Cut (music)

In African American music, a cut "overtly insists on the repetitive nature of the music, by abruptly skipping it back to another beginning which we have already heard. Moreover, the greater the insistence on the pure beauty and value of repetition, the greater the awareness must also be that repetition takes place not on the level of musical development or progression, but on the purest tonal and timbric level" (Snead 1984, p.69, drawing on Chernoff 1979).

David Brackett (2000, p.118) describes the cut, repetition on the level of the beat, ostinato, and the harmonic sequence, as what makes improvisation possible. In a cut repetition is not considered accumulation. "Progress in the sense of 'avoidance of repetition' would at once sabotage such an effort" (Snead 1984, p.68).

Brackett (ibid) finds the cut in all African American folk and popular music "from ring to rap" and lists the blues (AAB), "Rhythm" changes in jazz, the AABA form of bebop, the ostinato vamps at the end of gospel songs allowing improvisation and a rise in energy, short ostinatos of funk which spread that intensity throughout the song, samples in rap, the last of which cuts on two levels, the repetition of the sample itself and its intertexual repetition.

Cut and fill

In earthmoving, cut and fill is the process of constructing a railway, road or canal whereby the amount of material from cuts roughly matches the amount of fill needed to make nearby embankments, so minimizing the amount of construction labor.

Overview

Cut slopes are rarely created greater than a slope of two to one (horizontal to vertical dimensions). Cut sections of roadway or rail are characterized by the roadway being lower in elevation than the surrounding terrain. From an operational standpoint there are unique environmental effects associated with cut sections of roadway. For example, air pollutants can concentrate in the ‘'valleys'‘ created by the cut section. Conversely, noise pollution is mitigated by cut sections since an effective blockage of line of sight sound propagation is created by the depressed roadway design.

Fill section

Fill sections manifest as elevated sections of a roadway or trackbed. Environmental effects of fill sections are typically favorable with respect to air pollution dispersal, but in the matter of sound propagation, exposure of nearby residents is generally increased, since sound walls and other forms of sound path blockage are less effective in this geometry.

Cut (Hunters and Collectors album)

Cut is the seventh studio album by Australian rock band, Hunters & Collectors. It was mostly produced by American Don Gehman with the group and issued by White Label/Mushroom on 5 October 1992. It reached No. 6 on the ARIA Albums Chart and No. 17 on the New Zealand Albums Chart. The band were nominated for Best Group at the 1992 ARIA Music Awards and Album of the Year for Cut in the following year.

"Where Do You Go" was co-produced with Nick Sansano and released as a single in September 1991, prior to commencing the rest of the album with Gehman, but it was included on Cut. Subsequent singles were "Head Above Water" (July 1992), "We the People" (September), "True Tears of Joy" (November), "Holy Grail" (March 1993) and "Imaginary Girl" (August), all appeared on the ARIA Singles Chart Top 100.

Background

Hunters & Collectors' seventh studio album, Cut, was recorded from late 1991 and into 1992. The line-up of the group was John Archer on bass guitar; Doug Falconer on drums, backing vocals, programming, percussion and tape loops; Jack Howard on trumpet, keyboards and backing vocals; Robert Miles on live sound and art design; Barry Palmer on lead guitar; Mark Seymour on lead vocals and guitar,; Jeremy Smith on French horn, keyboards, guitars and backing vocals; and Michael Waters on keyboards and trombone.

Short (crater)

Short is a lunar impact crater that is located in the southern regions of the Moon, on the near side. It lies just to the south of the larger, prominent crater Moretus, and northeast of Newton.

This crater lies across an older crater designated Short B. Only the eroded southeastern section of the rim of Short B still survives. There is a cluster of small craters attached to the outer rim within the attached Short B.

Short itself is an eroded formation with a somewhat uneven outer rim. The inner wall is more narrow to the southeast and wider elsewhere. Several tiny craterlets lie along the rim edge, as well as the inner wall and floor. At the midpoint of the interior floor of Short is a low central rise. A small crater lies along the northeast edge of this hill.

Satellite craters

By convention these features are identified on lunar maps by placing the letter on the side of the crater midpoint that is closest to Short.

References

Short Admiralty Type 74

The Short Admiralty Type 74 was a single-engined biplane tractor seaplane with non-folding wings, which saw service with the Royal Naval Air Service during the First World War.

Design and development

The Type 74 incorporated some of the innovations Horace Short had introduced on the Short Admiralty Type 42, including manganese-steel tube struts instead of wood. In addition to the two main rubber-sprung floats below the fuselage and the single tail float, it also had smaller floats attached below the tips of the lower wing. Ailerons were mounted on the upper wing only, the latter extending beyond the span of the lower wing. The extensions were braced by diagonal struts to the lower wing-tips.

Since it was intended for use as a coastal patrol seaplane operating from coastal stations, there was no requirement for the Type 74 to have folding wings.

The Type 74 was powered by a 100 hp (74.6 kW) Gnome double Omega engine, which provided a maximum flight duration of 5 hours.

Short Type 184

The Short Admiralty Type 184, often called the Short 225 after the power rating of the engine first fitted, was a British two-seat reconnaissance, bombing and torpedo carrying folding-wing seaplane designed by Horace Short of Short Brothers. It was first flown in 1915 and remained in service until after the armistice in 1918. A Short 184 was the first aircraft to sink a ship using a torpedo, and another was the only British aircraft to take part in the Battle of Jutland.

Design and development

Torpedo-dropping trials had been undertaken using a 160 hp (120 kW) Gnome powered Short Admiralty Type 166 but this had proved insufficiently powerful, and so in September 1914 a new specification was formulated for an aircraft to be powered by the 225 hp (168 kW) Sunbeam Mohawk engine currently being developed. Design proposals were invited from Sopwith, J. Samuel White and Short Brothers. Horace Short's response when the requirements were explained him by Murray Sueter, the director of the naval air department, was to say "Well, if you particularly want this done, I will produce a seaplane that will satisfy you", and on the strength of this assurance two prototypes were ordered, for which serial nos. 184 and 185 were reserved, the resultant type so becoming the Type 184.

Joy (Steven Curtis Chapman album)

Joy (stylized JOY) is a holiday studio album by contemporary Christian musician Steven Curtis Chapman. His fourth Christmas album, it has seen commercial charting success, and garnered generally positive reviews from music critics.

History

Released on October 16, 2012,Joy is Chapman's first release with Reunion Records. It is one of several Christmas albums that Chapman has done over the past few years. The album was produced by Chapman and Brent Milligan. The African Children's Choir performs on several tracks.

The cover album cover is intended to convey a 1950s styling that characterizes a number of the songs.

Music and lyrics

Seven of the album's 13 tracks are renderings of traditional Christmas carols such as "Joy to the World" and "We Three Kings" as well as popular modern Christmas songs such as "Let It Snow! Let It Snow! Let It Snow!" and "Do You Hear What I Hear?". Chapman employs a full range of orchestration and his "trademark acoustic/pop sound" on these songs, and shows his versatility for a variety of musical arrangements on his own original compositions, including a piano ballad, slow jazz tune, and 1950s-style rockabilly.