In musical terminology, tempo (Italian for 'time'; plural 'tempos', or tempi from the Italian plural), measured in beats per minute, is the speed or pace of a given composition, and is often also an indication of the composition's character or atmosphere. In classical music, tempo is typically indicated with an instruction at the start of a piece (often using conventional Italian terms) and, if a specific metrical pace is desired, is usually measured in beats per minute (bpm or BPM). In modern classical compositions, a "metronome mark" in beats per minute, indicating only measured speed and not any form of expression, may supplement or replace the normal tempo marking, while in modern genres like electronic dance music, tempo will typically simply be stated in bpm. Tempo (the underlying pulse of the music) is one of the three factors that give a piece of music its texture. The others are meter, which is indicated by a time signature, and articulation, which determines how each note is sounded and how notes are grouped into larger units. While the ability to hold a steady tempo is a vital skill for a musical performer, tempo is malleable. Depending on the genre of a piece of music and the performers' interpretation, a piece may be played with slight variations in tempo, known as tempo rubato, or significant variations. In ensembles, the tempo is often maintained by having players synchronise with a conductor or with a specific instrumentalist, for instance the first violin or the drummer.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

"Sheep may safely graze" (German: Schafe können sicher weiden) is a soprano aria by Johann Sebastian Bach to words by Salomon Franck. The piece was written in 1713 and is part of the cantata Was mir behagt, ist nur die muntre Jagd, BWV 208 (Only the lively hunt pleases me), also known as the Hunting Cantata. Like Bach's "Jesu, Joy of Man's Desiring", "Sheep may safely graze" is frequently played at weddings. However, the cantata BWV 208 was originally written for a birthday celebration of Christian, Duke of Saxe-Weissenfels. Bach was based at the nearby court of Weimar, and musicians from both courts appear to have joined in the first performance in Weißenfels. Bach is known to have used the music again for other celebrations, but it remained unpublished until after his death.

"Sheep may safely graze" (German: Schafe können sicher weiden) is a soprano aria by Johann Sebastian Bach to words by Salomon Franck. The piece was written in 1713 and is part of the cantata Was mir behagt, ist nur die muntre Jagd, BWV 208 (Only the lively hunt pleases me), also known as the Hunting Cantata. Like Bach's "Jesu, Joy of Man's Desiring", "Sheep may safely graze" is frequently played at weddings. However, the cantata BWV 208 was originally written for a birthday celebration of Christian, Duke of Saxe-Weissenfels. Bach was based at the nearby court of Weimar, and musicians from both courts appear to have joined in the first performance in Weißenfels. Bach is known to have used the music again for other celebrations, but it remained unpublished until after his death.

Holliday Clark Grainger (born 27 March 1988), also credited as Holly Grainger, is an English screen and stage actress. Some of her prominent roles are Kate Beckett in the BAFTA award-winning children's series Roger and the Rottentrolls, Lucrezia Borgia in the Showtime series The Borgias, Robin Ellacott in the BBC One crime drama Strike, Rachel Carey in the Peacock/BBC One conspiracy thriller The Capture, and Estella in Mike Newell's 2012 film adaptation of Charles Dickens' 1861 novel Great Expectations.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Colonial Song is a musical composition written by Australian composer Percy Grainger. Although Grainger created versions for different types of musical ensembles, its most commonly used version today is for concert band.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Tulip Fever is a 2017 historical romantic drama film directed by Justin Chadwick and written by Deborah Moggach and Tom Stoppard, adapted from Moggach's 1999 novel of the same name. It stars an ensemble cast featuring Alicia Vikander, Dane DeHaan, Jack O'Connell, Holliday Grainger, Tom Hollander, Matthew Morrison, Kevin McKidd, Douglas Hodge, Joanna Scanlan, Zach Galifianakis, Judi Dench, and Christoph Waltz. The plot follows a 17th-century "Tulip mania" painter in Amsterdam who falls in love with a married woman whose portrait he has been commissioned to paint. Filmed in the summer of 2014, Tulip Fever was delayed numerous times before finally being released in the United States on 1 September 2017. It received generally unfavourable reviews from critics and grossed $9 million worldwide against its $25 million budget. This was also the last film to be theatrically released by The Weinstein Company, which filed for bankruptcy following a series of sexual assault cases against co-founder Harvey Weinstein.

Porgy and Bess ( PORG-ee) is an English-language opera by American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin. It was adapted from Dorothy Heyward and DuBose Heyward's play Porgy, itself an adaptation of DuBose Heyward's 1925 novel Porgy. Porgy and Bess was first performed in Boston on September 30, 1935, before it moved to Broadway in New York City. It featured a cast of classically trained African-American singers—a daring artistic choice at the time. A 1976 Houston Grand Opera production gained it a renewed popularity, and it is now one of the best known and most frequently performed operas. The libretto of Porgy and Bess tells the story of Porgy, a disabled black street beggar living in the slums of Charleston. It deals with his attempts to rescue Bess from the clutches of Crown, her violent and possessive lover, and Sportin' Life, her drug dealer. The opera plot generally follows the stage play. In the years following Gershwin's death, Porgy and Bess was adapted for smaller-scale performances. It was adapted as a film in 1959. Some of the songs in the opera, such as "Summertime", became popular and are frequently recorded. In the late 20th and early 21st centuries, the trend has been toward productions with greater fidelity to Gershwin's original intentions, though smaller-scale productions also continue to be mounted. A complete recorded version of the score was released in 1976; since then, it has been recorded several times.

This is a list of Private Passions episodes from 2020 to present. It does not include repeated episodes or compilations.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Elastic scoring is a style of orchestration or music arrangement that uses interchangeable parts, allowing for various groups of instrumentalists or vocalists to perform a piece of music. This style was first used by the Australian composer Percy Grainger (1882–1961). The South African composer Michael Blake (born 1951) also used it for some of his works.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

In a Nutshell is a musical composition by Percy Aldridge Grainger for orchestra, piano, and Deagan percussion instruments. The suite, published in 1916, is made up of four movements: "Arrival Platform Humlet", "Gay But Wistful", "Pastoral", and "The Gum-Suckers March". Grainger later made versions for both solo piano and piano duo. It is described as one of the early modernist works of Grainger. It premiered on 8 June 1916 at the summer Norfolk Festival, with Grainger on piano, under conductor Arthur Mees. Other early performances were made by the San Francisco Symphony, New York Philharmonic, Philadelphia Orchestra, and the Minneapolis Symphony Orchestra in the following winter.

"Oh Shenandoah" (also called "Shenandoah", "Across the Wide Missouri", "Rolling River", "Oh, My Rolling River", "World of Misery") is a traditional folk song, sung in the Americas, of uncertain origin, dating to the early 19th century. The song "Shenandoah" appears to have originated with American and Canadian voyageurs or fur traders traveling down the Missouri River in canoes and has developed several different sets of lyrics. Some lyrics refer to the Oneida chief Shenandoah and a canoe-going trader who wants to marry his daughter. By the mid 1800s versions of the song had become a sea shanty heard or sung by sailors in various parts of the world. The song is number 324 in the Roud Folk Song Index. Other variations (due to the influence of its oral dispersion among different regions) include the Caribbean (St. Vincent) version, "World of Misery", referring not to an "Indian princess" but to "the white mullata".

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

In Dahomey: A Negro Musical Comedy is a landmark 1903 American musical comedy described by theatre historian Gerald Bordman as "the first full-length musical written and played by blacks to be performed at a major Broadway house." It features music by Will Marion Cook, book by Jesse A. Shipp, and lyrics by poet Paul Laurence Dunbar. It was written by Jesse A. Shipp as a satire on the American Colonization Society's back-to-Africa movement of the earlier nineteenth century. In Dahomey is regarded as a marquee turning point for African-American representation in vaudeville theater. It opened on February 18, 1903, at the New York Theatre, starring George Walker and Bert Williams, two iconic figures of vaudeville entertainment at the time. The musical ran for 53 completed performances and had two tours in the United States and one tour of the United Kingdom. In total, In Dahomey ran for a combined four years.

The "Londonderry Air" is an Irish air (folk tune) that originated in County Londonderry, first recorded in the nineteenth century. The tune is played as the victory sporting anthem of Northern Ireland at the Commonwealth Games. The song "Danny Boy" written by English lawyer Fred Weatherly uses the tune, with a set of lyrics written in the early 20th century.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

The Piano Sonata No. 2 in B♭ minor, Op. 35, is a piano sonata in four movements by Polish composer Frédéric Chopin. Chopin completed the work while living in George Sand's manor in Nohant, some 250 km (160 mi) south of Paris, a year before it was published in 1840. The first of the composer's three mature sonatas (the others being the Piano Sonata No. 3 in B minor, Op. 58 and the Sonata for Piano and Cello in G minor, Op. 65), the work is considered to be one of the greatest piano sonatas of the literature. The third movement of the Piano Sonata No. 2 is Chopin's famous funeral march (French: Marche funèbre; Polish: Marsz żałobny) which was composed at least two years before the remainder of the work and has remained, by itself, one of Chopin's most popular compositions. The Piano Sonata No. 2 carries allusions and reminiscences of music by J. S. Bach and by Ludwig van Beethoven; Beethoven's Piano Sonata No. 12 also has a funeral march as its third movement. A typical performance of Chopin's second sonata lasts between 21 and 25 minutes, depending on whether the repetition of the first movement's exposition is observed. While the Piano Sonata No. 2 gained instant popularity with the public, critical reception was initially more doubtful. Robert Schumann, among other critics, argued that the work was structurally inferior and that Chopin "could not quite handle sonata form", a criticism that did not withstand time. The work has been recorded by numerous pianists and is regularly programmed in concerts and piano competitions. The Marche funèbre exists in countless arrangements and has been performed at funerals all over the world (including Chopin's own), having become an archetypal evocation of death.

String piano is a term coined by American composer-theorist Henry Cowell (1897–1965) to collectively describe pianistic extended techniques in which sound is produced by direct manipulation of the strings, instead of or in addition to striking the piano's keys. Pioneered by Cowell in the 1920s, such techniques are now often called upon in the works of avant-garde classical music composers.

"The Knight and the Shepherd’s Daughter" is an English ballad, collected by Francis James Child as Child Ballad 110 and listed as number 67 in the Roud Folk Song Index.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The Second Suite in F for Military Band (Op. 28, No. 2) is Gustav Holst's second of his two suites for concert band. Although performed less frequently than the First Suite in E♭, it is still a staple of the band repertoire. The Second Suite, written in 1911 and first published in 1922, dedicated to James Causley Windram, is longer and considered more difficult to play than its sister suite. During Holst's earlier years as a composer, he took interest (as did many composers at the time) in folk music, and wrote many pieces based on folk tunes. He provided piano accompaniments in 1909 to 16 songs collected by George Gardiner for publication in 'Folk Songs from Hampshire', a volume in Cecil Sharp's County Songs series. He was taken with them and incorporated several into this suite (he later made choral arrangements of several, including ones he had already used in the suite). His contemporary and friend Ralph Vaughan Williams later based his own Folk Song Suite on English folk tunes. Seven traditional tunes are compressed into the four movements of Holst's suite. Percy Grainger preceded them both by a few years with his interest in Lincolnshire folk singers but didn't get around to writing his band arrangement called Lincolnshire Posy until 1937 on the invitation of the American Band Masters Association for their convention in Milwaukee. There have been several editions of the work, most recently by Boosey & Hawkes (1984), edited by Colin Mathews, and by Ludwig/Masters (2006), edited by Frederick Fennell. In the 1940s, Gordon Jacob arranged it for full orchestra under the title "A Hampshire Suite".

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

"My Robin is to the greenwood gone" or "Bonny Sweet Robin" is an English popular tune from the Renaissance. The earliest extant score of the ballad appears in William Ballet's Lute Book (c. 1600) as "Robin Hood is to the greenwood gone". References to the song can be dated back to 1586, in a letter from Sir Walter Raleigh to Robert Dudley, 1st Earl of Leicester saying "The Queen is in very good terms with you now, and, thanks be to God, will be pacified, and you are again her Sweet Robin." Although the words have been lost, it is suspected that the character Ophelia, who is specified in the First Quarto version of Hamlet to be a lutenist, sings the last line of the tune ("For bonny sweet Robin is all my joy") during her madness (Hamlet 4.5/210). Some scholars believe that Shakespeare's choice of the song was meant to invoke phallic symbolism.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

A sea shanty, shanty, chantey, or chanty () is a genre of traditional folk song that was once commonly sung as a work song to accompany rhythmical labor aboard large merchant sailing vessels. The term shanty most accurately refers to a specific style of work song belonging to this historical repertoire. However, in recent, popular usage, the scope of its definition is sometimes expanded to admit a wider range of repertoire and characteristics, or to refer to a "maritime work song" in general. From Latin cantare via French chanter, the word shanty emerged in the mid-19th century in reference to an appreciably distinct genre of work song, developed especially on merchant vessels, that had come to prominence in the decades prior to the American Civil War. Shanty songs functioned to synchronize and thereby optimize labor, in what had then become larger vessels having smaller crews and operating on stricter schedules. The practice of singing shanties eventually became ubiquitous internationally and throughout the era of wind-driven packet and clipper ships. Shanties had antecedents in the working chants of British and other national maritime traditions, such as those sung while manually loading vessels with cotton in ports of the southern United States. Shanty repertoire borrowed from the contemporary popular music enjoyed by sailors, including minstrel music, popular marches, and land-based folk songs, which were then adapted to suit musical forms matching the various labor tasks required to operate a sailing ship. Such tasks, which usually required a coordinated group effort in either a pulling or pushing action, included weighing anchor and setting sail. The shanty genre was typified by flexible lyrical forms, which in practice provided for much improvisation and the ability to lengthen or shorten a song to match the circumstances. Its hallmark was call and response, performed between a soloist and the rest of the workers in chorus. The leader, called the shantyman, was appreciated for his piquant language, lyrical wit, and strong voice. Shanties were sung without instrumental accompaniment and, historically speaking, they were only sung in work-based rather than entertainment-oriented contexts. Although most prominent in English, shanties have been created in or translated into other European languages. The switch to steam-powered ships and the use of machines for shipboard tasks by the end of the 19th century meant that shanties gradually ceased to serve a practical function. Their use as work songs became negligible in the first half of the 20th century. Information about shanties was preserved by veteran sailors and folklorist song-collectors, and their written and audio-recorded work provided resources that would later support a revival in singing shanties as a land-based leisure activity. Commercial musical recordings, popular literature, and other media, especially since the 1920s, have inspired interest in shanties among non-sailors. Contemporary performances of these songs range from the "traditional" style of maritime music to various modern music genres.

The Nutcracker (Russian: Щелкунчик, romanized: Shchelkunchik, pronounced [ɕːɪɫˈkunʲt͡ɕɪk] ), Op. 71, is an 1892 two-act classical ballet (conceived as a ballet-féerie; Russian: балет-феерия, romanized: balet-feyeriya) by Pyotr Ilyich Tchaikovsky, set on Christmas Eve at the foot of a Christmas tree in a child's imagination featuring a Nutcracker doll. The plot is an adaptation of Alexandre Dumas's 1844 short story The Tale of a Nutcracker, itself a retelling of E. T. A. Hoffmann's 1816 short story The Nutcracker and the Mouse King. The ballet's first choreographer was Marius Petipa, with whom Tchaikovsky had worked three years earlier on The Sleeping Beauty, assisted by Lev Ivanov. Although the complete and staged The Nutcracker ballet was not initially as successful as the 20-minute Nutcracker Suite that Tchaikovsky had premiered nine months earlier, it became popular in later years. Since the late 1960s, The Nutcracker has been danced by many ballet companies, especially in North America. Major American ballet companies generate around 40% of their annual ticket revenues from performances of the ballet. Its score has been used in several film adaptations of Hoffmann's story. Tchaikovsky's score has become one of his most famous compositions. Among other things, the score is noted for its use of the celesta, an instrument the composer had already employed in his much lesser known symphonic ballad The Voyevoda (1891).

The Treaty of Amiens (French: la paix d'Amiens, lit. 'the peace of Amiens') temporarily ended hostilities between France, the Spanish Empire, and the United Kingdom at the end of the War of the Second Coalition. It marked the end of the French Revolutionary Wars; after a short peace it set the stage for the Napoleonic Wars. Britain gave up most of its recent conquests; France was to evacuate Naples and Egypt. Britain retained Ceylon (now Sri Lanka) and Trinidad. It was signed in the Hôtel de Ville (City Hall) of Amiens on 25 March 1802 (4 Germinal X in the French Revolutionary calendar) by Joseph Bonaparte and Charles Cornwallis, 1st Marquess Cornwallis as a "Definitive Treaty of Peace". The consequent peace lasted only one year (18 May 1803) and was the only period of general peace in Europe between 1793 and 1814. Under the treaty, Britain recognised the French Republic. Together with the Treaty of Lunéville (1801), the Treaty of Amiens marked the end of the Second Coalition, which had waged war against Revolutionary France since its 1798 invasion of Egypt.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

"A Sailor’s Life" (Roud 273; Laws K12) is an English language folk song which describes the attempt of a young woman to find her lover, a sailor. Eventually she hears that he has drowned and mourns him.

The British folk revival incorporates a number of movements for the collection, preservation and performance of folk music in the United Kingdom and related territories and countries, which had origins as early as the 18th century. It is particularly associated with two movements, usually referred to as the first and second revivals, respectively in the late 19th to early 20th centuries and the mid-20th century. The first included increased interest in and study of traditional folk music, the second was a part of the birth of contemporary folk music. These had a profound impact on the development of British classical music and in the creation of a "national" or "pastoral" school and led to the creation of a sub-culture of folk clubs and folk festivals as well as influential subgenres including progressive folk music and British folk rock.

The British folk revival incorporates a number of movements for the collection, preservation and performance of folk music in the United Kingdom and related territories and countries, which had origins as early as the 18th century. It is particularly associated with two movements, usually referred to as the first and second revivals, respectively in the late 19th to early 20th centuries and the mid-20th century. The first included increased interest in and study of traditional folk music, the second was a part of the birth of contemporary folk music. These had a profound impact on the development of British classical music and in the creation of a "national" or "pastoral" school and led to the creation of a sub-culture of folk clubs and folk festivals as well as influential subgenres including progressive folk music and British folk rock.

The Virginian (renamed The Men from Shiloh in its final year) is an American Western television series starring James Drury in the title role, along with Doug McClure and Lee J. Cobb, originally broadcast on NBC from 1962 to 1971, for a total of 249 episodes. Drury had played the same role in 1958 in an unsuccessful pilot that became an episode of the NBC summer series Decision. Filmed in color, The Virginian became television's first 90-minute Western series (75 minutes excluding commercial breaks). Cobb left the series after four seasons, and was replaced over the years by mature character actors John Dehner, Charles Bickford, John McIntire, and Stewart Granger, all portraying different characters. It was set before Wyoming became a state in 1890, as mentioned several times as Wyoming Territory, although other references set it later, around 1898. The series was loosely based on The Virginian: Horseman of the Plains, a 1902 Western novel by Owen Wister that Hollywood had previously adapted for movies. Percy Faith composed the show's original theme. The series ran for nine seasons, making it network television's third-longest running Western series, behind Bonanza at 14 seasons and 432 episodes, and Gunsmoke at 20 seasons and 635 episodes.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Spoon River Anthology is a 1915 collection of short free verse poems by Edgar Lee Masters. The poems collectively narrate the epitaphs of the residents of Spoon River, a fictional small town named after the Spoon River, which ran near Masters's home town of Lewistown, Illinois. The aim of the poems is to demystify rural and small town American life. The collection includes 212 separate characters, in all providing 244 accounts of their lives, losses, and manners of death. Many of the poems contain cross-references that create a candid tapestry of the community. The poems originally were published in 1914 in the St. Louis, Missouri, literary journal Reedy's Mirror, under the pseudonym Webster Ford.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

"William Taylor" (Roud 158, Laws N11) is a British folk song, often collected from traditional singers in England, less so in Scotland, Ireland, Canada and the USA. It tells the story of a young woman who adopts male dress and becomes a sailor (or sometimes a soldier) in order to search for her lover. Other names include Billy Taylor, Brisk Young Seamen, Bold William Taylor, Down By the Seashore, The False Lover, The Female Lieutenant; Or, Faithless Lover Rewarded, If You'll Get Up Early in the Morning, The Life and Death of Billy Taylor, My Love, Poor William Taylor, Sally Brown and William Taylor, and Young Billy Taylor.

The Bondsman is an American action horror television series created by Grainger David for Amazon Prime Video. The series premiered on April 3, 2025. In May 2025, the series was canceled after one season.

Kevin John Bowyer (; born 9 January 1961) is an English organist, known for his prolific recording and recital career and his performances of modern and extremely difficult compositions.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The folk music of England is a tradition-based music which has existed since the later medieval period. It is often contrasted with courtly, classical and later commercial music. Folk music traditionally was preserved and passed on orally within communities, but print and subsequently audio recordings have since become the primary means of transmission. The term is used to refer both to English traditional music and music composed or delivered in a traditional style. There are distinct regional and local variations in content and style, particularly in areas more removed from the most prominent English cities, as in Northumbria, or the West Country. Cultural interchange and processes of migration mean that English folk music, although in many ways distinctive, has significant crossovers with the music of Scotland. When English communities migrated to the United States, Canada and Australia, they brought their folk traditions with them, and many of the songs were preserved by immigrant communities. English folk music has produced or contributed to several cultural phenomena, including sea shanties, jigs, hornpipes and the music for Morris dancing. It has also interacted with other musical traditions, particularly classical and rock music, influencing musical styles and producing musical fusions, such as British folk rock, folk punk and folk metal. There remains a flourishing sub-culture of English folk music, which continues to influence other genres and occasionally gains mainstream attention.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The folk music of England is a tradition-based music which has existed since the later medieval period. It is often contrasted with courtly, classical and later commercial music. Folk music traditionally was preserved and passed on orally within communities, but print and subsequently audio recordings have since become the primary means of transmission. The term is used to refer both to English traditional music and music composed or delivered in a traditional style. There are distinct regional and local variations in content and style, particularly in areas more removed from the most prominent English cities, as in Northumbria, or the West Country. Cultural interchange and processes of migration mean that English folk music, although in many ways distinctive, has significant crossovers with the music of Scotland. When English communities migrated to the United States, Canada and Australia, they brought their folk traditions with them, and many of the songs were preserved by immigrant communities. English folk music has produced or contributed to several cultural phenomena, including sea shanties, jigs, hornpipes and the music for Morris dancing. It has also interacted with other musical traditions, particularly classical and rock music, influencing musical styles and producing musical fusions, such as British folk rock, folk punk and folk metal. There remains a flourishing sub-culture of English folk music, which continues to influence other genres and occasionally gains mainstream attention.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

Sergei Vasilyevich Rachmaninoff (1 April [O.S. 20 March] 1873 – 28 March 1943) was a Russian composer, virtuoso pianist, and conductor. Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music. Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom notable for its song-like melodicism, expressiveness, dense contrapuntal textures, and rich orchestral colours. The piano is featured prominently in Rachmaninoff's compositional output and he used his skills as a performer to fully explore the expressive and technical possibilities of the instrument. Born into a musical family, Rachmaninoff began learning the piano at the age of four. He studied piano and composition at the Moscow Conservatory, from which he graduated in 1892, having already written several compositions. In 1897, following the disastrous premiere of his Symphony No. 1, Rachmaninoff entered a four-year depression and composed little, until supportive therapy allowed him to complete his well-received Piano Concerto No. 2 in 1901. Rachmaninoff went on to become conductor of the Bolshoi Theatre from 1904 to 1906, and relocated to Dresden, Germany, in 1906. He later embarked upon his first tour of the United States as a concert pianist in 1909. After the Russian Revolution, Rachmaninoff and his family left Russia permanently, settling in New York in 1918. Following this, he spent most of his time touring as a pianist in the US and Europe, from 1932 onwards spending his summers at his villa in Switzerland. During this time, Rachmaninoff's primary occupation was performing, and his compositional output decreased significantly, completing just six works after leaving Russia. By 1942, his declining health led him to move to Beverly Hills, California, where he died from melanoma in 1943.

Folk music is a music genre that includes traditional folk music and the contemporary genre that evolved from the former during the 20th-century folk revival. Some types of folk music may be called world music. Traditional folk music has been defined in several ways: as music transmitted orally, music with unknown composers, music that is played on traditional instruments, music about cultural or national identity, music that changes between generations (folk process), music associated with a people's folklore, or music performed by custom over a long period of time. It has been contrasted with commercial and classical styles. The term originated in the 19th century, but folk music extends beyond that. Starting in the mid-20th century, a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times, but the term folk music has typically not been applied to the new music created during those revivals. This type of folk music also includes fusion genres such as folk rock, folk metal, and others. While contemporary folk music is a genre generally distinct from traditional folk music, in U.S. English it shares the same name, and it often shares the same performers and venues as traditional folk music.

The tiger (Panthera tigris) is a large cat and a member of the genus Panthera native to Asia. It has a powerful, muscular body with a large head and paws, a long tail and orange fur with black, mostly vertical stripes. It is traditionally classified into nine recent subspecies, though some recognise only two subspecies, mainland Asian tigers and the island tigers of the Sunda Islands. Throughout the tiger's range, it inhabits mainly forests, from coniferous and temperate broadleaf and mixed forests in the Russian Far East and Northeast China to tropical and subtropical moist broadleaf forests on the Indian subcontinent and Southeast Asia. The tiger is an apex predator and preys mainly on ungulates, which it takes by ambush. It lives a mostly solitary life and occupies home ranges, defending these from individuals of the same sex. The range of a male tiger overlaps with that of multiple females with whom he mates. Females give birth to usually two or three cubs that stay with their mother for about two years. When becoming independent, they leave their mother's home range and establish their own. Since the early 20th century, tiger populations have lost at least 93% of their historic range and are locally extinct in West and Central Asia, in large areas of China and on the islands of Java and Bali. Today, the tiger's range is severely fragmented. It is listed as Endangered on the IUCN Red List of Threatened Species, as its range is thought to have declined by 53% to 68% since the late 1990s. Major threats to tigers are habitat destruction and fragmentation due to deforestation, poaching for fur and the illegal trade of body parts for medicinal purposes. Tigers are also victims of human–wildlife conflict as they attack and prey on livestock in areas where natural prey is scarce. The tiger is legally protected in all range countries. National conservation measures consist of action plans, anti-poaching patrols and schemes for monitoring tiger populations. In several range countries, wildlife corridors have been established and tiger reintroduction is planned. The tiger is among the most popular of the world's charismatic megafauna. It has been kept in captivity since ancient times and has been trained to perform in circuses and other entertainment shows. The tiger featured prominently in the ancient mythology and folklore of cultures throughout its historic range and has continued to appear in culture worldwide.

Percy Aldridge Grainger (born George Percy Grainger; 8 July 1882 – 20 February 1961) was an Australian-born composer, arranger and pianist who moved to the United States in 1914 and became an American citizen in 1918. In the course of a long and innovative career he played a prominent role in the revival of interest in British folk music in the early years of the 20th century. Although much of his work was experimental and unusual, the piece with which he is most generally associated is his piano arrangement of the folk-dance tune "Country Gardens". Grainger left Australia at the age of 13 to attend the Hoch Conservatory in Frankfurt. Between 1901 and 1914 he was based in London, where he established himself first as a society pianist and later as a concert performer, composer, and collector of original folk melodies. As his reputation grew he met many of the significant figures in European music, forming important friendships with Frederick Delius and Edvard Grieg. He became a champion of Nordic music and culture, his enthusiasm for which he often expressed in private letters, sometimes in crudely racialist or anti-Semitic terms. In 1914 Grainger moved to the United States, where he lived for the rest of his life, though he travelled widely in Europe and Australia. He served briefly as a bandsman in the United States Army during the First World War through 1917–18, and took American citizenship in 1918. After his mother's suicide in 1922, he became increasingly involved in educational work. He also experimented with music machines, which he hoped would supersede human interpretation. In the 1930s he set up the Grainger Museum in Melbourne, his birthplace, as a monument to his life and works, and as a future research archive. As he grew older, he continued to give concerts and to revise and rearrange his own compositions, while writing little new music. After the Second World War, ill health reduced his levels of activity. He considered his career a failure. He gave his last concert in 1960, less than a year before his death.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.

The published musical compositions of Percy Grainger (1882–1961) fall into two main categories: (a) original works and (b) folksong settings. There are also numerous unpublished works, sketches and juvenilia. Grainger's compositional career lasted for more than half a century, from the end of the 19th century until the middle 1950s. Works tended to be written concurrently, and were often developed over very long periods of time—in some cases extending to several decades—before eventual publication. Many of the compositions exist in a number of different versions, some of which refer to "elastic scoring", a means which permits performances by undefined musical forces ranging from small instrumental groups to full orchestra. Publication dates refer to the first publications of individual works, although Grainger often continued to revise and prepare new versions of works long after their initial publication. The lists below do not represent a full record of Grainger's compositional work. Grainger's biographer John Bird has referred to the near-impossibility of cataloguing all of the composer's work, bearing in mind that "[h]is original compositions are scattered to the four corners of the earth". In the mid-1970s the Grainger Museum in Melbourne began the work of rationalising and cataloguing its large collection of Grainger manuscripts, and published its initial results in 1978. Grainger also made many arrangements of other composers' works, which are not listed here.