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{"datasets_id": 2252, "wiki_id": "Q10997565", "sp": 18, "sc": 419, "ep": 18, "ec": 1005} | 2,252 | Q10997565 | 18 | 419 | 18 | 1,005 | HNLMS Karel Doorman (R81) | Decommissioning | ASW role Karel Doorman had been tasked to perform ever since the start of the 1960s.
A boiler room fire on 26 April 1968 removed her from Dutch service. To repair the fire damage, new boilers were transplanted from the incomplete HMS Leviathan. In 1969, it was decided that the costs for repairing the damage in relation to the relatively short time Karel Doorman was still to serve in the fleet proved to be her undoing and she was sold to the Argentine Navy, renamed Veinticinco de Mayo, where she would later play a role in the 1982 Falkland Islands Conflict.
In the |
{"datasets_id": 2252, "wiki_id": "Q10997565", "sp": 18, "sc": 1005, "ep": 22, "ec": 320} | 2,252 | Q10997565 | 18 | 1,005 | 22 | 320 | HNLMS Karel Doorman (R81) | Decommissioning & Air wing | late 1960s, the NATO anti-submarine commitment was taken over by a squadron of Westland Wasp helicopters operated from six Van Speijk-class anti-submarine frigates and two squadrons of shore based maritime patrol aircraft. These were one squadron of Breguet Atlantique sea-reconnaissance aircraft and one of P-2 Neptunes. Air wing First deploying as an attack carrier with 24 World War II era propeller driven Fairey Firefly strike fighters and Hawker Sea Fury fighters, for sea rescue a Supermarine Sea Otter flying boat was carried, it was replaced by a Sikorsky S-51 helicopter.
From 1958, she operated with an ASW/Strike profile with up to |
{"datasets_id": 2252, "wiki_id": "Q10997565", "sp": 22, "sc": 320, "ep": 22, "ec": 961} | 2,252 | Q10997565 | 22 | 320 | 22 | 961 | HNLMS Karel Doorman (R81) | Air wing | 14 Grumman TBF Avenger ASW/torpedo bombers, 10 Hawker Sea Hawk fighters (a first generation naval jet fighter considered by the larger naval powers to be undersized and nearly obsolete at the time of delivery to the Dutch) and 2 Sikorsky S-55 ASW helicopters.
In 1960, the Royal Netherlands Navy received 17 Canadian built Grumman S-2 Trackers ASW aircraft formerly used by the Royal Canadian Navy. Changing roles to a dedicated NATO antisubmarine warfare carrier, a wing of 8 Grumman S-2 Trackers and 6 Sikorsky S-58 ASW helicopters served aboard from 1961 until the 1968 shipboard fire and removal from Dutch service.
From |
{"datasets_id": 2252, "wiki_id": "Q10997565", "sp": 22, "sc": 961, "ep": 22, "ec": 1518} | 2,252 | Q10997565 | 22 | 961 | 22 | 1,518 | HNLMS Karel Doorman (R81) | Air wing | 1959, Dutch Sea Hawks were equipped with Sidewinder missiles that significantly enhanced and extended their air-to-air combat capabilities. While never engaged in combat, the aircraft were present as a carrier based deterrent during the 1962 New Guinea Indonesia crisis. They served aboard between 1957 and 1964 until Karel Doorman's overhaul, after which the attack role was eliminated and 22 aircraft were transferred to land based reserve storage - they were all retired from service by the end of the 1960s after the sale of Karel Doorman to Argentina. |
{"datasets_id": 2253, "wiki_id": "Q4492537", "sp": 2, "sc": 0, "ep": 6, "ec": 605} | 2,253 | Q4492537 | 2 | 0 | 6 | 605 | HTMS Naresuan | Upgrade | HTMS Naresuan Upgrade On 3 June 2011, Saab announced that it was awarded a contract for the upgrading of the two Naresuan class frigates. The scope of the upgrade will include Saab's 9LV MK4 combat management system, Sea Giraffe AMB, CEROS 200 fire control radar, EOS 500 electro-optics system and data link systems for communications with the newly acquired Royal Thai Air Force Erieye surveillance aircraft.
On 8 August 2012, DSCA announced Thailand's intention to acquire the Evolved Sea Sparrow missile and associated equipment to upgrade the frigates and a Letter of Offer and Acceptance was signed with Raytheon |
{"datasets_id": 2253, "wiki_id": "Q4492537", "sp": 6, "sc": 605, "ep": 6, "ec": 731} | 2,253 | Q4492537 | 6 | 605 | 6 | 731 | HTMS Naresuan | Upgrade | on 14 January 2013.
On 30 August 2015, ESSM was fired
from HTMS Naresuan during Exercise CARAT 2015 |
{"datasets_id": 2254, "wiki_id": "Q747410", "sp": 2, "sc": 0, "ep": 6, "ec": 894} | 2,254 | Q747410 | 2 | 0 | 6 | 894 | Habemus papam | Format | Habemus papam Format The format for the announcement when a cardinal is elected pope is:
Annuntio vobis gaudium magnum;
habemus Papam:
Eminentissimum ac Reverendissimum Dominum,
Dominum [first name]
Sanctae Romanae Ecclesiae Cardinalem [surname]
qui sibi nomen imposuit [papal name].
In English, it can be translated as:
I announce to you a great joy;
we have a pope:
The most eminent and reverend lord,
Lord [first name]
Cardinal of the Holy Roman Church [surname]
who takes to himself the name [papal name].
In the Habemus papam announcement given by Cardinal Jorge Arturo Medina Estévez on 19 April 2005, upon the election of Pope Benedict XVI, the announcement was preceded by an identical greeting in several |
{"datasets_id": 2254, "wiki_id": "Q747410", "sp": 6, "sc": 894, "ep": 10, "ec": 428} | 2,254 | Q747410 | 6 | 894 | 10 | 428 | Habemus papam | Format & History | languages, respectively, Italian, Spanish, French, German and English:
Fratelli e sorelle carissimi,
Queridísimos hermanos y hermanas,
Bien chers frères et sœurs,
Liebe Brüder und Schwestern,
Dear brothers and sisters. History The text of the announcement is partly inspired by the Gospel of Luke (2:10–11), which records the words of the angel announcing to the shepherds the birth of the Messiah:
"Fear not; for, behold, I bring thee good tidings of great joy, that shall be to all the people: For unto thee is born, this day, in the city of David a Saviour, which is Christ the Lord."
Note that, in the Vulgate (the Latin translation of |
{"datasets_id": 2254, "wiki_id": "Q747410", "sp": 10, "sc": 428, "ep": 10, "ec": 1034} | 2,254 | Q747410 | 10 | 428 | 10 | 1,034 | Habemus papam | History | the Bible by St. Jerome), the words used are "Evangelizo vobis gaudium magnum", while the word "annuntio" was used in previous translations.
The adoption of this formula is dated from the election of Odo Colonna as Pope Martin V (1417), who was chosen as the new pope by the cardinals and representatives from different countries at the Council of Constance. In this context, prior to Martin V, there were three claimants to the papal throne: Antipope John XXIII (who had called for the council, and appointed most of the cardinal electors), Antipope Benedict XIII (the only one to have been named |
{"datasets_id": 2254, "wiki_id": "Q747410", "sp": 10, "sc": 1034, "ep": 10, "ec": 1650} | 2,254 | Q747410 | 10 | 1,034 | 10 | 1,650 | Habemus papam | History | cardinal before the outbreak of the Western Schism) and Pope Gregory XII. The first two were deposed by the Council itself, and Gregory XII abdicated after formally convoking the already convened council and authorizing its acts including the act of electing his successor. Two years after the first two contenders were deposed and the resignation of the third, the council elected the new pope. The announcement, therefore, could be interpreted as: "(Finally) we have a pope (and only one!)".
The adoption of the Habemus papam formula took place prior to 1484, the year in which it was used to announce the |
{"datasets_id": 2254, "wiki_id": "Q747410", "sp": 10, "sc": 1650, "ep": 14, "ec": 544} | 2,254 | Q747410 | 10 | 1,650 | 14 | 544 | Habemus papam | History & Announcement | election of Giovanni Battista Cybo, who took the name of Innocent VIII. Announcement In announcing the name of the newly elected pontiff, the new pontiff's birth first name is announced in Latin in the accusative case (e.g. Carolum, Iosephum, Georgium Marium), but the new pontiff's surname is announced in the undeclined form (e.g. Wojtyła, Ratzinger, Bergoglio). The new papal name has usually been given in the genitive case in Latin, corresponding to the translation "who takes the name of ..." (e.g. Ioannis vigesimi tertii, Ioannis Pauli primi), although it can also be declined in the accusative case, corresponding to the |
{"datasets_id": 2254, "wiki_id": "Q747410", "sp": 14, "sc": 544, "ep": 14, "ec": 1140} | 2,254 | Q747410 | 14 | 544 | 14 | 1,140 | Habemus papam | Announcement | translation "who takes the name ...", as was the case in 1963 and in 2013, when Pope Paul VI's and Pope Francis's regnal names were announced as Paulum sextum and Franciscum, respectively. In the situation where the name is declined in the genitive, the name is considered as a complement of the noun "nomen" while in the instance where the name is declined in the accusative, it is considered as an apposition of the direct object complement nomen in the accusative. Both forms are equally correct. According to certain Latin grammarians though, like Nicola Fiocchini, Piera Guidotti Bacci and |
{"datasets_id": 2254, "wiki_id": "Q747410", "sp": 14, "sc": 1140, "ep": 14, "ec": 1813} | 2,254 | Q747410 | 14 | 1,140 | 14 | 1,813 | Habemus papam | Announcement | the Maiorum Lingua Manual, the accusative is the more correct form.
During the announcement of Pope Paul VI's election, protodeacon Alfredo Ottaviani used the conjunction et (which also means "and") instead of ac, the word usually used for "and" within the formula (he said Eminentissimum et reverendissimum instead of Eminentissimum ac reverendissimum).
During the announcement of Pope Benedict XVI's election, his regnal name was declined by Cardinal Medina in the genitive case (he said Benedicti decimi sexti), but in the Holy See website, the page announcing his election with a copy of the Habemus Papam formula has Benedict's regnal name declined in |
{"datasets_id": 2254, "wiki_id": "Q747410", "sp": 14, "sc": 1813, "ep": 14, "ec": 2398} | 2,254 | Q747410 | 14 | 1,813 | 14 | 2,398 | Habemus papam | Announcement | the accusative case (i.e., Benedictum XVI)
If a papal name is used for the first time, the announcement may or may not use the numeral the first. In John Paul I's election, the numeral primi (the first) was used (Cardinal Pericle Felici announced the papal name as Ioannis Pauli primi) but in Pope Francis' election, no numeral was uttered (Cardinal Jean-Louis Tauran simply gave the papal name as Franciscum).
The numeral in the papal name if it exists can be omitted if the new regnal name is the same as the one used by the immediate predecessor, as was the case in |
{"datasets_id": 2254, "wiki_id": "Q747410", "sp": 14, "sc": 2398, "ep": 14, "ec": 2890} | 2,254 | Q747410 | 14 | 2,398 | 14 | 2,890 | Habemus papam | Announcement | October 1978, when Pope John Paul II's regnal name was announced simply as Ioannis Pauli without the numeral, since his immediate predecessor was Pope John Paul I. It also happened in 1939, when Pope Pius XII's regnal name, following his election, was announced simply as Pium since his immediate predecessor was Pope Pius XI. In the announcement of Pope Pius XII's election, his regnal name was declined in the accusative, like the later announcements for Paul VI's and Francis's elections. |
{"datasets_id": 2255, "wiki_id": "Q5636978", "sp": 2, "sc": 0, "ep": 4, "ec": 566} | 2,255 | Q5636978 | 2 | 0 | 4 | 566 | Habshan | Habshan Habshan is an area in the southwestern part of the Emirate of Abu Dhabi in the United Arab Emirates.
It is currently a major oil and gas field for the Abu Dhabi National Oil Company (ADNOC). It contains oil field and camps for oil workers. The major part of this region is marked as a Red Zone due to the presence of hydrogen sulphide gas.
The area is a major production area for Sulphur, a byproduct of the oil industry, and is the terminal station of a new railway network in the United Arab Emirates developed by Etihad Rail. Commercial operations |
|
{"datasets_id": 2255, "wiki_id": "Q5636978", "sp": 4, "sc": 566, "ep": 4, "ec": 610} | 2,255 | Q5636978 | 4 | 566 | 4 | 610 | Habshan | on this railway commenced in December 2015. |
|
{"datasets_id": 2256, "wiki_id": "Q1039445", "sp": 2, "sc": 0, "ep": 6, "ec": 349} | 2,256 | Q1039445 | 2 | 0 | 6 | 349 | Hachijō-kojima | Geography | Hachijō-kojima Geography Oriented in the same northwest to southeast direction as Hachijō-jima, the 1.3 x 3 km Hachijōkojima is surrounded by high cliffs. The summit of the island is the mountain Taihei-zan (太平山) with a height of 616.8 metres (2,024 ft). Located in the Kuroshio Current, the area has abundant sea life, and is popular with sports fishermen and scuba divers. |
{"datasets_id": 2257, "wiki_id": "Q5637233", "sp": 2, "sc": 0, "ep": 6, "ec": 575} | 2,257 | Q5637233 | 2 | 0 | 6 | 575 | Hackensack Public Schools | Awards and recognition | Hackensack Public Schools Awards and recognition Hackensack High School (HHS) was named one of America's best high schools by Newsweek magazine in its 2013 rankings. Ranked among the top six percent of high schools in the country, HHS was recognized based on various criteria including Advanced Placement (AP) programs, the four-year, on-time graduation rate and number of graduates accepted into a two- or four-year college program.
Jackson Avenue Elementary School was recognized by Governor Jim McGreevey in 2003 as one of 25 schools selected statewide for the First Annual Governor's School of Excellence award. |
{"datasets_id": 2258, "wiki_id": "Q5637910", "sp": 2, "sc": 0, "ep": 4, "ec": 271} | 2,258 | Q5637910 | 2 | 0 | 4 | 271 | Hadjemi people | Hadjemi people The Hadjemi people are found in that part of Iran between Isfahan and Teheran. The term includes the Talysh and Mazandarani peoples of the shores of the Caspian Sea. In stature they are generally above the average; their head form is dolichocephalic, or tends to be such. |
|
{"datasets_id": 2259, "wiki_id": "Q3125635", "sp": 2, "sc": 0, "ep": 10, "ec": 195} | 2,259 | Q3125635 | 2 | 0 | 10 | 195 | Hadrurus | General characteristics & Toxicity | Hadrurus General characteristics The species of this genus are large (up to a max of 15 cm) and hairy scorpions with yellowish tones through their bodies although there is an exception in Hadrurus spadix, a species which has a dark almost black prosoma and mesosoma while the palps, legs and metasoma are yellow in color. Not the palps nor the metasoma are in any way reduced in size. Toxicity Though not considered to have a dangerously toxic venom, its sting is still quite painful and unlike other big species of scorpions which defend themselves using their powerful palps to pinch the |
{"datasets_id": 2259, "wiki_id": "Q3125635", "sp": 10, "sc": 195, "ep": 14, "ec": 442} | 2,259 | Q3125635 | 10 | 195 | 14 | 442 | Hadrurus | Toxicity & Behaviour | attacker. The species of Hadrurus prefer to sting. Behaviour The species of this genus are quite active through the night foraging for food or a potential mate. They are avid burrowers, preferring somewhat (but not completely) loose soil such as dried sand to make their burrows. If loose soil is not available, they can take shelter beneath rocks and dead plants such as Opuntia and Cylindropuntia during the day. It bears live young which are guarded by the female until they undergo their first molt. |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 2, "sc": 0, "ep": 6, "ec": 619} | 2,260 | Q14192207 | 2 | 0 | 6 | 619 | Hagiopolitan Octoechos | Origins | Hagiopolitan Octoechos Origins Students of Orthodox chant today often memorize the history of Byzantine chant in three periods, identified by the names John of Damascus (675/676-749) as the "beginning", John Koukouzeles (c. 1280-1360) as the "flower" (Papadic Octoechos), and Chrysanthos of Madytos (c. 1770-c. 1840) as the master of the living tradition today (Neobyzantine Octoechos). The latter has the reputation, that he once connected in his time the current tradition with the past of Byzantine chant, which was in fact the work of at least four generations of teachers at the New Music School of the Patriarchate.
This division of the |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 6, "sc": 619, "ep": 10, "ec": 240} | 2,260 | Q14192207 | 6 | 619 | 10 | 240 | Hagiopolitan Octoechos | Origins & Jerusalem, Alexandria, or Constantinople | history into three periods begins quite late with the 8th century, despite the fact that the octoechos reform had been already accepted some decades ago, before John and Cosmas entered the monastery Mar Saba in Palestine. The earliest sources which gave evidence of the octoechos' use in Byzantine chant, can be dated back to the 6th century. Jerusalem, Alexandria, or Constantinople The common schedule and the focus on the circle around John of Damascus is confirmed by a ninth-century treatise called "Hagiopolites" (from hagios polis, "Holy City", referring to Jerusalem) which only survived in a complete form as a late |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 10, "sc": 240, "ep": 10, "ec": 858} | 2,260 | Q14192207 | 10 | 240 | 10 | 858 | Hagiopolitan Octoechos | Jerusalem, Alexandria, or Constantinople | copy. The Hagiopolites treatise served presumably as an introduction of a book called tropologion – a 9th-century chant book which had been replaced soon by the book octoechos, as part of the sticherarion one of the first chant books fully provided with musical notation. The Hagiopolitan emphasis on John of Damascus was obviously the late result of a 9th-century redaction around the Second Council of Nicaea in 787, so it was part of the later Studites reform between Jerusalem and Constantinople and it was motivated theologically, not only because of his contributions to the tropologion, but also because of the |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 10, "sc": 858, "ep": 10, "ec": 1506} | 2,260 | Q14192207 | 10 | 858 | 10 | 1,506 | Hagiopolitan Octoechos | Jerusalem, Alexandria, or Constantinople | keyrole which John of Damascus' polemic against the iconoclasts had during this Council.
Nevertheless, the theological and liturgical concept of an eight-week cycle can be traced back to the cathedral rite of Jerusalem during the 5th century, and originally it was the Christian justification of Sunday as the eighth day after Sabbat. Peter Jeffery assumed a first phase during which the concept existed independently in various places, and a second phase during which Palestine became the leading centre of a monastic hymn reform. It established reform models which were also used later by the generation of John of Damascus. Despite that |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 10, "sc": 1506, "ep": 10, "ec": 2143} | 2,260 | Q14192207 | 10 | 1,506 | 10 | 2,143 | Hagiopolitan Octoechos | Jerusalem, Alexandria, or Constantinople | the first paragraph of the "Hagiopolites" ascribes the treatise to John of Damascus, it was probably written about 100 years after his death and went through several redactions during the following centuries.
There is no doubt that the octoechos reform itself had already taken place by 692, because certain passages of the Hagiopolites paraphrase certain law texts (the canons of the synodal decree). Eric Werner assumed that the eight-mode system developed in Jerusalem since the late fifth century and that the reform by the hymnographers of Mar Saba were already a synthesis with the Ancient Greek names used for the tropes, |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 10, "sc": 2143, "ep": 10, "ec": 2793} | 2,260 | Q14192207 | 10 | 2,143 | 10 | 2,793 | Hagiopolitan Octoechos | Jerusalem, Alexandria, or Constantinople | applied to a model of Syrian origin already used in the Byzantine tradition of Jerusalem. During the eighth century, long before Ancient Greek treatises were translated into Arabic and Persian dialects between the ninth and the tenth centuries, there was already a great interest among theorists like Abū Yūsuf al-Kindī, whose Arabic terms were obviously translated from the Greek. He adored the universality of the Greek octoechos:
Sämtliche Stile aller Völker aber haben Teil an den acht byzantinischen Modi (hiya min al-alhān at-tamāniya ar-rūmīya), die wir erwähnt haben, denn es gibt nichts unter allem, was man hören kann, das nicht zu |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 10, "sc": 2793, "ep": 10, "ec": 3390} | 2,260 | Q14192207 | 10 | 2,793 | 10 | 3,390 | Hagiopolitan Octoechos | Jerusalem, Alexandria, or Constantinople | einem von ihnen gehörte, sei es die Stimme eines Menschen oder eines anderen Lebewesens, wie das Wiehern eines Pferdes oder das Schreien eines Esels oder das Krähen des Hahns. Alles, was an Formen des Schreis einem jeden Lebewesen/Tier eigen ist, ist danach bekannt, zu welchem Modus der acht es gehört, und es ist nicht möglich, daß es sich außerhalb eines von ihnen [bewegt].
Every style of any tribe takes part of the Byzantine eight tones (hiya min al-alhān at-tamāniya ar-rūmīya) which I mentioned here. Everything which can be heard, be it the human or be it the animal voice – like |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 10, "sc": 3390, "ep": 10, "ec": 4033} | 2,260 | Q14192207 | 10 | 3,390 | 10 | 4,033 | Hagiopolitan Octoechos | Jerusalem, Alexandria, or Constantinople | the neighing of a horse, the braying of a donkey, or the carking of a cock, can be classified according to one of the eight modes, and it is impossible to find anything outside of the eight mode system.
Al-Kindi demonstrated the intervals on the keyboard of a simple four-stringed oud, starting from the third string as well seven steps in ascending as in descending direction.
According to Eckhard Neubauer, there is another Persian system of seven advār ("cycles"), outside the Arabic reception of the Byzantine octoechos, which was possibly a cultural transfer from Sanskrit treatises. Persian and Ancient Greek sources had |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 10, "sc": 4033, "ep": 18, "ec": 329} | 2,260 | Q14192207 | 10 | 4,033 | 18 | 329 | Hagiopolitan Octoechos | Jerusalem, Alexandria, or Constantinople & Monastic reform of Mar Saba & 8 diatonic echoi of the Hagiopolitan Octoechos | been the main reference for the transfer of knowledge in Arabian-Islamic science. Monastic reform of Mar Saba According to the Hagiopolites the eight echoi ("modes") were divided in four "kyrioi" (authentic) echoi and their four respective plagioi (enriched, developed) echoi, which were all in the diatonic genus. 8 diatonic echoi of the Hagiopolitan Octoechos Despite the late copies of the Greek Hagiopolites treatise, the earliest Latin description of the Greek system of eight echoi is an eleventh-century treatise compilation called "alia musica". "Echos" was translated as "sonus" by the anonymous compilator, who commented with a comparison of the Byzantine octoechos:
Quorum |
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Sciendum quoque, quod Dorius maxime proto regitur, similiter Phrygius deutero, Lydius trito, mixolydius tetrardo. Quos sonos in quibusdam cantilenis suae plagae quodammodo tangendo libant, ut plaga proti tangat protum, deuteri deuterum, triti tritum, tetrardi tetrardum. Et id fas est experiri |
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It is known about the tropes, as to say: the ἦχοι, that the Greek language call the First πρῶτος, the Second δεύτερος, the Third τρίτος, the Fourth τέταρτος. Their Finales were separated by a pentachord, that is: a falling fifth (gr. diapente) [between kyrios and plagios]. And above [the pentachord] they require a tetrachord, that is: a fourth (gr. diatessaron), so that each of them has its octave species, in which it can move freely, rambling down and up. For the full octave (gr. diapason) another tone might be added, which is called ὁ ἐμμελής: "according to the |
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It has to be known that the "Dorian" [octave species] is usually ruling in the πρῶτος, as the "Phrygian" in the δεύτερος, the "Lydian" in the τρίτος, or the "Mixolydian" in the τέταρτος. Their πλάγιοι are derived by these ἦχοι in that way, that the formula touch them [going down a fifth]. So the πλάγιος τοῦ πρώτου touch the πρῶτος, the plagal Second [τοῦ δευτέρου] the δεύτερος, the plagal Third [βαρύς] the τρίτος, the plagal Fourth [πλάγιος τοῦ τετάρτου] the τέταρτος. And this should be proved by the melodies of the antiphonal graduals as a divine law.
This Latin description about |
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The intonation formulas, called enechema (gr. ἐνήχημα), for the authentic modes or kyrioi echoi, usually descend within the pentachord and turn back to the finalis at the end, while the plagal |
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Περὶ πλαγίων
Ἀπο τοῦ πλαγίου πρώτου ἤχου πάλιν καταβαίνεις τέσσαρας φωνάς, καὶ εὑρίσκεται πάλιν πλάγιος πρώτου· ὅυτως δὲ /
ἄνανε ἄνες ἀνὲ ἄνες·
Ὁμοίως καὶ ὁ β' ἤχος καταβαίνων φωνάς δ', εὑρίσκεις τὸν πλάγιον αὐτοῦ, ἤγουν τὸν πλάγιον τοῦ δευτέρου.
πλ Β οὕτως δέ.
Ὁμοίως πάλιν ὁ τρίτος καταβαίνεις φωνὰς τέσσαρας, καὶ εὑρίσκεται ὁ πλάγιος αὐτοῦ, ἤγουν ὁ βαρύς, οὕτως·
Ὁμοίως καὶ ἀπὸ τὸν τέταρτον καταβαίνων φωνὰς τέσσαρας, εὑρίσκεις τὸν πλάγιον |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 18, "sc": 3648, "ep": 22, "ec": 536} | 2,260 | Q14192207 | 18 | 3,648 | 22 | 536 | Hagiopolitan Octoechos | 8 diatonic echoi of the Hagiopolitan Octoechos & Phthorai and mesoi of the Hagia Sophia | αὐτοῦ, ὡς ἐστὶ ὁ πλ δ'οὕτως· Phthorai and mesoi of the Hagia Sophia The Hagiopolites as "earliest" theoretical treatise said, that two additional phthorai ("destroyers") were like proper modes which did not fit into the diatonic octoechos system, so the Hagiopolitan octoechos was in fact a system of 10 modes. But the chronology of definitions concerned about two phthorai regarded them first as modes of their own because of their proper melos and that their models had to be sung during the eight-week cycle. These mesoi of tetartos and protos, with a finalis and base between kyrios and plagios, were |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 22, "sc": 536, "ep": 22, "ec": 1214} | 2,260 | Q14192207 | 22 | 536 | 22 | 1,214 | Hagiopolitan Octoechos | Phthorai and mesoi of the Hagia Sophia | obviously favoured by composer like John of Damascus and his step-brother Kosmas, while the concept of a transition between echoi was established later. It seems that the construction of the eight diatonic echoi was established later by the generation of Theodore the Studite and his brother Joseph.
The later Papadikai mentions that changes between the echos tritos and the echos plagios tetartos were bridged by the enharmonic phthora nana, and changes between the echos protos and the echos plagios devteros by the chromatic phthora nenano.
Nevertheless, the terminology of the Hagiopolites somehow suggested that nenano and nana as phthorai "destroy" one or |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 22, "sc": 1214, "ep": 22, "ec": 1860} | 2,260 | Q14192207 | 22 | 1,214 | 22 | 1,860 | Hagiopolitan Octoechos | Phthorai and mesoi of the Hagia Sophia | two diatonic degrees used within one tetarchord of a certain echos, so that the chromatic and enharmonic genera were somehow subordinated and excluded from the diatonic octoechos. This raises the question, when the music in the near eastern Middle Ages became entirely diatonic, since certain melodies were coloured by the other enharmonic and chromatic gene according to the school of Damascus. This is the question about the difference between the Hagiopolitan reform of 692 and in as much it was opposed to the Constantinopolitan tradition and its own modal system.
The author of the Hagiopolites mentioned an alternative system of 16 |
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Οἱ μὲν οὖν τέσσαρρεις πρῶτοι οὐκ ἐξ ἄλλων τινων ἀλλ'ἐξ αὐτῶν γινονται. οἱ δὲ τέσσαρεις δεύτεροι, ἤγουν οἱ πλάγιοι, ὁ μὲν πλάγιος πρῶτος ἐκ τῆς ὑπορροῆς τοῦ πρώτου γέγονε. καὶ ἀπὸ τῆς ὑπορροῆς τοῦ πληρώματος τοῦ δευτέρου γέγονεν ὁ πλάγιος δευτέρου· ὡς ἐπὶ τὸ πλεῖστον δὲ καὶ τὰ πληρώματα τοῦ δευτέρου [εἰς τὸν πλάγιον δευτέρου] τελειοῖ. ὁ βαρὺς ὁμοίως καὶ ἀπὸ τοῦ τρίτοῦ· καὶ γὰρ εἰς τὸ ἆσμα ἡ ὑποβολὴ τοῦ βαρέως τρίτος ψάλλεται ἅμα τοῦ τέλους αὐτοῦ. καὶ ἀπὸ τοῦ |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 22, "sc": 2441, "ep": 22, "ec": 3063} | 2,260 | Q14192207 | 22 | 2,441 | 22 | 3,063 | Hagiopolitan Octoechos | Phthorai and mesoi of the Hagia Sophia | τετάρτου γέγονεν ὁ πλάγιος τέταρτος. καὶ ἀπὸ τῶν τεσσάρων πλαγίων ἐγεννήθησαν τέσσαρεις μέσοι· καὶ ἀπ'αὐτῶν αἱ τέσσαρες φθοραί. καί ἀνεβιβάσθησαν ἦχοι ις', οἵτινες ψάλλονται εἰς τὸ ἆσμα, οἱ δὲ δέκα ὡς προείπομεν εἰς τὸν Ἁγιοπολίτην.
The 4 Echoi which come first are generated from themselves, not from others. As to the four which come next, i.e. the Plagal ones, Plagios Prōtos is derived from Prōtos, and Plagios Deuteros from Deuteros – normally Deuteros melodies end in Plagios Deuteros. Similarly, Barys from Tritos – "for in the Asma Hypobole of Barys is sung as Tritos together with its ending". From the 4 |
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These "echoi of the Asma" did probably point at the rite at the Patriarchal church or even at the cathedral rite of Constantinople which was also known as "choral" or "sung rite" (ἀκολουθία ᾀσματική). The Constantinopolitan chant books were called asmatikon ("book of the choir"), psaltikon ("book of the soloist called 'monophonaris'"), and kontakarion (the name of the psaltikon, if it included the huge collection of |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 22, "sc": 3675, "ep": 22, "ec": 4357} | 2,260 | Q14192207 | 22 | 3,675 | 22 | 4,357 | Hagiopolitan Octoechos | Phthorai and mesoi of the Hagia Sophia | kontakia, sung during the morning service).
Unfortunately no early Constantinopolitan chant manual survived, there is only this short paragraph of the Hagiopolites which says, that the singers of the choir followed in their chant books an own modal system, which was distinct from the Hagiopolitan octoechos. A distinction from Constantinople is not the only possible explanation, because Jerusalem had also its own local cathedral rite. Since the 14th century at latest, the monastic rite was not opposed to the cathedral rite, even monks celebrated it on festival occasions, whenever they expected guests.
The earliest sources are those of the Slavic reception of |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 22, "sc": 4357, "ep": 22, "ec": 4965} | 2,260 | Q14192207 | 22 | 4,357 | 22 | 4,965 | Hagiopolitan Octoechos | Phthorai and mesoi of the Hagia Sophia | Constantinople which can be dated back not earlier than to the 12th century, and they used a system of 12 modes. The earliest treatises which mention a modal system, is not a chant manual, but a corpus of alchemic treatises, which testifies a modal system of 24 "elements" (στοιχεῖα) or "aims" (στοχοὶ):
Ὥσπερ δὲ τεσσάρων ὄντων μουσικῶν γενικωτάτων στοχῶν, Α Β Γ Δ, γίνονται παρ῾ αὐτῶν τῷ εἴδει διάφοροι στοχοὶ κδ´, κέντροι καὶ ἶσοι καὶ πλάγιοι, καθαροί τε καὶ ἄηχοι <καὶ παράηχοι> · καὶ ἀδύνατον ἄλλως ὑφανθῆναι τὰς κατὰ μέρος ἀπείρους μελῳδίας τῶν ὕμνων ἣ θεραπειῶν, ἤ ἄποκαλύψεων, ἤ ἄλλου σκέλους |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 22, "sc": 4965, "ep": 22, "ec": 5627} | 2,260 | Q14192207 | 22 | 4,965 | 22 | 5,627 | Hagiopolitan Octoechos | Phthorai and mesoi of the Hagia Sophia | τῆς ἱερᾶς ἐπιστήμης, καὶ οἷον ῥεύσεως ἤ φθορᾶς ἤ ἄλλων μουσικῶν παθῶν ἐλευθέρας,
As there are 4 basic elements/targets [earth, water, air, and fire] which created their music, the πρῶτος, the δεύτερος, the τρίτος, and the τέταρτος, and by their formulas the same generate 24 different elements: the [4] κέντροι (central), [4] ἶσοι (basic), and [4] πλάγιοι (plagal), the [4] καθαροί (kathartic), [4] ἄηχοι (aphonic), and [4] παράηχοι (paraphonic). Hence, it is impossible to create something outside those infinite melodies of hymns, treatments, revelations, and of other parts of the Holy Wisdom, which is free from the irregularities and corruptions of |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 22, "sc": 5627, "ep": 22, "ec": 6308} | 2,260 | Q14192207 | 22 | 5,627 | 22 | 6,308 | Hagiopolitan Octoechos | Phthorai and mesoi of the Hagia Sophia | other musical emotions (πάθη).
In the edition of the treatise by Otto Gombosi, the four "elements" (α', β', γ', δ') were associated with certain colours—πρῶτος with black (all colours together), δεύτερος with white (no colour at all), τρίτος with yellow (an elementary coulour), and τέταρτος with purple (a combination of elementary colours). These passages could be easily compiled with Zosimos of Panopolis' treatise about the process of bleaching.
The system favoured 3 four tetrachord sets (either modes by themselves or simply degree of the modes with different functions), called κέντροι, ἷσοι, and πλάγιοι. Kέντρος would be probably an early name for μέσος, |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 22, "sc": 6308, "ep": 22, "ec": 6907} | 2,260 | Q14192207 | 22 | 6,308 | 22 | 6,907 | Hagiopolitan Octoechos | Phthorai and mesoi of the Hagia Sophia | if it lied between the ἶσος and πλάγιος, it could be as well used as an early name for κύριος ἦχος, because it is mentioned here first, while ἶσος could mean "equivalent", or just basis notes.
The exact point of reference concerning this 24 mode system was not clarified in the treatise, but it is evident, that there was a canonised wisdom which was connected with an ethical doctrine excluding certain passions (πάθη, pathe) as corruptions. Inside this wisdom, there was a Neoplatonic concept of an ideal and divine existence, which can be found and classified according to a modal scheme |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 22, "sc": 6907, "ep": 22, "ec": 7558} | 2,260 | Q14192207 | 22 | 6,907 | 22 | 7,558 | Hagiopolitan Octoechos | Phthorai and mesoi of the Hagia Sophia | based on four elements. The term "element" (στοχείον) was less meant as a technical term or modal category, it was rather an alchemistic interpretation of the 24 musical modes.
In comparison, the Hagiopolitan terminology already included the "corruption" (φθορά) as an acceptable modal category in itself, which was neither excluded in the Hagiopolitan Octoechos nor in the modal system of a certain cathedral rite, which was made of 16 echoi. On the other hand, the described system, whether it meant 24 echoi including 12 pathologic echoi, called "aechoi" and "paraechoi", and associated with 4 "katharoi" or just cadential degrees or other |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 22, "sc": 7558, "ep": 26, "ec": 222} | 2,260 | Q14192207 | 22 | 7,558 | 26 | 222 | Hagiopolitan Octoechos | Phthorai and mesoi of the Hagia Sophia & Tonary | modal functions. It is not clear, whether the latter name was simply meant in a geographical or ethnical way or whether it was here connected with a kind of music therapy which included certain pathe as a kind of antidote. Medical treatises of the Mediterranean had been developed later on by the association of melodic modes with 4 elements and 4 humours. Tonary The earliest chant theory connected with the Carolingian octoechos was related to the book tonary. It played a key role in memorising chant and the earliest tonaries referred to the Greek names as elements of a tetrachord: |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 26, "sc": 222, "ep": 26, "ec": 858} | 2,260 | Q14192207 | 26 | 222 | 26 | 858 | Hagiopolitan Octoechos | Tonary | πρῶτος, δεύτερος, τρίτος, and τέταρτος. They were translated into Latin as "protus", "deuterus", "tritus", and "tetrardus", but only the tetrachord D—E—F—G was supposed to contain the final notes ("finales") for the eight tones used in the Latin octoechos. Since the 10th century the eight tones were applied to eight simplified models of psalmody, which soon adopted in their terminations the melodic beginnings of the antiphons, which were sung as refrains during psalm recitation. This practice made the transitions smoother, and in the list of the antiphons which can be found since the earliest tonaries, it was enough to refer to |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 26, "sc": 858, "ep": 26, "ec": 1511} | 2,260 | Q14192207 | 26 | 858 | 26 | 1,511 | Hagiopolitan Octoechos | Tonary | the melodic beginnings or incipits of the text. In the earliest tonaries no models of psalmody had been given and incipits from all chant genres were listed, probably just for a modal classification (see the section for the "Autentus protus" of the Saint Riquier tonary).
According to Michel Huglo, there was a prototype tonary which initiated the Carolingian reform. But in a later study he mentioned an even earlier tonary which was brought as a present by a Byzantine legacy which celebrated procession antiphons for Epiphany in a Latin translation.
Already during the 10th century tonaries became so widespread in different regions, |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 26, "sc": 1511, "ep": 26, "ec": 2150} | 2,260 | Q14192207 | 26 | 1,511 | 26 | 2,150 | Hagiopolitan Octoechos | Tonary | that they do not only allow to study the difference between local schools according to its modal classification, its redaction of modal patterns, and its own way of using Carolingian psalmody. They also showed a fundamental difference between the written transmission of Latin and Greek chant traditions, as it had developed between the 10th and 12th centuries. The main concern of Latin cantors and their tonaries was a precise and unambiguous classification of whatever melody type according to the local perception of the Octoechos system.
Greek psaltes were not interested at all in this question. They knew the models of each |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 26, "sc": 2150, "ep": 26, "ec": 2774} | 2,260 | Q14192207 | 26 | 2,150 | 26 | 2,774 | Hagiopolitan Octoechos | Tonary | modes by certain simple chant genres as the troparion and the heirmoi (the melodic models used to create poetry in the meter of the heirmologic odes), but other genres like sticheron and kontakion could change the echos within their melos, so their main interest was the relationship between the echoi to compose elegant and discrete changes between them.
In contrary, the very particular form and function of the tonary within chant transmission made it evident, that the modal classification of Latin cantors according to the eight tones of the Octoechos had to be done a posteriori, deduced by the modal analysis |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 26, "sc": 2774, "ep": 26, "ec": 3382} | 2,260 | Q14192207 | 26 | 2,774 | 26 | 3,382 | Hagiopolitan Octoechos | Tonary | of the chant and its melodic patterns, while the transmission of the traditional chant itself did not provide any model except of the psalm tones used for the recitation of the psalms and the canticles.
The tonary was the very heart of the mainly oral chant transmission used during the Carolingian reform and as its medium it must have had a strong impact on the melodic memory of the cantors who used it in order to memorize the Roman chant, after a synode confirmed Charlemagne's admonitio generalis. The written transmission by fully notated chant manuscripts, the object of chant studies today, |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 26, "sc": 3382, "ep": 26, "ec": 3978} | 2,260 | Q14192207 | 26 | 3,382 | 26 | 3,978 | Hagiopolitan Octoechos | Tonary | cannot be dated back to an earlier time than nearly 200 years after the admonitio—the last third of the 10th century. And it seems that Roman cantors whose tradition had to be learnt, followed at least 100 years later by the transcription of their chant repertory and no document has survived which can testify the use of tonaries among Roman cantors. Pope Adrian I's confirmation of the Eastern octoechos reform had probably no consequences on the tradition of Roman chant, which might be an explanation for the distinct written transmission, as it can be studied between Roman Frankish and Old |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 26, "sc": 3978, "ep": 26, "ec": 4625} | 2,260 | Q14192207 | 26 | 3,978 | 26 | 4,625 | Hagiopolitan Octoechos | Tonary | Roman chant manuscripts.
The eight sections of the Latin tonary are usually ordered "Tonus primus Autentus Protus", "Tonus secundus Plagi Proti", "Tonus tertius Autentus deuterus" etc. Each section is opened by an intonation formula using the names like "Noannoeane" for the authentic and "Noeagis" for the plagal tones. In his theoretical tonary "Musica disciplina" Aurelian of Réôme asked a Greek about the meaning of the syllables, and reported that they had no meaning, they were rather an expression of joy as used by peasants to communicate with their working animals like horses. There was usually no exact resemblance of the Latin |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 26, "sc": 4625, "ep": 26, "ec": 5290} | 2,260 | Q14192207 | 26 | 4,625 | 26 | 5,290 | Hagiopolitan Octoechos | Tonary | syllables to the names of the Greek intonations or enechemata which were identified with the diatonic kyrioi and plagioi echoi, but Aurelian's question made it obvious that the practice was taken from Greek singers. Unlike the Hagiopolitan octoechos, which used two additional phthorai with the syllables Nana and Nenano for changes into the enharmonic and chromatic genus, the enharmonic and chromatic genus was excluded from the Latin octoechos, at least according to Carolingian theorists.
Since the 10th century tonaries also include the mnemic verses of certain model antiphons which memorise each tone by one verse. The most common among all tonaries |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 26, "sc": 5290, "ep": 26, "ec": 5957} | 2,260 | Q14192207 | 26 | 5,290 | 26 | 5,957 | Hagiopolitan Octoechos | Tonary | was also used by Guido of Arezzo in his treatise Micrologus: "Primum querite regnum dei", "Secundum autem simile est huic" etc. Another characteristic was that melodic melisms called neumae followed the intonation formulas or mnemic verses. Usually they differed more among different tonaries than the preceding intonations or verses, but they all demonstrated the generative and creative aspect within chant transmission.
In comparison with Byzantine psaltes who always used notation in a more or less stenographic way, the exact patterns used during the so-called "thesis of the melos" belonged to the oral tradition of a local school, its own modal system |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 26, "sc": 5957, "ep": 30, "ec": 150} | 2,260 | Q14192207 | 26 | 5,957 | 30 | 150 | Hagiopolitan Octoechos | Tonary & Question of intervals and their transposition | and its genre. But already the question of chant genre was connected with local traditions in medieval times and the point of reference for the psaltes who performed a certain genre: the Hagiopolitan octoechos and its genres (the odes according to the models of the heirmologion, the troparia of the octoechos or tropologion), or the Constantinopolitan cathedral rite (akolouthia asmatike) and its books asmatikon, psaltikon, and kontakarion might serve here as examples. Question of intervals and their transposition The exact proportions which divided a tetrachord, had never been a subject of Greek medieval treatises concerned about Byzantine chant. The separation |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 30, "sc": 150, "ep": 30, "ec": 789} | 2,260 | Q14192207 | 30 | 150 | 30 | 789 | Hagiopolitan Octoechos | Question of intervals and their transposition | between the mathematical science harmonikai and chant theory gave space to various speculations, even to the assumption that the same division was used as described in Latin music theory, operating with two diatonic intervals like tonus (9:8) and semitonium (256:243). Nevertheless, some treatises referred the tetrachord division into three intervals called the "great tone" (μείζων τόνος) which often corresponded to the prominent position of the whole tone (9:8), the "middle tone" (ἐλάσσων τόνος) between α and β, and the "small tone" (ἐλάχιστος τόνος) between β and γ which was usually a much larger interval than the half tone, and |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 30, "sc": 789, "ep": 34, "ec": 86} | 2,260 | Q14192207 | 30 | 789 | 34 | 86 | Hagiopolitan Octoechos | Question of intervals and their transposition & Pitches and their tonal system | this division was common among most divisions by different ancient Greek theorists that were mentioned by Ptolemy in his Harmonics. Before Chrysanthos' Theoretika (the Eisagoge was simply an extract, while the Mega Theoretikon was published by his student Panagiotes Pelopides), exact proportions were never mentioned in Greek chant theory. His system of 68 commata which is based on a corrupted use of arithmetics, can be traced back to the division of 12:11 x 88:81 x 9:8 = 4:3 between α and δ. Pitches and their tonal system Although Chrysanthos did not mention his name, the first who mentioned precisely these |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 34, "sc": 86, "ep": 34, "ec": 697} | 2,260 | Q14192207 | 34 | 86 | 34 | 697 | Hagiopolitan Octoechos | Pitches and their tonal system | proportions starting from the open string of the third or middle chord of the oud, was the Arab theorist Al-Farabi in his Kitab al-Musiqa al-Kabir which was written during the first half of the 10th century. His explicit references to Persian and Ancient Greek music theory were possible, because they had been recently translated into Arabic and Persian dialects in the library of Baghdad. Thanks to them Al-Farabi had also an excellent knowledge of Ancient Greek music theory. The method of demonstrating the intervals by the frets of the oud keyboard was probably taken from Al-Kindi. Here the intervals are |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 34, "sc": 697, "ep": 34, "ec": 1259} | 2,260 | Q14192207 | 34 | 697 | 34 | 1,259 | Hagiopolitan Octoechos | Pitches and their tonal system | not referred to the Byzantine phthongoi, but to the name of the frets. And the fret corresponding to β was called "ring finger fret of Zalzal" (wuṣtā Zalzal), named after the famous Baghdadi oud player Zalzal. It seems that the proportion of the Zalzal fret was a refined one in Bagdad using a large middle tone that came very close to the interval of the small tone, while the Mawsili school used 13:12 instead of 12:11. There is no indication that this division had been of Byzantine origin, so Western scholars felt seduced to ascribe the use of the division |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 34, "sc": 1259, "ep": 34, "ec": 1905} | 2,260 | Q14192207 | 34 | 1,259 | 34 | 1,905 | Hagiopolitan Octoechos | Pitches and their tonal system | called "soft diatonic" (diatonikos malakos) and the chromaticism derived from it as an influence of the Ottoman Empire and to regard their view of the systema teleion also as a norm for the Byzantine tonal system. As Phanariotes (Phanar was the Greek district of Istanbul with the residence of the Patriarchate) who composed as well in the makamlar, the teachers of the New Music School of the Patriarchate around Chrysanthos had certainly exchanges with Sephardic, Armenian, and Sufi musicians, but an intensive exchange between Byzantine, Arab and Persian musicians had already a history of more than 1000 years.
Unlike Latin treatises |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 34, "sc": 1905, "ep": 34, "ec": 2561} | 2,260 | Q14192207 | 34 | 1,905 | 34 | 2,561 | Hagiopolitan Octoechos | Pitches and their tonal system | only a few Greek treatises of chant have survived and their authors wrote nothing about the intervals, about microtonal shifts as part of a certain melos and its echos, or about the practice of ison singing (isokratema). Nevertheless, these practices remained undisputed, because they are still part of the living tradition today, while Western plainchant became rediscovered during the 19th century. Neither musicians nor musicologists were longer familiar with them which explains why various descriptions, as they can be found in certain Latin treatises, were ignored for quite a long time.
Ancient Greek music theory had always been a point of |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 34, "sc": 2561, "ep": 34, "ec": 3189} | 2,260 | Q14192207 | 34 | 2,561 | 34 | 3,189 | Hagiopolitan Octoechos | Pitches and their tonal system | reference in Latin chant treatises, something similar cannot be found in Greek chant treatises before the 14th century, but there were a few Latin treatises of the 11th century which did not only refer to Ancient music theory and the systema teleion together with the Greek names of its elements, they even had parts dedicated to Byzantine chant. The appreciation for Byzantine chant is surprising, because there were very few authors except Boethius who had really studied Greek treatises and who were also capable to translate them.
The systema teleion was present by the Boethian diagram which represented it for the |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 34, "sc": 3189, "ep": 34, "ec": 3805} | 2,260 | Q14192207 | 34 | 3,189 | 34 | 3,805 | Hagiopolitan Octoechos | Pitches and their tonal system | diatonic, the chromatic, and the enharmonic genus. Several tonaries used letters which referred to the positions of this diagram. The most famous example is the letter notation of William of Volpiano which he developed for the Cluniac reforms by the end of the 10th century. In his school a unique tonary was already written, when he was reforming abbot of St. Benignus of Dijon. The tonary shows the Roman-Frankish mass chant written out in neume and pitch notation. The repertory is classified according to the Carolingian tonary and its entirely diatonic octoechos. The use of tyronic letters clearly shows, that |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 34, "sc": 3805, "ep": 34, "ec": 4401} | 2,260 | Q14192207 | 34 | 3,805 | 34 | 4,401 | Hagiopolitan Octoechos | Pitches and their tonal system | the enharmonic diesis was used as a kind of melodic attraction within the diatonic genus, which sharpened the semitonium. Even in Guido of Arezzo's treatise Micrologus, at least in earlier copies, there is still a passage which explains, how the diesis can be found on the monochord. It sharpens the semitonium by replacing the usual whole tone (9:8) between re—mi (D—E, G—a, or a—b) by an even larger one in the proportion of 7:6 which was usually perceived as an attraction towards fa.
But there were as well other practices which could not be explained by the Boethian diagram and its |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 34, "sc": 4401, "ep": 34, "ec": 5029} | 2,260 | Q14192207 | 34 | 4,401 | 34 | 5,029 | Hagiopolitan Octoechos | Pitches and their tonal system | use of tonus and semitonium. The authors of one theoretical tonary of the compilation called alia musica used an alternative intonation with the name AIANEOEANE, the name was obviously taken from a Byzantine enechema ἅγια νεανὲς, a kind of Mesos tetartos with the finalis and basis on a low E, and applied the Byzantine practice to certain pieces of Roman-Frankish chant which were classified as "tonus tertius" or "Autentus deuterus". In the following section "De quarto tono" the author quotes Aristoxenos' description of the enharmonic and chromatic division of the tetrachord, the remark on it in precisely this section had |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 34, "sc": 5029, "ep": 38, "ec": 446} | 2,260 | Q14192207 | 34 | 5,029 | 38 | 446 | Hagiopolitan Octoechos | Pitches and their tonal system & Medieval use of transposition (μεταβολή κατὰ τόνον) | been probably motivated by the Hagiopolitan concept of the phthora nenano which connected the echos protos on a with the plagios devteros on E. Medieval use of transposition (μεταβολή κατὰ τόνον) Latin cantors knew about the theoretical concept of the practice of transposition since Boethius' translation of Ptolemy. Very few can be said, if they ever understood the practical use of it. Nevertheless, there was a rudimentary knowledge which can be found in the Carolingian treatises Musica and Scolica enchiriadis. The Musica enchiriadis was also the only Latin treatise which documented a second tone system beside the systema teleion, but |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 38, "sc": 446, "ep": 38, "ec": 1108} | 2,260 | Q14192207 | 38 | 446 | 38 | 1,108 | Hagiopolitan Octoechos | Medieval use of transposition (μεταβολή κατὰ τόνον) | it does not explain at all, how these both systems worked together in practice.
The Hagiopolites did neither explain it nor did it mention any tone system nor the metabole kata tonon, but this was probably, because the hymn reform of Jerusalem was mainly concerned with simple models exemplified by heirmoi or troparia. Greek protopsaltes used the transposition only in very few compositions of the sticherarion, for instance the compositions passing through all the modes of the Octoechos, or certain melismatic elaborations of troparia in the psaltic style, the soloistic style of the Constantinopolitan cathedral rite. This might explain that Charles |
{"datasets_id": 2260, "wiki_id": "Q14192207", "sp": 38, "sc": 1108, "ep": 38, "ec": 1704} | 2,260 | Q14192207 | 38 | 1,108 | 38 | 1,704 | Hagiopolitan Octoechos | Medieval use of transposition (μεταβολή κατὰ τόνον) | Atkinson discussed Carolingian theory in comparison with the later papadikai, in which all possible transpositions were represented by the Koukouzelian wheel or by the kanônion.
Wheels are also used in Arabic music theory since the 13th century, and Al-Farabi was the first who started a long tradition of science, which did not only find the proportions of the untransposed diatonic system on the oud keyboard, but also those of all possible transpositions. The use of instruments had to adapt to a very complex tradition which had probably been a rather vocal tradition in its origins. |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 2, "sc": 0, "ep": 6, "ec": 595} | 2,261 | Q5638891 | 2 | 0 | 6 | 595 | Hahne and Company | History | Hahne and Company History The firm was founded by Julius Hahne in 1858 as a specialty store which by the early 20th century had grown into a full-line department store. The store's motto was "The Store With The Friendly Spirit", and it became known as the "carriage trade" store in Newark.
In 1911, a modern flagship store designed by architect Goldwin Starrett was opened at 609 Broad Street in downtown Newark. Occupying a 2.3-acre (9,300 m²) site, this single building contained 441,000 square feet (41,000 m²) of selling space spread over five floors (basement through 4th floor), with an atrium in the center |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 6, "sc": 595, "ep": 6, "ec": 1182} | 2,261 | Q5638891 | 6 | 595 | 6 | 1,182 | Hahne and Company | History | of the building which ran from the street floor to the 4th floor. An extensive Budget Store operated in the basement level until it was folded in the mid 1970s. The store also contained two popular dining rooms, the more formal "Pine Room" located on the street floor, and the counter-style "Maple Room" (located in the basement), which was very popular with downtown office workers. The "Maple Room" closed in the early 1980s when the basement level was closed as a selling floor, while the "Pine Room" remained open until the entire store was closed in 1987.
In 1916, Hahne's |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 6, "sc": 1182, "ep": 10, "ec": 388} | 2,261 | Q5638891 | 6 | 1,182 | 10 | 388 | Hahne and Company | History & Suburban growth | became one of the founding members of the Associated Dry Goods Corporation (ADG).
In 1929, Hahne's was the first of Newark's department stores to open a branch on Church Street in Montclair. Suburban growth Starting in the 1950s, the company began to focus slowly on suburban growth. The Montclair store was replaced with a larger full-line branch, designed by Fellheimer & Wagner, with Roland Wank, and the original location became Hahne's Budget Store. In 1963, a location in Westfield was added. The firm did not enter the growing mall market in New Jersey until the 1970s, and this cost the |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 10, "sc": 388, "ep": 10, "ec": 1010} | 2,261 | Q5638891 | 10 | 388 | 10 | 1,010 | Hahne and Company | Suburban growth | chain valuable time in keeping up with its competitors.
Hahne's remained too focused on its Newark Store in the 1960s. The Montclair store was built too small to be a true department store, management was so pressed for selling space in Montclair that it had to take their Christmas decorations to the Newark flagship just to store them. Although the Westfield location was attractive, Hahne's lacked the customer base to compete with the nearby Lord & Taylor in Millburn, Saks Fifth Avenue in Springfield, and Bonwit Teller, B. Altman & Co and Bloomingdale's in Short Hills.
Newark declined badly in the |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 10, "sc": 1010, "ep": 10, "ec": 1587} | 2,261 | Q5638891 | 10 | 1,010 | 10 | 1,587 | Hahne and Company | Suburban growth | 1960s and 1970s and the division, with most of its sales volume coming from the Newark flagship, went down with it. The Newark location lacked parking and was in a neighborhood that suburban shoppers felt was unsafe. Alan Kane, the executive in charge of their repositioning had some good ideas but they were too little and too late to save the chain. The stores below that Kane opened are still operated as Lord & Taylor locations, or are occupied by the chains that bought them, while the three that he inherited are all gone except for Westfield.
During the course |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 10, "sc": 1587, "ep": 14, "ec": 134} | 2,261 | Q5638891 | 10 | 1,587 | 14 | 134 | Hahne and Company | Suburban growth & Reorganization | of the 1970s and 1980s, the chain attempted to reach out to a broader shopper demographic with mixed results. In 1978, parent ADG appointed Alan Kane, a graduate of Wharton School of Business, as CEO of Hahne & Company. Kane oversaw the planning and opening of two new locations (Woodbridge Center and Rockaway Townsquare), and he steered the company toward a more focused, upper-market clientele. The Livingston Mall location was branded the company's "flagship" during this time. Reorganization In mid-1986 Hahne & Co. announced a major reorganization that would see not only the downtown Newark location close, but the corporate |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 14, "sc": 134, "ep": 14, "ec": 723} | 2,261 | Q5638891 | 14 | 134 | 14 | 723 | Hahne and Company | Reorganization | offices would leave Newark as well. ADG acquired the large Gimbels location at the Garden State Plaza, with plans to use two floors for Hahne's first location in Bergen County, and the lower level as Hahne's temporary corporate offices. Shortly after this plan was announced, ADG was sold to the May Department Stores Company, and
per May Co.'s policy, major plans were put on hold until May's officers had a chance to review the details. After careful consideration by May, the Newark store was closed in 1987 and later in the same year a two-level location opened in the former |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 14, "sc": 723, "ep": 18, "ec": 137} | 2,261 | Q5638891 | 14 | 723 | 18 | 137 | Hahne and Company | Reorganization & Former buildings | Gimbels Garden State Plaza location. Hahne's offices were relocated to leased space in Woodbridge, near the company's distribution center that had opened in 1985.
May contemplated running Hahne's as a more contemporary focused chain that would compete with Bloomingdales, but Kane left the brand after a management shakeup had changed the overall direction of the company. By 1988, May decided to retire the brand and convert most of the stores into new locations for its Lord & Taylor banner. Former buildings In 2007, after sitting empty for approximately 20 years, the architecturally significant 1951 Montclair store was demolished and replaced |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 18, "sc": 137, "ep": 18, "ec": 726} | 2,261 | Q5638891 | 18 | 137 | 18 | 726 | Hahne and Company | Former buildings | by a new development housing condominiums known as Siena At Montclair.
In January 2013, after sitting empty for almost 30 years, it was announced that the Newark flagship store would be renovated with a Whole Foods Market and retail arcade on the ground floor and close to one hundred market rate residential units above. A six story addition was constructed on the Halsey St. side of the building and underground parking as well. Ground was broken in June 2015. On October 9, 2014, Rutgers announced that they would open a new arts center on three floors of the Hahne and Company |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 18, "sc": 726, "ep": 18, "ec": 1396} | 2,261 | Q5638891 | 18 | 726 | 18 | 1,396 | Hahne and Company | Former buildings | building. The arts center will be called "Express Newark", and will include an arts incubator, media center, design consortium, print shop, portrait studio, lecture hall, as well as new exhibition and performance spaces for artists. The university has reached out to community partners to collaborate on the project. The building has dedicated market rate housing to promote the healthy revitalization of Newark while serving those who already live in Newark.The complex also has a Petco, CitiMD urgent care doctors office, Barnes&Noble bookstore, an upscale restaurant opened by celebrity chef Marcus Samuelson, and other businesses including a Sweetwaters Coffee, an |
{"datasets_id": 2261, "wiki_id": "Q5638891", "sp": 18, "sc": 1396, "ep": 18, "ec": 1564} | 2,261 | Q5638891 | 18 | 1,396 | 18 | 1,564 | Hahne and Company | Former buildings | Indian restaurant called Curry Up, an upscale wines and liquor establishment called Cool Vines, and a City National Bank branch. The building reopened in January 2017. |
{"datasets_id": 2262, "wiki_id": "Q5639363", "sp": 2, "sc": 0, "ep": 6, "ec": 464} | 2,262 | Q5639363 | 2 | 0 | 6 | 464 | Hainan International Convention And Exhibition Center | Artificial island | Hainan International Convention And Exhibition Center Artificial island A hotel complex on an artificial island will become part of the convention center. Situated in the sea less than 100 metres to the north, this circular, 6-acre island is currently under construction. As of May 2015, it consists only of earth and rock with a causeway leading to it, but will be designed to resemble a Maneki-neko. Eventually, a hotel complex and marina will be built. The 108-storey, 300-metre-tall luxury hotel is expected to cost 28 billion yuan. |
{"datasets_id": 2263, "wiki_id": "Q5639510", "sp": 2, "sc": 0, "ep": 4, "ec": 612} | 2,263 | Q5639510 | 2 | 0 | 4 | 612 | Hair hang | Hair hang The hair hang is an aerial circus act where performers (usually young women) are suspended by their hair, performing acrobatic poses and/or manipulation. Some believe the act originated in South America; others claim the act hails from China. Performers literally hang suspended by their hair, which is tied into a hairhang rig; the techniques used to tie the performer's hair, and the acrobatic techniques involved in the act are key.
Many people underestimate the tensile strength of hair. A single strand can potentially carry a weight of up to 100 grams; in theory, with proper technique, a full head |
|
{"datasets_id": 2263, "wiki_id": "Q5639510", "sp": 4, "sc": 612, "ep": 4, "ec": 826} | 2,263 | Q5639510 | 4 | 612 | 4 | 826 | Hair hang | of human hair could eventually hold between 5,600 kg and 8,400 kg (12,345 to 18,518 lbs) without breaking individual hairs or pulling out any follicles. However, the act still hurts, especially for new performers. |
|
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 2, "sc": 0, "ep": 6, "ec": 581} | 2,264 | Q2560444 | 2 | 0 | 6 | 581 | Haitian cuisine | Pre-colonial cuisine | Haitian cuisine Pre-colonial cuisine Haiti was one of many Caribbean islands inhabited by the Taíno natives, speakers of an Arawakan language called Taíno. The barbecue (or BBQ) originated in Haiti. The word "barbecue" derives from the word barabicu, found in the language of the Taíno people of Caribbean and the Timucua of Florida, and entered European languages in the form barbacoa. Specifically, the Oxford English Dictionary translates the word as a "framework of sticks set upon posts". Gonzalo Fernández De Oviedo y Valdés, a Spanish explorer, was the first to use the word "barbecoa" in print in Spain in 1526 |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 6, "sc": 581, "ep": 6, "ec": 1174} | 2,264 | Q2560444 | 6 | 581 | 6 | 1,174 | Haitian cuisine | Pre-colonial cuisine | in the Diccionario de la Lengua Española (2nd Edition) of the Real Academia Española. After Columbus landed in the Americas in 1492, the Spaniards apparently found native Haitians roasting animal meat over a grill consisting of a wooden framework resting on sticks and a fire made underneath, that flames and smoke would rise and envelop the animal meat, giving it a certain flavor. Strangely enough, the same framework was used as a means of protection against the wild that may attack during middle of the night while at sleep. The barbecue not only survived in the Haitian cuisine, but was |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 6, "sc": 1174, "ep": 10, "ec": 555} | 2,264 | Q2560444 | 6 | 1,174 | 10 | 555 | Haitian cuisine | Pre-colonial cuisine & Colonial cuisine | introduced to many different parts of the world and has numerous regional variations. Colonial cuisine Christopher Columbus landed at Môle Saint-Nicolas on 5 December 1492, and claimed the island he named La Isla Espanola (later named Hispaniola) for Spain. The Spanish established sugar plantations and made the natives work as slaves, however the harsh conditions and infectious diseases brought over by the Spanish sailors nearly wiped out the indigenous population by 1520 as the natives lacked immunity to these new diseases, forcing the Spaniards to import slaves from Africa to work these plantations instead. The Africans introduced okra (also called |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 10, "sc": 555, "ep": 10, "ec": 1168} | 2,264 | Q2560444 | 10 | 555 | 10 | 1,168 | Haitian cuisine | Colonial cuisine | gumbo; edible pods), ackee (red and yellow fruit), taro (an edible root), pigeon peas (seeds of an African shrub), and various spices to the diet. In 1659, the French had established themselves on the western portion of the islands of Hispaniola and Tortuga by the way of buccaneers. The Treaty of Ryswick of 1697, allowed the French to acquire the western portion of the island from the Spanish they had neglected. By the 1700s, the French had situated its control comfortably, successfully cultivating sugarcane, coffee, cotton, and cocoa from the African slave labor. When the Haitian Revolution ended and the |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 10, "sc": 1168, "ep": 10, "ec": 1818} | 2,264 | Q2560444 | 10 | 1,168 | 10 | 1,818 | Haitian cuisine | Colonial cuisine | people of Haiti won their independence in 1804 and established the world's first black republic, thousands of refugees from the revolution, both whites and free people of color (affranchis or gens de couleur libres), fled to New Orleans, often bringing African slaves with them, doubling the city's population. They also introduced such Haitian specialties as the red beans and rice and mirliton (or called chayote; a pear-shaped vegetable) to the Louisiana Creole cuisine.
Since independence from France, the French influence has remained evident in the Haitian society, not only in the usage of the language but in the contributions to the |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 10, "sc": 1818, "ep": 14, "ec": 464} | 2,264 | Q2560444 | 10 | 1,818 | 14 | 464 | Haitian cuisine | Colonial cuisine & Popular foods | cuisine. French cheeses, breads and desserts are still common foods found at local stores and markets. Popular foods Haitian cuisine is often lumped together with other regional islands as "Caribbean cuisine," however it maintains an independently unique flavor. It involves the extensive use of herbs and the liberal use of peppers. A typical dish would probably be a plate of riz collé aux pois (diri kole ak pwa), which is rice with red kidney beans (pinto beans are often used as well) glazed with a marinade as a sauce and topped off with red snapper, tomatoes and onions. It |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 14, "sc": 464, "ep": 14, "ec": 1043} | 2,264 | Q2560444 | 14 | 464 | 14 | 1,043 | Haitian cuisine | Popular foods | is often called the Riz National, considered to be the national rice of Haiti. The dish can be accompanied by bouillon. Bouillon is a hearty soup consisting of various spices, potatoes, tomatoes, and meats such as goat or beef. Dishes vary by region.
Rice is occasionally eaten with beans alone, but more often than not, some sort of meat completes the dish. Bean purée or sauce pois (sos pwa) is often poured on top of white rice. The traditional Haitian sauce pois is less thick than the Cuban's black bean soup. Black beans is usually the beans of choice, followed by |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 14, "sc": 1043, "ep": 14, "ec": 1699} | 2,264 | Q2560444 | 14 | 1,043 | 14 | 1,699 | Haitian cuisine | Popular foods | red beans, white beans, and even peas. Chicken is frequently eaten, the same goes for goat meat (cabrit) and beef (boeuf). Chicken is often boiled in a marinade consisting of lemon juice, sour orange, scotch bonnet pepper, garlic and other seasonings, then subsequently fried until crispy.
Légume Haïtien (or simply "légume'" in Haiti), is a thick vegetable stew consisting of a mashed mixture of eggplant, cabbage, chayote, spinach, watercress and other vegetables depending on availability and the cook's preference. It is flavored with épice, onions, garlic, and tomato paste, and generally cooked with beef or crab. Légume is most often served |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 14, "sc": 1699, "ep": 14, "ec": 2398} | 2,264 | Q2560444 | 14 | 1,699 | 14 | 2,398 | Haitian cuisine | Popular foods | with rice, but may also be served with other starches, including mais moulin (mayi moulen), a savory cornmeal porridge similar to polenta or grits), petit mil (cooked millet), or blé (wheat).
Other starches commonly eaten include yam, patate (neither of which should be confused with the North American sweet potato), potato, and breadfruit. These are frequently eaten with a thin sauce consisting of tomato paste, onions, spices, and dried fish.
Tchaka is a hearty stew consisting of hominy, beans, joumou (squash), and meat (often pork).
Boulette, are bread-bounded meatballs seasoned in Haitian fashion.
Spaghetti is most often served in Haiti as a breakfast dish |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 14, "sc": 2398, "ep": 14, "ec": 3040} | 2,264 | Q2560444 | 14 | 2,398 | 14 | 3,040 | Haitian cuisine | Popular foods | and is cooked with hot dog, dried herring, and spices, served with tomato sauce and sometimes raw watercress.
One of the country's best-known appetizers is the Haitian patty (pâté), which are made with either ground beef, chicken, salted cod, smoked herring (food), and ground turkey surrounded by a crispy or flaky crust. Other snacks include crispy, spicy fried malanga fritters called accra (akra), bananes pesées, and marinade (called beignets elsewhere); fried savory dough balls. For a complete meal, they may be served with griot (fried pork), tassot cabrit (fried goat meat) or other fried meat. These foods are served with a |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 14, "sc": 3040, "ep": 18, "ec": 423} | 2,264 | Q2560444 | 14 | 3,040 | 18 | 423 | Haitian cuisine | Popular foods & Regional dishes | spicy slaw called picklese which consists of cabbage, carrot, vinegar, scotch bonnet pepper, and spices. Fried foods, collectively known as fritaille (fritay), are sold widely on the streets. Regional dishes Regional dishes also exist throughout Haiti. In the area around Jérémie, in the Grand'Anse department at the southwest tip of the country on the Gulf of Gonâve, a dish called tonmtonm, which is steamed breadfruit called lam veritab mashed in a pilon, is eaten. Tonmtonm is swallowed without chewing, using a slippery sauce made of okra (kalalou), cooked with meat, fish, crab, and savory spices. Tonmtonm is very similar to |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 18, "sc": 423, "ep": 18, "ec": 1066} | 2,264 | Q2560444 | 18 | 423 | 18 | 1,066 | Haitian cuisine | Regional dishes | West African Fufu. Another regional dish called poul ak nwa (poulet aux noix de cajou), which is chicken with cashew nuts), is from the north of the country, in the area around Cap-Haïtien.
Waves of migration have also influenced Haitian cuisine. For example, immigrants from Lebanon and Syria brought kibbeh, which has been adopted into Haitian cuisine.
The flavor base of much Haitian cooking is épice, a combination sauce made from cooked peppers, garlic, and herbs, particularly green onions, thyme, and parsley. It is also used as a basic condiment for rice and beans and is also used in stews and soups.
Bouillon |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 18, "sc": 1066, "ep": 26, "ec": 126} | 2,264 | Q2560444 | 18 | 1,066 | 26 | 126 | Haitian cuisine | Regional dishes & Beer & Rum | cubes are often used by Haitian cooks, especially with the increasingly imported Maggi brand. Beer Beer is one of several common alcoholic beverages consumed in Haiti, often drunk at festivals, parties, and occasionally downed with a meal. The most consumed brand of beer in Haiti is Prestige, a mild lager with a light and crisp yet mildly sweet taste with a vague yet strong flavor reminiscent of several American-style beers. Prestige is brewed by Brasserie Nationale d'Haiti (owned by Heineken). Rum Haiti is known internationally for its rum. The most well-known company in the country is the world-renowned Rhum Barbancourt; |
{"datasets_id": 2264, "wiki_id": "Q2560444", "sp": 26, "sc": 126, "ep": 30, "ec": 187} | 2,264 | Q2560444 | 26 | 126 | 30 | 187 | Haitian cuisine | Rum & Clairin | one of the nation's finest and most famous exports by international standards. It is arguably the country's most beloved alcoholic beverage. It is unique in that the distilleries use sugarcane juice directly instead of molasses like other types of rum, hence the added "h" in rhum to differentiate. The rum is marketed in approximately 20 countries and uses a process of distillation similar to the process used to produce cognac. Clairin Clairin (Haitian Creole: kleren) is a distilled spirit made from cane sugar, that undergoes the same distillation process as rhum, although less refined, and raw. It is sometimes referred |
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