Contents
Academic literature on the topic 'Violin. [from old catalog]'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Violin. [from old catalog].'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Violin. [from old catalog]"
1
Sandu, Ion, Petru Ovidiu Tanasa, Irina Crina Anca Sandu, Ioan Cristinel Negru, Andrei Victor Sandu, and Viorica Vasilache. "Authentication of an Old Violin by Multianalytical Methods." Applied Sciences 10, no. 1 (December 31, 2019): 306. http://dx.doi.org/10.3390/app10010306.
Full textAbstract:
The paper presents the authentication of a Stradivari 1737 type violin, which belonged to the Romanian scientist Ştefan Odobleja. The analytical methods used in the study for assessing archaeometric characteristics of some component materials, along with the white degree and glycolysis rate measurements of the label that allowed an extensive evaluation of the violin, were OM, SEM–EDX, and micro-FTIR. The preparation binder (egg white from thin gypsum layers) and the varnish (identification of linseed oil and colophony components, alongside contamination impurities) were assessed in order to evaluate the artefact conservation state, as well as the restoration and counterfeiting interventions. We can conclude that the violin was done by a violin maker from the Stradivari family, and it is a replica of the violins of that period.
2
Tai, Hwan-Ching, Yen-Ping Shen, Jer-Horng Lin, and Dai-Ting Chung. "Acoustic evolution of old Italian violins from Amati to Stradivari." Proceedings of the National Academy of Sciences 115, no. 23 (May 21, 2018): 5926–31. http://dx.doi.org/10.1073/pnas.1800666115.
Full textAbstract:
The shape and design of the modern violin are largely influenced by two makers from Cremona, Italy: The instrument was invented by Andrea Amati and then improved by Antonio Stradivari. Although the construction methods of Amati and Stradivari have been carefully examined, the underlying acoustic qualities which contribute to their popularity are little understood. According to Geminiani, a Baroque violinist, the ideal violin tone should “rival the most perfect human voice.” To investigate whether Amati and Stradivari violins produce voice-like features, we recorded the scales of 15 antique Italian violins as well as male and female singers. The frequency response curves are similar between the Andrea Amati violin and human singers, up to ∼4.2 kHz. By linear predictive coding analyses, the first two formants of the Amati exhibit vowel-like qualities (F1/F2 = 503/1,583 Hz), mapping to the central region on the vowel diagram. Its third and fourth formants (F3/F4 = 2,602/3,731 Hz) resemble those produced by male singers. Using F1 to F4 values to estimate the corresponding vocal tract length, we observed that antique Italian violins generally resemble basses/baritones, but Stradivari violins are closer to tenors/altos. Furthermore, the vowel qualities of Stradivari violins show reduced backness and height. The unique formant properties displayed by Stradivari violins may represent the acoustic correlate of their distinctive brilliance perceived by musicians. Our data demonstrate that the pioneering designs of Cremonese violins exhibit voice-like qualities in their acoustic output.
3
Rusek, Zbigniew. "Цигулка, гъдулка… i inne nazwy ‘skrzypiec’ w języku bułgarskim (w porównaniu z pozostałymi językami słowiańskimi)." Studia z Filologii Polskiej i Słowiańskiej 48 (June 16, 2015): 181–205. http://dx.doi.org/10.11649/sfps.2013.011.
Full textAbstract:
Цигулка, гъдулка… and other names for ‘violin, fiddle’ in Bulgarian (in comparison to other Slavonic languages)This paper analyses names for ‘violin’ in Bulgarian, examined against a Slavonic background. A broader approach has been taken to these names, because the article concerns not only the “classic” violin, but also the folk instruments (fiddles), which have different names in Bulgarian (and other Slavonic languages): цигулка, гъдулка, гусла, кемане, лаута, виолина, гънилка, виулица. These names are described from the semantic, derivational and etymological point of view. The noun цигулка, the basic name of ‘violin’, occurs only in Bulgarian and it is unknown in other Slavonic languages, although there are documented derivatives in Serbo-Croatian. The noun кемане ‘violin’, from Turkish, also occurs in Macedonian and Serbo-Croatian and other languages belonging to the Balkan league. The second part of the papers is devoted to the names for ‘violin’ in other Slavonic languages. Some names, extant only in some of the Slavonic languages, are derived from an onomatopoeic stem (Bulg. цигулка, Pol. skrzypce, East-Slavonic скрипка). Most of the Slavonic languages have a noun derived from gǫsli, a Common Slavic ancestor, but in some Slavonic languages (Czech, Slovak, and Sorabic) this word now means the classic violin, while in others it means ‘fiddle’ (comp. Pol. gęśle, Bulg. гусла), and in the Eastern Slavonic languages and Old Church Slavonic it means a ‘plucked string instrument’ ‘a kind of lute’. In Serbo-Croatian it means both the classic violin and primitive fiddle. Polabian has its own name form ‘violin’ gigléikia, which comes from German.
4
Urban, S. E., and G. L. Wycoff. "Densifying the Optical Reference Frame: The Tycho-2 Catalog of 2.5 Million Stars." International Astronomical Union Colloquium 180 (March 2000): 75–79. http://dx.doi.org/10.1017/s0252921100000130.
Full textAbstract:
AbstractSince the establishment of the Hipparcos Catalog as the defining source of the optical reference frame, densification beyond its ≈ 120,000 stars has been made possible by the utilization of the Tycho-1 Catalog. The ACT, combining the old Astrographic Catalog (AC) data with the Tycho-1 positions, is the best known example of this. The Tycho-2 consortium, led by E. Høg, has performed new reductions on the Tycho data. This not only has increased the astrometric and photometric accuracies of the original 1 million Tycho-1 stars, but also has added an additional 1.5 million stars. The U.S. Naval Observatory led the effort to compute the proper motions of these 2.5 million stars. They are based not only on the AC data but also include over 140 other ground-based catalogs, all directly reduced to the Hipparcos system. The result of these efforts is the Tycho-2 Catalog, available since February 2000. Positions, proper motions, and BT and VT magnitudes are given for 2.5 million stars. The catalog is 99% complete to V=11.0, and 90% complete to V=11.5. Positional accuracies at the mean epochs vary from < 10 mas for stars V < 9 to just under 100 mas for V > 12. Proper motion accuracies are estimated to be 1.3 mas/year to 3.0 mas/year for the same magnitude ranges. Photometric accuracies range from 0.02 magnitudes for the brightest stars to 0.25 magnitudes for the faintest.
5
Ivezić, Ž., D. G. Monet, N. Bond, M. Jurić, B. Sesar, J. A. Munn, R. H. Lupton, et al. "Astrometry with digital sky surveys: from SDSS to LSST." Proceedings of the International Astronomical Union 3, S248 (October 2007): 537–43. http://dx.doi.org/10.1017/s1743921308020103.
Full textAbstract:
AbstractMajor advances in our understanding of the Universe have historically come from dramatic improvements in our ability to accurately measure astronomical quantities. The astrometric observations obtained by modern digital sky surveys are enabling unprecedentedly massive and robust studies of the kinematics of the Milky Way. For example, the astrometric data from the Sloan Digital Sky Survey (SDSS), together with half a century old astrometry from the Palomar Observatory Sky Survey (POSS), have enabled the construction of a catalog that includes absolute proper motions as accurate as 3 mas/year for about 20 million stars brighter than V=20, and for 80,000 spectroscopically confirmed quasars which provide exquisite error assessment. We discuss here several ongoing studies of Milky Way kinematics based on this catalog. The upcoming next-generation surveys will maintain this revolutionary progress. For example, we show using realistic simulations that the Large Synoptic Survey Telescope (LSST) will measure proper motions accurate to 1 mas/year to a limit 4 magnitude fainter than possible with SDSS and POSS catalogs, or with the Gaia survey. LSST will also obtain geometric parallaxes with accuracy similar to Gaia's at its faint end (0.3 mas at V=20), and extend them to V=24 with an accuracy of 3 mas. We discuss the impact that these LSST measurements will have on studies of the Milky Way kinematics, and potential synergies with the Gaia survey.
6
Șuteu, Cristina. "Enescu’s Musical Language in Suite Impresii din copilărie [Impressions of Childhood]." Artes. Journal of Musicology 21, no. 1 (March 1, 2020): 74–95. http://dx.doi.org/10.2478/ajm-2020-0005.
Full textAbstract:
AbstractThe musical language of George Enescu (1881-1955) is sprinkled with symbolic valences that carry the imprint of the Romanian musical culture. For more than half of a century (57 years), Enescu wrote musical works inspired by the folkloric tradition. Between the Romanian Poem, written when he was 16 (in 1897) and the Chamber Symphony, when he was 73 (in 1954), Enescu also composed: Romanian Rhapsody No. 1 (A major), op. 11 (in 1901), Romanian Rhapsody No. 2 (D major), op. 11 (in 1902), Sonata for piano and violin No. 3, A minor (in 1926), Caprice Roumain, for violin and orchestra (in 1928), Orchestral Suite No. 3 (From the country), op. 27, D major (in 1938) and the programmatic suite Impresii din copilărie [Impressions of Childhood for violin and piano], op. 28 in D major (composed in 1940). The paper presents the temporal-spatial structure of the musical masterpiece which reveals a cyclical thinking based on a presentation of the exterior images, followed by the interior images and a return to the exterior. And by an extrapolation of meanings, I created an analogy with the stages of life: childhood, maturity and old age. This article also deals with elements of the musical language used by George Enescu in a manner that reveals a re-created Romanian folklore in a way which bears the imprint of personality and originality of the composer.
7
Girelli, Giacomo, Micol Bolzonella, and Andrea Cimatti. "Massive and old quiescent galaxies at high redshift." Astronomy & Astrophysics 632 (December 2019): A80. http://dx.doi.org/10.1051/0004-6361/201834547.
Full textAbstract:
Aims. Questions of how massive quiescent galaxies rapidly assembled and how abundant they are at high redshift are increasingly important in the study of galaxy formation. Looking at these systems can shed light on the processes of galaxy mass assembly and quenching of the star formation at early epochs. In order to address these questions, we aim to identify and characterize massive quiescent galaxies from z ∼ 2.5 out to the highest redshifts at which these systems can be found. The final purpose is to compare the results with the predictions of state-of-the-art semi-analytical models of galaxy formation and evolution. Methods. We defined observer-frame color–color diagrams to optimally select quiescent galaxies at z > 2.5 and applied them to the COSMOS2015 catalog. We refined the spectral energy distribution (SED) fitting analysis for the selected candidates to confirm their quiescent nature, then derived their number density, mass density, and stellar mass functions. Finally, we compared the results with previous observations and some current semi-analytic models. Results. We selected candidates for quiescent galaxies in the redshift range 2.5 ≲ z ≲ 4.5 from the COSMOS2015 catalog by means of two color–color diagrams. The additional SED fitting analysis allowed us to select 128 galaxies, consistent with being massive (log(M*/M⊙)≥10.6), old (ages ≳0.5 Gyr), and quiescent (log(sSFR [yr−1]) ≤ −10.5) objects at high redshift (2.5 < z < 4.5). Their number and mass densities are in fair agreement with previous observations and, if confirmed, show a discrepancy with current semi-analytical models of galaxy formation and evolution, that underpredict the number of massive quiescent systems up to a factor of ∼12 at 2.5 ≤ z < 3.0 and ∼10 at z ∼ 4.0. The evolution of the stellar mass functions (SMFs) of these systems is similar to previous estimates and indicates a disagreement with models, particularly with regard to the shape of the SMF. Conclusions. The present results add further evidence to the possibility that massive and quiescent galaxies can exist out to at least z ∼ 4. If future spectroscopic observations carried out with, for example, the James Webb Space Telecope (JWST), confirm the substantial presence of such a population, further work on modeling the stellar mass assembly, as well as supermassive black hole accretion and feedback processes at early cosmic epochs, is needed to understand how these systems formed, evolved, and quenched their star formation.
8
Yuan, Ye, Fan Li, Yanning Fu, and Shulin Ren. "New precise positions in 2013–2019 and a catalog of ground-based astrometric observations of 11 Neptunian satellites (1847–2019) based on Gaia-DR2." Astronomy & Astrophysics 645 (January 2021): A48. http://dx.doi.org/10.1051/0004-6361/202038776.
Full textAbstract:
Context. Developing high-precision ephemerides for Neptunian satellites requires not only the continuation of observing campaigns but also the collection and improvement of existing observations. So far, no complete catalogs of observations of Neptunian satellites are available. Aims. We aim to provide new, precise positions, and to compile a catalog including all available ground-based astrometric observations of Neptunian satellites. The observations are tabulated in a single and consistent format and given in the same timescale, the Terrestrial Time (TT), and reference system, the International Celestial Reference System (ICRS), including necessary changes and corrections. Methods. New CCD observations of Triton and Nereid were made at Lijiang 2.4-m and Yaoan 0.8-m telescopes in 2013–2019, and then reduced based on Gaia-DR2. Furthermore, a catalog called OCNS2019 (Observational Catalog of Neptunian Satellites (2019 version)) was compiled, after recognizing and correcting errors and omissions. Furthermore, in addition to what was considered for the COSS08 catalog for eight main Saturnian satellites, all observed absolute and relative coordinates were converted to the ICRS with corrections for star catalog biases with respect to Gaia-DR2. New debiasing tables for both the modern and old star catalogs, which were previously not provided based on Gaia-DR2, are developed and applied. Treatment of missing positions of comparison bodies in conversions of observed relative coordinates are proposed. Results. OCNS2019 and the new debiasing tables are publicly available online. OCNS2019 includes 24996 observed coordinates of 11 Neptunian satellites obtained over 3741 nights from 1847 to 2019. All observations are given in TT and ICRS. The star catalog biases are removed, which are significant for Nereid and outer satellites. We obtained 880 (5% of total now available) new coordinates for Triton over 41 nights (1% of total observation nights so far), and 790 (14%) for Nereid over 47 nights (10%). The dispersions of these new positions are about 0.″03 for Triton and 0.″06 for Nereid. Conclusions. OCNS2019 should be useful in improving ephemerides for the above-mentioned objects.
9
Yuan, Ye, Fan Li, Yanning Fu, and Shulin Ren. "New precise positions in 2013–2019 and a catalog of ground-based astrometric observations of 11 Neptunian satellites (1847–2019) based on Gaia-DR2." Astronomy & Astrophysics 645 (January 2021): A48. http://dx.doi.org/10.1051/0004-6361/202038776.
Full textAbstract:
Context. Developing high-precision ephemerides for Neptunian satellites requires not only the continuation of observing campaigns but also the collection and improvement of existing observations. So far, no complete catalogs of observations of Neptunian satellites are available. Aims. We aim to provide new, precise positions, and to compile a catalog including all available ground-based astrometric observations of Neptunian satellites. The observations are tabulated in a single and consistent format and given in the same timescale, the Terrestrial Time (TT), and reference system, the International Celestial Reference System (ICRS), including necessary changes and corrections. Methods. New CCD observations of Triton and Nereid were made at Lijiang 2.4-m and Yaoan 0.8-m telescopes in 2013–2019, and then reduced based on Gaia-DR2. Furthermore, a catalog called OCNS2019 (Observational Catalog of Neptunian Satellites (2019 version)) was compiled, after recognizing and correcting errors and omissions. Furthermore, in addition to what was considered for the COSS08 catalog for eight main Saturnian satellites, all observed absolute and relative coordinates were converted to the ICRS with corrections for star catalog biases with respect to Gaia-DR2. New debiasing tables for both the modern and old star catalogs, which were previously not provided based on Gaia-DR2, are developed and applied. Treatment of missing positions of comparison bodies in conversions of observed relative coordinates are proposed. Results. OCNS2019 and the new debiasing tables are publicly available online. OCNS2019 includes 24996 observed coordinates of 11 Neptunian satellites obtained over 3741 nights from 1847 to 2019. All observations are given in TT and ICRS. The star catalog biases are removed, which are significant for Nereid and outer satellites. We obtained 880 (5% of total now available) new coordinates for Triton over 41 nights (1% of total observation nights so far), and 790 (14%) for Nereid over 47 nights (10%). The dispersions of these new positions are about 0.″03 for Triton and 0.″06 for Nereid. Conclusions. OCNS2019 should be useful in improving ephemerides for the above-mentioned objects.
10
Fritz, Claudia, Joseph Curtin, Jacques Poitevineau, and Fan-Chia Tao. "Listener evaluations of new and Old Italian violins." Proceedings of the National Academy of Sciences 114, no. 21 (May 8, 2017): 5395–400. http://dx.doi.org/10.1073/pnas.1619443114.
Full textAbstract:
Old Italian violins are routinely credited with playing qualities supposedly unobtainable in new instruments. These qualities include the ability to project their sound more effectively in a concert hall—despite seeming relatively quiet under the ear of the player—compared with new violins. Although researchers have long tried to explain the “mystery” of Stradivari’s sound, it is only recently that studies have addressed the fundamental assumption of tonal superiority. Results from two studies show that, under blind conditions, experienced violinists tend to prefer playing new violins over Old Italians. Moreover, they are unable to tell new from old at better than chance levels. This study explores the relative merits of Stradivari and new violins from the perspective of listeners in a hall. Projection and preference are taken as the two broadest criteria by which listeners might meaningfully compare violins. Which violins are heard better, and which are preferred? In two separate experiments, three new violins were compared with three by Stradivari. Projection was tested both with and without orchestral accompaniment. Projection and preference were judged simultaneously by dividing listeners into two groups. Results are unambiguous. The new violins projected better than the Stradivaris whether tested with orchestra or without, the new violins were generally preferred by the listeners, and the listeners could not reliably distinguish new from old. The single best-projecting violin was considered the loudest under the ear by players, and on average, violins that were quieter under the ear were found to project less well.
Books on the topic "Violin. [from old catalog]"
1
Paulsen, Jasper, ed. Diamond Design: A Study of the Reflection and Refraction of Light in a Diamond. Seattle, USA: Folds.net, 2001.
Find full text
3
Bascom, Robert O. The Fort Edward book: Containing some historical sketches with illustrations and family records. Peru, NY: Bloated Toe Publishing, 2012.
Find full text
4
Raúl, Aguilar Piedra, ed. Bosquejo de la república de Costa Rica. Alajuela, Costa Rica: Museo Histórico Cultural Juan Santamaría, 2001.
Find full text
5
Powers, Grant. An address delivered on the centennial celebration, to the people of Hollis, N.H., September 15th, 1830. Dunstable, N.H: Thayer and Wiggin, 1985.
Find full text
7
Dzieje Polski do XIV stulecia. Poznań: Wydawn. Poznańskiego Tow. Przyjaciół Nauk, 2005.
Find full text
8
Bosquejo de la república de Costa Rica: Seguido de, apuntamientos para su historia con varios mapas, vistas y retratos. San José, Costa Rica: EUNED, Editorial Universidad Estatal a Distancia, 2007.
Find full text
9
Will, Georg Andreas. Nürnbergisches Gelehrten-Lexicon: Oder, Beschreibung aller nürnbergischen Gelehrten beyderley Geschlechtes nach ihrem Leben, Verdiensten und Schrifften zur Erweiterung der gelehrten Geschichts-Kunde und Verbesserung vieler darinnen vorgefallenen Fehler, aus den besten Quellen in alphabetischer Ordnung verfasset. Neustadt an der Aisch: Verlag Christoph Schmidt, 1997.
Find full text
10
Fifteen decisive battles of the world: From Marathon to Waterloo. New York: Da Capo Press, 1994.
Find full textBook chapters on the topic "Violin. [from old catalog]"
1
Friberg, Jöran, and Farouk N. H. Al-Rawi. "Goetze’s Compendium from Old Babylonian Shaduppûm and Two Catalog Texts from Old Babylonian Susa." In New Mathematical Cuneiform Texts, 391–419. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-44597-7_10.
Full text
2
"Musical Experience for Young Children and Families." In Transforming Music Education in P-12 Schools and the Community, 155–75. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-2063-5.ch007.
Full textAbstract:
This chapter illustrates how young children learn the violin. A two-year-old boy, Leo, explored the violin, imaginary played the violin, and socially learned from other participants and the perceived musical environment. Four-year-old Moe and Misa were shy and hesitated to play the violin during the official learning opportunity of the author-designed workshop; however, during the free play time after the workshop, they imaginary played the violin. Kiyone, also four years old, learned the violin playing as well as music reading followed by a few months of interaction with the violin. Finally, Vicki, six years old, experienced free play for almost a year and began taking the official lesson. Since she had enough experience of playing just the open strings as a part of her imaginary play, she had very successful music learning to play more than 10 songs in a very short period.
3
Reiter, Walter S. "The Bow, Creator of Sound." In The Baroque Violin & Viola, 23–26. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190922696.003.0003.
Full textAbstract:
The art of playing the Baroque violin is primarily the art of the bow, for without the bow, the violin is silent. This lesson discusses the intrinsic qualities of the old bow and explains why the modern bow is ill suited to the demands of the Baroque repertoire. Quoting from a number of historical sources ( Georg Muffat, John Playford, Bartolomeo Bismantova, Michel Corrette, Roger North, Francesco Geminiani, Leopold Mozart, and L’Abbé le Fils), it provides information on the ways the bow was held and explains how holding the violin in the way advocated in the previous lesson impacts on essential aspects of bow technique and posture.
4
Zelenskaya, Galina M., and Svetlana K. Sevastyanova. "Corpus of Patriarch Nikon’s Inscriptions on “Sacred Things”: Questions of Textology and Architectural and Artistic Design." In Hermeneutics of Old Russian Literature: Issue 20, 479–547. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20-479-547.
Full textAbstract:
In the vast and varied written heritage of Metropolitan and Patriarch Nikon, the inscriptions on the “holy things” that were written with the participa- tion of, or on his behalf, occupy a special place. These texts, different in volume and content, exist as notes on sheets of manuscript and early printed books, in the form of belts and compositions of tiled temple decoration, as well as on an- timenes, crosses, icons, bells, liturgical vessels, and seals. Many of them by their origin and location are associated with the patriarchal monasteries — the Resur- rection in New Jerusalem near Moscow, the Iversky Svyatoozersky in Valdai and the Onega Godfather on the Kiy-island. The corpus of the inscriptions, united by the name of the Primate, has never been studied in its entirety and systematically. The authors of the article attempted to fill these gaps by applying an integrated approach in the study. They prepared on the principle of a catalog a register of “holy things” — sacred objects that make up a single whole with the texts present- ed on them. The inscriptions are classified according to the functional purpose of the objects on which they are located. The groups of annals-historical, spiritual- educational, liturgical, historical-topographic, supplementary and owner’s in- scriptions are distinguished. Historical and philological research of texts is com- plemented by an analysis of the symbolic and semantic aspects of their architectur- al and artistic design. The inscriptions appear in the context of the iconic work of Patriarch Nikon, including hierotopic, iconographic and architectural programs, embodied with the participation of masters from Great, Small and White Russia. A comprehensive study allowed us to see the inscriptions and the personality of His Holiness Nikon from a perspective that reveals the richest spectrum of litur- gical, church-historical, patristic and artistic traditions of Old Russia, combined with new trends melted down in the furnace of Orthodoxy.
5
Haroutounian, Joanne. "Talent as Giftedness." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0012.
Full textAbstract:
Wolfgang Amadeus Mozart began composing at the age of four. He toured as a prodigy for three years before the age of ten, astounding audiences with his ability to perform on the harpsichord, voice, organ, and violin. He would compose on sight in different styles and on different instruments. He could “most accurately name from a distance any notes that may be sounded for him either singly or in chords, on the clavier or on every imaginable instrument, including bells, glasses, and clocks.” When his father was recovering from an illness, eight-year-old Wolfgang was not allowed to play the piano. He filled his time by composing his first symphony (K.16) for all instruments of the orchestra. When we hear the word “gifted” in connection with music, the musical prodigy immediately comes to mind. The arguments of recognizing talent through performance, creative endeavors, or music aptitude tests seem incidental in comparison to the possibilities and accomplishments of the musical prodigy. There is no question that these young musicians show incredible levels of musical talent, often exhibiting musical capabilities equal to those of a highly trained adult. Mozart remains the preeminent example of the prodigy, described by his father and teacher as a “God-given miracle,” knowing “in his eighth year what one would expect from a man of forty. Indeed, only he who sees him can believe it.” A prodigy is a child who displays extraordinary talent at an early age. Prodigies occur most often in the field of music, exceeding the total of all other fields combined. Musical prodigies show outstanding abilities at a younger age than other prodigies, with some as young as three or four years old. The field of chess is a distant second place in number, with prodigious achievement often seen at five or six years of age. Relatively few prodigies are identified in the natural sciences, philosophy, dance, or plastic arts. Even the field of mathematics, whose young calculating wonders gain media recognition, have few true prodigies capable of original mathematical reasoning prior to their teen years. The literature offers differing opinions concerning age and prodigious talent.