. [1]
Flapping or tapping, also known as alveolar flapping, intervocalic flapping, or t-voicing, is a phonological process involving a voiced alveolar tap or flap; it is found in many varieties of English, especially North American, Cardiff, Ulster, Australian and New Zealand English, where the voiceless alveolar stop consonant phoneme /t/ is pronounced as a voiced alveolar flap [ɾ], a sound ...
The sheet music of "Rule, Britannia!" by James Thomson (lyrics) and Thomas Arne (music). One of the most popular British patriotic tunes. Date: 1740: Source: The Songs of England, Volume I, Edited by J. L. Hatton, Boosey & Co, London (c. 1890s) Author: James Thompson (1700-1748) Thomas Augustine Arne (1710–1778) Permission (Reusing this file)
Byun's Interview also features that violated the rules including cramming in dolly shots, moody lighting, a director's credit, and Park's background music. [ 12 ] Márques' Fuckland broke some of the Dogme 95 guidelines, including the use of non-diegetic music, digital video, and a directorial credit.
Kahnotation was developed from 1930-1950 by Stanley D. Kahn. A prominent figure of the International Tap Association, he instructed tap dance at his San Francisco studio for 45 years, and was dance director for the Ice Follies (now Disney on Ice). Kahnotation was first published in 1951, with continuing refinements until his death in 1995.
Method ringing (also known as scientific ringing) is a form of change ringing in which the ringers commit to memory the rules for generating each change of sequence, and pairs of bells are affected. This creates a form of bell music which is continually changing, but which cannot be discerned as a conventional melody .
The rule of the octave is a way of harmonizing each note of the diatonic scale, reflecting common practice, and has its origin in the practice of thorough bass, or basso continuo, where it provided an easy way to find which chord could accompany each note of the scale in the bass, particularly in the absence of figuring.