ISO basic Latin alphabet
Aa	Bb	Cc	Dd
Ee	Ff	Gg	Hh
Ii	Jj	Kk	Ll
Mm	Nn	Oo	Pp
Qq	Rr	Ss	Tt
Uu	Vv	Ww	Xx
Yy	Zz

C in copyright symbol

C (named cee /ˈsiː/)^[1] the third letter in the ISO basic Latin alphabet. It is used to represent one hundred in Roman numerals.

History[link]

Phoenician gaml	Arabic ǧīm	Hebrew gimel	Greek Gamma	Etruscan C	Old Latin C

⟨C⟩ comes from the same letter as ⟨G⟩. The Semites named it gimel. The sign is possibly adapted from an Egyptian hieroglyph for a staff sling, which may have been the meaning of the name gimel. Another possibility is that it depicted a camel, the Semitic name for which was gamal.

In the Etruscan language, plosive consonants had no contrastive voicing, so the Greek ⟨Γ⟩ (Gamma) was adopted into the Etruscan alphabet to represent /k/. Already in the Western Greek alphabet, Gamma first took a ⟨⟩ form in Early Etruscan, then ⟨⟩ in Classical Etruscan. In Latin it eventually took the ⟨c⟩ form in Classical Latin. In the earliest Latin inscriptions, the letters ⟨c k q⟩ were used to represent the sounds /k/ and /ɡ/ (which were not differentiated in writing). Of these, ⟨q⟩ was used to represent /k/ or /ɡ/ before a rounded vowel, ⟨k⟩ before ⟨a⟩, and ⟨c⟩ elsewhere.^[2] During the 3rd century BC, a modified character was introduced for /ɡ/, and ⟨c⟩ itself was retained for /k/. The use of ⟨c⟩ (and its variant ⟨g⟩) replaced most usages of ⟨k⟩ and ⟨q⟩. Hence, in the classical period and after, ⟨g⟩ was treated as the equivalent of Greek gamma, and ⟨c⟩ as the equivalent of kappa; this shows in the romanization of Greek words, as in ⟨KAΔMOΣ⟩, ⟨KYPOΣ⟩, and ⟨ΦΩKIΣ⟩ came into Latin as ⟨cadmvs⟩, ⟨cyrvs⟩, and ⟨phocis⟩, respectively.

Other alphabets have letters homoglyphic to ⟨c⟩ but not in use and derivation, like the Cyrillic letter Es (С, с) which derives from the lunate sigma, named due to its resemblance to the crescent moon.

Later use[link]

When the Roman alphabet was introduced into Britain, ⟨c⟩ represented only /k/ and this value of the letter has been retained in loanwords to all the insular Celtic languages: in Welsh, Irish, Gaelic, ⟨c⟩ represents only /k/. The Old English or "Anglo-Saxon" writing was learned from the Celts, apparently of Ireland; hence ⟨c⟩ in Old English also originally represented /k/; the Modern English words kin, break, broken, thick, and seek, all come from Old English words written with ⟨c⟩: cyn, brecan, brocen, þicc, and séoc. But during the course of the Old English period, /k/ before front vowels (/e/ and /i/) was palatalized, having changed by the tenth century to [tʃ], though ⟨c⟩ was still used, as in cir(i)ce, wrecc(e)a. On the continent, meanwhile, a similar phonetic change had also been going on (for example, in Italian).

In Vulgar Latin, /k/ became palatalized to [tʃ] in Italy and Dalmatia; in France and the Iberian peninsula, it became [ts]. Yet for these new sounds ⟨c⟩ was still used before front vowels (⟨e, i⟩) the letter thus represented two distinct values. Subsequently, the Latin phoneme /kʷ/ (represented by ⟨qv⟩) de-labialized to /k/ meaning that the various Romance languages had /k/ before front vowels. In addition, Norman used the Greek letter ⟨k⟩ so that the sound /k/ could be represented by either ⟨k⟩ or ⟨c⟩ the latter of which could represent either /k/ or /ts/ depending on whether it preceded a front vowel or not. The convention of using both ⟨c⟩ and ⟨k⟩ was applied to the writing of English after the Norman Conquest, causing a considerable re-spelling of the Old English words. Thus while Old English candel, clif, corn, crop, cú, remained unchanged, Cent, cæ´ᵹ (cé´ᵹ), cyng, brece, séoce, were now (without any change of sound) spelled ⟨Kent⟩, ⟨keȝ⟩, ⟨kyng⟩, ⟨breke⟩, and ⟨seoke⟩; even cniht ('knight') was subsequently changed to ⟨kniht⟩ and þic ('thick') changed to ⟨thik⟩ or ⟨thikk⟩. The Old English ⟨cw⟩ was also at length displaced by the French ⟨qu⟩ so that the Old English cwén ('queen') and cwic ('quick') became Middle English ⟨quen⟩ ⟨quik⟩, respectively. [tʃ] to which Old English palatalized /k/ had advanced, also occurred in French, chiefly from Latin /k/ before ⟨a⟩. In French it was represented by ⟨ch⟩, as in champ (from Latin camp-um) and this spelling was introduced into English: the Hatton Gospels, written about 1160, have in Matt. i-iii, child, chyld, riche, mychel, for the cild, rice, mycel, of the Old English version whence they were copied. In these cases, the Old English ⟨c⟩ gave place to ⟨k qu ch⟩ but, on the other hand, ⟨c⟩ in its new value of /ts/ came in largely in French words like processiun, emperice, grace, and was also substituted for ⟨ts⟩ in a few Old English words, as miltse, bletsien, in early Middle English milce, blecien. By the end of the thirteenth century both in France and England, this sound /ts/ de-affricated to /s/; and from that time ⟨c⟩ has represented /s/ before front vowels either for etymological reasons, as in lance, cent, or (in defiance of etymology) to avoid the ambiguity due to the "etymological" use of ⟨s⟩ for /z/, as in ace, mice, once, pence, defence.

Thus, to show the etymology, English spelling has advise, devise, instead of advize, devize, which while advice, device, dice, ice, mice, twice, etc., do not reflect etymology; example has extended this to hence, pence, defence, etc., where there is no etymological necessity for ⟨c⟩. Former generations also wrote sence for sense. Hence, today the Romance languages and English have a common feature inherited from Vulgar Latin where ⟨c⟩ takes on either a "hard" or "soft" value depending on the following vowel.

Usage[link]

In the orthographies of English, and in the Romance languages French, Spanish, Italian and Portuguese, ⟨c⟩ represents a "soft" value before front vowels and a "hard" value of /k/ before back vowels. The pronunciation of the "soft" value varies by language. In the orthographies of English, French, Portuguese, and Spanish from Latin America and southern Spain, the soft ⟨c⟩ value is /s/. In the Spanish spoken in northern and central Spain, the soft ⟨c⟩ is a voiceless dental fricative /θ/. In Italian and Romanian, the soft ⟨c⟩ is [t͡ʃ]. However, there are a number of exceptions in English: "soccer" and "Celt" are words that have /k/ where /s/ would be expected.

All Balto-Slavic languages that use the Latin alphabet, as well as Albanian, Hungarian, Pashto, several Sami languages, Esperanto, Ido, Interlingua, and Americanist phonetic notation (and those aboriginal languages of North America whose practical orthography derives from it) use ⟨c⟩ to represent /t͡s/, the voiceless alveolar affricate. In romanized Chinese, the letter represents an aspirated version of this sound, /t͡sʰ/

Among non-European languages that have adopted the Latin alphabet, ⟨c⟩ represents a variety of sounds. Yup'ik, Indonesian, Malay, and a number of African languages such as Hausa, Fula, and Manding share the soft Italian value of /t͡ʃ/. In Azeri, Kurdish, Tatar, and Turkish ⟨c⟩ stands for the voiced counterpart of this sound, the voiced postalveolar affricate /d͡ʒ/. In Yabem and similar languages, such as Bukawa, ⟨c⟩ stands for a glottal stop /ʔ/. Xhosa and Zulu use this letter to represent the click /ǀ/. in some other African languages, such as Beninese Yoruba, ⟨c⟩ is used for /ʃ/. In Fijian, ⟨c⟩ stands for a voiced dental fricative /ð/, while in Somali it has the value of /ʕ/.

⟨c⟩ is also used as a transliteration of the Cyrillic ⟨ц⟩ in the Latinic forms of Serbian, Macedonian, and sometimes Ukrainian (along with the digraph ⟨ts⟩).

There are several common digraphs with ⟨c⟩, the most common being ⟨ch⟩, which in some languages such as German is far more common than ⟨c⟩ alone. In English, ⟨ch⟩ most commonly represents /t͡ʃ/ (which it invariably has in Spanish), but can take the value /k/ or /ʃ/; some dialects of English also have /x/ in words like loch where other speakers pronounce the final sound as /k/. ⟨Ch⟩ takes various values in other languages, such as:

• /x/ in the West Slavic languages (e.g. Polish, Czech and Slovak)
• /k/, or /x/ in German
• /x/ or /χ/ in Dutch
• /ʃ/ in French and Portuguese
• /k/ in Interlingua and Italian
• /tʂʰ/ in in Romanized Mandarin Chinese

⟨Ck⟩, with the value /k/, is often used after short vowels in Germanic languages such as English, German and Swedish (but some other Germanic languages use ⟨kk⟩ instead, such as Dutch and Norwegian). The digraph ⟨cz⟩ is found in Polish and ⟨cs⟩ in Hungarian, both representing /t͡ʃ/. In Old English, Italian, and a few languages related to Italian, ⟨sc⟩ represents /ʃ/ (however in Italian and related languages this only happens before front vowels, otherwise it represents /sk/).

As a phonetic symbol, lowercase ⟨c⟩ is the International Phonetic Alphabet (IPA) and X-SAMPA symbol for the voiceless palatal plosive, and capital ⟨C⟩ is the X-SAMPA symbol for the voiceless palatal fricative.

Related letters and other similar characters[link]

Computing codes[link]

¹ and all encodings based on ASCII, including the DOS, Windows, ISO-8859 and Macintosh families of encodings.

Other representations[link]

NATO phonetic	Morse code
Charlie	–·–·

Signal flag	Flag semaphore	Braille

See also[link]

• Hard and soft C

References[link]

External links[link]

Wikisource has the text of the 1911 Encyclopædia Britannica article C.

• Media related to C at Wikimedia Commons
• The Wiktionary entry for C
• The Wiktionary entry for c

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2010)

Terrence Mitchell Riley,^[1] (born June 24, 1935) is an American composer and performing musician^[2][3] intrinsically associated with the minimalist school of Western classical music and was a pioneer of the movement. His work has been deeply influenced by both jazz and Indian classical music.

Life[link]

Terry Riley at Great American Music Hall San Francisco CA 1985. (Photo by Brian McMillen)

Born in Colfax, California, Riley studied at Shasta College, San Francisco State University, and the San Francisco Conservatory before earning an MA in composition at the University of California, Berkeley, studying with Seymour Shifrin and Robert Erickson. He was involved in the experimental San Francisco Tape Music Center working with Morton Subotnick, Steve Reich, Pauline Oliveros, and Ramon Sender. His most influential teacher, however, was Pandit Pran Nath (1918–1996), a master of Indian classical voice, who also taught La Monte Young and Marian Zazeela. Riley made numerous trips to India over the course of their association to study and to accompany him on tabla, tambura, and voice. Throughout the 1960s he traveled frequently around Europe as well, taking in musical influences and supporting himself by playing in piano bars, until he joined the Mills College faculty in 1971 to teach Indian classical music. Riley was awarded an Honorary Doctorate Degree in Music at Chapman University in 2007.

Riley also cites John Cage and "the really great chamber music groups of John Coltrane and Miles Davis, Charles Mingus, Bill Evans, and Gil Evans" as influences on his work,^[4] demonstrating how he pulled together strands of Eastern music, the Western avant-garde, and jazz.

Also during the 1960s were the famous "All-Night Concerts", during which Riley performed mostly improvised music from evening until sunrise, using an old organ harmonium ("with a vacuum cleaner motor blower blowing into the ballasts") and tape-delayed saxophone. When he finally wanted a break, after hours of playing, he played back looped saxophone fragments recorded throughout the evening. For several years he continued to put on these concerts, to which people came with sleeping bags, hammocks, and their whole families.^{[citation needed]}

Riley began his long-lasting association with the Kronos Quartet when he met founder David Harrington while at Mills. Over the course of his career, Riley composed 13 string quartets for the ensemble, in addition to other works. He wrote his first orchestral piece, Jade Palace, in 1991, and has continued to pursue that avenue, with several commissioned orchestral compositions following. Riley is also currently performing and teaching both as an Indian raga vocalist and as a solo pianist.

He has a son named Gyan Riley, who is a guitarist.^[5] Riley still performs live. He has been chosen by Animal Collective to perform at the All Tomorrow's Parties festival that they will curate in May 2011^{[needs update]}.^[6]

Techniques[link]

While his early endeavors were influenced by Stockhausen, Riley changed direction after first encountering La Monte Young, in whose Theater of Eternal Music he later performed in 1965-66. The String Quartet (1960) was Riley's first work in this new style; it was followed shortly after by a string trio, in which he first employed the repetitive short phrases for which he and minimalism are now known.^{[citation needed]}

His music is usually based on improvising through a series of modal figures of different lengths, such as in In C (1964)and the Keyboard Studies. The first performance of In C was given by Steve Reich, Jon Gibson, Pauline Oliveros, and Morton Subotnick. Its form was an innovation: The piece consists of 53 separate modules of roughly one measure apiece, each containing a different musical pattern but each, as the title implies, in the key of C. One performer beats a steady pulse of Cs on the piano to keep tempo. The others, in any number and on any instrument, perform these musical modules following a few loose guidelines, with the different musical modules interlocking in various ways as time goes on. To some extent, though, critics have focused too obsessively on In C, thereby ignoring the full range of Riley's work and innovations.^{[citation needed]} The Keyboard Studies are similarly structured, a single-performer version of the same concept.^{[citation needed]}

In the 1950s he was already working with tape loops, a technology then in its infancy, and he has continued manipulating tapes to musical effect, both in the studio and in live performance, throughout his career. An early tape loop piece titled The Gift (1963) featured the trumpet playing of Chet Baker. Riley has composed in just intonation as well as microtonal pieces. ^[7]

Riley's collaborators have included the Rova Saxophone Quartet, Pauline Oliveros, the ARTE Quartett, and, as mentioned, the Kronos Quartet.

Riley's famous overdubbed electronic album A Rainbow in Curved Air (recorded 1967, released 1969) inspired many later developments in electronic music, including Pete Townshend's synthesizer parts on The Who's "Won't Get Fooled Again" and "Baba O'Riley", the latter named in tribute to Riley as well as to Meher Baba.^[8] The recording had a significant impact on the development of ambient music and progressive rock and predated the electronic jazz "fusion" of Miles Davis, Herbie Hancock, and others.^{[citation needed]}

As Rainbow demonstrates, Riley performs on multiple keyboard instruments, but his principal instrument is actually the acoustic piano.^{[citation needed]} Riley's 1995 Lisbon Concert recording features him in a solo piano format, improvising on his own works. In the liner notes Riley cites Art Tatum, Bud Powell, and Bill Evans as his piano "heroes," illustrating the central importance of jazz to his conceptions, and his playing bears some notable similarities to that of Keith Jarrett^{[original research?]}. (The album title invites this comparison.)

Riley's work and various innovations have influenced many others in various genres, including John Adams, Brian Eno, Robert Fripp, Philip Glass, Frederic Rzewski and Tangerine Dream.^{[citation needed]}

Discography[link]

• 1963: Music for The Gift
• 1965: Reed Streams
• 1967: A Rainbow in Curved Air
• 1968: In C
• 1970: Church of Anthrax, with John Cale
• 1972: Persian Surgery Dervishes
• 1975: Descending Moonshine Dervishes, Kuckucku Records
• 1978: Shri Camel for solo electronic organ tuned in just intonation and modified by digital delay
• 1984: Terry Riley: Cadenza on the Night Plain, a collaboration with the Kronos Quartet
• 1985: No Man's Land
• 1986: The Harp of New Albion, for piano tuned in just intonation
• 1987: Chanting the Light of Foresight, with Rova Saxophone Quartet in just intonation
• 1989: Salome Dances for Peace for the Kronos Quartet
• 1998: Piano Music of John Adams and Terry Riley, performed by Gloria Cheng
• 2002: Sun Rings for the Kronos Quartet
• 2004: The Cusp of Magic, with the Kronos Quartet, composed for his seventieth birthday, an ode to the rite of Midsummer Eve
• 2008: Banana Humberto, piano concerto with Paul Dresher Ensemble
• 2010: Two Early Works, the first-ever recordings of two of Riley's early compositions, performed by the Calder Quartet

Filmography[link]

• 1970 - Corridor. Film by Standish Lawder.
• 1976 - Crossroads. Film by Bruce Conner.
• 1976 - Lifespan. Film by Sandy Whitelaw. Soundtrack released as La Secret De La Vie.
• 1976 - Music With Roots in the Aether: Opera for Television. Tape 6: Terry Riley. Produced and directed by Robert Ashley. New York, New York: Lovely Music.
• 1986 - In Between the Notes...a Portrait of Pandit Pran Nath, Master Indian Musician. Produced by Other Minds, directed by William Farley.
• 1995 - Musical Outsiders: An American Legacy - Harry Partch, Lou Harrison, and Terry Riley. Directed by Michael Blackwood.
• 2008 - "A Rainbow In Curved Air" features in the in-game soundtrack of Grand Theft Auto IV. It can be found when listening to the fictional radio station, "The Journey".

Notes[link]

References[link]

• [Anonymous] (2002). Album notes for The Who: The Ultimate Collection by The Who, 12. MCA Records.
• Potter, Keith (2000). Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass. Music in the Twentieth Century series. Cambridge, UK; New York, New York: Cambridge University Press.
• Edward Strickland, "Terry Riley". Grove Music Online (subscription access).

External links[link]

Wikimedia Commons has media related to: Terry Riley

• Official home page
• Terry Riley page on Allmusic
• Terry Riley discography at Discogs
• Terry Riley page on Ubu Web (audio and video)
• Davidson, Robert. “Short Biography of Terry Riley.” 1999.
• Elision Fields, Riley’s management and CD label
• A Concert in Honor of Terry Riley on his 50th Birthday, featuring the Kronos Quartet .
• Epitonic.com: Terry Riley featuring tracks from The Book of Abbeyozzud and The Light of Foresight (with Rova)
• Art of the States: Terry Riley In C (1964)
• Free scores by Terry Riley at the International Music Score Library Project
• Golden, Barbara. “Conversation with Terry Riley.” eContact! 12.2 — Interviews (2) (April 2010). Montréal: CEC.
• Leopizzi, Marco. “Terry Riley — Il guru del minimalismo.” Interview from 1 June 2008. Musicaround.net. (Italian)
• Oteri, Frank J. “Terry Riley: Obsessed and Passionate About All Music.” Interview from 16 February 2001 (includes video). NewMusicBox — People & Ideas in Profile, 1 June 2001.
• Interview with Terry Riley.

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2011)

Barry Jones and Stuart MacLeod are a two-man magic act from Scotland, who perform as "Barry and Stuart" or "The 2magicians". They are known for their dark and gory performing style, and for taking as inspiration the accounts of Biblical miracles to form the basis for some of their illusions.

Biography[link]

Jones and MacLeod are both previous winners of Scotland's “Young Magician of the Year” competition. Jones was born on 16 April 1982 in Aberdeen and grew up in Portlethen, Scotland. MacLeod was born on 4 July 1980 in Aberdeen and grew up in Peterhead, Scotland. MacLeod lived in Peterhead and studied philosophy and psychology at Aberdeen University, while Jones grew up in Old Portlethen, before moving to London to study multimedia computing.

They met in Aberdeen in 1994 and started making videos of themselves performing magic. This is where their style of acting out scenes in character while performing illusions developed. The filmed results of these magic sketches eventually reached a television production company and led to the making of their first TV series “Magick.” The show was nominated as Best Comedy Series at the international television awards in Montreux in 2004.

In 2005 Jones and MacLeod hosted the Channel 4 studio magic show Dirty Tricks and presented the clips show When Magic Tricks Go Wrong. Most controversially they put together a TV special entitled The Magic of Jesus, in which they drew inspiration for their illusions from the accounts of Jesus’ miracles found in the New Testament.

In 2006 Jones and MacLeod put together a second special called Tricks from the Bible, in which they took inspiration from the stories of the miracles of Moses among other Old Testament events and performed illusions based on these accounts. They currently live in London where they perform live together in comedy clubs.^[1]

In 2009, Jones and MacLeod were awarded the 'Best Comedy Illusionist' Award at the World Magic Awards

Television[link]

Magick[link]

Jones and MacLeod's first television series Magick debuted on 5 October 2003 and was described as "comedy magic featuring surreal characters in bizarre and uncomfortable situations."^[2][3] It began airing in Australia on SBS on 1 February 2007 as Sick Tricks, and is aired in America as Crack Magic. The series had a dark comedy that would mix with the magic on the show.

This series featured reverse film magic, where the magic was performed backwards and the film later reversed to reveal the backmasking.

In one of a series of ‘crimes’ caught on CCTV, footage captures two men being caught en flagrante in a public toilet by a police officer. To get out of trouble, one of the men hides the other behind his coat and makes him disappear. In another incident, a man breaks into a car by sticking his hand through a glass window without breaking it.

Secret filming in a supermarket captures MacLeod and Jones magically sabotaging the products by putting dead insects into sealed bottles of mineral water and penetrating razor blades through the foil lids of ready-meals.

In 2004 this four part series was nominated for a Rose D'Or comedy award in Montreux.

Dirty Tricks[link]

Dirty Tricks was a six part series hosted by Jones and MacLeod. It was described as “magic meets Natural Born Killers.”^[4] The show also had regular spots from Pete Firman, Ali Cook and Jonathan’s Escapes as well as guest appearances from international variety acts and celebrities. These acts included Penn & Teller and Kevin James.

At the end of every show, the presenters "killed" the radio and TV presenter Neil Fox in a horrific and painful manner. These included him being cremated, stabbed and crushed.

The Magic of Jesus[link]

This one hour special aired over the Christmas holiday period in December 2005. In this show Jones and MacLeod drew inspiration from the accounts of Jesus' miracles in the New Testament to present illusions which included apparently walking on the surface of water in a glass tank, turning water into wine, causing a blind person to temporarily 'see', appearing to raise a deceased person, causing a virgin to apparently become 'pregnant' and feeding 5000 people.

The show caused controversy among newspapers and other press, with John Beyer of Mediawatch describing it as "a calculated attempt to cause offence".^[5]

Tricks from the Bible[link]

Following on from “The Magic of Jesus” this one hour special aired in June 2006. The duo drew inspiration from the miracle accounts in the Old Testament. Jones and MacLeod performed illusions such as turning staffs into snakes in Egypt, exactly where it was said to be performed in the Old Testament, casting some of the plagues of Egypt on two fans in an enclosed part of a restaurant, a transformation into a pillar of salt, exorcism of a demon, robbing a man of his strength as Samson had, apparently raising someone from the dead and pulling a coin from the mouth of a fish, performed on a boat in the Red Sea.

The Magicians[link]

The Magicians is a BBC primetime show, that aired its first series during January 2011. It featured Barry and Stuart alongside fellow magicians Luis de Matos and Chris Korn. The show returned for its second series on 7 January 2012, featuring two new magicians alongside Barry and Stuart; American and world champion Jason Latimer and English magician Pete Firman.

References[link]

1. ^ Official website
2. ^ Channel4's Magick Website
3. ^ http://www.barryandstuart.com/biography/
4. ^ The Guardian – Dirty Tricks Review
5. ^ The Sun Online - Fury at C4 Jesus show

External links[link]

• Official Barry and Stuart website

Pachelbel's autograph signature from his 1695 letter to Gotha city authorities.

Johann Pachelbel ( /ˈjoʊhɑːn ˈpækəlbɛl/ or /ˈpɑːkəlbɛl/;^[1] German: [ˈjoːhan ˈpaxɛlbəl]^[2][3], baptised September 1, 1653 – buried March 9, 1706)^[4] was a German Baroque composer, organist and teacher, who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.^[5]

Pachelbel's music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, the only canon he wrote – although a true canon at the unison in three parts, it is often regarded more as a passacaglia, and it is in this mode that it has been arranged and transcribed for many different media. In addition to the canon, his most well-known works include the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.^[6]

Pachelbel's music was influenced by southern German composers, such as Johann Jakob Froberger and Johann Kaspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.

Life[link]

1653–1674: Early youth and education (Nuremberg, Altdorf, Regensburg)[link]

St. Sebaldus Church in Nuremberg, which played an important role in Pachelbel's life.

Johann Pachelbel was born in 1653 in Nuremberg into a middle-class family, son of Johann (Hans) Pachelbel (born 1613 in Wunsiedel, Germany), a wine dealer,^[7] and his second wife Anna (Anne) Maria Mair. The exact date of Johann's birth is unknown, but since he was baptized on September 1, he may have been born in late August.

During his early youth, Pachelbel received musical training from Heinrich Schwemmer, a musician and music teacher who later became the cantor of St. Sebaldus Church (Sebalduskirche). Some sources indicate that Pachelbel also studied with Georg Caspar Wecker, organist of the same church and an important composer of the Nuremberg school, but this is now considered unlikely.^[8] In any case, both Wecker and Schwemmer were trained by Johann Erasmus Kindermann, one of the founders of the Nuremberg musical tradition, who had been at one time a pupil of Johann Staden.

Johann Mattheson, whose Grundlage einer Ehrenpforte (Hamburg, 1740) is one of the most important sources of information about Pachelbel's life, mentions that the young Pachelbel demonstrated exceptional musical and academic abilities. He received his primary education in St. Lorenz Hauptschule and the Auditorio Aegediano in Nuremberg, then on 29 June 1669 he became a student at the University of Altdorf, where he was also appointed organist of St. Lorenz church the same year. Financial difficulties forced Pachelbel to leave the university after less than a year. In order to complete his studies he became a scholarship student, in 1670, at the Gymnasium Poeticum at Regensburg. The school authorities were so impressed by Pachelbel's academic qualifications that he was admitted above the school's normal quota.

Pachelbel was also permitted to study music outside the Gymnasium. His teacher was Kaspar (Caspar) Prentz, once a student of Johann Kaspar Kerll. Since the latter was greatly influenced by Italian composers such as Giacomo Carissimi, it is likely through Prentz that Pachelbel started developing an interest in contemporary Italian music, and Catholic church music in general.

1673–1690: Career (Vienna, Eisenach, Erfurt)[link]

Prentz left for Eichstätt in 1672. This period of Pachelbel's life is the least documented one,^[9] so it is unknown whether he stayed in Regensburg until 1673 or left the same year his teacher did; at any rate, by 1673 Pachelbel was living in Vienna, where he became a deputy organist at the famous Saint Stephen Cathedral (Stephansdom). At the time, Vienna was the center of the vast Habsburg empire and had much cultural importance; its tastes in music were predominantly Italian. Several renowned cosmopolitan composers worked there, many of them contributing to the exchange of musical traditions in Europe. In particular, Johann Jakob Froberger served as court organist in Vienna until 1657^[10] and was succeeded by Alessandro Poglietti.^[11] Georg Muffat lived in the city for some time, and, most importantly, Johann Kaspar Kerll moved to Vienna in 1673.^[12] While there, he may have known or even taught Pachelbel, whose music shows traces of Kerll's style. Pachelbel spent five years in Vienna, absorbing the music of Catholic composers from southern Germany and Italy. In some respects, Pachelbel is similar to Haydn, who too served as a professional musician of the Stephansdom in his youth and as such was exposed to music of the leading composers of the time.

In 1677, Pachelbel moved to Eisenach, where he found employment as court organist under Kapellmeister Daniel Eberlin (also a native of Nuremberg), in the employ of Johann Georg I, Duke of Saxe-Eisenach. He met members of the Bach family in Eisenach (which was the home city of J. S. Bach's father, Johann Ambrosius Bach), and became a close friend of Johann Ambrosius and tutor to his children.^[13] However, Pachelbel spent only one year in Eisenach. In 1678, Bernhard II, Duke of Saxe-Jena, Johann Georg's brother, died and during the period of mourning court musicians were greatly curtailed.^[14] Pachelbel was left unemployed. He requested a testimonial from Eberlin, who wrote one for him, describing Pachelbel as a 'perfect and rare virtuoso' – einen perfecten und raren Virtuosen.^[14] With this document, Pachelbel left Eisenach on May 18, 1678.

Predigerkirche, the Erfurt church where Pachelbel worked for 12 years starting in 1678.

In June 1678, Pachelbel was employed as organist of the Predigerkirche in Erfurt, succeeding Johann Effler (c. 1640–1711; Effler later preceded Johann Sebastian Bach in Weimar). The Bach family was very well known in Erfurt (where virtually all organists would later be called "Bachs"), so Pachelbel's friendship with them continued here. Pachelbel became godfather to Johann Ambrosius' daughter, Johanna Juditha, taught Johann Christoph Bach (1671–1721), Johann Sebastian's eldest brother, and lived in Johann Christian Bach's (1640–1682) house.^[15] Pachelbel remained in Erfurt for 12 years and established his reputation as one of the leading German organ composers of the time during his stay. The chorale prelude became one of his most characteristic products of the Erfurt period, since Pachelbel's contract specifically required him to compose the preludes for church services.^[16] His duties also included organ maintenance and, more importantly, composing a large-scale work every year to demonstrate his progress as composer and organist, as every work of that kind had to be better than the one composed the year before.

Johann Christian Bach (1640-1682), Pachelbel's landlord in Erfurt, died in 1682. In June 1684, Pachelbel purchased the house (called Zur silbernen Tasche, now Junkersand 1) from Johann Christian's widow.^[17] In 1686, he was offered a position as organist of the St. Trinitatis church (Trinitatiskirche) in Sondershausen. Pachelbel initially accepted the invitation but, as a surviving autograph letter indicates, had to reject the offer after a long series of negotiations: it appears that he was required to consult with Erfurt's elders and church authorities before considering any job offers.^[18] It seems that the situation had been resolved quietly and without harm to Pachelbel's reputation; he was offered a raise and stayed in the city for four more years.

Pachelbel married twice during his stay in Erfurt. Barbara Gabler, daughter of the Stadt-Major of Erfurt, became his first wife, on 25 October 1681. The marriage took place in the house of the bride's father. Unfortunately, both Barbara and their only son died in October 1683 during a plague. Pachelbel's first published work, a set of chorale variations called Musicalische Sterbens-Gedancken ("Musical Thoughts on Death", Erfurt, 1683), was probably influenced by this event.

Ten months later, Pachelbel married Judith Drommer (Trummert), daughter of a coppersmith,^[19] on 24 August 1684. They had five sons and two daughters. Two of the sons, Wilhelm Hieronymus Pachelbel and Charles Theodore Pachelbel, also became organ composers; the latter moved to the American colonies in 1734. Another son, Johann Michael, became an instrument maker in Nuremberg and traveled as far as London and Jamaica.^[14] One of the daughters, Amalia Pachelbel, achieved recognition as a painter and engraver.

1690–1706: Final years (Stuttgart, Gotha, Nuremberg)[link]

Pachelbel's autograph letter

Although Pachelbel was an outstandingly successful organist, composer, and teacher at Erfurt, he asked permission to leave, apparently seeking a better appointment, and was formally released on 15 August 1690, bearing a testimonial praising his diligence and fidelity.^[20]

He was employed in less than a fortnight: from 1 September 1690, he was a musician-organist in the Württemberg court at Stuttgart under the patronage of Duchess Magdalena Sibylla. That job was better, but, unfortunately, he lived there only two years before fleeing the French attacks of the War of the Grand Alliance. His next job was in Gotha as the town organist, a post he occupied for two years, starting on 8 November 1692; there he published his first, and only, liturgical music collection: Acht Chorale zum Praeambulieren in 1693 (Erster Theil etlicher Choräle).

When former pupil Johann Christoph Bach married in October 1694, the Bach family celebrated the marriage on 23 October 1694 in Ohrdruf, and invited him and other composers to provide the music; he probably attended – if so, it was the only time J.S. Bach, then nine years old, met Johann Pachelbel.^[21]

In his three years in Gotha, he was twice offered positions, in Stuttgart and at Oxford University; he declined both. Meanwhile, in Nuremberg, when the St. Sebaldus Church organist Georg Caspar Wecker (and his possible former teacher) died on 20 April 1695, the city authorities were so anxious to appoint Pachelbel (then a famous Nuremberger) to the position that they officially invited him to assume it without holding the usual job examination or inviting applications from prominent organists from lesser churches. He accepted, was released from Gotha in 1695, and arrived in Nuremberg in summer, with the city council paying his per diem expenses.

Pachelbel's tomb at the St. Rochus Cemetery (Rochuskirchhof) in Nuremberg.

Pachelbel lived the rest of his life in Nuremberg, during which he published the chamber music collection Musicalische Ergötzung, and, most importantly, the Hexachordum Apollinis (Nuremberg, 1699), a set of six keyboard arias with variations. Though most influenced by Italian and southern German composers, he knew the northern German school, because he dedicated the Hexachordum Apollinis to Dieterich Buxtehude. Also composed in the final years were Italian-influenced concertato Vespers and a set of more than ninety Magnificat fugues.

Johann Pachelbel died at the age of 52, 3 March 1706, and was buried on 9 March; Mattheson cites either 3 March or 7 March 1706 as the death date; yet, it is unlikely that the corpse was allowed to linger unburied so long. Contemporary custom was to bury the dead on the third or fourth post-mortem day; so, either 6 or 7 March 1706 is a likelier death date.^[22] He is buried in the St. Rochus Cemetery.

Posthumous influence[link]

One of the last middle Baroque composers, Pachelbel did not have any considerable influence on most of the famous late Baroque composers, such as George Frideric Handel, Domenico Scarlatti or Georg Philipp Telemann. He did influence Johann Sebastian Bach indirectly; the young Johann Sebastian was tutored by his older brother Johann Christoph Bach, who studied with Pachelbel, but although J.S. Bach's early chorales and chorale variations borrow from Pachelbel's music, the style of northern German composers (Georg Böhm, Dieterich Buxtehude, Johann Adam Reincken) played a more important role in the development of Bach's talent.

Pachelbel was the last great composer of the Nuremberg tradition and the last important southern German composer. Pachelbel's influence was mostly limited to his pupils, most notably Johann Christoph Bach, Johann Heinrich Buttstett, Andreas Nicolaus Vetter, and two of Pachelbel's sons, Wilhelm Hieronymus and Charles Theodore. The latter became one of the first European composers to take up residence in the American colonies and so Pachelbel influenced, although indirectly and only to a certain degree, the American church music of the era. Composer, musicologist and writer Johann Gottfried Walther is probably the most famous of the composers influenced by Pachelbel – he is, in fact, referred to as the "second Pachelbel" in Mattheson's Grundlage einer Ehrenpforte.^[23]

As the Baroque style went out of fashion during the 18th century, the majority of Baroque and pre-Baroque composers were virtually forgotten. Local organists in Nuremberg and Erfurt knew Pachelbel's music and occasionally performed it, but the public and the majority of composers and performers did not pay much attention to Pachelbel and his contemporaries. In the first half of the 19th century, some organ works by Pachelbel were published and several musicologists started considering him an important composer, particularly Philipp Spitta, who was one of the first researchers to trace Pachelbel's role in the development of Baroque keyboard music. Much of Pachelbel's work was published in the early 20th century in the Denkmäler der Tonkunst in Österreich series, but it was not until the rise of interest in early Baroque music in the middle of the 20th century and the advent of historically-informed performance practice and associated research that Pachelbel's works began to be studied extensively and again performed more frequently.

Popularity of the Canon in D[link]

Pachelbel's Canon in D major, a piece of chamber music scored for three violins and basso continuo and originally paired with a gigue in the same key, experienced a tremendous surge in popularity during the 1970s. This is believed to be due to a recording by Jean-François Paillard in 1970, which made it a universally recognized cultural item. Its visibility was greatly increased by its choice as the theme song for the popular film Ordinary People. Now one of the most recognized and famous baroque compositions, it has in recent years become extremely popular for use in weddings, rivalling that of Wagner's Bridal Chorus.

Works[link]

Apart from harpsichord suites, this section concentrates only on the works whose ascription is not questioned. For a complete list of works which includes pieces with questionable authorship and lost compositions, see List of compositions by Johann Pachelbel.

During his lifetime, Pachelbel was best known as an organ composer. He wrote more than two hundred pieces for the instrument, both liturgical and secular, and explored most of the genres that existed at the time. Pachelbel was also a prolific vocal music composer: around a hundred of such works survive, including some 40 large-scale works. Only a few chamber music pieces by Pachelbel exist, although he might have composed many more, particularly while serving as court musician in Eisenach and Stuttgart.

Several principal sources exist for Pachelbel's music, although none of them as important as, for example, the Oldham manuscript is for Louis Couperin. Among the more significant materials are several manuscripts that were lost before and during World War II but partially available as microfilms of the Winterthur collection, a two-volume manuscript currently in possession of the Oxford Bodleian library which is a major source for Pachelbel's late work, and the first part of the Tabulaturbuch (1692, currently at the Biblioteka Jagiellońska in Kraków) compiled by Pachelbel's pupil Johann Valentin Eckelt, which includes the only known Pachelbel autographs). The Neumeister manuscript and the so-called Weimar tablature of 1704 provide valuable information about Pachelbel's school, although they do not contain any pieces that can be confidently ascribed to him.

Currently there is no standard numbering system for Pachelbel's works. Several catalogues are used, by Antoine Bouchard (POP numbers, organ works only), Jean M. Perreault (P numbers, currently the most complete catalogue; organized alphabetically), Hideo Tsukamoto (T numbers, L for lost works; organized thematically) and Kathryn Jane Welter (PC numbers).

Keyboard music[link]

Much of Pachelbel's liturgical organ music, particularly the chorale preludes, is relatively simple and written for manuals only, no pedal is required. This is partly due to Lutheran religious practice where congregants sang the chorales. Household instruments like virginals or clavichords accompanied the singing, so Pachelbel and many of his contemporaries made music playable using these instruments. The quality of the organs Pachelbel used also played a role: south German instruments were not, as a rule, as complex and as versatile as the north German ones, and Pachelbel's organs must have only had around 15–25 stops on two manuals (compare to Buxtehude's Marienkirche instrument with 52 stops, 15 of them in the pedal). Finally, neither the Nuremberg nor the southern German organ tradition endorsed extensive use of pedals seen in the works by composers of the northern German school.

Only two volumes of Pachelbel's organ music were published and distributed during his lifetime: Musikalische Sterbens-Gedancken (Musical Thoughts on Death; Erfurt, 1683) – a set of chorale variations in memory of his deceased wife and child, and Acht Choräle (Nuremberg, 1693).^[24] Pachelbel employed white mensural notation when writing out numerous compositions (several chorales, all ricercars, some fantasias); a notational system that uses hollow note heads and omits bar lines (measure delimiters).^[25] The system had been widely used since the 15th century but was gradually being replaced in this period by modern notation (sometimes called black notation).^[25] In most cases Pachelbel used white notation for pieces composed in old-fashioned styles, to provide artistic integrity.^{[citation needed]}

Chorales[link]

Chorales constitute almost half of Pachelbel's surviving organ works, in part because of his Erfurt job duties which required him to compose chorale preludes on a regular basis. The models Pachelbel used most frequently are the three-part cantus firmus setting, the chorale fugue and, most importantly, a model he invented which combined the two types. This latter type begins with a brief chorale fugue that is followed by a three- or four-part cantus firmus setting. Chorale phrases are treated one at a time, in the order in which they occur; frequently, the accompanying voices anticipate the next phrase by using bits of the melody in imitative counterpoint. An example from Wenn mein Stündlein vorhanden ist:

An example from Wenn mein Stündlein vorhanden ist of Pachelbel's chorales, bars 35–54. The chorale in the soprano is highlighted.

The piece begins with a chorale fugue (not shown here) that turns into a four-part chorale setting which starts at bar 35. The slow-moving chorale (the cantus firmus, i.e., the original hymn tune) is in the soprano, and is highlighted in blue. The lower voices anticipate the shape of the second phrase of the chorale in an imitative fashion (notice the distinctive pattern of two repeated notes). Pachelbel wrote numerous chorales using this model (Auf meinen lieben Gott, Ach wie elend ist unsre Zeit, Wenn mein Stündlein vorhanden ist, etc.), which soon became a standard form.

A distinctive feature of almost all of Pachelbel's chorale preludes is his treatment of the melody: the cantus firmus features virtually no figuration or ornamentation of any kind, always presented in the plainest possible way in one of the outer voices. Pachelbel's knowledge of both ancient and contemporary chorale techniques is reflected in Acht Choräle zum Praeambulieren, a collection of eight chorales he published in 1693. It included, among other types, several chorales written using outdated models. Of these, Nun lob, mein Seel, den Herren (Psalm 103) is based on the German polyphonic song; it is one of the very few Pachelbel chorales with cantus firmus in the tenor. Wir glauben all' an einen Gott is a three-part setting with melodic ornamentation of the chorale melody, which Pachelbel employed very rarely. Finally, Jesus Christus, unser Heiland der von uns is a typical bicinium chorale with one of the hands playing the unadorned chorale while the other provides constant fast-paced accompaniment written mostly in sixteenth notes. Pachelbel only used the bicinium form in two other pieces.^{[citation needed]}

	Nun komm der Heiden Heiland Performed on a church organ in Trubschachen, Switzerland by Burghard Fischer Ach Gott vom Himmel, sieh darein
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Fugues[link]

Pachelbel wrote more than one hundred fugues on free themes. These fall into two categories: some 30 free fugues and around 90 of the so-called Magnificat Fugues. His fugues are usually based on non-thematic material, and are shorter than the later model (of which those of J.S. Bach are a prime example). The contrapuntal devices of stretto, diminution and inversion are not employed in any of them. Nevertheless, Pachelbel's fugues display a tendency towards a more unified, subject-dependent structure which was to become the key element of late Baroque fugues. Given the number of fugues he composed and the extraordinary variety of subjects he used, Pachelbel is regarded as one of the key composers in the evolution of the form. He was also the first major composer to pair a fugue with a preludial movement (a toccata or a prelude) – this technique was adopted by later composers and was used extensively by J.S. Bach.

The Magnificat Fugues were all composed during Pachelbel's final years in Nuremberg. The singing of the Magnificat at Vespers was usually accompanied by the organist, and earlier composers provided examples of Magnificat settings for organ, based on themes from the chant. Pachelbel's fugues, however, are almost all based on free themes and it is not yet understood exactly where they fit during the service. It is possible that they served to help singers establish pitch, or simply act as introductory pieces played before the beginning of the service. There are 95 pieces extant, covering all eight church modes: 23 in primi toni, 10 in secundi toni, 11 in tertii toni, 8 in quarti toni, 12 in quinti toni, 10 in sexti toni, 8 in septimi toni and 13 in octavi toni. Although a few two- and four-voice works are present, most employ three voices (sometimes expanding to four-voice polyphony for a bar or two). With the exception of the three double fugues (primi toni No. 12, sexti toni No. 1 and octavi toni No. 8), all are straightforward pieces, frequently in common time and comparatively short – at an average tempo, most take around a minute and a half to play.

Example 1: Fugue subjects from Magnificat fugues: secundi toni 7, octavi toni 10, primi toni 16, sexti toni 10, quarti toni 8 and octavi toni 13.

Although most of them are brief, the subjects are extremely varied (see Example 1). Frequently some form of note repetition is used to emphasize a rhythmic (rather than melodic) contour. Many feature a dramatic leap (up to an octave), which may or may not be mirrored in one of the voices sometime during an episode – a characteristic Pachelbel technique, although it was also employed by earlier composers, albeit less pronounced. Minor alterations to the subject between the entries are observed in some of the fugues, and simple countersubjects occur several times. An interesting technique employed in many of the pieces is an occasional resort to style brisé for a few bars, both during episodes and in codas. The double fugues exhibit a typical three-section structure: fugue on subject 1, fugue on subject 2, and the counterpoint with simultaneous use of both subjects.

A typical Pachelbel repercussion subject.  Listen (help·info)

Most of Pachelbel's free fugues are in three or four voices, with the notable exception of two bicinia pieces that were probably intended for teaching purposes.^{[citation needed]} Pachelbel frequently used repercussion subjects of different kinds, with note repetition sometimes extended to span a whole measure (such as in the subject of a G minor fugue, see illustration). Some of the fugues employ textures more suited for the harpsichord, particularly those with broken chord figuration. The three ricercars Pachelbel composed, that are more akin to his fugues than to ricercars by Frescobaldi or Froberger, are perhaps more technically interesting. In the original sources, all three use white notation and are marked alla breve. The polythematic C minor ricercar is the most popular and frequently performed and recorded. It is built on two contrasting themes (a slow chromatic pattern and a lively simplistic motif) which appear in their normal and inverted forms and concludes with both themes appearing simultaneously. The F-sharp minor ricercar uses the same concept and is slightly more interesting musically: the key of F-sharp minor requires a more flexible tuning than the standard meantone temperament of the Baroque era and was therefore rarely used by contemporary composers. This means that Pachelbel may have used his own tuning system, of which little is known. Ricercare in C major is probably an early work,^{[citation needed]} mostly in three voices and employing the same kind of writing with consecutive thirds as seen in Pachelbel's toccatas (see below).

Pachelbel's use of repercussion subjects and extensive repeated note passages may be regarded as another characteristic feature of his organ pieces. Extreme examples of note repetition in the subject are found in magnificat fugues: quarti toni No. 4 has eight repeated notes, octavi toni No. 6 has twelve.^[26] Also, even a fugue with an ordinary subject can rely on strings of repeated notes, as it happens, for example, in magnificat fugue octavi toni No. 12:

Excerpt from Magnificat Fugue octavi toni No. 12 (bars 15–18). Fugue subject that appears once in this excerpt is highlighted.

	Fugue in C major for organ noicon One of Pachelbel's many C major fugues on original themes, this short piece uses a subject with a pattern of repeated notes in a manner discussed above.
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Chaconnes and variations[link]

Pachelbel's apparent affinity for variation form is evident from his organ works that explore the genre: chaconnes, chorale variations and several sets of arias with variations. The six chaconnes, together with Buxtehude's ostinato organ works, represent a shift from the older chaconne style: they completely abandon the dance idiom, introduce contrapuntal density, employ miscellaneous chorale improvisation techniques, and, most importantly, give the bass line much thematic significance for the development of the piece. Pachelbel's chaconnes are distinctly south German in style; the duple meter C major chaconne (possibly an early work) is reminiscent of Kerll's D minor passacaglia. The remaining five works are all in triple meter and display a wide variety of moods and techniques, concentrating on melodic content (as opposed to the emphasis on harmonic complexity and virtuosity in Buxtehude's chaconnes). The ostinato bass is not necessarily repeated unaltered throughout the piece and is sometimes subjected to minor alterations and ornamentation. The D major, D minor and F minor chaconnes are among Pachelbel's most well-known organ pieces, and the latter is often cited as his best organ work.

Chaconne in F minor for organ The most famous of Pachelbel's organ chaconnes, performed on a church organ in Trubschachen, Switzerland by Burghard Fischer Chaconne in F minor for organ Played by Tibor Pinter on the sample set of the Marcussen organ, Moerdijk, Netherlands. Chaconne in D minor for organ One of the most outstanding chaconnes of Pachelbel, played by Tibor Pinter on the sample set of Gottfried Silbermann's organ (1722) in Roetha, Germany

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In 1699 Pachelbel published Hexachordum Apollinis (the title is a reference to Apollo's lyre), a collection of six variations set in different keys. It is dedicated to composers Ferdinand Tobias Richter (a friend from the Vienna years) and Dieterich Buxtehude. Each set follows the "aria and variations" model, arias numbered Aria prima through Aria sexta ("first" through "sixth"). The final piece, which is also the most well-known today, is subtitled Aria Sebaldina, a reference to St. Sebaldus Church where Pachelbel worked at the time. Most of the variations are in common time, with Aria Sebaldina and its variations being the only notable exceptions–they are in 3/4 time. The pieces explore a wide range of variation techniques.

	Aria Quinta for organ The fifth Aria from 'Hexachordum Apollinis' (1699) played by Tibor Pinter on the sample set of the organ in Smecno, Czech Republic built cca. 1587 . Aria Sexta for organ The sixth Aria (Aria Sebaldina)from 'Hexachordum Apollinis' (1699) played by Tibor Pinter on the sample set of the organ in Zlata Koruna, Czech Republic built 1699.
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Pachelbel's other variation sets include a few arias and an arietta (a short aria) with variations and a few pieces designated as chorale variations. Four works of the latter type were published in Erfurt in 1683 under the title Musicalische Sterbens-Gedancken ("Musical Thoughts on Death"), which might refer to Pachelbel's first wife's death in the same year. This was Pachelbel's first published work and it is now partially lost. These pieces, along with Georg Böhm's works, may or may not have influenced Johann Sebastian Bach's early organ partitas.

Toccatas[link]

About 20 toccatas by Pachelbel survive, including several brief pieces referred to as toccatinas in the Perreault catalogue. They are characterized by consistent use of pedal point: for the most part, Pachelbel's toccatas consist of relatively fast passagework in both hands over sustained pedal notes. Although a similar technique is employed in toccatas by Froberger and Frescobaldi's pedal toccatas, Pachelbel distinguishes himself from these composers by having no sections with imitative counterpoint–in fact, unlike most toccatas from the early and middle Baroque periods, Pachelbel's contributions to the genre are not sectional, unless rhapsodic introductory passages in a few pieces (most notably the E minor toccata) are counted as separate sections. Furthermore, no other Baroque composer used pedal point with such consistency in toccatas.

Many of Pachelbel's toccatas explore a single melodic motif, and later works are written in a simple style in which two voices interact over sustained pedal notes, and said interaction – already much simpler than the virtuosic passages in earlier works – sometimes resorts to consecutive thirds, sixths or tenths. Compare the earlier D major toccata, with passages in the typical middle Baroque style, with one of the late C major toccatas:

Excerpt from Toccata in D major (bars 10–14).  Listen (help·info)

Opening bars of Toccata in C major. Two-voice motivic interplay, based on the melody introduced in the first bar, is reduced to consecutive thirds in the last two bars. The piece continues in a similar manner, with basic motivic interaction in two voices and occasional consecutive thirds or sixths.  Listen (help·info)

Sometimes a bar or two of consecutive thirds embellish the otherwise more complex toccata-occasionally there is a whole section written in that manner; and a few toccatas (particularly one of the D minor and one of the G minor pieces) are composed using only this technique, with almost no variation. Partly due to their simplicity, the toccatas are very accessible works; however, the E minor and C minor ones which receive more attention than the rest are in fact slightly more complex.

	Toccata in E minor Performed on a church organ in Trubschachen, Switzerland by Burghard Fischer Toccata in F major Performed on a church organ in Trubschachen, Switzerland by Burghard Fischer
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Fantasias[link]

Pachelbel composed six fantasias. Three of them (the A minor, C major and one of the two D Dorian pieces) are sectional compositions in 3/2 time; the sections are never connected thematically; the other D Dorian piece's structure is reminiscent of Pachelbel's magnificat fugues, with the main theme accompanied by two simple countersubjects.

The E-flat major and G minor fantasias are variations on the Italian toccata di durezze e ligature genre. Both are gentle free-flowing pieces featuring intricate passages in both hands with many accidentals, close to similar pieces by Girolamo Frescobaldi or Giovanni de Macque.

Preludes[link]

Almost all pieces designated as preludes resemble Pachelbel's toccatas closely, since they too feature virtuosic passagework in one or both hands over sustained notes. However, most of the preludes are much shorter than the toccatas: the A minor prelude (pictured below) only has 9 bars, the G major piece has 10. The only exception is one of the two D minor pieces, which is very similar to Pachelbel's late simplistic toccatas, and considerably longer than any other prelude. The toccata idiom is completely absent, however, in the short Prelude in A minor:

Prelude in A minor (full score).  Listen (help·info)

A texture of similar density is also found in the ending of the shorter D minor piece, where three voices engage in imitative counterpoint. In pairs of preludes and fugues Pachelbel aimed to separate homophonic, improvisatory texture of the prelude from the strict counterpoint of the fugue.

Other keyboard music[link]

Around 20 dance suites transmitted in a 1683 manuscript (now destroyed) were previously attributed to Pachelbel, but today his authorship is questioned for all but three suites, numbers 29, 32 and 33B in the Seiffert edition.^[27] The pieces are clearly not without French influence (but not so much as Buxtehude's) and are comparable in terms of style and technique to Froberger's suites. Seventeen keys are used, including F-sharp minor. Number 29 has all four traditional movements, the other two authentic pieces only have three (no gigue), and the rest follow the classical model (Allemande, Courante, Sarabande, Gigue), sometimes updated with an extra movement (usually less developed^[14]), a more modern dance such as a gavotte or a ballet. All movements are in binary form, except for two arias.

Chamber music[link]

Pachelbel's chamber music is much less virtuosic than Biber's Mystery Sonatas or Buxtehude's Opus 1 and Opus 2 chamber sonatas. The famous Canon in D belongs to this genre, as it was originally scored for 3 violins and a basso continuo, and paired with a gigue in the same key. The canon is actually more of a chaconne or a passacaglia: it consists of a ground bass over which the violins play a three-voice canon based on a simple theme, the violins' parts form 28 variations of the melody. The gigue which originally accompanied the canon is a simple piece that uses strict fugal writing.

	Canon in D (Pachelbel's Canon) Arrangement for solo piano. Note that this arrangement is not exactly a canon like the original composition.
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Musicalische Ergötzung ("Musical Delight") is a set of six chamber suites for two scordatura violins and basso continuo published sometime after 1695. At the time, scordatura tuning was used to produce special effects and execute tricky passages. However, Pachelbel's collection was intended for amateur violinists, and scordatura tuning is used here as a basic introduction to the technique. Scordatura only involves the tonic, dominant and sometimes the subdominant notes.

Each suite of Musikalische Ergötzung begins with an introductory Sonata or Sonatina in one movement. In suites 1 and 3 these introductory movements are Allegro three-voice fughettas and stretti. The other four sonatas are reminiscent of French overtures. They have two Adagio sections which juxtapose slower and faster rhythms: the first section uses patterns of dotted quarter and eighth notes in a non-imitative manner. The second employs the violins in an imitative, sometimes homophonic structure, that uses shorter note values. The dance movements of the suites show traces of Italian (in the gigues of suites 2 and 6) and German (allemande appears in suites 1 and 2) influence, but the majority of the movements are clearly influenced by the French style. The suites do not adhere to a fixed structure: the allemande is only present in two suites, the gigues in four, two suites end with a chaconne, and the fourth suite contains two arias.

Pachelbel's other chamber music includes an aria and variations (Aria con variazioni in A major) and four standalone suites scored for a string quartet or a typical French five-part string ensemble with 2 violins, 2 violas and a violone (the latter reinforces the basso continuo). Of these, the five-part suite in G major (Partie a 5 in G major) is a variation suite, where each movement begins with a theme from the opening sonatina; like its four-part cousin (Partie a 4 in G major) and the third standalone suite (Partie a 4 in F-sharp minor) it updates the German suite model by using the latest French dances such as the gavotte or the ballet. The three pieces mentioned all end with a Finale movement. Interestingly, Partie a 4 in G major features no figuration for the lower part, which means that it was not a basso continuo and that, as Jean M. Perreault writes, "this work may well count as the first true string quartet, at least within the Germanophone domain."^[28]

Vocal music[link]

Johann Gottfried Walther famously described Pachelbel's vocal works as "more perfectly executed than anything before them".^[29] Already the earliest examples of Pachelbel's vocal writing, two arias So ist denn dies der Tag and So ist denn nur die Treu composed in Erfurt in 1679 (which are also Pachelbel's earliest datable pieces^[30]), display impressive mastery of large-scale composition (So ist denn dies der Tag is scored for soprano, SATB choir, 2 violins, 3 violas, 4 trumpets, timpani and basso continuo) and exceptional knowledge of contemporary techniques.

These latter features are also found in Pachelbel's Vespers pieces and sacred concertos, large-scale compositions which are probably his most important vocal works. Almost all of them adopt the modern concertato idiom and many are scored for unusually large groups of instruments (Jauchzet dem Herrn, alle Welt (in C) uses four trumpets, timpani, 2 violins, 3 violas, violone and basso continuo; Lobet den Herrn in seinem Heiligtum is scored for a five-part chorus, two flutes, bassoon, five trumpets, trombone, drums, cymbals, harp, two violins, basso continuo and organ). Pachelbel explores a very wide range of styles: psalm settings (Gott ist unser Zuversicht), chorale concertos (Christ lag in Todesbanden), sets of chorale variations (Was Gott tut, das ist wohlgetan), concerted motets, etc. The ensembles for which these works are scored are equally diverse: from the famous D major Magnificat setting written for a 4-part choir, 4 violas and basso continuo, to the Magnificat in C major scored for a five-part chorus, 4 trumpets, timpani, 2 violins, a single viola and two violas da gamba, bassoon, basso continuo and organ.

Pachelbel's large-scale vocal works are mostly written in modern style influenced by Italian Catholic music, with only a few non-concerted pieces and old plainchant cantus firmus techniques employed very infrequently. The string ensemble is typical for the time, three viols and two violins. The former are either used to provide harmonic content in instrumental sections or to double the vocal lines in tutti sections; the violins either engage in contrapuntal textures of varying density or are employed for ornamentation. Distinct features of Pachelbel's vocal writing in these pieces, aside from the fact that it is almost always very strongly tonal, include frequent use of permutation fugues and writing for paired voices. The Magnificat settings, most composed during Pachelbel's late Nuremberg years, are influenced by the Italian-Viennese style and distinguish themselves from their antecedents by treating the canticle in a variety of ways and stepping away from text-dependent composition.

Other vocal music includes motets, arias and two masses. Of the eleven extant motets, ten are scored for two four-part choruses. Most of this music is harmonically simple and makes little use of complex polyphony (indeed, the polyphonic passages frequently feature reduction of parts). The texts are taken from the psalms, except in Nun danket alle Gott which uses a short passage from the Ecclesiastes. The motets are structured according to the text they use. One important feature found in Gott ist unser Zuversicht and Nun danket alle Gott is that their endings are four-part chorale settings reminiscent of Pachelbel's organ chorale model: the chorale, presented in long note values, is sung by the sopranos, while the six lower parts accompany with passages in shorter note values:

An excerpt from the ending of motet Gott ist unser Zuversicht (bars 92–95). These are the first choir's parts, the notes and lines for the second choir are the same.

The arias, aside from the two 1679 works discussed above, are usually scored for solo voice accompanied by several instruments; most were written for occasions such as weddings, birthdays, funerals and baptisms. They include both simple strophic and complex sectional pieces of varying degrees of complexity, some include sections for chorus. The concerted Mass in C major is probably an early work; the D major Missa brevis is a small mass for a SATB choir in three movements (Kyrie, Gloria, Credo). It is simple, unadorned and reminiscent of his motets.

Notes[link]

References[link]

• Apel, Willi. 1972. The History of Keyboard Music to 1700. Translated by Hans Tischler. Indiana University Press. ISBN 0-253-21141-7. Originally published as Geschichte der Orgel- und Klaviermusik bis 1700 by Bärenreiter-Verlag, Kassel.
• Malina, János. 1998. Liner notes to "Pachelbel: Arias and Duets", Affetti Musicali cond. by János Malina. Hungaroton Classic, HCD 31736
• Nolte, Ewald V., and Butt, John. "Pachelbel. 1. Johann Pachelbel", Grove Music Online, ed. L. Macy (accessed December 29 2005), grovemusic.com (subscription access).
• Perreault, Jean M. 2004. The Thematic Catalogue of the Musical Works of Johann Pachelbel. Scarecrow Press, Lanham, Md. ISBN 0-8108-4970-4

A complete index of Pachelbel's compositions, the manuscripts in which they survive, and publications in which they can be found today. Includes an exhaustive bibliography.

• Welter, Kathryn J. 1998. Johann Pachelbel: Organist, Teacher, Composer, A Critical Reexamination of His Life, Works, and Historical Significance. Diss., Harvard University, Cambridge, Massachusetts.

As described by Perreault, "the only really general book on Pachelbel in English; richly informative, especially on biography and transmission of MS sources."

Further reading[link]

• Gauger, Ronald R. 1974. Ostinato Techniques in Chaconnes and Passacaglias of Pachelbel, Buxtehude, and J.S. Bach. Diss., University of Wisconsin.
• Nolte, Ewald V. 1954. The Instrumental Works of Johann Pachelbel (1653–1706): an Essay to Establish his Stylistic Position in the Development of the Baroque Musical Art. Diss., Northwestern University.
• Nolte, Ewald V. 1956. The Magnificat Fugues of Johann Pachelbel: Alternation or Intonation?, JAMS, ix (1956), 19–24.
• Nolte, Ewald V. 1957. Classic Contract between Pachelbel and Erfurt Church, The Diapason, xlviii (1956–7), 32.
• Nyquist, Roger T. 1968. The Influence of South German and Italian Composers on the Free Organ Forms of Johann Pachelbel. Diss., Indiana University.
• Sarber, Gayle V. 1983. The Organ Works of Pachelbel as Related to Selected Works by Frescobaldi and the South and Central German Composers. Diss., Indiana University.
• Woodward, Henry L. 1952. A Study of the Tenbury Manuscripts of Johann Pachelbel. Diss., Harvard University.

External links[link]

Wikimedia Commons has media related to: Johann Pachelbel

General reference[link]

• Johann Pachelbel biography and works
• Johann Pachelbel's biography at HOASM.org
• A list of Pachelbel's works with cross-references from Perreault's numbers to Tsukamoto, Welter and Bouchard and to selected editions
• Pachelbel Street – Archives of J.Pachelbel's Works, includes a complete catalogue of Pachelbel's works compiled by Hideo Tsukamoto
• Johann Pachelbel at Allmusic.com
• FindAGrave Profile

Scores[link]

• Free scores by Johann Pachelbel in the Werner Icking Music Archive (WIMA)
• Free scores by Johann Pachelbel in the Choral Public Domain Library (ChoralWiki)
• Free scores by Pachelbel at the International Music Score Library Project
• Free typeset sheet music of Pachelbel's works from Cantorion.org
• Pachelbel free sheet music
• The Mutopia Project has compositions by Johann Pachelbel

Recordings[link]

• Magnificat Fugues played on a virtual organ
• More works by Pachelbel played on virtual organs
• Works by Pachelbel in MIDI and MP3 format at Logos Virtual Library
• Recording of Magnificat in D major – for voices only by Canto Armonico.

Britney Spears
Spears performing at her Femme Fatale Tour in Europe, 2011
Background information
Birth name	Britney Jean Spears
Born	(1981-12-02) December 2, 1981 (age 30) McComb, Mississippi, U.S.
Genres	Pop, dance
Occupations	Singer, songwriter, dancer, actress, record producer, author, fashion designer, video director
Instruments	Vocals, piano
Years active	1992–present
Labels	Jive, RCA[1]
Associated acts	The New Mickey Mouse Club
Website	britneyspears.com britney.com

Britney Jean Spears (born December 2, 1981) is an American recording artist and entertainer. Born in McComb, Mississippi, and raised in Kentwood, Louisiana, Spears began performing as a child, landing acting roles in stage productions and television shows. She signed with Jive Records in 1997 and released her debut album ...Baby One More Time in 1999, which became the best-selling album by a teenage solo artist.^[2] During her first decade in the music industry, she became a prominent figure in mainstream popular music and popular culture, followed by a much-publicized personal life. Her first two albums established her as a pop icon and broke sales records, while title tracks "...Baby One More Time" and "Oops!... I Did It Again" became international number-one hits. Spears was credited with influencing the revival of teen pop during the late 1990s, and became the 'best-selling teen aged artist of all time' before she turned 20,^[3] garnering her the honorific title of "Princess of Pop".^[4]

In 2001, she released her third studio album Britney and expanded her brand, playing the starring role in the film Crossroads. She assumed creative control of her fourth studio album, In the Zone (2003), which yielded chart-topping singles "Me Against the Music", "Toxic" and "Everytime". After the release of two compilation albums, Spears experienced personal struggles and her career went into hiatus. Her fifth studio album, Blackout, was released in 2007 and despite receiving little promotion, it spawned hits "Gimme More" and "Piece of Me". In 2008, her erratic behavior and hospitalizations caused her to be placed in a conservatorship. The same year, her sixth studio album Circus was released, with the global chart-topping lead single "Womanizer", and hits such as "Circus" and "If U Seek Amy". She embarked on her highest-grossing global concert tour,^[5] The Circus Starring Britney Spears, in 2009. In October of the same year, she released a chart-topping single, "3", which became her third single to reach number one on the Billboard Hot 100. Her seventh studio album Femme Fatale, released in 2011, has become the first of her albums to yield three top ten singles in the United States, "Hold It Against Me", "Till the World Ends" and "I Wanna Go". The same year, she also gained her fifth number one single when she featured on the remix of "S&M" alongside Rihanna.

Spears work has earned her numerous awards and accolades, including a Grammy Award, 6 MTV Video Music Awards including the Lifetime Achievement Award, 9 Billboard Music Awards, and a star on the Hollywood Walk of Fame. In 2009, Billboard ranked her as the 8th overall Artist of the Decade,^[6] and also recognized her as the best-selling female artist of the first decade of the 21st century, as well as the fifth overall.^[7] The Recording Industry Association of America (RIAA) also recognized Spears as the eighth top-selling female artist in the United States, with 33 million certified albums.^[8] Nielsen SoundScan ranked Spears the tenth best-selling digital artist of the country, with more than 28.6 million digital singles as of January 2012.^[9] She has sold over 100 million albums worldwide, making her one of the best-selling music artists of all time.^[10] Rolling Stone recognized her instant success as one of the Top 25 Teen Idol Breakout Moments of all time,^[11] while VH1 ranked her eleventh on their "100 Greatest Women in Music" list in 2012.^[12] Forbes also revealed that Spears was the sixth most powerful celebrity, and the third best paid musician of 2011-12, having topped the list back in 2002.^[13] In Fall 2012, Spears will serve as a judge in the second season of the American version of The X Factor.^[14]

Biography[link]

1981–97: Early life, and career beginnings[link]

Britney Jean Spears was born on December 2, 1981, the second child of Lynne Irene (née Bridges) and James Parnell Spears. She is of English heritage through her maternal grandmother, Lillian Portelli who was born in London, and of distant Maltese and Sicilian (Sicani) descent.^[15][16][17] Her siblings are Bryan James and Jamie Lynn.^[18] At age three, she started to attend dance lessons in her hometown of Kentwood, Louisiana, and was selected to perform as a solo artist at the annual recital. During her childhood, she also attended gymnastics and voice lessons, and won many state-level competitions and children's talent shows.^[19][20][21] Spears made her local stage debut at age five, singing "What Child Is This?" at her kindergarten graduation. She said about her ambition as a child, "I was in my own world, [...] I found out what I'm supposed to do at an early age".^[20] At age eight, Spears and her mother Lynne traveled to Atlanta for an audition in the 1990s revival of The Mickey Mouse Club. Casting director Matt Casella rejected her for being too young to join the series at the time, but introduced her to Nancy Carson, a New York City talent agent. Carson was impressed with Spears's vocals and suggested enrolling her at the Professional Performing Arts School; shortly after, Lynne and her daughters moved to a sublet apartment in New York. Spears was hired for her first professional role as the understudy for the lead role of Tina Denmark in the Off-Broadway musical Ruthless!. She also appeared as a contestant on the popular television show Star Search, as well as being cast in a number of commercials.^[22][23] In December 1992, she was finally cast in The Mickey Mouse Club, but returned to Kentwood after the show was canceled. She enrolled at Parklane Academy in nearby McComb, Mississippi. Although she made friends with most of her classmates, she compared the school to "the opening scene in Clueless with all the cliques. [...] I was so bored. I was the point guard on the basketball team. I had my boyfriend, and I went to homecoming and Christmas formal. But I wanted more."^[20][24]

In June 1997, Spears was in talks with manager Lou Pearlman to join the female pop group Innosense. Lynne asked family friend and entertainment lawyer Larry Rudolph for his opinion and submitted a tape of Spears singing over a Whitney Houston karaoke song along with some pictures. Rudolph decided he wanted to pitch her to record labels, therefore she needed a professional demo. He sent Spears an unused song of Toni Braxton; she rehearsed for a week and recorded her vocals in a studio with a sound engineer. Spears traveled to New York with the demo and met with executives from four labels, returning to Kentwood the same day. Three of the labels rejected her, arguing that audiences wanted pop bands such as the Backstreet Boys and the Spice Girls, and "there wasn't going to be another Madonna, another Debbie Gibson, or another Tiffany." Two weeks later, executives from Jive Records returned calls to Rudolph.^[25] Senior vice president of A&R Jeff Fenster stated about Spears's audition that "It's very rare to hear someone that age who can deliver emotional content and commercial appeal. [...] For any artist, the motivation—the 'eye of the tiger'—is extremely important. And Britney had that."^[20] She then sang Houston's "I Have Nothing" (1992) for the executives, and got signed to the label.^[26] They appointed her to work with producer Eric Foster White for a month, who reportedly shaped her voice from "lower and less poppy" delivery to "distinctively, unmistakably Britney."^[27] After hearing the recorded material, president Clive Calder ordered a full album. Spears had originally envisioned "Sheryl Crow music, but younger more adult contemporary" but felt all right with her label's appointment of producers, since "It made more sense to go pop, because I can dance to it—it's more me." She flew to Cheiron Studios in Stockholm, Sweden, where half of the album was recorded from March to April 1998, with producers Max Martin, Denniz Pop and Rami Yacoub, among others.^[20]

[edit] 1998–2000: ...Baby One More Time, and Oops!... I Did It Again

After Spears returned to the United States, she embarked on a shopping mall promotional tour to promote her forthcoming album. Her show was a four song set and she was accompanied by two back up dancers. Her first concert tour followed, as an opening act for 'N Sync.^[28] Her debut album, ...Baby One More Time, was released on January 1999.^[29] It debuted at number one on the U.S. Billboard 200 and was certified two-times platinum by the Recording Industry Association of America after a month. Worldwide, the album topped the charts in fifteen countries and sold over ten million copies in a year.^[30] It became the biggest selling album ever by a teenage artist.^[21] The title track was released as the lead single from the album. Originally, Jive Records wanted its music video to be animated; however, Spears rejected it, and suggested the final idea of a Catholic schoolgirl.^[27] The single sold 500,000 copies on its first day, and peaked at number one on the Billboard Hot 100, topping the chart for two consecutive weeks.^[31][32] "...Baby One More Time" later received a Grammy nomination for Best Female Pop Vocal Performance.^[33] The title track also topped the singles chart for two weeks in the United Kingdom, and became the fastest-selling single ever by a female artist, shipping over 460,000 copies.^[34] It would later become the 25th most successful song of all time in British chart history.^[35] Spears is also the youngest female artist to have a million seller in the country.^[36] "(You Drive Me) Crazy" was released as the third single from the album. It became a top-ten hit worldwide and propelled ...Baby One More Time to sell 26 million copies.^[37]

The April 1999 cover of Rolling Stone featured Spears lying on her bed, clad with a bra, shorts and an open top. The American Family Association (AFA) referred to the shoot as "a disturbing mix of childhood innocence and adult sexuality" and called to "God-loving Americans to boycott stores selling Britney's albums." Spears responded to the outcry commenting, "What's the big deal? I have strong morals. [...] I'd do it again. I thought the pictures were fine. And I was tired of being compared to Debbie Gibson and all of this bubblegum pop all the time."^[38] Shortly before, Spears had announced publicly she would remain a virgin until marriage.^[21] On June 28, 1999, Spears began her first headlining ...Baby One More Time Tour in North America, which was positively received by critics,^[39] but generated some controversy due to her racy outfits.^[40] An extension of the tour, titled Crazy 2k, followed in March 2000. Spears premiered songs from her upcoming second album during the show.^[24]

Oops!... I Did It Again, her second studio album, was released in May 2000. It debuted at number one in the US, selling 1,3 million copies, breaking the SoundScan record for the highest debut sales by any solo artist.^[41] The album sold over 20 million copies worldwide.^[42] Rob Sheffield of Rolling Stone said that "the great thing about Oops! – under the cheese surface, Britney's demand for satisfaction is complex, fierce and downright scary, making her a true child of rock & roll tradition."^[43] The album's lead single, "Oops!... I Did It Again", peaked at the top of the charts in Australia, New Zealand, the United Kingdom and many other European nations.^[36][44] The album as well as the title track received Grammy nominations for Best Pop Vocal Album and Best Female Pop Vocal Performance, respectively.^[45]

The same year, Spears embarked on the Oops!... I Did It Again World Tour, which grossed $40.5 million; she also released her first book, Britney Spears' Heart-to-Heart, co-written with her mother.^[21][46] On September 7, 2000, Spears performed at the 2000 MTV Video Music Awards. Halfway through the performance, she ripped off her black suit to reveal a sequined flesh-colored bodysuit, followed by heavy dance routine. It is noted by critics as the moment that Spears showed signs of becoming a more provocative performer.^[47] Amidst media speculation, Spears confirmed she was dating 'N Sync member Justin Timberlake.^[21]

[edit] 2001–03: Britney, Crossroads, and In the Zone

Spears performing at the NFL Kickoff Live in 2003.

In February 2001, Spears signed a $7–8 million promotional deal with Pepsi, and released another book co-written with her mother, entitled A Mother’s Gift.^[21] Her third studio album, Britney, was released in November 2001. While on tour, she felt inspired by hip hop artists such as Jay-Z and The Neptunes and wanted to create a record with a funkier sound.^[48] The album debuted at number one in the Billboard 200 and reached top five positions in Australia, the United Kingdom and mainland Europe and sold over 12 million copies worldwide.^[36][49][50] Stephen Thomas Erlewine of Allmusic called Britney "the record where she strives to deepen her persona, making it more adult while still recognizably Britney. [...] It does sound like the work of a star who has now found and refined her voice, resulting in her best record yet."^[51] The album was honored with two Grammy nominations—Best Pop Vocal Album and Best Female Pop Vocal Performance for "Overprotected"— and was listed in 2008 as one of Entertainment Weekly's "100 Best Albums from the Past 25 Years".^[52][53] The album's first single, "I'm a Slave 4 U", became a top-ten hit worldwide.^[54]

Spears's performance of the single at the 2001 MTV Video Music Awards featured a caged tiger and a large albino python draped over her shoulders. It was harshly received by animal rights organization PETA, who claimed the animals were mistreated and scrapped plans for an anti-fur billboard that was to feature Spears.^[47] To support the album, Spears embarked on the Dream Within a Dream Tour. The show was critically praised for its technical innovations, the pièce de résistance being a water screen that pumped two tons of water into the stage.^[55][56] The tour grossed $43.7 million, becoming the second highest grossing tour of 2002 by a female artist, behind Cher's Farewell Tour.^[57] Her career success was highlighted by Forbes in 2002, as Spears was ranked the world's most powerful celebrity.^[58] Spears also landed her first starring role in Crossroads, released in February 2002. Although the film was largely panned, most critics actually praised Spears's acting.^[59][60][61] Crossroads, which had a $11 million budget, went on to gross over $57 million worldwide.^[61]

In June 2002, Spears opened her first restaurant, Nyla, in New York City, but terminated her relationship in November, citing mismanagement and "management's failure to keep her fully apprised".^[62] In July 2002, Spears announced she would take a six month break from her career; however, she went back into the studio in November to record her new album.^[63] Spears' relationship with Justin Timberlake ended after three years. In December 2002, Timberlake released the song "Cry Me a River" as the second single from his solo debut album. The music video featured a Spears look-alike and fueled the rumors that she had been unfaithful to him.^[64][65] As a response, Spears wrote the ballad "Everytime" with her backing vocalist and friend Annet Artani.^[66] The same year, Limp Bizkit frontman Fred Durst said that he was in a relationship with Spears. However, Spears denied Durst's claims.^[67] In a 2009 interview, he explained that "I just guess at the time it was taboo for a guy like me to be associated with a gal like her."^[67] Spears opened the 2003 MTV Video Music Awards with Christina Aguilera, performing "Like a Virgin". Halfway through they were joined by Madonna, with whom they both kissed. The incident was highly publicized.^[61]

Spears released her fourth studio album, In the Zone, in November 2003. She assumed more creative control by writing and co-producing most of the material.^[21] Vibe called it "A supremely confident dance record that also illustrates Spears's development as a songwriter."^[68] NPR listed the album as one of "The 50 Most Important Recording of the Decade", adding that "the decade's history of impeccably crafted pop is written on her body of work."^[69] In the Zone sold over 609,000 copies in the United States and debuted at the top of the charts, making Spears the first female artist in the SoundScan era to have her first four studio albums to debut at number one.^[21] It also debuted at the top of the charts in France and the top ten in Belgium, Denmark, Sweden and the Netherlands.^[70] In the Zone sold over 10 million copies worldwide.^[71] The album produced the hit singles: "Me Against the Music", a collaboration with Madonna; "Toxic"—which won Spears her first and only Grammy for Best Dance Recording; "Everytime" and "Outrageous".^[21]

[edit] 2004–07: Compilation albums, motherhood, personal struggles, and Blackout

Spears performing live on The Onyx Tour in 2004

On January 3, 2004, Spears married childhood friend Jason Allen Alexander at The Little White Wedding Chapel in Las Vegas. The marriage was annulled 55 hours later, stating that Spears "lacked understanding of her actions".^[72] She began The Onyx Hotel Tour in support of In the Zone in March 2004.^[73] On June 8, 2004, Spears fell and injured her left knee during the music video shoot for "Outrageous". She was taken immediately to a local hospital, where doctors performed an MRI scan and found floating cartilage. The following day, Spears underwent arthroscopic surgery. She was forced to remain six weeks with a thigh brace, followed by eight to twelve weeks of rehabilitation, which caused The Onyx Hotel Tour to be canceled.^[74] During 2004, Spears became involved in the Kabbalah Centre through her friendship with Madonna.^[75]

In July 2004, she announced her engagement to American dancer Kevin Federline, whom she had met three months before. The romance received intense attention from the media, since Federline had recently broken up with actress Shar Jackson, who was still pregnant with their second child at the time.^[21] The initial stages of their relationship were chronicled in Spears's first reality show Britney & Kevin: Chaotic. They held a wedding ceremony on September 18, 2004, but were not legally married until three weeks later on October 6 due to a delay finalizing the couple's prenuptial agreement.^[76] Shortly after, she released her first fragrance with Elizabeth Arden, Curious, which broke the company's first-week gross for a perfume.^[21] In October 2004, Spears announced she would be taking another career break to start a family.^[77] Greatest Hits: My Prerogative, her first greatest hits compilation album, was released in November 2004.^[78] Spears's cover version of Bobby Brown's "My Prerogative" was released as the lead single from the album, reaching the top of the charts in Finland, Ireland, Italy and Norway.^[79] The second single, "Do Somethin'", was a top ten hit in Australia, the United Kingdom and other countries of mainland Europe.^[80][81] Worldwide, Greatest Hits: My Prerogative sold over 5 million copies.^[82] In late 2004, Spears went on KIIS-FM radio in Los Angeles, CA to play a new demo titled "Mona Lisa." The demo was to be the first single from an upcoming album called the "Original Doll." However, Spears' label later cancelled the album for unknown reasons.^[83][84] Spears gave birth to her first child, Sean Preston Federline, on September 14, 2005.^[85]

In November 2005, she released her first remix compilation, B in the Mix: The Remixes, which consists of eleven remixes.^[86] It has sold over 1 million copies worldwide, making it one of the best selling remix albums of all time.^[87] In February 2006, pictures surfaced of Spears driving with her son Sean, on her lap instead of in a car seat. Child advocates were horrified by the photos of her holding the wheel with one hand and Sean with the other. Spears claimed that the situation happened because of a frightening encounter with paparazzi, and that it was a mistake on her part.^[21] The following month, she guest-starred on the Will & Grace episode "Buy, Buy Baby" as closeted lesbian Amber Louise.^[88] She publicly announced she no longer studied Kabbalah in June 2006, explaining, "my baby is my religion."^[75] Two months later, Spears posed nude for the cover of Harper's Bazaar. The picture was heavily compared to Demi Moore's August 1991 Vanity Fair cover.^[21] She gave birth to her second child, Jayden James Federline, on September 12, 2006.^[89] On November 7, 2006, Spears filed for divorce from Federline, citing irreconcilable differences.^[90] Their divorce was finalized in July 2007, when the couple reached a global settlement and agreed to share joint custody of their children.^[91] Spears's aunt Sandra Bridges Covington, with whom she had been very close, died of ovarian cancer in January.^[92] On February 16, 2007, Spears stayed in a drug rehabilitation facility in Antigua for less than a day. The following night, she shaved her head with electric clippers at a hair salon in Tarzana, Los Angeles. She admitted herself to other treatment facilities during the following weeks.^[93] After completing a month-long program at Promises, she wrote on her website, "I truly hit rock bottom. Till this day I don't think that it was alcohol or depression. [...] was like a bad kid running around with ADD."^[21] In May 2007, she produced a series of promotional concerts at House of Blues venues, titled The M+M's Tour.^[94] Spears lost physical custody of her children to Federline on October 1, 2007. The reasons of the court ruling were not revealed to the public.^[95] Also, in 2007 Spears was sued by Louis Vuitton over her 2005 music video "Do Something" for pimping out her Hummer interior in counterfiet Louis Vuitton cherry blossom fabric. Which resulted in her video being banned on European TV stations.^[96]

Her fifth studio album, Blackout, was released in October 2007. It debuted at the top of charts in Canada and Ireland, number two in the U.S. Billboard 200,—held off from the top spot by Eagles's Long Road out of Eden— France, Japan, Mexico and the United Kingdom and the top ten in Australia, Korea, New Zealand and many European nations. In the United States, Spears became the only female artist to have her first five studio albums debut at the two top slots of the chart.^[97] Blackout sold over 3.1 million copies worldwide.^[98] Peter Robinson of The Observer said that "Britney has delivered the best album of her career, raising the bar for modern pop music with an incendiary mix of Timbaland's Shock Value and her own back catalogue."^[99] Dennis Lim of Blender commented, "Spears’s fifth studio album is her most consistent, a seamlessly entertaining collection of bright, brash electropop."^[100] Blackout won Album of the Year at MTV Europe Music Awards 2008 and was listed as the fifth Best Pop Album of the Decade by The Times.^[101][102] Spears performed the lead single "Gimme More" at the 2007 MTV Video Music Awards. The performance was panned by many critics. David Willis of BBC stated her performance would "go down in the history books as being one of the worst to grace the MTV Awards".^[103] Despite the backlash, the single rocketed to worldwide success, peaking at number one in Canada and the top ten in almost every country it charted.^[104][105] The second single "Piece of Me" reached the top of the charts in Ireland and reached the top five in Australia, Canada, Denmark, New Zealand and the United Kingdom. The third single "Break the Ice" was released the following year and had moderate success due to Spears not being able to promote it properly.^{[106][107][108]} In December 2007, Spears began a relationship with paparazzo Adnan Ghalib.^[109]

[edit] 2008–10: Conservatorship, and Circus

Spears performing "Freakshow" at The Circus Starring Britney Spears, 2009.

On January 3, 2008, Spears refused to relinquish custody of her sons to Federline's representatives. She was hospitalized at Cedars-Sinai Medical Center, after police that arrived at her house noted she appeared to be under the influence of an illicit substance. The following day, Spears's visitation rights were suspended at an emergency court hearing, and Federline was given sole physical and legal custody of the children. On January 31, 2008, Spears was committed to the psychiatric ward of Ronald Reagan UCLA Medical Center and put on 5150 involuntary psychiatric hold. The court placed her under temporary conservatorship of her father James Spears and attorney Andrew Wallet, giving them complete control of her assets.^[21] Spears was released on February 6, 2008. Her parents expressed disappointment and concern at the decision to release her.^[110] The following month, she guest-starred on the How I Met Your Mother episode "Ten Sessions" as receptionist Abby. She received positive reviews for her performance, as well as bringing the series its highest ratings ever.^[111][112] In July 2008, Spears regained some visitation rights after coming to an agreement with Federline and his counsel.^[113] On September 7, 2008, Spears opened the MTV Video Music Awards with a pre-taped comedy sketch with Jonah Hill and an introduction speech. She won Best Female Video, Best Pop Video and Video of the Year for "Piece of Me".^[114] A 60-minute introspective documentary, Britney: For the Record, was produced to chronicle Spears' return to the recording industry. Directed by Phil Griffin, For the Record was entirely shot in Beverly Hills, Hollywood, and New York City during the third quarter of 2008.^[115] Main shooting began on September 5, 2008, two days before Spears' appearance at the MTV Video Music Awards. For the Record was broadcast on MTV on November 30, 2008 to 5.6 million viewers for the two airings on the premiere night. MTV reported that Spears' documentary garnered on average, the highest rating in its Sunday night timeslot, in the network's history.^[116]

Her sixth studio album Circus, was released in December 2008. It received positive reviews from critics; according to the music review aggregation of Metacritic, it garnered an average score of 64/100.^[117] Circus debuted at number one in Canada, Czech Republic and the United States, and inside the top in many European nations.^[105][118] In the United States, Spears became the youngest female artist to have five albums debut at number one, earning a place in the Guinness Book of World Records.^[119] She also became the only act in the Soundscan era to have four albums debut with 500,000 or more copies sold.^[118] Circus became one of the fastest-selling albums of the year,^[120] and has sold 4 million copies worldwide.^[121][122] Its lead single, "Womanizer", became her first number one in the Billboard Hot 100 since "...Baby One More Time" and topped the charts in countries such as Belgium, Canada, Denmark, Finland, France, Norway and Sweden.^[123][124] It was also nominated for a Grammy in the category of Best Dance Recording.^[125] In January 2009, Spears and her father James obtained a restraining order against her former manager Sam Lufti, ex-boyfriend Adnan Ghalib and attorney Jon Eardley—all of whom, court documents claim, had been conspiring to gain control of Spears's affairs. The restraining order forbids Lutfi and Ghalib from contacting Spears or coming within 250 yards of her, her property or family members.^[126] Spears embarked on The Circus Starring Britney Spears in March 2009. With a gross of U.S. $131.8 million, it became the fifth highest grossing tour of the year.^[127]

She released her second greatest hits album, The Singles Collection in November 2009. "3" became her third number one single in the US, and was the first song to debut at the top of the charts in three years.^[128] Later that month, she released an application for iPhone and iPod Touch titled "It's Britney!".^[129] In May 2010, Spears's representatives confirmed she was dating her agent Jason Trawick, and that they had decided to end their professional relationship to focus on their personal relationship.^[130] Spears designed a limited edition clothing line for Candie's, which was released in stores in July 2010.^[131] On September 28, 2010, she made a cameo appearance on a Spears-themed tribute episode of American TV show Glee, titled "Britney/Brittany". Spears approved of the episode, although her appearances received mixed reviews from critics.^[132][133] The episode drew Glee's second largest audience, as well as the show's highest ratings ever.^[134][135]

[edit] 2011–present: Femme Fatale and The X Factor

Spears performing "Gimme More" at the Femme Fatale Tour, 2011.

In March 2011, Spears released her seventh studio album Femme Fatale.^[136] Max Martin and Dr. Luke executive produced the album and the album's first single "Hold It Against Me". The single debuted at number-one on the Billboard Hot 100. This gave Spears her fourth number-one single on the chart, and made her only the second artist in history to have two consecutive singles debut at number-one, after Mariah Carey.^[137] The album peaked at number one in the United States (selling 276,000 copies in its first week), Canada, and Australia, and peaked inside the top ten on nearly every other chart. The album's peak in the United States ties Britney with Mariah Carey and Janet Jackson for the third-most number ones among women.^[138] As of March 9, 2012, Femme Fatale has sold 883,000 copies in the United States and 2.2 million worldwide and has been certified platinum by the RIAA.^[139][140] The album received positive critical reviews after its release, receiving a score of 67 on Metacritic, her highest critical score since Oops!... I Did It Again, with many critics naming the album one of Spears's best.^[141] In April 2011, Spears appeared in a remix to the song "S&M" by Rihanna after Rihanna asked her fans via Twitter who they wanted her to collaborate with.^[142] The song reached number one in the US in mid-April 2011, giving Spears her fifth number one on the chart.^[143] In early May, Spears' second single from Femme Fatale, "Till The World Ends", reached number three on the Billboard Hot 100 and had ninety-eight million audience impressions on the Billboard chart, granting Spears the highest weekly audience of her 13-year chart career.^[144]

Femme Fatale's third single "I Wanna Go" reached the top forty on the Billboard Hot 100 in June 2011. Among females in the last thirteen years, Spears now has the third-most top forty hits, with twenty-one.^[145] In August, the single managed to reach the top-ten on the Billboard Hot 100, which is the first time for Spears to have three songs from one album in the top-ten.^[146] On the week ending September 24, 2011, "I Wanna Go" moved 2–1 on the mainstream top 40, becoming her sixth number-one on that chart (making her tied for third all-time) and her first number-one and third top-ten pop song for Femme Fatale.^[147] Spears now has the longest span of number ones on the mainstream top 40, with a length of twelve years, seven months, and four days.^[147] In October 2011, the music video for Femme Fatale's fourth single "Criminal" caused controversy when British politicians criticized Spears for using replica guns while filming the video in an area of London that had been badly affected by the 2011 England riots. Members of the Hackney London Borough Council felt Spears "promoted gun violence" and suggested that Spears apologize and make a donation to a Hackney charity.^[148] Spears's management briefly responded, stating, "The video is a fantasy story featuring Britney's boyfriend, Jason Trawick, which literally plays out the lyrics of a song written three years before the riots ever happened."^[149] Later that month, due to her continued popularity, Spears became the seventh artist to gain one billion cumulative views on her Vevo account.^[150] On Billboard's 2011 Year-End list, Spears was fourteen on the Artists of the Year,^[151] due to being 32 on Billboard 200 artists and 10 on Billboard Hot 100 artists.^[152][153] Additionally, many critics, including those at Rolling Stone, named "Till the World Ends" one of the best songs of 2011.^{[154][155][156]}

On March 2011, Spears announced that she would tour throughout the United States during summer 2011.^[157] The Femme Fatale Tour opened June 16 at the Power Balance Pavilion in Sacramento, California^[158] to positive reviews.^[159] Many critics noted that Spears sang more of the concert live in response to lip-synching accusations during The Circus Starring Britney Spears, and that the dancing is some of her best in years.^[159] The first ten US dates of the tour grossed $6.2 million, landing the fifty-fifth spot on Pollstar's Top 100 North American Tours list for the half-way point of the year.^[160] The tour ended on December 10, 2011 in Puerto Rico after 79 performances.^[161] A concert special of the tour was filmed in 2D and 3D in Canada on August 13 and 14. It premiered on November 12 on Epix, receiving mixed reviews.^{[162][163][164][165]} It was released to DVD on November 21^[166][167] and sold 19,000 copies, debuting at no. 2 on the US Billboard DVD Chart behind Lady Gaga's The Monster Ball Tour: At Madison Square Garden.^[168] Since its release, the DVD has been certified Platinum by the Recording Industry Association of America (RIAA),^[169] and Gold by the Australian Recording Industry Association (ARIA).^[170]

On June 15, 2011, it was announced by Billboard that the RCA/Jive Label Group would be splitting, with Jive Records being fully moved under RCA Records staying intact. In August it was announced that Spears had officially joined the RCA's roster.^[171][172] During the 2011 MTV Video Music Awards on August 28, 2011, MTV played tribute to Spears with a group of young female dancers that memorialised Britney's music videos, performances, and style. Following which, Spears accepted the MTV Video Vanguard Award from Lady Gaga, who said that "industry wouldn't be the same without [her]".^[173][174] On September 9, 2011, Spears announced her second remix album, B in the Mix: The Remixes Vol. 2, which was released on October 7, along with the tracklist.^[175] On October 7, RCA Music Group announced it was disbanding Jive Records along with Arista Records and J Records. With the shutdown, Spears (and all other artists previously signed to these three labels) will release her future material on the RCA Records brand.^[176][177]

On December 16, Spears confirmed her engagement to her long-time boyfriend Jason Trawick, her former agent.^[178] Spears revealed her three-carat diamond ring at a party in Las Vegas on December 17.^[179] According to Joe Riccitelli, the executive vice president of promotion for RCA Records, Spears would be taking time off during 2012.^[180] However, on January 30, 2012, will.i.am confirmed that he recorded a track with Spears, set to be included on his upcoming fourth studio album, #willpower (2012).^[181] It was also reported that Simon Cowell was in talks with Spears for her to join the new season of the The X-Factor.^[182] According to Billboard and The Hollywood Reporter, Trawick negotiated Spears' contract with the show,^[183] which was later approved by conservatorship judge Reva Goetz.^[184] Cowell and the producers of the show agreed to pay the singer $15 million for season two, and also added Trawick as a one of the producers for the season.^[185] The rumor was later confirmed to be true.^{[14][186][187]} Spears also teamed up with Hasbro to release an exclusive version of Twister Dance, which will include a remix of "Till the World Ends".^[188] The singer also participated on a commercial, which was directed by Ray Kay, to promote the game.^[188]

Artistry[link]

Musical style, and performance[link]

Following her debut, Spears was credited with leading the revival of teen pop in the late 1990s. The Daily Yomiuri reported that "[m]usic critics have hailed her as the most gifted teenage pop idol for many years, but Spears has set her sights a little higher-she is aiming for the level of superstardom that has been achieved by Madonna and Janet Jackson."^[189] Rob Sheffield of Rolling Stone wrote: "Britney Spears carries on the classic archetype of the rock & roll teen queen, the dungaree doll, the angel baby who just has to make a scene."^[190] Rami Yacoub who co-produced Spears's debut album with lyricist Max Martin, commented, "I know from Denniz Pop and Max's previous productions, when we do songs, there's kind of a nasal thing. With N' Sync and the Backstreet Boys, we had to push for that mid-nasal voice. When Britney did that, she got this kind of raspy, sexy voice."^[191] Following the release of her debut album, Chuck Taylor of Billboard observed, "Spears has become a consummate performer, with snappy dance moves, a clearly real-albeit young-and funkdified voice ... "(You Drive Me) Crazy", her third single ... demonstrates Spears's own development, proving that the 17-year-old is finding her own vocal personality after so many months of steadfast practice."^[192] Stephen Thomas Erlewine of Allmusic referred to her music as a "blend of infectious, rap-inflected dance-pop and smooth balladry."^[193] Spears later commented, "With ...Baby One More Time, I didn't get to show my voice off. The songs were great, but they weren't very challenging".^[194]

Oops!...I Did It Again and subsequent albums saw Spears working with several contemporary R&B producers, leading to "a combination of bubblegum, urban soul, and raga."^[195] Her third studio album, Britney derived from the teen pop niche, "[r]hythmically and melodically ... sharper, tougher than what came before. What used to be unabashedly frothy has some disco grit, underpinned by Spears' spunky self-determination that helps sell hooks that are already catchier, by and large, than those that populated her previous two albums."^[196] Guy Blackman of The Age wrote that while few would care to listen to an entire Spears album, "[t]he thing about Spears, though, is that her biggest songs, no matter how committee-created or impossibly polished, have always been convincing because of her delivery, her commitment and her presence. For her mostly teenage fans, Spears expresses perfectly the conflicting urges of adolescence, the tension between chastity and sexual experience, between hedonism and responsibility, between confidence and vulnerability."^[197]

"You Got It All" noicon The cover of The Jets song was the first song recorded by Spears for her then-label Jive in 1997.[198] The prominent use of melisma and vibratos as she continuously raises key into a high range was viewed as a Mariah Carey influence.[199] "Freakshow" noicon The track is built around the 'wobbler' effect of dubstep, and her vocals are pitched down low, making her sound masculine.[200][201] She was credited as one of the artists who prompted the genre within a pop mainstream audience.[202]

Problems listening to these files? See media help.

Spears possesses a soprano^[203] vocal range; her vocal ability however has been criticized, often drawing unfavorable comparison to her pop rival, Christina Aguilera.^[204] Critic Allan Raible derides her overdependence in Circus on digital effects and the robotic effect it creates. "She’s never been a strong vocalist..." writes Raible, "Could she handle these songs with stripped down arrangements and no vocal effects? More importantly, would anyone want to hear her attempt such a performance? Does it matter? No. The focus is still image over substance."^[205] Her image and persona are also often contrasted to Christina Aguilera. David Browne of Entertainment Weekly observed "Christina Aguilera may flash skin and belly button, but in her music and manner, she's too eager not to offend — she's a good girl pretending to be bad. Spears, however, comes across as a bad girl acting good ... Spears' artificial-sweetener voice is much less interesting than the settings, yet that blandness is actually a relief compared with Aguilera's numbing vocal gymnastics.^[206] In contrast, Allmusic comments: "Like her peer Christina Aguilera, Britney equates maturity with transparent sexuality and the pounding sounds of nightclubs ... Where Christina comes across like a natural-born skank, Britney is the girl next door cutting loose at college, drinking and smoking and dancing and sexing just a little too recklessly, since this is the first time she can indulge herself.^[207] Sal Cinquemani of Slant Magazine notes, "The disparity between Aguilera and Spears can't be measured solely by the timbre and octave range of their voices ... [Aguilera's] popularity has never reached the fever pitch of Britney's."^[208]

It has been widely reported that Spears lip-syncs in concert. Author Gary Giddins wrote in his book Natural selection: Gary Giddins on comedy, film, music, and books (2006) that "among many other performers accused of moving their lips while a machine does the labor are Britney Spears, Luciano Pavarotti, Shania Twain, Beyoncé, and Madonna."^[209] Rashod D. Ollison of The Baltimore Sun observes: "Many pop stars ... feel they have no choice but to seek vocal enhancement. Since the advent of MTV and other video music channels, pop audiences have been fed elaborate videos thick with jaw-dropping effects, awesome choreography, fabulous clothes, marvelous bodies. And the same level of perfection is expected to extend beyond the video set to the concert stage. So if Britney Spears, Janet Jackson or Madonna sounds shrill and flat without a backing track, fans won't pay up to $300 for a concert ticket."^[210] Giddins adds, "it was reported Britney Spears fans prefer her to lip-sync—despite her denials of doing so (contradicted by her own director)—because they expect flawless digitalization when they pay serious money for a concert."^[209]

In Australia, NSW Fair Trading Minister Virginia Judge has advised disclaimers be printed on any ticket for concerts which contain any prerecorded vocals. She commented: "There could have been some instances where people actually go and purchase a ticket thinking that they're going to have a live performance ... for some people that means that everything is live, it's fresh, it happens instantaneously, it's not something that's been pre-recorded. You want to make sure that they're actually paying for what they think they're getting."^[211] Noting on the prevalence of lip-syncing, Los Angeles Daily News reported "in the context of a Britney Spears concert, does it really matter? Like a Vegas revue show, you don't go to hear the music, you go for the somewhat-ridiculous spectacle of it all".^[212] Similarly, Aline Mendelsohn of the Orlando Sentinel remarked: "Let's get one thing straight: A Britney Spears concert is not about the music ... you have to remember that it's about the sight, not the sound."^[213] Critic Glenn Gamboa comments her concert tours are "like her life—a massive money-making venture designed to play up her talents and distract from her shortcomings with a mix of techno-tinged sex appeal and disco-flavored flash. And, like her life, it is, more or less, a success.^[214]

Influences[link]

Madonna (left) and Janet Jackson (right) are Spears's two biggest influences.

Throughout her career, Spears has drawn frequent comparisons to Madonna and Janet Jackson, in terms of vocals, choreography and stage presence, citing both as influences in her work. She has also named Michael Jackson as a source of inspiration.^[215] According to Spears: "I know when I was younger, I looked up to people... like, you know, Janet Jackson and Madonna. And they were major inspirations for me. But I also had my own identity and I knew who I was, you know."^[216] In the 2002 book Madonnastyle by Carol Clerk, she is quoted saying: "I have been a huge fan of Madonna since I was a little girl. She's the person that I've really looked up to. I would really, really like to be a legend like Madonna."^[217]

Many critics have argued that Spears should not be considered in the same league of talent as Jackson or Madonna. Journalists Erika Montalvo and Jackie Sheppard of the Rocky Mountain Collegian observed "[s]ome may argue that Spears is not only a good recording artist but also an important cultural icon."^[218] However, in examining her level of skill as an artist, it is questioned that "[a]lthough she has been classified among female elites such as Janet Jackson and Madonna, what does Ms. Spears really have in common with these divas of rock?"^[218] Joan Anderman of The Boston Globe remarked that "[t]hirteen costume changes in 90 minutes won't bless her with Madonna's intelligence or cultural barometer. An army of cutting-edge R&B producers won't supply her with Janet Jackson's sense of humor or sincere smile ... Britney's heroes aren't great singers. But they're real singers. Spears sounds robotic, nearly inhuman, on her records, so processed is her voice by digital pitch-shifters and synthesizers."^[219]

Reporter Ed Bumgardner commented her transition from teen pop start to adult sex symbol with her third studio album Britney "takes its cues from two other successful performers—Madonna and Janet Jackson—both of whom she brazenly rips off and both of whom, like Spears, are passable singers, at best."^[220] Critic Shane Harrison wrote: "From the minimalist thump and "Nasty" feel of "I'm a Slave 4 U" to the scattered quotes in "Boys", [Britney] feels like [Spears's] attempt at 'Control'."^[215]

Citing Jackson's resolve to incorporate personal and social issues into her work and Madonna's ability to constantly redefine the boundaries of socially acceptable material in the industry, Spears's catalog ultimately pales in comparison, because "[w]hile Jackson and Madonna wrote their own music about subjects of importance, [Spears's] music sounds like an upbeat version of either, 'I want to grow up but the media won't let me,' or 'Here kitty, kitty, I'm wearing my underwear outside of my leather pants'-type ballads."^[218] In contrast, Guy Blackman argues that although "no one would argue that Spears is some kind of pioneering pop auteur, there’s still a lot to like about her back catalogue. During her world-conquering peak, she was just about as cutting edge as you could get in the world of global pop superstardom. Spears didn’t just work with big names, she gave big names their names, and maintained her high currency in the world’s most fickle industry for years, when most aspiring starlets are lucky to manage months."^[197]

After meeting Spears face to face, Janet Jackson stated: "she said to me, 'I'm such a big fan; I really admire you.' That's so flattering. Everyone gets inspiration from some place. And it's awesome to see someone else coming up who's dancing and singing, and seeing how all these kids relate to her. A lot of people put it down, but what she does is a positive thing."^[221] Madonna's respect for Spears has also been a subject of observation. Santiago Fouz-Hernández and Freya Jarman-Ivens, authors of Madonna's drowned worlds: new approaches to her cultural transformations, 1983-2003 (2004) note that the most well known cross-generational relationship exists between Spears and Madonna in which "the entertainment newsmedia almost became obsessed with their relationship of mutual admiration."^[222] The biographers also report "[s]ome observers of popular culture, however, feel that the comparisons between the two artist are meaningless and fail to recognize Madonna's unique contribution: Madonna was never 'just another pop star' whereas Britney can more easily be seen as a standard manufactured pop act."^[222]

Legacy[link]

Spears's star on the Hollywood Walk of Fame

Spears became an international pop culture icon immediately after launching her recording career. Rolling Stone magazine wrote: "One of the most controversial and successful female vocalists of the 21st century," she "spearheaded the rise of post-millennial teen pop ... Spears early on cultivated a mixture of innocence and experience that broke the bank".^[223] She is listed by the Guinness World Records as having the "Best-selling album by a teenage solo artist" for her debut album ...Baby One More Time which sold over thirteen million copies in the United States.^[224] Melissa Ruggieri of the Richmond Times-Dispatch reported, "She's also marked for being the best-selling teenage artist. Before she turned 20 in 2001, Spears sold more than 37 million albums worldwide".^[225] As of 2011, she has sold over 100 million albums worldwide, making her one of the best-selling music artists of all time.^[10] She was also ranked as the fourth VH1's "50 Greatest Women of the Video Era" show list, ahead of most of her contemporaries and only behind veterans like Madonna, Janet Jackson, and Whitney Houston.^[226] Spears is also recognized as the best-selling female artist of the first decade of the 21st century, as well as the fifth overall.^[7] In December 2009, Billboard magazine ranked Spears the 8th Artist of the 2000s decade in the United States.^[6]

Spears is also known for her iconic performances and music videos.^[227] The music video for her debut single, "...Baby One More Time", was ranked number one on TRL's Final Countdown of the most iconic music videos.^[228] On the 2000 MTV Video Music Awards, before performing "Oops!... I Did It Again", the singer appeared behind a backlit screen, and descended a spiral staircase and started performing "(I Can't Get No) Satisfaction", while wearing a tuxedo.^[229] After performing a shortened version of the track, she tore the tuxedo off, revealing a skin-tight flesh-coloured outfit.^[230] The following year, Spears performed her single "I'm a Slave 4 U". Jocelyn Vena of MTV summarized the performance, saying, "draping herself in a white python and slithering around a steamy garden setting – surrounded by dancers in zebra and tiger outfits – Spears created one of the most striking visuals in the 27-year history of the show."^[231] She also duetted "The Way You Make Me Feel" with pop singer Michael Jackson on his 30th anniversary concert a few days earlier.^[232] During the opening of the 2003 MTV Video Music Awards on August 27, 2003, Spears joined Madonna, Christina Aguilera, and Missy Elliott.^[233] Halfway through the performance, Madonna kissed Spears and Aguilera on the lips.^[234] The kiss between Spears and Madonna generated strong reaction from the media.^[235] This performance was listed by Blender magazine as one of the twenty-five sexiest music moments on television history.^[236] MTV listed the performance as the number-one opening moments in the history of MTV Video Music Awards.^[237] In 2011, Spears was honored with the MTV Video Vanguard Award, for having made a profound effect on the MTV culture.^[238]

Barbara Ellen of The Observer has reported: "Spears is famously one of the 'oldest' teenagers pop has ever produced, almost middle aged in terms of focus and determination. Many 19-year-olds haven't even started working by that age, whereas Britney, a former Mouseketeer, was that most unusual and volatile of American phenomena — a child with a full-time career. While other little girls were putting posters on their walls, Britney was wanting to be the poster on the wall. Whereas other children develop at their own pace, Britney was developing at a pace set by the ferociously competitive American entertainment industry".^[239] In 2011, Adam Markovitz of Entertainment Weekly commented on the cultural significance of Spears' voice and music. "We don't ask a whole lot from Britney Spears as an entertainer...we'll still send her straight up the charts simply because she's Britney. She's an American institution, as deeply sacred and messed up as pro wrestling or the filibuster. Musically, though, Spears will always have to measure up to her own gold standards of pop euphony: the operatic slither of 2004's 'Toxic' and the candied funk of 2000's 'Oops!...I Did It Again.' Spears is no technical singer, that's for sure. But backed by Martin and Dr. Luke's wall of pound, her vocals melt into a mix of babytalk coo and coital panting that is, in its own overprocessed way, just as iconic and propulsive as Michael Jackson's yips or Eminem's snarls."^[240] 'Britney Spears' was Yahoo!'s most popular search term between 2005 and 2008, and has been in a total of seven different years.^[241] Spears was named as Most Searched Person in the Guinness World Records book edition 2007 and 2009.^[242] She was later named as the most searched person of the decade 2000 - 2009.^[243] Spears is the most followed person on Google's social network, Google+. Reaching 100,000 in under two months of the sites launch, quadrupling the amount within 10 days. By November she had over 760,000 followers,^[244] and by the end of December 2011, Spears became the first person to reach over 1 million followers.^[245]

Spears has been cited as a musical inspiration by contemporary artists. Gwyneth Paltrow's character on 2010 drama film Country Strong was inspired on the singer's public meltdown. According to film director Shana Fest, "that's where this movie came from. I mean, I was seeing what was happening in the media to Britney Spears. I think it's tragic how we treat people who give us so much, and we love to see them knocked down to build them back up again, to knock them down again."^[246] Nicki Minaj has cited Spears as a major influence on her career, and commented, "the fact that she came back out with just so much fire inspires me, and it inspires young women and people all over the world. It just inspires you. A lot of my fans feel like they are the underdog and feel like they are the people who aren’t ever accepted for themselves, or who are laughed at or poked fun at forever. It just goes to show that once you keep at whatever it is you’re doing, people may not like you, people may not love you, but they will have to respect you at the end of the day. And that respect is all that matters."^[247] Lana Del Rey revealed that she is compelled by Spears in an interview with MTV, saying, "I'm not really interested in a ton of female musicians but there is something about Britney that compelled me – the way she sings and just the way she looks."^[248] Del Rey also said that the "Toxic" music video is a main inspiration of her work.^[249] During the 2011 MTV Video Music Awards, Lady Gaga said that Spears "taught us all how to be fearless, and the industry wouldn't be the same without her."^[238] Miley Cyrus credits Spears as her biggest inspiration, and has referenced the singer in her hit song "Party in the U.S.A." (2009).^[250][251] Spears' personal breakdown was also cited as an inspiration for Barry Manilow's album "15 Minutes".^[252]

Spears has also become a major influence among many new artists, including Demi Lovato,^[253] Katy Perry,^[253] Kristinia DeBarge,^[254] Little Boots,^[255] Marina and the Diamonds,^[256] Pixie Lott,^[257] and Selena Gomez & the Scene.^[258] In 2007, Beyoncé Knowles also expressed her love for Spears in an interview with TRL Italy, saying, "I love Britney, I'm a fan of hers. I like her new album ['Blackout']."^[259] Fergie of The Black Eyed Peas revealed to The Hollywood Reporter that she was happy with Spears' return to the music industry, and continued, "It's amazing. For this many years being in the business, and everything she's been through, it's wonderful to see her make this huge of a comeback. Really, it's a beautiful thing."^[260] Simon Cowell explained that he is "fascinated by [Britney]. The fact that she’s one of the most talked about – not just pop stars – but people in the world today, means that you’ve got this star power. [...] She’s still hot, she’s still having hit records and she’s still controversial, there’s a reason for that."^[182] Bebo Norman wrote a song about Spears, called "Britney", which was released as a single. Boy band Busted also wrote a song about Spears called "Britney", which was on their debut album. South Korean KPop singer, BoA has also spoken of love and Spears' influence on her. First meeting in 2003 while Spears was promoting "In The Zone" - Britney would later provide a writing credit to the song, Look Who's Talking, on BoA's eponymous debut English album. Spears' version of the song leaked in 2012.^[261][262] Richard Cheese called Britney Spears "a remarkable recording artist" and also went on to say that she was "versatile" and what the industry calls an "artist". People magazine and MTV reported that October 1, 2008, the Bronx's John Philip Sousa Middle School, named their music studio in honor of Britney Spears.^[263] Spears herself was present during the ceremony and donated $10,000 to the school's music program.^[264]

Personal life[link]

In 1998, Spears entered a relationship with fellow pop singer Justin Timberlake, with whom she had worked on the New Mickey Mouse Club in 1993 and 1994. The relationship ended abruptly in March 2002 after reports of infidelity, however, both parties stated that the split was due to "conflicting schedules".^[265] The breakup influenced the lyrics and themes of their songs, "Everytime" and "Cry Me a River." In June 2011, Timberlake stated that he had not spoken with Spears in 9 years, and that their relationship had no chance of surviving the long term.^[266] On January 3, 2004, Spears married childhood friend Jason Alexander at The Little White Wedding Chapel in Las Vegas. The marriage was annulled 55 hours later, Spears stating she "lacked understanding of her actions to the extent that she was incapable of agreeing to the marriage".^[72]

In July 2004, she announced her engagement to American dancer, Kevin Federline, whom she had met three months before. The initial stages of their relationship were chronicled in Spears's first reality show Britney & Kevin: Chaotic, and received intense media attention. They held a wedding ceremony on September 18, 2004, but were not legally married until three weeks later on October 6, 2004 due to a delay finalizing the couple's prenuptial agreement.^[76] With Federline, Spears had two children, sons, Sean Preston Federline, on September 14, 2005, and Jayden James Federline, on September 12, 2006.^[85][89] She filed for divorce from Federline on November 7, 2006, citing irreconcilable differences.^[90] Their divorce was finalized in July 2007, when the couple reached a settlement and agreed to share joint custody of their children.^[91] However, due to Spears' erratic behavior (including her shaving her head bald).^[267]in the following year, she lost physical custody of her children to Federline on October 1, 2007. The reasons of the court ruling were not revealed to the public.^[95] After a visit with her children on the night of January 3, 2008, Spears refused to give up her sons to Federline's representatives and locked herself in a bathroom. She was hospitalized at Cedars-Sinai Medical Center, after police that arrived at her house noted she appeared to be under the influence of an illicit substance. The following day, Spears's visitation rights were suspended at an emergency court hearing, and Federline was given sole physical and legal custody of the children. On January 31, 2008, Spears was, again, committed to the psychiatric ward of Ronald Reagan UCLA Medical Center and put on 5150 involuntary psychiatric hold. The court placed her under temporary conservatorship of her father, James Spears, giving him complete control of her assets.^[21] In July 2008, Spears regained some visitation rights after coming to an agreement with Federline and his counsel.^[113] And in September 2009, Spears and Federline agreed on sharing 50/50 of the children^[268]