The saxophone (often referred to colloquially as the sax) is a type of single-reed woodwind instrument with a conical body, usually made of brass. As with all single-reed instruments, sound is produced when a reed on a mouthpiece vibrates to produce a sound wave inside the instrument's body. The pitch is controlled by opening and closing holes in the body to change the effective length of the tube. The holes are closed by leather pads attached to keys operated by the player. Saxophones are made in various sizes and are almost always treated as transposing instruments. A person who plays the saxophone is called a saxophonist or saxist. The saxophone is used in a wide range of musical styles including classical music (such as concert bands, chamber music, solo repertoire, and occasionally orchestras), military bands, marching bands, jazz (such as big bands and jazz combos), and contemporary music. The saxophone is also used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. The saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s and was patented on 28 June 1846. Sax invented two groups of seven instruments each—one group contained instruments in C and F, and the other group contained instruments in B♭ and E♭. The B♭ and E♭ instruments soon became dominant, and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small fraction of instruments made by Sax. High-pitch (also marked "H" or "HP") saxophones tuned sharper than the (concert) A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor use, but are not playable to modern tuning and are considered obsolete. Low-pitch (also marked "L" or "LP") saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century, and saxophones in F were introduced during the late 1920s but never gained acceptance. The modern saxophone family consists entirely of B♭ and E♭ instruments. The saxophones in widest use are the B♭ soprano, E♭ alto, B♭ tenor, and E♭ baritone. The E♭ sopranino and B♭ bass saxophone are typically used in larger saxophone choir settings, when available. In the table below, consecutive members of each family are pitched an octave apart.

This is a list of notable events in music that took place in the year 1904.

In classical music, a piano quintet is a work of chamber music written for piano and four other instruments, most commonly (since 1842) a string quartet (i.e., two violins, viola, and cello). The term also refers to the group of musicians that plays a piano quintet. The genre flourished during the nineteenth century. Until the middle of the nineteenth century, most piano quintets were scored for piano, violin, viola, cello, and double bass. Following the success of Robert Schumann's Piano Quintet in E♭ major, Op. 44 in 1842, which paired the piano with a string quartet, composers increasingly adopted Schumann's instrumentation, and it was this form of the piano quintet that dominated during the second half of the nineteenth century and into the twentieth century. Among the best known and most frequently performed piano quintets, aside from Schumann's, are Schubert's Trout quintet and the piano quintets of Johannes Brahms, César Franck, Antonín Dvořák and Dmitri Shostakovich.

This is a list of compositions by Vincent d'Indy.

This is a list of compositions for piano and orchestra. For a description of related musical forms, see Concerto and Piano concerto.

Inanna is the ancient Mesopotamian goddess of war, love, and sex. She is also associated with political power, divine law, sensuality, and procreation. Originally worshipped in Sumer, she was known by the Akkadians, Babylonians, and Assyrians as Ishtar. Her primary title is "the Queen of Heaven". She was the patron goddess of the Eanna temple at the city of Uruk, her early main religious center. In archaic Uruk, she was worshipped in three forms: morning Inanna (Inana-UD/hud), evening Inanna (Inanna sig), and princely Inanna (Inanna NUN), the former two reflecting the phases of her associated planet Venus. Her most prominent symbols include the lion and the eight-pointed star. Her husband is the god Dumuzid (later known as Tammuz), and her sukkal (attendant) is the goddess Ninshubur, later conflated with the male deities Ilabrat and Papsukkal. Inanna was worshipped in Sumer as early as the Uruk period (c. 4000 – 3100 BCE), and her worship was relatively localized before the conquest of Sargon of Akkad. During the post-Sargonic era, she became one of the most widely venerated deities in the Sumerian pantheon, with temples across Mesopotamia. Adoration of Inanna/Ishtar was continued by the East Semitic-speaking peoples (Akkadians, Assyrians and Babylonians) who succeeded and absorbed the Sumerians in the region. The Assyrians elevated her to become the highest deity in their pantheon, ranking close to their own national god Ashur. Inanna/Ishtar is alluded to in the Hebrew Bible and she greatly influenced the Ugaritic goddess Ashtart and later the Phoenician goddess Astarte, who in turn possibly influenced the development of the Greek goddess Aphrodite. Her worship continued to flourish until its gradual decline between the first and sixth centuries CE in the wake of Christianity. Inanna appears in more myths than any other Sumerian deity. She also has a uniquely high number of epithets and alternate names, comparable only to Nergal. Many of her myths involve her taking over the domains of other deities. She is believed to have been given the mes, which represent all positive and negative aspects of civilization, by Enki, the god of wisdom. She is also believed to have taken over the Eanna temple from An, the god of the sky. Alongside her twin brother Utu (later known as Shamash), Inanna is the enforcer of divine justice; she destroyed Mount Ebih for having challenged her authority, unleashed her fury upon the gardener Shukaletuda after he raped her in her sleep, and tracked down the bandit woman Bilulu and killed her in divine retribution for having murdered Dumuzid. In the standard Akkadian version of the Epic of Gilgamesh, Ishtar asks Gilgamesh to become her consort. When he disdainfully refuses, she unleashes the Bull of Heaven, resulting in the death of Enkidu and Gilgamesh's subsequent grapple with his own mortality. Inanna's most famous myth is the story of her descent into and return from the ancient Mesopotamian underworld, ruled by her older sister Ereshkigal. After she reaches Ereshkigal's throne room, the seven judges of the underworld deem her guilty and strike her dead. Three days later, Ninshubur pleads with all the gods to bring Inanna back. All of them refuse her, except Enki, who sends two sexless beings to rescue Inanna. They escort Inanna out of the underworld but the galla, the guardians of the underworld, drag her husband Dumuzid down to the underworld as her replacement. Dumuzid is eventually permitted to return to heaven for half the year, while his sister Geshtinanna remains in the underworld for the other half, resulting in the cycle of the seasons.

This is a list of compositions by Vincent d'Indy.

This is a list of compositions by Vincent d'Indy.

Paul Marie Théodore Vincent d'Indy (French: [vɛ̃sɑ̃ dɛ̃di]; 27 March 1851 – 2 December 1931) was a French composer and teacher. His influence as a teacher, in particular, was considerable. He was a co-founder of the Schola Cantorum de Paris and also taught at the Paris Conservatoire. His students included Albéric Magnard, Albert Roussel, Arthur Honegger, Darius Milhaud, Yvonne Rokseth, and Erik Satie, as well as Cole Porter. D'Indy studied under composer César Franck, and was strongly influenced by Franck's admiration for German music. At a time when nationalist feelings were high in both countries (circa the Franco-Prussian War of 1871), this brought Franck into conflict with other musicians who wished to separate French music from German influence.

This is a list of compositions by Vincent d'Indy.

This is a list of compositions by Vincent d'Indy.

César Auguste Jean Guillaume Hubert Franck (French: [sezaʁ oɡyst ʒɑ̃ ɡijom ybɛʁ fʁɑ̃k]; 10 December 1822 – 8 November 1890) was a French Romantic composer, pianist, organist, and music teacher born in present-day Belgium. He was born in Liège (which at the time of his birth was part of the United Kingdom of the Netherlands). He gave his first concerts there in 1834 and studied privately in Paris from 1835, where his teachers included Anton Reicha. After a brief return to Belgium, and a disastrous reception of an early oratorio Ruth, he moved to Paris, where he married and embarked on a career as teacher and organist. He gained a reputation as a formidable musical improviser, and travelled widely within France to demonstrate new instruments built by Aristide Cavaillé-Coll. In 1859, he became titular organist at the church Sainte-Clotilde, a position he retained for the rest of his life. He became professor at the Paris Conservatoire in 1872; he took French nationality, a requirement of the appointment. After acquiring the professorship, Franck wrote several pieces that have entered the standard classical repertoire, including symphonic, chamber, and keyboard works for pipe organ and piano. As a teacher and composer he had a vast following of composers and other musicians. His pupils included Ernest Chausson, Vincent d'Indy, Henri Duparc, Guillaume Lekeu, Albert Renaud, Charles Tournemire and Louis Vierne. His best known works include the Symphony in D minor, the Violin Sonata and a setting of the Panis angelicus.

The Symphony on a French Mountain Air (French: Symphonie sur un chant montagnard français), Op. 25, is an orchestral composition written in 1886 by Vincent d'Indy. As indicated by the title, d'Indy took the principal theme from a folk song he heard at Périer overlooking the Cévennes mountains (hence the work's alternative name, Symphonie cévenole). Originally conceived as a fantaisie for piano and orchestra, the symphony is unusual in that it is scored for a prominent (but never dominant) piano part together with orchestra, and has acquired the label sinfonia concertante from some critics. It consists of three movements and lasts just under half an hour: Assez lent - Modérément animé Assez modéré, mais sans lenteur Animé The symphony begins with an evocative melody played first by a cor anglais. The main themes of subsequent movements are based on this melody, and as the symphony progresses each subsequent variation becomes more and more like the original version. The work was dedicated to Marie-Léontine Bordes-Pène, who was the soloist at the premiere in Paris on March 20, 1887.

Paul Marie Théodore Vincent d'Indy (French: [vɛ̃sɑ̃ dɛ̃di]; 27 March 1851 – 2 December 1931) was a French composer and teacher. His influence as a teacher, in particular, was considerable. He was a co-founder of the Schola Cantorum de Paris and also taught at the Paris Conservatoire. His students included Albéric Magnard, Albert Roussel, Arthur Honegger, Darius Milhaud, Yvonne Rokseth, and Erik Satie, as well as Cole Porter. D'Indy studied under composer César Franck, and was strongly influenced by Franck's admiration for German music. At a time when nationalist feelings were high in both countries (circa the Franco-Prussian War of 1871), this brought Franck into conflict with other musicians who wished to separate French music from German influence.

D-flat major is a major scale based on D♭, consisting of the pitches D♭, E♭, F, G♭, A♭, B♭ and C. Its key signature has five flats. The D-flat major scale is: Changes needed for the melodic and harmonic versions of the scale are written in with accidentals as necessary. The D-flat harmonic major and melodic major scales are: Its relative minor is B-flat minor. Its parallel minor, D-flat minor, is usually replaced by C-sharp minor, since D-flat minor features a B (B-double-flat) in its key signature making it less convenient to use. C-sharp major, the enharmonic equivalent to D-flat major, has seven sharps, whereas D-flat major only has five flats; thus D-flat major is often used as the parallel major for C-sharp minor. (The same enharmonic situation occurs with the keys of A-flat major and G-sharp minor, and to some extent, with the keys of G-flat major and F-sharp minor). For example, in his Prelude No. 15 in D-flat major ("Raindrop"), Frédéric Chopin switches from D-flat major to C-sharp minor for the middle section in the parallel minor, while in his Fantaisie-Impromptu and Scherzo No. 3, primarily in C-sharp minor, he switches to D-flat major for the middle section for the opposite reason. Claude Debussy likewise switches from D-flat major to C-sharp minor in the significant section in his famous "Clair de lune" for a few measures. Antonín Dvořák's New World Symphony also switches to C-sharp minor for a while for the significant section in the slow movement. In music for the harp, D-flat major is preferred enharmonically not only because harp strings are more resonant in the flat position and the key has fewer accidentals, but also because modulation to the dominant key is easier (by putting the G pedal in the natural position, whereas there is no double-sharp position in which to put the F pedal for G-sharp major).

The Symphony on a French Mountain Air (French: Symphonie sur un chant montagnard français), Op. 25, is an orchestral composition written in 1886 by Vincent d'Indy. As indicated by the title, d'Indy took the principal theme from a folk song he heard at Périer overlooking the Cévennes mountains (hence the work's alternative name, Symphonie cévenole). Originally conceived as a fantaisie for piano and orchestra, the symphony is unusual in that it is scored for a prominent (but never dominant) piano part together with orchestra, and has acquired the label sinfonia concertante from some critics. It consists of three movements and lasts just under half an hour: Assez lent - Modérément animé Assez modéré, mais sans lenteur Animé The symphony begins with an evocative melody played first by a cor anglais. The main themes of subsequent movements are based on this melody, and as the symphony progresses each subsequent variation becomes more and more like the original version. The work was dedicated to Marie-Léontine Bordes-Pène, who was the soloist at the premiere in Paris on March 20, 1887.

This is a list of compositions by Vincent d'Indy.

This is a list of compositions by Vincent d'Indy.