Wikipedia - User contributions [en]

Karsk

2025-05-28T18:01:55Z

MonkeyPython: generalised, the last sentence specifies this.

{{short description|Scandinavian coffee and moonshine cocktail}}
{{See also|Karsk, West Pomeranian Voivodeship}}
{{Infobox cocktail
| source =
| name = Karsk
| image =
| caption =
| type = cocktail
| flaming =
| moonshine = yes
| vodka = yes
| everclear = yes
| served = Hot
| drinkware = cup
| ingredients = *6cl (3 parts) [[Pure alcohol]]
*6cl (3 parts) Hot [[coffee]]
| prep = Heat the coffee; do not boil. Pour into cup and add the alcohol; serve hot.
| notes =
| footnotes =
}}
'''Karsk''' (also called '''kask''' or '''kaffeekask''', alongside a variety of different names) is Norwegian [[cocktail]] (from the [[Trøndelag]] region) containing [[coffee]] together with [[moonshine]] and sometimes a spoon of [[sugar]] (enthusiasts often consider moonshine exclusively to be appropriate as an added component, as it has no inherent taste like other alcoholic beverages). Broader, it can also be found in other parts of [[Scandinavia]].

==Etymology==
The word ''karsk'' is derived from the [[Old Norse]] adjective {{Lang|non|karskr}}, meaning healthy, vigorous or agile.<ref>{{cite web|title=Karsk|url=http://www.nob-ordbok.uio.no/perl/ordbok.cgi?OPP=karsk&bokmaal=+&ordbok=begge|work=Bokmålsordboka|publisher=Språkrådet|access-date=25 October 2012|language=no|archive-url=https://web.archive.org/web/20131230235218/http://www.nob-ordbok.uio.no/perl/ordbok.cgi?OPP=karsk&bokmaal=+&ordbok=begge|archive-date=30 December 2013|url-status=dead}}</ref>

==Origin==
The precise origin of ''karsk'' is unknown, however it appears to have been a popular drink in the Swedish [[Bohuslän]] district in the early 1800s. By the latter half of the century, its popularity spread across Norway. It was and still is especially popular in rural areas, although city-folk also enjoy it. It is firmly embedded as a part of the culture in [[Trøndelag]], and according to former Norwegian Minister of Culture [[Trond Giske]] "Everyone who has grown up in Trøndelag, has had Karsk at some point".<ref>{{cite news|last=Hindhamar|first=Sølve|title=Trond Giske - Jeg har drukket hjemmebrent|url=http://www.seher.no/880289/naeringsminister-trond-giske-har-drukket-hjemmebrent|access-date=25 October 2012|newspaper=Seher.no|language=no|archive-date=30 March 2013|archive-url=https://web.archive.org/web/20130330203728/http://www.seher.no/880289/naeringsminister-trond-giske-har-drukket-hjemmebrent|url-status=dead}}</ref>

==Variations==
In English-speaking countries, the variant with vodka instead of moonshine is sometimes called '''Russian coffee''', though Russian coffee can also refer to a variant served with whipped cream.

In Norway, the term '''karsk''' is predominantly used in the mid-region of the country (Trøndelag, roughly corresponding to the county of [[Trøndelag]]), while it may be referred to with other terms in other parts of the country. For instance, it may also be referred to as '''kaffedoktor''' ("Coffee doctor") or '''knikt''' (Hedmark dialect for knekt (jack/knave)); both these are for instance popular designations in the counties of [[Hedmark]] and [[Oppland]] (merged to [[Innlandet]] after 1 January 2020). In Northern Norway it may also be referred to as '''rotar''', though some would use these terms ('''kaffedoktor''' and '''rotar''') exclusively about a variety where sugar is added with the coffee.

In [[Sweden]] it is called '''kask''', '''kaffekask''' ("strong coffee") or '''kaffegök''' and is mainly drunk in the central and northern parts. Even the Southeastern dialect of [[Finnish language|Finnish]] has an expression for the beverage, there called '''kaffeplörö''' or '''kaffeblörö'''.

In Denmark this type of drink is usually called a '''kaffepunch''' and traditionally consists of nothing but coffee with schnapps.

The mixing ratio varies.

==Notable karsk aficionados==
* [[Trond Giske]], Norwegian politician
* [[Petter Northug]],<ref>{{cite news|last=Sonstad|first=Trym|title=- Blir vel en karsk på badstua i kveld|url=http://www.dagbladet.no/sport/2007/01/21/489523.html|access-date=25 October 2012|newspaper=Dagbladet.no|date=21 January 2007|language=no}}</ref> Norwegian cross-country skier
* [[Bjarne Brøndbo]],<ref>{{cite web|last=Markussen|first=John Arne|title=15 år med Karsk og trekkspill|url=http://www.kjendis.no/2007/10/25/516191.html?end=1|publisher=Dagbladet.no|access-date=26 October 2012|language=no|url-status=dead|archive-url=https://web.archive.org/web/20160303220008/http://www.kjendis.no/2007/10/25/516191.html?end=1|archive-date=3 March 2016}}</ref> Norwegian musician

==References==
{{reflist}}

[[Category:Cocktails with vodka]]
[[Category:Alcoholic coffee drinks]]
[[Category:Norwegian distilled drinks]]
[[Category:Norwegian cuisine]]

Allspice

2025-05-28T17:55:50Z

MonkeyPython: /* Uses */

{{Short description|Pungent fruit of the tree Pimenta dioica}}
{{Redirect|All spice|all spices|List of culinary herbs and spices}}
{{Use dmy dates|date=January 2023}}
{{Speciesbox
|name=Allspice
|image=Pimenta_dioica_-_Köhler–s_Medizinal-Pflanzen-239.jpg
|image_caption=Illustration of twig, flowers, and fruits
|status = LC
|status_system = IUCN3.1
|status_ref = <ref>{{cite iucn |author=Botanic Gardens Conservation International (BGCI). |author2=IUCN SSC Global Tree Specialist Group. |year=2019 |title=''Pimenta dioica'' |volume=2019 |page=e.T103121329A150119410 |doi=10.2305/IUCN.UK.2019-3.RLTS.T103121329A150119410.en |access-date=19 August 2023}}</ref>
|genus=Pimenta
|species=dioica
|authority=([[Carl Linnaeus|L.]]) [[Elmer Drew Merrill|Merr.]]
|synonyms={{Collapsible list|
{{Plainlist | style=margin-left: 1em; text-indent: -1em; |
*''Caryophyllus pimenta'' (L.) Mill.
*''Eugenia micrantha'' Bertol.
*''Eugenia pimenta'' (L.) DC.
*''Evanesca crassifolia'' Raf. nom. illeg.
*''Evanesca micrantha'' Bertol.
*''Myrtus aromatica'' Poir. nom. illeg.
*''Myrtus aromatica'' Salisb. nom. illeg.
*''Myrtus dioica'' L.
*''Myrtus pimenta'' L.
*''Myrtus piperita'' Sessé & Moc.
*''Pimenta aromatica'' Kostel. nom. illeg.
*''Pimenta communis'' Benth. & Hook.f.
*''Pimenta officinalis'' Lindl.
*''Pimenta pimenta'' (L.) H.Karst. nom. inval.
*''Pimenta vulgaris'' Bello
*''Pimenta vulgaris'' Lindl.
*''Pimentus aromatica'' Raf. nom. illeg.
*''Pimentus geminata'' Raf.
*''Pimentus vera'' Raf. nom. illeg.
}}}}
|synonyms_ref=<ref>{{cite web
|url=http://www.theplantlist.org/tpl1.1/record/kew-156136
|title=The Plant List: A Working List of All Plant Species
|access-date=19 August 2015}}</ref>
|}}
[[File:Piment Flower.jpg|alt=Piment flower|thumb|Piment flower in [[Uaxactun|Uaxactún]], north of [[Tikal]] National Park, Guatemala]]
'''Allspice''', also known as '''Jamaica pepper''', '''myrtle pepper''', '''pimenta''', or '''pimento''',{{efn|name=pimento|Outside Jamaica, ''[[pimento]]'' typically refers to a red, heart-shaped sweet pepper.}} is the dried unripe [[berry (botany)|berry]] of '''''Pimenta dioica''''', a [[Canopy (forest)|midcanopy]] tree native to the [[Greater Antilles]], southern [[Mexico]], and [[Central America]], now cultivated in many warm parts of the world.<ref>{{Cite book
| last=Riffle
| first=Robert L.
| title=The Tropical Look: An Encyclopedia of Dramatic Landscape Plants
| publisher=Timber Press
| date=1 August 1998
| isbn=978-0-88192-422-0}}
</ref> The name ''allspice'' was coined as early as 1621 by the English, who valued it as a [[spice]] that combined the flavours of [[cinnamon]], [[nutmeg]], and [[clove]].<ref>{{Cite book
| title=Oxford English Dictionary
| edition=2
| publisher=[[Clarendon Press]]
| date=1 March 1989
| location=Oxford, UK
| url=http://dictionary.oed.com/
| isbn=978-0-19-861186-8
| access-date=12 December 2009
| archive-date=25 June 2006
| archive-url=https://web.archive.org/web/20060625103623/http://dictionary.oed.com/
| url-status=dead
}}</ref> Contrary to common misconception, it is not a mixture of spices.<ref>{{cite web |last=Francis |first=Ali |date=December 1, 2021 |title=Allspice Is the Berry—Yes, Berry—That Can Do It All |url=https://www.bonappetit.com/story/what-is-allspice |url-status=live |archive-url=https://web.archive.org/web/20240408202233/https://www.bonappetit.com/story/what-is-allspice |archive-date=April 8, 2024 |access-date=June 24, 2024 |website=[[Bon Appetit]]}}</ref>

Several unrelated fragrant shrubs are called "Carolina allspice" (''[[Calycanthus floridus]]''), "Japanese allspice" (''[[Chimonanthus praecox]]''), or "wild allspice" (''[[Lindera benzoin]]'').

==Production==
[[File:AllspiceBowl.JPG|thumb|right|{{center|Whole allspice berries}}]]
Allspice is the dried fruit of the ''Pimenta dioica'' plant. The fruits are picked when green and unripe, and are traditionally [[Drying (food)|dried]] in the sun. When dry, they are brown and resemble large, smooth [[Black pepper|peppercorns]]. Fresh leaves are similar in texture to [[Bay leaf|bay leaves]] and similarly used in cooking. Leaves and wood are often used for [[Smoking (cooking)|smoking]] meats where allspice is a local crop.

Care must be taken during drying to ensure that the [[Essential oil|volatile oil]]s in the fruit, such as [[eugenol]], remain in the end products rather than being driven out by the drying process.<ref>{{Cite web|url=http://laws.justice.gc.ca/eng/regulations/C.R.C.,_c._870/page-36.html#h-70|title=Consolidated federal laws of Canada, Food and Drug Regulations|last=Branch|first=Legislative Services|website=laws.justice.gc.ca|language=en|access-date=2018-07-19}}</ref>

==Uses==
{{Cookbook}}
Allspice is one of the most important ingredients of [[Caribbean cuisine|Jamaican cuisine]]. Under the name ''pimento'', it is used in Jamaican [[Jamaican jerk spice|jerk seasoning]], and traditionally its wood was used to smoke jerk in [[Jamaica]]. In the West Indies, an allspice [[liqueur]] is produced under the name "[[pimento dram]]". In [[Mexican cuisine]], it is used in many dishes, where it is known as '''pimienta gorda'''.<ref>Diana Kennedy, ''The Essential Cuisines of Mexico'', 2009, {{isbn|030758772X}}, ''passim''</ref>

Allspice is also indispensable in [[Middle Eastern cuisine]], particularly in the [[Levant]], where it is used to flavour a variety of stews and meat dishes, as well as tomato sauce.<ref>Diane Kochilas, ''My Greek Table'', 2018, {{isbn|1250166373}}, p. 22</ref> In [[Arab cuisine]], for example, many main dishes use allspice as the only spice.{{citation needed|date=October 2023}}

In Northern European and North American cooking, it is an ingredient in commercial [[sausage]] preparations and [[curry powder]]s, and in [[pickling]].

In the [[United States]], it is used mostly in [[dessert]]s, but it is also responsible for giving [[Cincinnati chili|Cincinnati-style chili]] its distinctive aroma and flavor. Allspice is commonly used in [[Great Britain]], and appears in many dishes. In [[Portugal]], whole allspice is used heavily in traditional stews cooked in large terracotta pots in the [[Azores]] islands.

In the [[United Kingdom]] it is a dominant flavour in the condiment [[Brown sauce]].

Allspice is also one of the most used spices in [[Polish cuisine]] (used in most dishes, soups and stews) and is commonly known under the name '''English herb''' ({{Langx|pl|ziele angielskie}}) since Britain was its major exporter.{{Cn|date=December 2024}}

Allspice is an important part of [[Swedish cuisine|Swedish]], [[Finnish cuisine|Finnish]] and [[Norwegian cuisine|Norwegian]] cuisine. Whole allspice is used to flavour soups as well as stews such as [[Karelian hot pot]]. Ground allspice is also used in various dishes, such as minced meat sauces, [[Swedish meatballs]], [[lutefisk]] and different cakes.<ref>{{Cite web |title=Mitä eroa on mustapippurilla ja maustepippurilla? |url=https://www.iltalehti.fi/ruoka-artikkelit/a/201611162200028102 |access-date=2022-09-09 |website=iltalehti.fi |language=fi}}</ref>

==Cultivation==
[[File:Pimenta dioica (Allspice) W IMG 2432.jpg|thumb|right|''Pimenta dioica'' leaves in [[Goa]], India ]]

The allspice tree, classified as an evergreen shrub, can reach {{convert|10|–|18|m|ft|abbr=on}} in height. Allspice can be a small, scrubby tree, quite similar to the bay laurel in size and form. It can also be a tall canopy tree, sometimes grown to provide shade for coffee trees planted underneath it. It can be grown outdoors in the tropics and subtropics with normal garden soil and watering. Smaller plants can be killed by frost; larger plants are more tolerant. It adapts well to container culture and can be kept as a houseplant or in a greenhouse.{{Cn|date=December 2024}}

Pimenta grows in [[Tonga]] and in [[Hawaii]], where it has become naturalized on [[Kaua'i|Kaua{{okina}}i]] and [[Maui]].<ref>{{Cite journal | last1=Lorence | first1=David H| last2=Flynn| first2=Timothy W| last3=Wagner| first3=Warren L| title=Contributions to the Flora of Hawai'i III| journal=Bishop Museum Occasional Papers | volume=41| pages=19–58 | date=1 March 1995 | url=http://hbs.bishopmuseum.org/pdf/op41-19-58.pdf | issn=0893-1348| access-date=12 December 2009}}</ref> Jamaica remains the leading source of the plant, although some is grown by other countries in the same region.{{cn|date=May 2025}}

Allspice was found only on the island of Jamaica, where birds readily spread the seeds. To protect the pimenta trade, Jamaican growers guarded against export of the plant. Many attempts at growing the pimenta from seeds were reported, but all failed. Eventually, passage through the [[Bird|avian]] digestive tract, whether due to the acidity or the elevated temperature, was found to be essential for [[Germination|germinating]] the seeds, and successful germination elsewhere was enabled.{{cn|date=May 2025}}

==See also==
* [[Mixed spice]]

==Notes==
{{Notelist}}

==References==
{{Reflist}}

==External links==
{{Commons category|Allspice}}
{{Wikispecies|Pimenta dioica}}
{{wiktionary}}
*{{cookbook-inline|Allspice}}
*{{ Cite encyclopedia | url=http://www.floridata.com/ref/P/pime_dio.cfm | title=''Pimenta dioica'' | encyclopedia= Floridata Plant Encyclopedia }}
*{{ cite web | url=http://www.hear.org/starr/hiplants/images/thumbnails/html/pimenta_dioica.htm | title=''Pimenta dioica'' | work=Plants of Hawaii | publisher=Hawaiian Ecosystems at Risk project (HEAR) }}
*{{ cite web | url=http://gernot-katzers-spice-pages.com/engl/Pime_dio.html | title=Allspice | work=Gernot Katzer's Spice Pages }}
*{{ cite web | url=http://www.tradewindsfruit.com/allspice.htm | title=Allspice | publisher=Trade Winds Fruit }}
*{{ Cite encyclopedia | url=http://www.theepicentre.com/Spices/allspice.html | title=Allspice | encyclopedia=The Encyclopedia of Spices | publisher=Epicentre.com }}

{{Herbs & spices}}
{{Taxonbar|from=Q158468}}
{{Authority control}}

[[Category:Pimenta (genus)]]
[[Category:Spices]]
[[Category:Medicinal plants of Central America]]
[[Category:Trees of Belize]]
[[Category:Flora of Cuba]]
[[Category:Flora of El Salvador]]
[[Category:Flora of Guatemala]]
[[Category:Flora of Honduras]]
[[Category:Flora of Jamaica]]
[[Category:Flora of Mexico]]
[[Category:Flora of Nicaragua]]
[[Category:Non-timber forest products]]
[[Category:Crops originating from Pre-Columbian North America]]

[[fr:Quatre-épices]] 
{{Interwiki extra|qid=Q158468}}

Me and the Big Guy

2025-05-26T11:49:07Z

MonkeyPython: Undid revision 1274698614 by Dronebogus (talk) under external links. please do not remove this again without moving the information to the redirected page. thank you.

{{Infobox film
| name = Me and the Big Guy
| image =
| caption =
| director = [[Matt Nix]]
| producer = Matt Nix Max Stubblefield
| writer = Matt Nix
| narrator =
| starring = Michael Naughton Dan Kern James Jacobus
| music = [[John Ballinger (musician)|John Ballinger]] John Dickson (song "A Friend Like Me")
| cinematography = Russ Lyster
| editing = Julian Gomez
| distributor = [[Flying Glass of Milk Productions]]
| released = {{Film date|1999}}
| runtime = 10 minutes
| country = United States
| language = [[English Language|English]]
| budget =
}}

'''''Me and the Big Guy''''' is a 1999 [[short film]] that parodies [[George Orwell]]'s 1949 novel ''[[Nineteen Eighty-Four]]'' by way of lampooning the fact that [[Big Brother (Nineteen Eighty-Four)|Big Brother]] is watching everyone, even those he'd rather not.

==Plot==
Directed and written by [[Matt Nix]], this [[short film]] follows the life of unnervingly happy-go-lucky Citizen 43275-B (played by Michael Naughton), who despite the oppressive totalitarian regime and [[Thought Police]] looks ever forward to returning home and telling '[[Big Brother (1984)|The Big Guy]]' (played by Dan Kern) on the [[telescreen]] about his work-day.

In much the same manner as an [[imaginary friend]] acts, 'The Big Guy' never responds until he finally becomes fed up with Citizen 43275-B and declares that he does not like being called 'The Big Guy' - but this intervention serves only to worsen Big Brother's predicament, as 43275-B enthusiastically hugs the telescreen and goes on to "amuse" him through a variety of ways: [[sock puppets]], [[Boggle]], [[hide and seek]], one-sided [[pillow fight]]s, and [[knock-knock joke]]s.

As this further frustrates him, Big Brother finally announces the true nature of himself and society by telling 43275-B:{{cquote|Let me explain something here. 'Big Brother' is a name we use to suggest an omniscient totalitarian presence. It's not supposed to be taken literally! I'm your oppressor, ''not your friend!''}}

Big Brother eventually shuts off the telescreen in disgust and frustration. After several minutes, Citizen 43275-B realizes that the telescreen is not coming back on. He then retrieves a hidden cache of a notebook, pen and reading glasses, and begins to write his own guide to revolution. The appearance in the opening scenes of a volume entitled "[[Mind Control|RE-EDUCATION]] MANUAL" on 43275-B's bookshelf, references to "[[Brainwashing#In popular culture|re-education lectures]]", and the fact that he has a diary already set aside, all imply that this is not his first attempt, and suggests his behavior was deliberate.

==Similarities with other stories==

===''Nineteen Eighty-Four''===
Besides the obvious [[telescreen]] and [[Big Brother (Nineteen Eighty-Four)|Big Brother]] of ''[[Nineteen Eighty-Four]]'', there are some other references. 43275-B gets chocolate rations, the intercom says the flour ration was lowered by 9% (as the book says the ration was lowered), two members of the [[thought police]] arrest 43275-B's neighbour, a loudspeaker announces the executions of 30 political prisoners and 43275-B keeps a journal like [[Winston Smith (Nineteen Eighty-Four)|Winston Smith]] does.

===''We''===
''[[We (novel)|We]]'', the satirical novel by [[Yevgeny Zamyatin]] that provided much of the inspiration for ''Nineteen Eighty-Four'', features a narrator, "D-503", who through much of the story truly believes in the virtue of his utterly regimented, totalitarian state. Much of the comic tension derives from D-503's horror at his own emerging desire to shatter the order of the "perfect" society which is the only world he has ever known.

==Cast==
* Mike Naughton as Citizen 43275-B
* Dan Keon as Big Brother
* James Jacobus as Stormtrooper #1
* Sterling Wolfe as Stormtrooper #2
* Tom Wheatley as Neighbor
* Esmé Nix as Voice

==Home media==
''Me and the Big Guy'' was included on the free DVD that came with issue 4 of the film magazine ''Total Movie'', cover-dated April 2001. It included a running commentary with Matt Nix.

==External links==
*{{IMDb title|id=0192299|title=Me and the Big Guy}}
*[https://web.archive.org/web/20060506185051/http://www.slamdance.com/2001/festival/film_detail.asp?film_id=151 Slamdance Film Festival listing]

{{Nineteen Eighty-Four}}

[[Category:1999 films]]
[[Category:1990s science fiction films]]
[[Category:Films based on Nineteen Eighty-Four]]
[[Category:1990s parody films]]
[[Category:American post-apocalyptic films]]
[[Category:1999 short films]]
[[Category:1999 comedy films]]

Print design

2025-04-27T13:07:57Z

MonkeyPython: given the nature of the subject of this article, i dont think there is any "recent world events" that effect it. re-add this template but with more clear suggestions as to why

[[File:Metropolitan 1902-01 Ad Poster.jpg|alt=|thumb|Ad Poster]]
'''Print design''', a subset of [[graphic design]], is a form of [[visual communication]] used to convey information to an audience through intentional aesthetic design printed on a tangible surface, designed to be printed on paper, as opposed to presented on a digital platform. A design can be considered print design if its final form was created through an imprint made by the impact of a stamp, seal, or dye on the surface of the paper.<ref>"print, n. and adj.2." OED Online. Oxford University Press, September 2016. Web. 30 November 2016.</ref>

== History ==
There are several methods used to create print design artworks, spanning more than five hundred years. Printing technologies available throughout history heavily influenced the style of designs created by [[graphic designer]]s at the time of production, as different methods of creating print design offer varying features.<ref name=":0">Hollis, Richard''. Graphic Design: A Concise History''. New York: Thames and Hudson, 1994. Print.</ref> Before the emergence of the design and printing technologies of the twentieth and twenty-first century such as the [[Inkjet printing|inkjet printer]], [[Adobe Illustrator]], [[Adobe Photoshop]], and [[Adobe InDesign]], print design relied on mechanical technologies such as [[movable type]], the letterpress, and lithography.

=== Movable Type ===
Chinese alchemist [[Bi Sheng|Pi Sheng]] invented the concept of movable type, circa 1045 CE. He created individual characters out of clay and lined them up, using a wax-like substance to keep them in place. They could then be pressed down to create an imprint, mimicking the effect of [[woodblock printing]], which was the popular method at the time. Reusable, movable type was a revolutionary concept, however it did not gain traction in China because organizing the characters was not very compatible with the Chinese writing system.<ref name=":03">{{Cite book |last=Meggs, Philip B., and Alston W. Purvis |title=Meggs' History of Graphic Design |publisher=John Wiley & Sons |year=2012 |edition=5th |location=Hoboken, New Jersey |pages=}}</ref> This innovation came about more than 400 years prior to the "invention" of movable type with the [[printing press]] in Europe, and it is unlikely that Pi Sheng was of any influence to Gutenberg.

=== Letterpress ===
[[File:Letterpress from earliest days of printing (25794045595).jpg|thumb|Letterpress from the earliest days of printing]]
[[File:15020-Virgil Scott Letterpress Exhibit 4677 (16217955040).jpg|thumb|Metal and wood type blocks arranged for printing by letterpress]]
The [[Letterpress printing|letterpress]], perfected in the mid fifteenth century by [[Johannes Gutenberg]] (1398-1468) through the combined use of the printing press, oil-based inks, and cast metal type, remained the most common and efficient method of printing until the 1960s.<ref name=":1">Eskilson, Stephen. ''Graphic Design: A New History''. New Haven: Yale UP, 2007. Print.</ref> Used frequently with [[typography]] design and type layout, the letterpress operates through the stamping of type and photo-engraved metal blocks on paper. The metal blocks are arranged in a frame by the printer, and the text columns and etchings are separated by vertical or horizontal metal bars; it is even possible to arrange the blocks at an angle using a letterpress.<ref name=":2">Becker, Lutz, and Richard Hollis. ''Avant-Garde Graphics 1918-1934'': From the Merrill C. Berman Collection. London: Hayward Gallery, 2004. Print.</ref> With the letterpress, print design and graphics remained black and white print on paper until the late nineteenth century.<ref name=":0" /> The letterpress was the first technology that allowed for mass production and distribution of printed material at a large scale, and because of this, quickly replaced the slow processes of [[woodblock printing]] and hand copying of print design.<ref name=":1" /> As time went on and technology progressed, the letterpress did as well. The Industrial Revolution brought about steam powered printing presses and [[Linotype machine|Linotype]] machines, advancing the mechanical process of printing to a speed never seen before.<ref name=":03"/>

=== Lithography ===
[[File:Klingenberg Lithostein.jpg|thumb|Lithographic stone artwork]]
[[Lithography]], introduced at the end of the nineteenth century, allowed for the use of color in prints and allowed artists to print on larger surfaces than the letterpress. Additionally, lithography enabled artists to draw their own lettering on designs, which was not possible with the letterpress.<ref name=":0" /> The design was drawn directly onto the stone by the artist, and then transferred onto the surface of the paper.<ref name=":2" />

== Uses ==
Print design is essential for branding, marketing, and communication, encompassing business cards, brochures, posters, flyers, packaging, publishing, and advertising. It involves creating visual elements and strategic messaging to effectively communicate with target audiences.<ref>{{cite web |title= Image Square Printing – Home Search Bar |url=https://imagesquareprinting.com |website=Printing |access-date=28 July 2024}}</ref> Print design also plays a crucial role in publishing, including book covers, magazine layouts, and official documents. Print design remains prevalent in society through all forms of communicative design. The importance of printed visual design was highlighted during the First World War, as posters helped to inform and instruct the audience.<ref name=":0" /> A short list of print design's uses today includes:

* [[Poster]]s
* [[Brochure]]s
* Flyers
* [[Packaging and labeling|Packaging labels]]
* [[Business card]]s
* [[Book cover]]s
* Book design and layout
* [[Magazine]]s
* [[Banner]]s
* Receipts
* [[Shopping bag]]s

==References==
<references />

{{Design}}

[[Category:Graphic design]]
[[Category:Communication design]]

Rød pølse

2025-02-11T14:13:30Z

MonkeyPython: /* Other Scandinavian sausages */ clarify and add more information

{{Short description|Type of red sausage common in Denmark}}
{{italictitle}}
[[File:Copenhagen red sausage 2.jpg|thumb|Red ''pølser'' from a supermarket]]

'''''Rød pølse''''' ({{Audio|GT Rød pølse.ogg|listen}}, "red sausage") is a type of brightly red, boiled pork sausage very common in [[Denmark]]. Since [[hot dog stand]]s are ubiquitous in Denmark, some people regard ''røde pølser'' as one of the [[national dish]]es. They are made of the [[Vienna sausage|Vienna type]] and the skin is colored with a traditional red dye ([[carmine]]).<ref name="Farbe">Reinhold Carle, Ralf Schweiggert: ''Handbook on Natural Pigments in Food and Beverages: Industrial Applications for Improving Food Color'', Woodhead Publishing Series in Food Science, Technology and Nutrition, 2016. Pages 409 and 415. {{ISBN|978-0081003718}}.</ref>

== Traditional preparation ==
''Rød pølse'' are to be heated in hot water and are commonly served with [[remoulade]], [[mustard (condiment)|mustard]], [[ketchup]], [[fried onion]]s and [[Pickled cucumber|pickle]]d sliced [[cucumber]] (gherkin).<ref>Fran Parnell, Joan Gannij: ''Insight Guides Scandinavia'', Insight Guides, 2012. {{ISBN|978-1780050355}}.</ref> A common legend says that it was once ordered that day-old sausages be dyed as a means of warning.<ref name="Farbe" /><ref name="cphpost-2021-07">{{cite news |last1=Hunter |first1=Lena |title=Køkken Confidential: A guide to Danish cuisine |url=https://cphpost.dk/?p=126578 |access-date=June 1, 2022 |work=The Copenhagen Post |date=July 31, 2021}}</ref> Another interpretation is that starting in the 1920s, vendors used red dye to disguise the diminished quality of older sausages.<ref name="toi-2020-08">{{cite news |title=The weirdest types of Hotdogs from around the world |url=https://timesofindia.indiatimes.com/life-style/food-news/the-weirdest-types-of-hotdogs-from-around-the-world/photostory/77849007.cms?picid=77849078 |access-date=June 1, 2022 |work=The Times of India |date=August 31, 2020 |language=en}}</ref>

== Other Scandinavian sausages ==
[[Scandinavia]]n sausages are usually made of 60–80% finely ground [[pork]], spiced with [[Black pepper|pepper]], [[nutmeg]], [[allspice]] or similar sweet spices (ground [[mustard seed]], [[onion]]s and [[sugar]] may also be added). Water, [[lard]], [[pork rind]], [[potato starch]] flour and [[soybean]] or [[milk]] [[protein]] are often added as fillers.<ref name="Scandi" /> Nearly all commercially available sausages are industrially precooked to be subsequently fried or heated in boiling water.<ref name="Scandi">Nichola Fletcher (text), Caroline Bretherton (recipes): ''Sausage – A country-by-country photographic guide with recipes'', London, Dorling Kindersley, 2012. Page 94. {{ISBN|978-0756689834}}.</ref>

In [[Norway]], sausages are most often served in white [[bun]]s and/or with the traditional potato flat-bread "lompe" which is similar to [[lefse]]. The sausages are [[Grilling|grilled]] or heated in lightly seasoned hot water, and they are normally served with ketchup and mustard. Many different [[condiment]]s can be added, such as dry, fried onion, shrimp-salad, potato-salad or [[mashed potato]]es.<ref>Fidel Toldrá, Iciar Astiasarán: ''Handbook of Fermented Meat and Poultry'', Wiley-Blackwell, 2014. Page 407. {{ISBN|978-1118522691}}.</ref>

In [[Iceland]], the sausages may contain [[Lamb and mutton|mutton]], giving them a distinct taste.<ref>Fidel Toldrá, Iciar Astiasarán: ''Handbook of Fermented Meat and Poultry'', Wiley-Blackwell, 2014. Page 340. {{ISBN|978-1118522691}}.</ref>

== See also ==
* [[Pølsevogn]], Danish hot dog stands
* [[Pölsa]] is a similar-sounding word in Swedish, but the Swedish word for sausage is "korv".
* [[Hot dog]] is a similar sausage found in other parts of the world.
* [[List of sausages]]

==Notes==
{{Reflist}}

{{Sausage}}{{Hot dogs}}{{DEFAULTSORT:Polser}}
[[Category:Danish cuisine]]
[[Category:Danish sausages]]

Me and the Big Guy

2025-02-08T16:52:35Z

MonkeyPython: Undid revision 1091248361 by Dronebogus (talk) redirect has NO information from this article, sources do excist here.

Ektara

2024-11-11T18:06:37Z

MonkeyPython: /* Gallery */ the toonba is more referring ot the https://en.wikipedia.org/wiki/Tumbi

{{italic title}}
{{Short description|Stringed musical instrument}}
{{about|a modern one-stringed musical instrument|a medieval one-stringed musical instrument|Ekatantri veena|the rural municipality in Nepal|Ekdara|the album by Kuldeep Manak|Ik Tara|2009 Indian film song|Iktara (song)|the 2015 Indian film|Ek Tara}}
[[File:Ektara_2.jpg|thumb|Ektara played by [[Baul]] [[Sufism|Sufis]] in Bangladesh]]

The '''''ektara''''' ({{langx|bn|একতারা}}, {{langx|hi|एकतारा}}, {{langx|ur|اِک تارا}}, {{langx|ne|एकतारे}}, {{langx|pa|ਇਕ ਤਾਰਾ}}, {{langx|ta|எக்டரா}}; literally 'one-string', also called ''actara'', ''iktar'', ''ektar'', {{Langx|sd|يڪتارو}}, ''yaktaro'', ''gopichand'', ''gopichant'', ''golki'' {{langx|ne|गोल्}}, ''gopijiantra'', ''tun tuna'') is a one-stringed musical instrument used in the [[traditional music]] of the [[Indian subcontinent]],<ref name="Barthakur2003">{{cite book|author=Dilip Ranjan Barthakur|title=The Music and Musical Instruments of North Eastern India|url=https://books.google.com/books?id=oP4vH-4oSEcC&pg=PA129|year=2003|publisher=Mittal Publications|isbn=978-81-7099-881-5|pages=129–}}</ref> and used in modern-day music of [[Music of Bangladesh|Bangladesh]], [[Music of India|India]], and [[Music of Pakistan|Pakistan]].<ref name="Barthakur2003"/>

Two-stringed versions are called '''''dotara''''' (two strings), a name which also [[dotara|applies to other instruments]].

In origin, the ''ektara'' was a regular [[string instrument]] of wandering bards and minstrels and is plucked with one finger. The ''ektara'' is a drone [[lute]] consisting of a gourd resonator covered with skin, through which a bamboo neck is inserted. Ektara is commonly played by folk singers, [[bauls]], and Bengali [[fakirs]] (Muslim devotees).<ref>https://en.banglapedia.org/index.php/Ektara</ref> It is used in parts of India and Nepal today by [[Yogi]]s and wandering holy men to accompany their singing and prayers. In Nepal, the instrument accompanies the singing of the [[Ramayana]] and [[Mahabharata]].<ref name=MusINstrNepal>{{cite book |title=Musical Instruments of Nepal |last=Kadel |first=Ram Prasad |publisher=Nepali Folk Instrument Museum |place=Katmandu, Nepal| date=2007 |pages=220, 229|isbn= 978-9994688302}}</ref>

==Performance==
''Grove Music Online'' describes the playing of an ektara as: "The ektārā player holds his instrument upright, gripping the neck just above the resonator and plucking the playing string or strings with the index finger of the same hand. If he is dancing, he supports the gourd resonator with his other hand, in which he carries clusters of small bells which sound as he beats his hand against the gourd."<ref>{{cite encyclopedia |last1=Babiracki |first1=Carol M. |last2=Dick |first2=Alastair |last3=Helffer |first3=Mireille |date=20 January 2001 |title=Ektār |url=https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000051699 |encyclopedia=Grove Music Online |access-date=2014-09-18 |doi=10.1093/gmo/9781561592630.article.51699|isbn=978-1-56159-263-0 }}</ref> Pressing the two halves of the neck together loosens the string, thus lowering its pitch. The modulation of the tone with each slight flexing of the neck gives the ektara its distinctive sound. There are no markings or measurements to indicate what pressure will produce what note, so the pressure is adjusted by ear.<ref>{{cite web|title=Ektara|publisher=Musical Instruments Archives|url=http://www.smtagorecentre.com/Repository/category/musical-instruments/|access-date=2014-09-15|archive-url=https://web.archive.org/web/20140908043058/http://www.smtagorecentre.com/Repository/category/musical-instruments/|archive-date=2014-09-08|url-status=dead}}</ref> The various sizes of ''ektara'' are soprano, tenor, and bass. The bass ''ektara'', sometimes called a ''[[dotara]]'' often has two strings<ref>{{cite web|author=Lillian Henry |title=What is Kirtan Music |publisher=Entertainment Scene 360 |url=http://www.entertainmentscene360.com/index.php/what-is-kirtan-music-4560/ |access-date=2014-09-17 |url-status=dead |archive-url=https://web.archive.org/web/20140701010244/http://www.entertainmentscene360.com/index.php/what-is-kirtan-music-4560/ |archive-date=2014-07-01 }}</ref> (as literally implied by ''do'', 'two').

==Use==
The ektara is a common instrument in [[Baul]] music from Bengal. Some controversy has arisen in recent years over the adoption and alleged corruption of Baul music by popular bands and films in Bengal. It has become common to mix traditional instruments like the ektara with more modern sounds in an attempt to appeal to a wide audience, which according to [[Purna Das Baul Samrat|Purna Das Baul]] is "destroying the true beauty" of Baul music.<ref>{{cite web|title=Baul Songs - From Ektara to Fusion Music|publisher=INdo-Asian News Service|year=2011|url=http://infoweb.newsbank.com/iw-search/we/InfoWeb?p_action=doc&p_topdoc=1&p_docnum=1&p_sort=YMD_date:D&p_product=AWNB&p_text_direct-0=document_id=(%201352AE44BAC1A040%20)&p_docid=1352AE44BAC1A040&p_theme=aggdocs&p_queryname=1352AE44BAC1A040&f_openurl=yes&p_nbid=D71M62SYMTQxMTYxNjAzMS4zOTEyNzk6MToxMDpFQlNDTzYxMDY0&&p_multi=IANB|access-date=2014-09-24}}</ref>

===Kirtan and Sufi chanting===
{{See also|Music of Bengal|Sufism|Vaishnavism}}
The ektara is commonly used in [[kirtan]] chanting, a Hindu devotional practice of singing the divine names and mantras in an ecstatic [[call and response]] format.<ref>{{cite web|title=Kirtan|publisher= Dictionary.com|url=http://dictionary.reference.com/browse/kirtan%20?&o=100074&s=t|access-date=2014-09-16}}</ref> The ektara is used by Sadhus (wandering holy men) for [[Sufism in Bangladesh|Sufi chantin]], as well as by the [[Baul]]s of [[Bengal]].<ref>{{cite web|title=Stringed Instruments|publisher=Gandharva Loka|url=http://www.gandharvaloka.co.nz/instruments/stringed.html|access-date=2014-09-16|archive-date=2014-10-21|archive-url=https://web.archive.org/web/20141021044731/http://www.gandharvaloka.co.nz/instruments/stringed.html|url-status=dead}}</ref>

==Gallery==
<gallery>
File:Parvati Baul at Ruhaniyat, Purana Qila.JPG| [[Parvathy Baul]] at ''[[Ruhaniyat – The All India Sufi & Mystic Music Festival|Ruhaniyat]]'' mystic music festival, at [[Purana Qila]], Delhi
File:Ektara1.jpg|Ektara of [[Bangladesh]]
File:Lalon Tomb0018.JPG|Musician from Bangladesh playing the Ektara
File:Ektara side view.png|Photographer labeled photo "Ektara", location unknown.
File:Srirangam1362010 025.jpg|The tradition of a holy man with a one-stringed veena was preserved in this 16th-18th century C.E. sculpture of Sage [[Agastya]]. The instrument has some resemblance to the [[eka-tantri vina]], also one-stringed.
File:Alapini vina, Ajanta Caves, Cave 17.jpg|India, 5th century C.E. [[Ajanta Caves]], Cave 17. Image of a one-string drone accompanying religious singing. The musician plucks an [[alapini vina]], a stick-zither style veena resting on his shoulder.
</gallery>

== See also ==
*[[Music of Bengal]]
*[[Tumbi]], Punjabi musical instrument
*[[Kendara]]

== References ==
<references />

{{Indian musical instruments}}
{{Musical instruments of Nepal}}
{{Strings (music)}}

[[Category:Monochords]]
[[Category:Musical bows]]
[[Category:Plucked membranophones]]
[[Category:Indian musical instruments]]
[[Category:Bangladeshi musical instruments]]
[[Category:Punjabi words and phrases]]
[[Category:Bengali words and phrases]]
[[Category:Folk instruments of Punjab]]
[[Category:Hindustani musical instruments]]
[[Category:Sufi music]]
[[Category:Stringed instruments of Nepal]]
[[Category:Lute family instruments]]

Khamak

2024-11-04T15:01:09Z

MonkeyPython: see https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-4002261310 cited on https://en.wikipedia.org/wiki/Anandalahari specifically as being similary, further, I'm researching these for mb to order instruments and for wikidata for the same, I will come back here and add more cites as I find them.

{{short description|String instrument close to ektara}}
{{for|places in Iran|Khamak, Iran (disambiguation){{!}}Khamak, Iran}}
{{Use dmy dates|date=August 2019}}
[[File:Baul.jpg|thumb|180px|A [[baul]] playing a ''khamak''. ]]
The '''''Khamak''''' is a [[string instrument]] similar to the ''[[Gubguba]]'' or [[Anandalahari]], originating in [[Bengal|bengal region]], common in folk music of [[Bengal]], [[Odisha]] and [[North East India]], especially [[Baul]]gaan. It is a one-headed drum with a string attached to it which is plucked. The only difference from ektara is that no bamboo is used to stretch the string, which is held by one hand, while being plucked by another.<ref name="Barthakur2003">{{cite book|author=Dilip Ranjan Barthakur|title=The Music And Musical Instruments Of North Eastern India|url=https://books.google.com/books?id=oP4vH-4oSEcC&pg=PA130|access-date=14 July 2013|year=2003|publisher=Mittal Publications|isbn=978-81-7099-881-5|pages=130–}}</ref> In [[Anandalahari]], the other end of the string is fixed inside a copper pot only.

==Characteristics and use==
The khamak consists of three basic parts. A bowl which is often made out of [[wood]] is connected by several strings to another, smaller piece (also usually made out of wood). The bowl is held under the arm holding the smaller piece in the hand of same arm. Finally, the string are plucked by the other hand while adjusting the tension of strings creating the desired sound. It is generally used in Bengali boul (folk) songs. It is one of the most ancient string instruments in eastern India.

== References ==
{{reflist}}

== See also ==
* [[Ektara]]
* [[Tumbi]]
* [[Anandalahari]]
* [[List of Nepali musical instruments#Chordophones|List of Nepali musical instruments]], entry for Yakuchaa babhu.

{{Indian musical instruments}}

[[Category:Indian musical instruments]]
[[Category:Bengali music]]
[[Category:Stringed percussion instruments]]
[[Category:Plucked membranophones]]

{{India-music-stub}}
{{Composite-instrument-stub}}
{{Membranophone-instrument-stub}}

Talk:Cup Noodles

2024-08-01T07:38:58Z

MonkeyPython: /* Why is Noodles plural? */ Reply

{{Talk header}}
{{WikiProject banner shell|class=Start|
{{WikiProject Food and drink|importance=low}}
{{WikiProject Japan|importance=high|food=y}}
{{WikiProject Brands|importance=High}}
{{WikiProject Guild of Copy Editors |date= January 2007}}
}}

==Varieties==
Nissin makes more flavors under their Cup Noodle (not Cup Noodle'''s''') brand, which, in my opinion, are better. For example, while in Singapore I tried their Cup Noodle [[Laksa]]. It contained more non-noodle solid ingredients (shrimp, veggies, spices) than anything I've ever seen in here the United States. And it was really good! Why don't they sell that here? -[[User:Amatulic|Amatulic]] 00:11, 23 December 2006 (UTC)
:Followup: I recently added text to the article about the additional flavors under the Cup Noodle (singular) brand. -[[User:Amatulic|Amatulic]] 23:07, 4 January 2007 (UTC)

== Advertising ==

This brand of Cup Noodles featured heavily into the recent remake of [[The Manchurian Candidate]][[User:128.101.70.97|128.101.70.97]] 16:59, 26 January 2007 (UTC)

== Date inconsistency ==
This article says they were invented in 1958. The [[Nissin]] article says they were invented in 1948. Anyone care to straighten this out? [[User:Sleepyrobot|ADM]] 19:55, 5 February 2007 (UTC)

*Per the Nissin Website, the company was founded in 1948, but the first instant ramen wasn't invented until 1958. So this article is correct. Heres a link to the source [http://www.nissinfoods.com/company/about.php]. I'm going to go check the [[Nissin]] article and edit if need be. Hope this clears it up. [[User:Eleigh33|Eleigh33]] 05:26, 16 March 2007 (UTC)

== Article mismatch ==

The articles on [[Pot Noodles]], [[Ramen]], and cup noodles don't match. Was Nissin selling noodles in a disposable bowl before selling them in a cup? Is Cup Noodle a brand name or a type of noodle? --[[User:Gbleem|Gbleem]] 03:09, 9 May 2007 (UTC)

:It's a brand name. Nissin sells instant noodles in bowls too. "Cup Noodle" or "Cup Noodles" is the brand that's sold in a cup. -[[User:Amatulic|Amatulic]] 21:10, 9 May 2007 (UTC)

== No CFC ==

Does anyone know what the "No [[CFC]]" (A red circle with a crossbar over the letters CFC) on the side of the cup means? Is it "[[Chlorofluorocarbon]] : a class of chemical compounds known to inflict great damage to the ozone layer"? Chlorofluorocarbon is the first result when I look up CFC here and it don't seem to be appropriate to anything else on the list. Should it be added to the article after its meaning is located? [[User:68.175.1.48|68.175.1.48]] 06:28, 15 June 2007 (UTC)

:Yes, CFC refers to chlorofluorocarbon. It doesn't have anything to do with Cup Noodles, but rather the [[styrofoam]] cup that contains the noodles. I have seen the "No CFC" logo on other styrofoam products. -[[User:Amatulic|Amatulic]] 19:11, 15 June 2007 (UTC)
:I thought the term 'CFC' was so well known that it wouldn't need to be explained any further. Because of this and the fact that it's common on other styrofoam products, there's no reason it should be mentioned in this article. --[[User:70.142.50.131|70.142.50.131]]

== Genericized Trademark? ==

Is the term "cup noodle" a genericized trademark? —Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[User:Ginbot86|Ginbot86]] ([[User talk:Ginbot86|talk]] • [[Special:Contributions/Ginbot86|contribs]]) 05:56, 14 February 2008 (UTC) 
:I'm sure Nissin would say it isn't. Same as Xerox says Xerox isn't a generic term for an electrostatic image copier and Kimberly Clark says Kleenex is not to be used to identify any facial tissue not made by them. [[User:Bizzybody|Bizzybody]] ([[User talk:Bizzybody|talk]]) 03:23, 19 September 2011 (UTC)

== vegetarian or not ==

I would like to know if the "vegetable cup noodle," and the "cheddar cheese cup noodle" meets the criteria of vegetarianism. Also I mean strictly a vegetarian, as in no meat, basically a lacto-ovo vegetarian —Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/98.242.198.144|98.242.198.144]] ([[User talk:98.242.198.144|talk]]) 06:16, 11 June 2009 (UTC) 

== MSG Allergy ==

The Wikipedia page for MSG already shows how the myth of MSG allergies has been debunked by scientific testing. Why does this page still mention it? —Preceding [[Wikipedia:Signatures|unsigned]] comment added by [[Special:Contributions/71.104.6.204|71.104.6.204]] ([[User talk:71.104.6.204|talk]]) 02:22, 7 September 2009 (UTC) 

== Cup Noodle in the US? ==

I remember buying CUP NOODLE (no S) here in the USA years ago, most likely right after the change from Cup O Noodles. [[User:Bizzybody|Bizzybody]] ([[User talk:Bizzybody|talk]]) 03:25, 19 September 2011 (UTC)
:I find the brand with no S available in Asian grocery stores here in California. Otherwise, in mainstream US stores, I see only the brand with the S. ~[[User:Amatulic|Amatulić]] ([[User talk:Amatulic#top|talk]]) 13:21, 19 September 2011 (UTC)
== Cup Noodle vs Cup Noodles vs Cup O Noodles ==

Alternate names shouldn't be documented in the main article in this way without evidence; here's why: That's a Mandela Effect. You may be seeing residuals, and having alternative names in this article makes it harder for those of us who are Old Timeliners to prove our case that the name was retconned. Even if there are residuals of other names the article should use only one name unless the company that made it releases a statement saying they used different names during distribution. [[Special:Contributions/2601:482:4301:5850:3C94:5B3A:B7DC:FC0F|2601:482:4301:5850:3C94:5B3A:B7DC:FC0F]] ([[User talk:2601:482:4301:5850:3C94:5B3A:B7DC:FC0F|talk]]) 19:30, 28 February 2017 (UTC)

==File:Cup noodles 1 2 3.jpg Nominated for speedy Deletion==

{|
|-
| [[File:Image-x-generic.svg|100px]]
| 
An image used in this article, [[:File:Cup noodles 1 2 3.jpg|File:Cup noodles 1 2 3.jpg]], has been nominated for speedy deletion for the following reason: ''Wikipedia files with no non-free use rationale as of 3 December 2011''

;What should I do?
''Don't panic''; you should have time to contest the deletion (although please review [[WP:CSD|deletion guidelines]] before doing so). The best way to contest this form of deletion is by posting on the image talk page.
* If the image is [[WP:NFCC|non-free]] then you may need to provide a [[WP:FUR|fair use rationale]]
* If the image isn't freely licensed and there is no fair use rationale, then it cannot be uploaded or used.
* If the image has already been deleted you may want to try [[WP:DRV|Deletion Review]]

''This notification is provided by a Bot'' --[[User:CommonsNotificationBot|CommonsNotificationBot]] ([[User talk:CommonsNotificationBot|talk]]) 09:05, 3 December 2011 (UTC)
|}
==File:Cup-Noodles-2.jpg Nominated for Deletion==
{|
|-
| [[File:Image-x-generic.svg|100px]]
| An image used in this article, [[commons:File:Cup-Noodles-2.jpg|File:Cup-Noodles-2.jpg]], has been nominated for deletion at [[Wikimedia Commons]] in the following category: ''Deletion requests February 2012''
;What should I do?
''Don't panic''; a discussion will now take place over on Commons about whether to remove the file. This gives you an opportunity to contest the deletion, although please review Commons guidelines before doing so.
* If the image is [[WP:NFCC|non-free]] then you may need to upload it to Wikipedia (Commons does not allow fair use)
* If the image isn't freely licensed and there is no [[WP:FUR|fair use rationale]] then it cannot be uploaded or used.
To take part in any discussion, or to review a more detailed deletion rationale please visit the relevant [[commons:File:Cup-Noodles-2.jpg|image page (File:Cup-Noodles-2.jpg)]]

''This is Bot placed notification, another user has nominated/tagged the image'' --[[User:CommonsNotificationBot|CommonsNotificationBot]] ([[User talk:CommonsNotificationBot|talk]]) 20:19, 12 February 2012 (UTC)
|}

== Flavors ==

Does anyone else think that the "Flavors" section is unneeded? First, I'm sure it's both incomplete and likely to always be incomplete. Second, it's nearly impossible to source. Most importantly, it arguably falls under [[WP:NOT]] and [[WP:UNDUE]]--we're not supposed to be providing a catalog of every variant that exists. I know a lot of pages on major food items do, but that doesn't mean its actually supported in policy. Anyone have any thoughts on the matter? [[User:Qwyrxian|Qwyrxian]] ([[User talk:Qwyrxian|talk]]) 11:03, 5 May 2012 (UTC)
:I strongly agree. Wholly unnecessary for a general encyclopedia, better suited for a food-, asian food- or even noodle-based website. [[Special:Contributions/5.254.138.120|5.254.138.120]] ([[User talk:5.254.138.120|talk]]) 22:57, 27 May 2013 (UTC)
::A year later, I've gone ahead and cut this, leaving only the introductory sentence "Different flavors are available in other parts of the world, such as tom yum in Thailand, curry in Japan, crab in Hong Kong, Bolognese sauce in Brazil". --[[User:McGeddon|McGeddon]] ([[User talk:McGeddon|talk]]) 13:23, 25 June 2014 (UTC)
:::I changed it from a bulleted list to a comma-ed list. [[User:RJFJR|RJFJR]] ([[User talk:RJFJR|talk]]) 18:38, 30 November 2017 (UTC)

==Referenced statement of how many sold?==
It this is as popular as I suspect can we get a referenced statement of how many are sold? [[User:RJFJR|RJFJR]] ([[User talk:RJFJR|talk]]) 18:39, 30 November 2017 (UTC)

== Why is Noodles plural? ==

The brand appears to be "Cup Noodle" and not "Cup Noodles".

So: Why is the word "Noodles" written as a plural in the title of this article? [[Special:Contributions/2601:200:C000:1A0:8E3:DA6A:214D:AEEE|2601:200:C000:1A0:8E3:DA6A:214D:AEEE]] ([[User talk:2601:200:C000:1A0:8E3:DA6A:214D:AEEE|talk]]) 16:05, 21 October 2021 (UTC)

:Not only that, but it seems Very Biased towards an american POV, naturally it's sold in the us, but it is also sold elsewhere, and it is specifically a Japanese product. Article should have a bigger worldview scope ~[[User:MonkeyPython|🐒🐍]]~♪~[[User talk:MonkeyPython|何?]] 07:38, 1 August 2024 (UTC)

Itatsi

2024-05-08T19:47:10Z

MonkeyPython: ←Redirected page to Japanese weasel

#REDIRECT [[Japanese weasel]]

Cola

2024-04-14T20:46:42Z

MonkeyPython: /* Europe */

{{About|the beverage}}
{{Short description|Carbonated soft drink}}
{{Infobox drink
| name = Cola
| image = Glass of Cola.jpg
| caption = A glass of cola served with [[ice cube]]s
| type = [[Soft drink]]
| abv =
| proof =
| manufacturer =Various
| distributor =
| origin ={{flag|United States}}
| introduced = {{Start date and age|1886|5|8}}<ref name="Archived copy">{{Cite web |url=http://happydazeblog.com/2017/05/01/may-8-1886-soda-pop-invented/ |title=The 132nd Anniversary of the Day Soda Pop Was Invented - the Happy Daze Blog takes an amusing look at wacky holidays, weird holidays, and happy holidays found in every month, and tells how to celebrate them |access-date=December 3, 2018 |archive-url=https://web.archive.org/web/20190327172406/http://happydazeblog.com/2017/05/01/may-8-1886-soda-pop-invented/ |archive-date=March 27, 2019 |url-status=dead }}</ref><ref>{{Cite web |url=https://www.interexchange.org/articles/career-training-usa/2016/03/08/history-coca-cola/ |title=History of Coca-Cola · InterExchange |access-date=March 16, 2019 |archive-url=https://web.archive.org/web/20190327102537/https://www.interexchange.org/articles/career-training-usa/2016/03/08/history-coca-cola/ |archive-date=March 27, 2019 |url-status=dead }}</ref> (as [[Coca-Cola]])
| discontinued =
| color = [[Caramel]] (with certain exceptions such as [[Zevia]] Cola and [[Kola Román]])
| flavor = Cola ([[Kola nut]], citrus, cinnamon and vanilla)
| variants =
| related =
| website =
}}

'''Cola''' is a [[Carbonation|carbonated]] [[soft drink]] flavored with [[vanilla]], [[cinnamon]], [[citrus]] [[essential oil|oils]], and other flavorings. Cola became popular worldwide after the American pharmacist [[John Stith Pemberton]] invented [[Coca-Cola]], a trademarked brand, in 1886, which was imitated by other manufacturers. Most colas originally contained [[caffeine]] from the [[kola nut]] (''[[Cola acuminata]]''), leading to the drink's name, though other sources of caffeine are generally used in modern formulations. The Pemberton cola drink also contained a [[coca leaves|coca plant]] extract.<ref name="Archived copy"/><ref name="cocaine">{{cite web |url=http://www.cocaine.org/cocawine.htm |title=Coca Wine |publisher=Cocaine.org |access-date=September 29, 2013 |archive-date=February 24, 2021 |archive-url=https://web.archive.org/web/20210224232916/http://www.cocaine.org/cocawine.htm |url-status=live }}</ref> His [[non-alcoholic]] [[Coca-Cola formula|recipe]] was inspired by the [[coca wine]] of pharmacist [[Angelo Mariani (chemist)|Angelo Mariani]], created in 1863.<ref name="cocaine" /><ref>{{Cite journal|last=최재원|date=April 2015|title=코카콜라의 스토리텔링을 통한 감성마케팅 응용|url=https://www.dbpia.co.kr/Journal/articleDetail?nodeId=NODE06283611|access-date=2021-04-04|journal=마케팅|volume=49|issue=4|pages=19–28|language=ko|archive-date=2019-11-06|archive-url=https://web.archive.org/web/20191106133402/http://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE06283611|url-status=live}}</ref>

Most modern colas have a dark [[caramel color]] and are sweetened with [[sugar]] and/or [[high-fructose corn syrup]]. They come in numerous different [[brand]]s, with Coca-Cola and [[Pepsi]] being among the most popular.<ref>{{Cite journal|last=김덕호|date=November 2002|title=2차 세계대전과 코카콜라의 전지구화(Globalization)|url=https://www.dbpia.co.kr/Journal/articleDetail?nodeId=NODE01080138|access-date=2021-04-04|journal=미국사연구|volume=16|pages=219–249|language=ko|archive-date=2020-08-27|archive-url=https://web.archive.org/web/20200827151510/https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE01080138|url-status=live}}</ref> These two companies have been competing since the 1890s, a rivalry that has [[Cola wars|intensified since the 1980s]].<ref>{{cite news|url=http://www.businessinsider.com/coca-cola-vs-pepsi-timeline-2013-1|title=COKE VS. PEPSI: The Story Behind The Neverending 'Cola Wars'|author=Kim Bhasin|magazine=Business Insider|date=January 1, 2013|access-date=November 11, 2015|archive-date=October 26, 2015|archive-url=https://web.archive.org/web/20151026071546/http://www.businessinsider.com/coca-cola-vs-pepsi-timeline-2013-1|url-status=live}}</ref><ref name=Challenge>{{Cite web|title=1975: Cola wars heat up with launch of Pepsi Challenge|url=https://www.thedrum.com/news/2016/06/14/marketing-moment-75-cola-wars-heat-1975-launch-pepsi-challenge|access-date=2020-08-29|website=The Drum|language=en|archive-date=2020-11-27|archive-url=https://web.archive.org/web/20201127141614/https://www.thedrum.com/news/2016/06/14/marketing-moment-75-cola-wars-heat-1975-launch-pepsi-challenge|url-status=live}}</ref>

==Flavorings==
The primary modern flavorings in a cola drink are [[citrus]] [[essential oil|oils]] (from [[Orange (fruit)|orange]], [[Lime (fruit)|lime]], and [[lemon]] [[Peel (fruit)|peels]]), [[cinnamon]], [[vanilla]], and an [[acid]]ic flavorant.<ref>{{cite web |author=DeNeefe, Janet |url=http://www.thejakartapost.com/news/2008/03/13/the-exotic-romance-tamarind.html |title=The Exotic Romance of Tamarind |work=The Jakarta Post |date=March 13, 2008 |access-date=September 29, 2013 |archive-date=July 11, 2021 |archive-url=https://web.archive.org/web/20210711063547/https://www.thejakartapost.com/news/2008/03/13/the-exotic-romance-tamarind.html |url-status=live }}</ref><ref>{{cite web |url=http://sparror.cubecinema.com/cube/cola/chemistry/cola2.htm |title=Cola 2 |publisher=Sparror.cubecinema.com |access-date=September 29, 2013 |archive-date=February 13, 2021 |archive-url=https://web.archive.org/web/20210213220807/https://sparror.cubecinema.com/cube/cola/chemistry/cola2.htm |url-status=live }}</ref> Manufacturers of cola drinks add trace flavorings to create distinctive tastes for each brand. Trace flavorings may include a wide variety of ingredients, such as spices like [[nutmeg]] or [[coriander]]. Acidity is often provided by [[phosphoric acid]], sometimes accompanied by [[citric acid|citric]] or other isolated acids. [[Coca-Cola formula|Coca-Cola's recipe]] is maintained as a corporate [[trade secret]].

A variety of different sweeteners may be used in cola, often influenced by local agricultural policy. [[High-fructose corn syrup]] (HFCS) is predominantly used in the United States due to the lower cost of government-subsidized [[Maize|corn]]. In Europe, however, HFCS is subject to production quotas designed to encourage the production of sugar; sugar is thus preferentially used to sweeten sodas.<ref>{{cite book |editor1=M. Ataman Aksoy |editor2=John C. Beghin |title=Global Agricultural Trade and Developing Countries |year=2005 |publisher=World Bank Publications |isbn=0-8213-5863-4 |page=329 |chapter=Sugar Policies: An Opportunity for Change}}</ref> In addition, [[stevia]] or an [[artificial sweetener]] may be used; "sugar-free" or "diet" colas typically contain artificial sweeteners only.

In Japan, there is a burgeoning craft cola industry, with small-scale local production methods and highly unique cola recipes using locally-sourced fruits, herbs, and spices.<ref>Wallin, Lisa "[https://www.japanesefoodguide.com/craft-cola/ Japanese Craft Cola is the Beverage You Didn't Know You Needed] {{Webarchive|url=https://web.archive.org/web/20211126005508/https://www.japanesefoodguide.com/craft-cola/ |date=2021-11-26 }}", ''Japanese Food Guide''</ref>

==Clear cola==
In the 1940s, [[the Coca-Cola Company|Coca-Cola]] produced [[White Coke]] at the request of [[Marshal of the Soviet Union]] [[Georgy Zhukov]].<ref>{{Cite journal|last=김덕호|date=May 2005|title=냉전 초기 코카콜라와 미국 문화산업의 세계화|url=https://www.dbpia.co.kr/Journal/articleDetail?nodeId=NODE01080196|access-date=2021-04-04|journal=미국사연구|volume=21|pages=105–140|language=ko|archive-date=2020-08-27|archive-url=https://web.archive.org/web/20200827151447/https://www.dbpia.co.kr/journal/articleDetail?nodeId=NODE01080196|url-status=live}}</ref><ref>{{Cite web|url=https://www.ozy.com/flashback/coke-made-especially-for-a-communist/41336|title=Coke made especially for a communist|last=Braswell|first=Sean|website=Ozy|date=April 23, 2015|access-date=May 25, 2018|archive-date=October 5, 2021|archive-url=https://web.archive.org/web/20211005124459/https://www.ozy.com/flashback/coke-made-especially-for-a-communist/41336/|url-status=live}}</ref>

Clear colas were again produced during the [[clear craze]] of the early 1990s. Brands included [[Crystal Pepsi]], [[Tab Clear]], and [[7 Up#Discontinued|7 Up Ice Cola]]. Crystal Pepsi was repeatedly reintroduced in the 2010s.

In [[Denmark]], a popular clear cola was made by the [[Cooperative]] [[Coop amba|FDB]] in 1976. It was especially known for being the "Hippie Cola" because of the focus on the harmful effects the [[color additive]] could have on children and the boycott of multinational brands. It was inspired by a campaign on harmful additives in Denmark by the Environmental-Organization NOAH, an independent Danish division of [[Friends of the Earth]]. This was followed up with a variety of sodas without artificial coloring.<ref>{{cite web|url=http://classic.samvirke.dk/node/287945|title=Samvirke - Rød sodavand - uden farve!|last=Samvirke|website=classic.samvirke.dk|access-date=September 14, 2018|archive-date=February 24, 2021|archive-url=https://web.archive.org/web/20210224165111/https://classic.samvirke.dk/node/287945|url-status=live}}</ref> Today many organic colas are available in Denmark, but, for nostalgic reasons, clear cola has still maintained its popularity to a certain degree.<ref>{{cite web|title=Husker du? Kult-colaen vender endelig tilbage|url=https://www.bt.dk/danmark/husker-du-kult-colaen-vender-endelig-tilbage|url-status=live|access-date=September 14, 2018|website=BT|date=8 November 2016|language=Danish|archive-url=https://web.archive.org/web/20161109154609/http://www.bt.dk/danmark/husker-du-kult-colaen-vender-endelig-tilbage |archive-date=2016-11-09 }}</ref>

In June 2018, Coca-Cola introduced [[Coca-Cola Clear]] in [[Japan]].<ref>{{Cite journal|last=김덕호|date=November 2006|title=미국화인가 세계화인가 :코카콜라를 통해서 본 글로벌리즘|url=https://www.dbpia.co.kr/Journal/articleDetail?nodeId=NODE01081055|access-date=2021-04-04|journal=미국사연구|volume=24|pages=171–206|language=ko|archive-date=2021-11-26|archive-url=https://web.archive.org/web/20211126032137/https://www.dbpia.co.kr/Journal/articleDetail?nodeId=NODE01081055|url-status=live}}</ref><ref>{{cite web|title=Coca-Cola Clear launches in Japan|url=https://www.beveragedaily.com/Article/2018/06/12/Coca-Cola-Clear-launches-in-Japan|url-status=live|access-date=September 14, 2018|website=beveragedaily.com|archive-url=https://web.archive.org/web/20200814234151/https://www.beveragedaily.com/Article/2018/06/12/Coca-Cola-Clear-launches-in-Japan |archive-date=2020-08-14 }}</ref><ref>{{cite web|date=June 6, 2018|title=Coca-Cola Pulls a Pepsi and Launches Clear Coke|url=https://www.esquire.com/food-drink/a21094272/clear-coke/|url-status=live|access-date=September 14, 2018|website=esquire|archive-url=https://web.archive.org/web/20180608000004/https://www.esquire.com/food-drink/a21094272/clear-coke/ |archive-date=2018-06-08 }}</ref>

==Health effects==
{{Further|Criticism of Coca-Cola#Health effects}}
A 2007 study claimed that consumption of colas, both those with natural sweetening and those with artificial sweetening, was associated with an increased risk of chronic kidney disease. The [[phosphoric acid]] used in colas was thought to be a possible cause.<ref>{{cite journal |author1=Tina M. Saldana |author2=Olga Basso |author3=Rebecca Darden |author4=Dale P. Sandler |title=Carbonated beverages and chronic kidney disease |year=2007 |journal=[[Epidemiology (journal)|Epidemiology]] |volume=18 |issue=4 |pages=501–6 |doi=10.1097/EDE.0b013e3180646338 |pmid=17525693 |pmc=3433753}}</ref>

One 2005 study indicated soda and sweetened drinks are the main source of calories in the American diet and that of those who drink more sweetened drinks, obesity rates were higher.<ref>{{cite web |url=https://www.sciencedaily.com/releases/2005/05/050527111920.htm |title=Preliminary Data Suggest That Soda And Sweet Drinks Are The Main Source Of Calories In American Diet |publisher=Sciencedaily.com |date=May 27, 2005 |access-date=July 2, 2011 |archive-date=March 9, 2021 |archive-url=https://web.archive.org/web/20210309054959/https://www.sciencedaily.com/releases/2005/05/050527111920.htm |url-status=live }}</ref> Most{{how|date=March 2024}} nutritionists advise that Coca-Cola and other soft drinks can be harmful if consumed excessively, particularly to young children whose soft drink consumption competes with, rather than complements, a balanced diet. Studies have shown that regular soft drink users have a lower intake of [[calcium]], [[magnesium]], [[vitamin C]], [[riboflavin]], and [[vitamin A]].<ref>Jacobson, Michael F. (2005). "[https://web.archive.org/web/20050718093423/http://www.cspinet.org/new/pdf/liquid_candy_final_w_new_supplement.pdf Liquid Candy: How Soft Drinks are Harming Americans' Health]", pp. 5–6. [[Center for Science in the Public Interest]]. Retrieved October 13, 2010.</ref>

The drink has also aroused criticism for its use of [[caffeine]], which can cause [[physical dependence]] ([[caffeine dependence]]),<ref>Center for Science in the Public Interest (1997). "[http://www.cspinet.org/new/caffeine.htm Label Caffeine Content of Foods, Scientists Tell FDA]." Retrieved June 10, 2005. {{Webarchive|url=https://web.archive.org/web/20140724114650/http://www.cspinet.org/new/caffeine.htm |date=July 24, 2014 }}</ref> and can reduce sleep quality.<ref>{{Cite journal|last1=O’Callaghan|first1=Frances|last2=Muurlink|first2=Olav|last3=Reid|first3=Natasha|date=2018-12-07|title=Effects of caffeine on sleep quality and daytime functioning|journal=Risk Management and Healthcare Policy|volume=11|pages=263–271|doi=10.2147/RMHP.S156404|issn=1179-1594|pmc=6292246|pmid=30573997 |doi-access=free }}</ref> A link has been shown between long-term regular cola intake and [[osteoporosis]] in older women (but not men).<ref>{{cite journal|vauthors=Tucker KL, Morita K, Qiao N, Hannan MT, Cupples LA, Kiel DP | title=Colas, but not other carbonated beverages, are associated with low bone mineral density in older women: The Framingham Osteoporosis Study| journal=American Journal of Clinical Nutrition| volume=84| pages=936–942| issue = 4| date = October 1, 2006| pmid = 17023723 | doi=10.1093/ajcn/84.4.936| doi-access=free}}</ref> This was thought to be due to the presence of phosphoric acid, and the risk for women was found to be greater for sugared and caffeinated colas than diet and decaffeinated variants, with a higher intake of cola correlating with lower bone density.

Many soft drinks in North America are sweetened mostly or entirely with [[high-fructose corn syrup]], rather than [[sugar]]. Some nutritionists caution against the consumption of [[corn syrup]] because it may aggravate [[obesity]] and [[type-2 diabetes]] more than cane sugar.<ref>[http://www.foodnavigator-usa.com/news/ng.asp?id=51623-single-food-ingredient "Single food ingredient the cause of obesity ? New study has industry up in arms"] {{Webarchive|url=https://web.archive.org/web/20080508014443/http://www.foodnavigator-usa.com/news/ng.asp?id=51623-single-food-ingredient |date=2008-05-08 }}. (April 26, 2004). ''FoodNavigator.com''. Retrieved February 27, 2007.</ref>

==Regional brands==
{{See also||Category:Cola brands}}

===Asia===
[[File:MOJO 2 liters.jpg|thumb|MOJO is a cola drink brand in Bangladesh]]
*Air Koryo Cocoa Honeydew, a 'Coca Cola-style product' manufactured by the national airline in North Korea<ref>{{Cite web|url = https://www.nknews.org/2017/08/air-koryo-showcases-new-cola-expanded-soft-drink-range-at-rason-trade-fair/|title = Air Koryo showcases expanded soft drink range at Rason Trade Fair | NK News|date = 31 August 2017|access-date = 16 January 2022|archive-date = 16 January 2022|archive-url = https://web.archive.org/web/20220116131832/https://www.nknews.org/2017/08/air-koryo-showcases-new-cola-expanded-soft-drink-range-at-rason-trade-fair/|url-status = live}}</ref>
*[[Amrat Cola]], popular in Pakistan
*[[Kola Real|Big/Real/Royal Cola]], popular in Indonesia, Thailand, Nigeria and throughout South America
*[[Campa Cola]], India's most popular brand prior to the reintroduction of Coca-Cola and Pepsi to the Indian market in 1991
*[[Est Cola]], a local brand in Thailand
*[[Future Cola]], a local brand in China
*KIK Cola, a local brand in [[Sri Lanka]]<ref>{{Cite web |url=https://www.elephanthouse.lk/beverages/kik-cola.html |title=Elephant House KIK Cola - Lankan to the Last Drop |access-date=December 17, 2021 |archive-url=https://web.archive.org/web/20211217121950/https://www.elephanthouse.lk/beverages/kik-cola.html |archive-date=December 17, 2021}}</ref>
*[[Laoshan Cola]], a local brand in China
*[[Mecca-Cola]], sold in the [[Middle East]], North Africa, as well as parts of Europe
*Meadows Classic Cola, a [[Dairy Farm|DFI]] brand in Hong Kong, Malaysia, Singapore and Kampuchea
*MOJO, a popular local brand in Bangladesh.
*MyCola, a local brand in Sri Lanka<ref>{{Cite web |url=https://mycola.lk/#myFlavours |title=MyCola |access-date=December 17, 2021 |archive-url=https://web.archive.org/web/20211217122634/https://mycola.lk/ |archive-date=December 17, 2021}}</ref>
*[[Pakola]], popular in Pakistan
*[[Parsi Cola]], popular in Iran
*[[Red Bull Cola]], popular in Thailand
*Sparkling Super Cola, sold by the [[A.S. Watson Group]] (PARKnSHOP, Watsons) of Hong Kong
*Terelj Cola, sold in Mongolia.<ref>{{cite web | url=https://www.monde-selection.com/product/terelj/ | title=Terelj - Silver Quality Award 2021 from Monde Selection | access-date=2022-05-21 | archive-date=2023-04-25 | archive-url=https://web.archive.org/web/20230425111920/https://www.monde-selection.com/product/terelj/ | url-status=live }}</ref>
*[[Thums Up]], popular in India
*[[Topsia Cola]], popular in Iran
*Vita Cola, produced by [[Vitasoy]] of Hong Kong
*[[Zamzam (soft drink)|Zamzam Cola]], popular in Iran and parts of the Arab world

===Europe===
[[File:Berry cola stand Reuilly.jpg|thumb|Bottles of [[Berry, France|Berry]] Cola, a soft drink produced in [[Indre]], [[France]]]]

*[[Afri-Cola]], a [[Germany|German]] brand, was relaunched in April 2006 with the original formulation with the higher caffeine content.
*[[Baikal (drink)|Baikal]], a cola-like drink popular in Russia
*[[Barr Cola]] made by [[A.G. Barr]] (the makers of the popular [[Irn-Bru]] drink) in the [[United Kingdom]]
*[[Breizh Cola]] is a local brand from [[Brittany]] ([[France]]).<ref>{{cite web|title=Le Breizh Cola sera intégralement produit en Bretagne|url=https://www.ouest-france.fr/economie/industries/le-breizh-cola-sera-integralement-produit-en-bretagne-4482557|url-status=live|access-date=11 October 2017|website=Ouest France|language=French|archive-url=https://web.archive.org/web/20170724114749/http://www.ouest-france.fr:80/economie/industries/le-breizh-cola-sera-integralement-produit-en-bretagne-4482557 |archive-date=2017-07-24 }}</ref>
*[[Brisa drink|Brisa Cola]] is a local brand from [[Madeira]], [[Portugal]] and produced by [[Madeira Brewery|Empresa de Cervejas da Madeira]].
*[[Cola Turka]] is a local brand in Turkey
*[[Cockta]] is a local brand from former [[Socialist Federal Republic of Yugoslavia|Yugoslavia]], which does not contain any [[caffeine]] or [[phosphoric acid]].
*[[Corsica Cola]] is a regional cola distributed by the Corsican brewery [[Pietra Brewery|Pietra]].
*[[Cuba Cola]] is a brand from [[Sweden]].
*[[Dobryj Cola|Dobry Cola]], a [[Russian language|Russian]] brand which replaced Coca-Cola after the [[Corporate responses to the 2022 Russian invasion of Ukraine|departure of global companies from Russia in 2022]], produced in the same factories as the original products.<ref>{{Cite web |last=Davidoff |first=Victor |date=2022-11-03 |title=Are Western Brands as Serious About Withdrawing From Russia as They Appear? |url=https://www.themoscowtimes.com/2022/11/03/are-western-brands-as-serious-about-withdrawing-from-russia-as-they-appear-a79265 |access-date=2022-11-03 |website=The Moscow Times |language=en |archive-date=2022-11-03 |archive-url=https://web.archive.org/web/20221103150025/https://www.themoscowtimes.com/2022/11/03/are-western-brands-as-serious-about-withdrawing-from-russia-as-they-appear-a79265 |url-status=live }}</ref>
*[[Evoca Cola]] is a cola made with mineral water made by Evoca Drinks.
*[[Fentimans Curiosity Cola]], is an upmarket botanically brewed cola produced by [[Fentimans]], from the UK.
*[[Fritz-kola|Fritz-Kola]], a cola soft drink from [[Hamburg]], Germany, uses the highest possible concentration of caffeine for beverages allowed by German law.{{clarify|date=April 2021|reason=25mg/100ml is less than various coffee servings and coffee seems to be legal in Germany}}
*[[Green Cola]] is a brand from [[Greece]] that is available also in Germany, Spain, Cyprus, the Baltic states, Romania, the Middle East, Slovenia etc.
*[[Hofmuhl Cola]] is a local brand from Bavaria, made by a regional brewery.<ref>{{Cite web|title=Sortiment|url=https://hofmuehl.de/sortiment/|access-date=2021-04-05|website=Privatbrauerei Hofmühl|language=de-DE|archive-date=2021-05-06|archive-url=https://web.archive.org/web/20210506151217/https://hofmuehl.de/sortiment|url-status=live}}</ref>
*[[Jolly Cola]], which had a 40% share of the cola drink market in [[Denmark]] from the mid-1960s to the late 1980s.<ref>{{Cite journal|last1=Sørensen|first1=Nils Arne|last2=Petersen|first2=Klaus|date=November 2012|title=Corporate Capitalism or Coca-Colonisation? Economic Interests, Cultural Concerns, Tax Policies and Coca-Cola in Denmark from 1945 to the Early 1960s|journal=Contemporary European History|language=en|volume=21|issue=4|pages=597–617|doi=10.1017/S0960777312000392|s2cid=163347256|issn=0960-7773}}</ref>
*[[Kofola]] is the primary rival to Coca-Cola and Pepsi in the [[Czech Republic]] and [[Slovakia]], and does not contain phosphoric acid.
*[[Kristal Kola]] is a local brand in Turkey
*LOCKWOODS Cola,<ref>{{cite web |url=http://www.canmuseum.com/Detail.aspx?CanID=24511 |title=LOCKWOODS-Cola-330mL-Great Britain |website=CanMuseum.com |access-date=July 21, 2018 |archive-date=February 26, 2021 |archive-url=https://web.archive.org/web/20210226223324/https://www.canmuseum.com/Detail.aspx?CanID=24511 |url-status=live }}</ref><ref>{{cite web |url=http://www.canmuseum.com/Detail.aspx?CanID=76428 |title=LOCKWOODS-Cola (diet)-326mL-Great Britain |website=CanMuseum.com |access-date=July 21, 2018 |archive-date=May 6, 2021 |archive-url=https://web.archive.org/web/20210506114206/https://www.canmuseum.com/Detail.aspx?CanID=76428 |url-status=live }}</ref> a UK cola brand introduced in the 1960s produced by [[Lockwoods Foods Limited]] at their canning factory site in [[Long Sutton, Lincolnshire|Long Sutton]], England, the drink is not on the market anymore, it was sold nationally and also [[exported]].
*[[Maxi-Cola]] was sold by [[Mac's Brewery (UK)|Mac's Brewery]] in England as a rival to Coke and Pepsi. Production ended in the early 90s.
*[[Polo-Cockta]], a [[Poland|Polish]] brand.
*[[Qibla Cola]] was a British cola brand active from 2003-2005.
*[[Red Bull Simply Cola]] has been available throughout Europe since 2008.
*[[Sinalco]] cola is a German cola brand sold and produced in Europe
*[[Tøyen-Cola]] is a Norwegian cola brand, based on the open [[Open-source_cola|Cube cola]] recepie.
*[[Ubuntu Cola]] is a [[fair trade]] cola from the United Kingdom available in parts of [[Western Europe]].
*[[Virgin Cola]] was popular in [[South Africa]] and Western Europe in the 1990s but has waned in availability.
*[[Vita-Cola]] is a German cola brand with a distinct citrus flavor; nowadays it is mostly sold in eastern Germany.
*[[XL Cola]] was a Swedish cola brand introduced in 1985, but the drink is not at the market anymore.

===North America===
[[File:Flasche Coca-Cola 0,2 Liter.jpg|thumb|upright|A small glass bottle of Coca-Cola, the first cola]]

*[[Coca-Cola]], often referred to simply as Coke, is produced and manufactured by [[The Coca-Cola Company]]. It is one of the most popular cola brands in North America and worldwide, as well as being the original cola.
*[[Pepsi]], produced and manufactured by [[PepsiCo]], is also one of the most popular cola brands in North America and worldwide. Pepsi is the main competitor and rival of Coca-Cola.
*[[RC Cola]], short for Royal Crown Cola, is now produced by [[Keurig Dr Pepper]]
*[[Cott]] produces many [[house brand]] beverages as well as its own line of products, most notably its ''Black Cherry'' and ''Bubba'' cola.
*[[Double Cola|The Double Cola Company]], Double Cola
*[[Faygo]] Cola is distributed in the Eastern [[United States]] and can be found in some regions of Canada.
*[[Fentimans]] Curiosity Cola, originating from the United Kingdom in 1905, now sold across Europe and North America
*[[Jarritos]] Cola is a brand of cola from Mexico, native to Mexico and widely distributed to Latino residents of the United States.
*[[Jolt Cola]] is sold by [[Wet Planet Beverages]] of [[Rochester, New York|Rochester]], New York.
*[[Jones Soda]] also makes a cola using cane sugar.
**[[Nuka-Cola]], produced by Jones in collaboration with [[Fallout series]] developer [[Bethesda Softworks]] and [[Target Stores]] from 2009–10, 2014–16 and 2020 to present.
*[[Polar Beverages]] of Worcester, MA produces its own brand of cola under the Polar name.
*[[Red Bull Simply Cola]] was available in the United States from 2008 to 2011.
*[[Shasta Cola]], produced by [[Shasta (soft drink)|Shasta]]
*[[TuKola]] and [[Tropicola]] are brands from [[Cuba]] (also sold widely in Italy).
*[[Zevia]] Cola is a zero-calorie [[soft drink]] sweetened with [[Stevia]].
*[[Bec Cola]] is produced in [[Montreal]], [[Quebec]], Canada, sold across Quebec and [[Ontario]]. It is sweetened with primarily [[maple syrup]]
*[[Big 8 Beverages|Big 8 Cola]] is a brand of colas and other flavored sodas that can be found in [[Atlantic Canada]]

===South America===
* [[Inca Kola]], created by Lindley bottler to compete with Coca-Cola. It is still the best selling cola in Perú. <ref>{{cite web |title=Branding Lessons from Inca Kola, the Peruvian Soda That Bested Coca-Cola |url=https://knowledge.wharton.upenn.edu/article/branding-lessons-from-inca-kola-the-peruvian-soda-that-bested-coca-cola/ |publisher=©2023 Knowledge at Wharton |access-date=3 February 2023 |archive-date=8 March 2021 |archive-url=https://web.archive.org/web/20210308022218/https://knowledge.wharton.upenn.edu/article/branding-lessons-from-inca-kola-the-peruvian-soda-that-bested-coca-cola/ |url-status=live }}</ref>
* [[Big Cola]], a cola produced by Peruvian company [[Ajegroup]] which operates in 14 countries in Latin America.<ref name="ajegroup">{{cite web|title=Ajegroup|url=http://www.ajegroup.com/|url-status=live|access-date=September 29, 2013|publisher=Ajegroup|language=Spanish|archive-url=https://web.archive.org/web/20070104231046/http://www.ajegroup.com:80/ |archive-date=2007-01-04 }}</ref>
* [[Perú Cola]], created by Peruvian bottler [[Embotelladora Don Jorge S.A.C.]] to compete with Coca-Cola and [[Kola Real]].<ref>{{cite web |url=http://www.donjorge.com.pe/index.php |title=Grupo Perú Cola - Hoy el Perú sabe mejor |publisher=Donjorge.com.pe |language=es |access-date=September 29, 2013 |archive-url=https://web.archive.org/web/20180304052041/http://www.donjorge.com.pe/index.php |archive-date=March 4, 2018 |url-status=dead }}</ref>
* [[Kola Román]], a cola that was invented in the city of Cartagena, Colombia in 1865 by Don Carlos Román.

===Oceania===
* [[LA Ice Cola]] is an Australian cola owned by [[Tru Blu Beverages]], similar to Coca-Cola and Pepsi, its rivals.
* [[Billson's Brewery|Billson's]] produces a Heritage Cola, inspired by recipes dating back to the Temperance movement in Australia.

== Defunct brands ==
* [[Hansen's]] ''Natural Soda'', Original Cola, made with [[cane sugar]]

== See also ==
{{Portal|Drink|United States}}

* {{annotated link|Cola chicken}}
* {{annotated link|Peanuts and Coke}}
* {{annotated link|Open-source cola}}
* {{annotated link|List of brand name soft drinks products}}
* {{annotated link|List of soft drink flavors}}
* {{annotated link|List of soft drink producers}}
* {{annotated link|List of soft drinks by country}}
* {{annotated link|Soda geyser}}

== References ==
{{refs}}

== External links ==
{{Wiktionary}}

* [https://web.archive.org/web/20090410064941/http://www.colawp.com/colas/400/cola467_recipe.html OpenCola recipe] (originally published by [[Cory Doctorow]])
* [https://web.archive.org/web/19991008000738/http://www.straightdope.com/mailbag/mcaffeine.html Straight Dope article about caffeine levels on soft drinks]

{{anchor|Brands of Cola}}
{{Colas|state=collapsed}}
{{Soft drink|state=collapsed}}
{{Authority control}}

[[Category:Cola| ]]
[[Category:19th-century inventions]]
[[Category:American inventions]]
[[Category:Soft drinks]]
[[Category:Historical polysubstance drinks]]

Parkapzuk

2024-04-08T15:42:06Z

MonkeyPython: as the image is called, this is a great highland pipe, not the parkapzuk (an image is at http://www.duduk.com/Arm-music-ins/Bag-pipe/g-bag-pipe/index.html ) no replacement can be found on commons

The '''''parkapzuk''''' ({{lang-hy|Պարկապզուկ}}) is a droneless, horn-belled [[bagpipe]] played in [[Armenia]]. The double-chanters each have five <ref>{{Cite web|url=http://instrumundo.blogspot.com/2012/12/parkapzuk.html|title=INSTRUMUNDO Instrumentos Musicales: Parkapzuk, Պարկապզուկ, Teek|date=7 December 2012}}</ref> or six finger-holes, but the chanters are tuned slightly apart, giving a "[[beat (acoustics)|beat]]" as the soundwaves of each interfere, resulting in a penetrating tone. Researchers in 1996 and 1997 noted they recorded one of the last active pipers of that time.<ref name="HaineBoone2001">{{cite book|author1=Malou Haine|author2=Hubert Boone|author3=Isabelle Deleuse |author4=Géry Dumoulin |author5=Wim Bosmans |author6=Karel Moens |author7=Anja Van Lerberghe |author8=Ferdinand J De Hen |author9=Pascale Vandervellen |author10=Musée Instrumental |title=Musée des Instruments de Musique: Cornemuses européennes|url=https://books.google.com/books?id=83KGmlZgBnYC&pg=PA8|accessdate=24 April 2011|date=18 September 2001|publisher=Editions Mardaga|isbn=978-2-87009-786-1|pages=8–}}</ref>

The Parkapzuk is made of sheep or lamb skin, which has been gutted and hardened. The size of the 'bag', depends on the player's comfortable size. The pipes are made of wood. Wood was the original material, preferably wood from an apricot tree, but today some of the pipes have been made of plastic, as it is cheaper and less difficult to make.

Some sources indicate that the ''parkapzuk'' is single [[chanter]]ed, while others indicate it is double-chantered like the ''[[Tulum (bagpipe)|tulum]]''.

==Musical groups==
*Arev Armenian Folk Ensemble
*Shoghaken Ensemble
*[https://web.archive.org/web/20080330060256/http://www.hayrenband.com/index.htm Hayren]
*[https://web.archive.org/web/20110205013505/http://www.tkzar.info/ Tkzar Ensemble]

==Resources==
*[http://gajdy.web-log.nl/gajdy/droneless_bagpipe/index.html The ''Gajdy Weblog''] of Ernesto Fisher
*[http://www.duduk.com/Arm-music-ins/Bag-pipe/g-bag-pipe/index.html '' ''Parkapzuk'' photo]

==References==
{{reflist}}

{{Armenian musical instruments}}

[[Category:Armenian musical instruments]]
[[Category:Bagpipes]]

{{Bagpipes-stub}}

Music of Lithuania

2024-04-05T20:16:07Z

MonkeyPython: /* Instrumental music */

{{Short description|Overview of music traditions in Lithuania: folk, classical, contemporary, pop, etc.}}
{{Use dmy dates|date=January 2022}}
{{Multiple issues|
{{lead too short|date=March 2012}}
{{External links|date=August 2018}}
}}
{{Culture of Lithuania}}
[[File:I lituani.jpg|thumb|right| Opera ''[[I Lituani]]'' ''(The Lithuanians)'' - poster from the opera's 19th century production]]
[[File:Royal Palace of Vilnius in XVIIIc. Lithuania.jpg|thumb|right|Drawing of the [[Palace of the Grand Dukes of Lithuania]] in XVIII c.]]

'''Music of Lithuania''' refers to all forms of music associated with [[Lithuania]], which has a long history of the folk, popular and classical musical development. Music was an important part of polytheistic, pre-Christian Lithuania – rituals were accompanied by music instruments and singing, deeds of the heroes and those who didn't return from the war were celebrated in songs.

== History ==
[[File:M.Mažvydas, a fragment of Lithuanian psalm - Gyvenimą tas turės,1570.jpg|thumb|left|A fragment of Lithuanian psalm ''Gyvenimą tas turės'' by [[Martynas Mažvydas]], 1570]]
Music was very important part of ancient Lithuanian polytheistic belief. It is known that, at the start of the 2nd millennium, [[Balts|Baltic]] tribes had special funeral traditions in which the deeds of the dead were narrated using [[recitation]], and ritual songs about war campaigns, heroes and rulers also existed.<ref>{{cite web |last1=Landsbergis |first1=Vytautas |title=www.vle.lt |url=https://www.vle.lt/Straipsnis/lietuvos-muzika-117665 |website=Lietuvos muzika |publisher=Mokslo ir enciklopedijų leidybos centras |access-date=19 April 2019}}</ref>

First professional music was introduced to Lithuania with travelling monks in the 11th century. After the [[christianization of Lithuania]] in 1387, religious music started to spread, [[Gregorian chant]] was introduced. Travelling musicians arranged concerts in the manors and castles of the Lithuanian nobleman, local cappellas were founded.

It is known, that [[Anna, Grand Duchess of Lithuania]], wife of [[Vytautas|Vytautas the Great]] which had diplomatic relationships with the Teutonic Knights, who sent her expensive gifts, including [[clavichord]] and [[portative organ]] in 1408.<ref>{{cite book| chapter=Vytauto šeimyna |title=Istorijos baruose | first=Ignas |last=Jonynas | publisher=Mokslas | location=Vilnius |year=1984 |orig-year=1932 |pages=47–50 |lccn=84212910 |language=lt}}</ref> Daughter of Grand Duke of Lithuania [[Gediminas]], [[Aldona of Lithuania|Aldona]], when married to [[Casimir III the Great|Casimir III of Poland]], 1325 took her palace orchestra to Cracow.<ref>{{cite web|title=muzikos instrumentai Lietuvoje|url=https://www.vle.lt/Straipsnis/muzikos-instrumentai-lietuvoje-118062|website=www.vle.lt|access-date=1 July 2018}}</ref> It had musicians which played [[lute]], [[zither]] and [[lyre]].

The first opera (''[[Dramma per musica]]'') in Lithuania was staged in the [[Palace of the Grand Dukes of Lithuania]] in 1636. [[Marco Scacchi]] and Virgilio Puccitelli were the opera's impresarios. The appearance of the opera in Lithuania is quite early, especially considering the fact that [[Italian opera]] phenomena was formed at about 1600 and first opera staged in Paris was just before 1650.

In the 17th century in Palace of the Grand Dukes of Lithuania, three Italian operas were staged – all by palace composer Marco Scacchi, to librettos by Virgilio Puccitelli - ''Il ratto d’Elena'' (''The Elena Kidnapping'') (1636), ''L'Andromeda'' (''Andromeda'') (1644), ''Circe Delusa'' (''Disillusioned Circe'') (1648). The scenography and stage machinery was made by Italian architects and engineers Agostino Locci, Bartolomeo Bolzoni and [[Giovanni Battista Gisleni]]. The cultural life of the Palace of the Grand Dukes of Lithuania was especially intense during the reign of [[Sigismund II Augustus]]. The [[Vilnius]] residence was a place to host many chamber concerts, music and dance festivities and carnivals, and music has become an integral part of the public life of the Palace. Musicians from other countries, especially from Italy, were invited to Vilnius. Among the most notable was Hungarian composer and [[lute]]nist [[Bálint Bakfark]], who came to Vilnius from Rome, Italian composer [[Diomedes Cato]].<ref>{{cite web|title=Kultūros vakaras "Muzika Valdovų rūmuose"|url=http://www.valdovurumai.lt/lankytojams/renginiai/kulturos-vakaras-muzika-valdovu-rumuose#.WxgzdVOFOL9|website=www.valdovurumai.lt|access-date=6 June 2018}}</ref> Composer and lutenist [[Michelagnolo Galilei]], brother of [[Galileo Galilei]] was playing in the court of [[Radziwiłł family|Radvila]] in Vilnius in the 17th century. Approximately 100 musicians worked in Vilnius at the court of [[Mikołaj "the Black" Radziwiłł|Mikalojus Radvila Juodasis]], the Protestant Grand Chancellor of the Grand Duchy of Lithuania and the Palatine of Vilnius (1515–1565).<ref>{{cite web |last1=Kuzminskyi |first1=Ivan |title=On the influence of the Catholic Ivan Kuzminskyi musical culture of Lviv and Vilnius on partes polyphony at the end of the 16th and during the 17th centuries |url=http://xn--urnalai-cxb.lmta.lt/wp-content/uploads/2017/05/Ars-et-praxis-IV_Kuzminskyi.pdf |website=žurnalai.lmta.lt |publisher=Lithuanian Academy of Music and Theatre |access-date=11 July 2018 |pages=17 |language=en |quote=For example, approximately 100 musicians worked in Vilnius at the court of Mikalojus Radvila Juodasis (Mikołaj “The Black” Radziwiłł), the Protestant Grand Chancellor of the Grand Duchy of Lithuania and the Palatine of Vilnius (1515–1565)}}</ref>

First printed Lithuanian book ''[[Catechism of Martynas Mažvydas|Catechismusa Prasty Szadei]]'' (''The Simple Words of Catechism'') in 1547 contained 11 religious hymns in Lithuanian with [[sheet music]]. Lithuanian jesuit [[Žygimantas Liauksminas]] (Sigismundus Lauxminus) published the first music handbook in Lithuania - ''Ars et praxis musica'' in 1667. It was a first book of the trilogy, devoted to [[Gregorian chant]] - other books include ''Graduale pro exercitatione studentium'' and ''Antifonale ad psalmos, iuxta ritum S. Romanae Ecclesiae, decantandos, necessarium''. The books were published at the University of Vilnius - S.R.M. Academicis Societatis Jesu.<ref name="auto">{{cite web|title=Keli XVIII a. LDK bažnytinės muzikos bruožai|author=Jūratė Trilupaitienė|url=http://mokslozurnalai.lmaleidykla.lt/publ/1392-1002/2009/1-2/36-49.pdf|website=www.valdovurumai.lt|access-date=7 June 2018}}</ref>

Recent findings - ''The Sapieha Album'' (''Sapiegos albumas'') and the ''Diary of the Kražiai Organist'' (''Kražių vargoninko dienoraštis'') demonstrated that the big part of the Lithuanian church music of the 17th century was directly influenced by the most prominent composers of Italy of that time - [[Girolamo Frescobaldi]]; Italian [[organ tablature]] notation prevailed, [[Figured bass#Basso continuo|basso continuo]] was studied.<ref name="auto"/>

Lithuania and its turbulent history was a subject of operas long before the appearance of the national opera in Lithuania. ''Everardo II, re di Lituania'' (''Everardo II, King of Lithuania''), music by [[João de Sousa Carvalho]], libretto by [[Gaetano Martinelli]] was written in 1782 to celebrate the birth of [[Peter III of Portugal|Pedro III]], King of Portugal. ''[[I Lituani]]'' (''The Lithuanians'') - is an opera consisting by [[Amilcare Ponchielli]] to an Italian libretto by [[Antonio Ghislanzoni]], based on the historical poem [[Konrad Wallenrod]] written by [[Adam Mickiewicz]]. It premiered at [[La Scala]] in [[Milan]] on 7 March 1874.

One of the first professional Lithuanian musicians was Juozas Kalvaitis (1842-1900). He composed a four-voiced Mass in the Lithuanian language in [[Sovetsk, Kaliningrad Oblast|Tilžė]].<ref>{{cite web|title=The music of Lithuania — a historical sketch|author=Vytas Nakas|url=http://www.lituanus.org/1974/74_4_06.htm|website=www.lituanus.org|access-date=14 June 2018}}</ref> In 1877, an oratorio [[The Creation (Haydn)|The Creation]] by [[Joseph Haydn]] was translated to Lithuanian and performed in Vilnius.
The first national opera ''[[Birutė (opera)|Birutė]]'' by composer [[Mikas Petrauskas]] (1873-1937), libretto - [[Gabrielius Landsbergis-Žemkalnis]] (1852-1916) was staged in 1906.

[[Mikalojus Konstantinas Čiurlionis]] (1875-1911) is considered the greatest Lithuanian composer of his generation, and probably of all time.<ref>{{cite web |last1=Nakas |first1=Vytas |title=THE MUSIC OF LITHUANIA — A HISTORICAL SKETCH |url=http://www.lituanus.org/1974/74_4_06.htm |access-date=19 April 2019}}</ref>

== Folk music ==
{{main|Lithuanian folk music}}

[[File:First-Lithuanian-song-written-down,1634.jpg|thumb|310 px|First Lithuanian folk song written down along with melody by Lithuanian engineer [[Fryderyk Getkant]] (Fridrichas - Bridžius Gedkantas) in 1634.]]

Lithuanian folk music belongs to [[Baltic music]] branch which is connected with [[neolithic]] [[corded ware]] culture. In Lithuanian territory meets two musical cultures: stringed ([[Kanklės|kanklių]]) and [[wind instrument]] cultures. These instrumental cultures probably formed vocal traditions.
Lithuanian folk music is archaic, mostly used for ritual purposes, containing elements of [[paganism]] faith.

=== Vocal music ===
{{main|Daina (Lithuania)}}
There are three ancient styles of singing in Lithuania connected with ethnographical regions: [[monophony]], multi-voiced [[homophony]], [[heterophony]] and [[polyphony]]. Monophony mostly occurs in southern ([[Dzūkija]]), southwest ([[Suvalkija]]) and eastern ([[Aukštaitija]]) parts of Lithuania. Multi-voiced homophony, widespread in entire Lithuania, is the most archaic in [[Samogitia]]. Traditional vocal music is held in high esteem on a world scale: Lithuanian song fests and sutartinės multipart songs are on the [[UNESCO]]'s representative list of the [[Masterpieces of the Oral and Intangible Heritage of Humanity]].<ref>{{cite web |title=Sutartinės, Lithuanian multipart songs |url=https://ich.unesco.org/en/RL/sutartines-lithuanian-multipart-songs-00433 |access-date=30 December 2018 |quote=Sutartinės (from the word sutarti – to be in concordance) is a form of polyphonic music performed by female singers in north-east Lithuania. The songs have simple melodies, with two to five pitches, and comprise two distinct parts: a meaningful main text and a refrain that may include nonce words.}}</ref>

==== Sutartinės (multipart songs) ====

[[File:Lithuanian folklore performance.jpg|thumb|310 px|A Lithuanian folklore band [[Kūlgrinda (band)|Kūlgrinda]] dancing to a folk song in Vilnius]]
Sutartinės (from the word ''sutarti''—to be in concordance, in agreement, singular ''sutartinė'') are highly unique examples of folk music. They are an ancient form of two and three voiced [[polyphony]], based on the oldest principles of multivoiced vocal music: [[heterophony]], [[parallel harmony|parallelism]], [[Canon (music)|canon]] and free [[imitation]]. Most of the sutartinės' repertoire was recorded in the 19th and 20th centuries, but sources from the 16th century on show that they were significant along with monophonic songs. At present the sutartinės have almost become extinct as a genre among the population, but they are fostered by many Lithuanian folklore ensembles.

The topics and functions of sutartinės encompass all major Lithuanian folk song genres. Melodies of sutartinės are not complex, containing two to five [[pitch (music)|pitch]]es. The melodies are symmetrical, consisting of two equal-length parts; [[rhythm]]s are typically [[syncopation|syncopated]], and the distinctly articulated [[refrain]]s give them a driving quality.

Sutartinės can be classed into three groups according to performance practices and function:
*Dvejinės (“twosomes”) are sung by two singers or two groups of singers.
*Trejinės (“threesomes”) are performed by three singers in strict canon.
*Keturinės (“foursomes") are sung by two pairs of singers.

Sutartinės are a localized phenomenon, found in the northeastern part of Lithuania. They were sung by women, but men performed instrumental versions on the [[kanklės]] (psaltery), on [[French horn|horns]], and on the skudučiai (pan-pipes). The rich and thematically varied poetry of the sutartinės attests to their importance in the social fabric. Sutartinės were sung at festivals, gatherings, [[weddings]], and while performing various chores. The poetic language while not being complex is very visual, expressive and sonorous. The rhythms are clear and accented. Dance sutartinės are humorous and spirited, despite the fact that the movements of the dance are quite reserved and slow. One of the most important characteristics of the sutartinės is the wide variety of [[vocable]]s used in the refrains (''sodauto, lylio, ratilio, tonarilio, dauno, kadujo, čiūto'', etc.).

==== Wedding songs ====

Different vocal and instrumental forms developed, such as lyrical, satirical, drinking and banqueting songs, musical dialogues, [[Lithuanian laments|wedding laments]], games, dances and marches.

==== War-historical time songs ====

Chronicles and historical documents of the 13th through 16th centuries contain the first sources about songs relating the heroics of those fallen in battle against the [[Teutonic Knights]]. Later songs mention the [[Swedes]], there are frequent references to [[Riga]] and [[Battle of Kircholm]]; songs collected in the early 19th century mention battles with the [[Tatars]]. Songs from uprisings and revolutions, as well as sonf of Lithuanian anti-Soviet [[Lithuanian partisans|guerrilla resistance]] in 1945-1952 and songs of the [[Soviet deportations from Lithuania|deportees]] are also classified as wartime historical songs.

==== Calendar cycle and ritual songs ====

They were sung at prescribed times of the year while performing the appropriate rituals. There are songs of [[Shrovetide]] and [[Lent]], [[Easter]] swinging songs, and Easter songs called lalavimai. The [[Advent]] songs reflect the mood of staidness and reflection. Christmas songs contain vocables such as ''kalėda, lėliu kalėda; oi kalėda kalėdzieka'', while Advent songs contain vocables such as ''leliumoj, aleliuma, aleliuma rūta, aleliuma loda'' and others. There are several typical melodic characteristics associated with Christmas ritual songs, such as a narrow range, three-measure phrases, dance rhythms, a controlled slow tempo, and a tonal structure based on [[phrygian mode|phrygian]], [[mixolydian mode|mixolydian]] or [[aeolian mode|aeolian]] [[tetrachord]]s. Polyphonic [[Joninės|St. John's Feast]] songs are commonly called kupolinės, which include refrains and vocables such as ''kupolėle kupolio, kupolio kupolėlio, or kupole rože''.

==== Work songs ====

Work songs vary greatly in function and age. There are some very old examples, which have retained their direct relation with the rhythm and process of the work to be done. Later work songs sing more of a person's feelings, experiences and aspirations. The older work songs more accurately relate the various stages of the work to be done. They are categorized according to their purpose on the farm, in the home, and so on.

*'''Herding songs'''. Shepherd songs are sung by children, while nightherding songs are sung by adults. The shepherding songs reflect the actual [[Pastoralism|tending]] of animals, the social situation of children, as well as references to ancient beliefs. The raliavimai or [[warble]]s are also recitative type melodies, distinguished by the [[vocable]] ''ralio'', which is meant to calm the animals. The raliavimai have no set poetic or musical form being free recitatives, unified by the refrains. Some warbles end in a prolonged [[ululation]], based on a major or [[minor third]].
*'''Haymaking songs'''. Refrains are common in haymaking songs. The most common vocable used is ''valio'', hence — ''valiavimas'', the term for the singing of haymaking songs. The vocable is sung slowly and broadly, evoking the spacious fields and the mood of the haymaking season. The melodies of earlier origin are similar to other early work songs while more modern haymaking songs have a wider modal range and are structurally more complex. Most are in [[Major (rank)|major]] and are homophonic.
*'''Rye harvesting songs'''. The [[harvesting]] of [[rye]] is the central stage in the agricultural cycle. The mood is [[:wikt:doleful|doleful]] and sad, love and marriage are the prevailing topics in them. Family relationships between parents and children are often discussed, with special emphasis on the hard lot of the daughter-in law in a [[patriarchy|patriarchal]] family. Rye harvesting songs have rhythmic and tonal structures in common, which attests to their antiquity. Their unique melodic style is determined by close connection to ritual and the function of the work. The [[Musical mode|modal]]-[[tonality|tonal]] structure of some of these songs revolves around a [[minor third]], while others are built on a major [[tetrachord]].
* '''Oat harvesting, flax and buckwheat pulling and hemp gathering songs'''. Oat harvesting songs sing of the lad and the maid, of love and marriage as well as the work process: [[sowing]], [[harrowing]], cultivating, [[Harvest|reaping]], binding, stacking, transporting, [[threshing]], milling, and even eating. In addition to the [[monophony|monophonic]] oat harvesting songs of Dzūkija, there are quite a few sutartinės from northern Aukštaitija, which are directly related to the job of growing oats.
*'''Milling songs'''. The genre can be identified by characteristic refrains and vocables, such as ''zizui malui'', or ''malu malu''. They suggest the hum of the [[millstone]]s as well as the rhythm of the milling. Milling was done by women, and the lyrics are about women's life and family relationships, as well as the work itself. Milling songs are slow tempo, composed, the melodic rhythm varies little.
*'''Spinning and weaving songs'''. In spinning songs the main topic is the spinning itself, the spinner, and the [[spinning wheel]] while weaving songs mention the weaving process, the weaver, the loom, the delicate linens. Some spinning songs are cheerful and humorous, while others resemble the milling songs which bemoan the woman's hard lot and longing for their homes and parents. The texts describe the work process, while the refrains mimic the whirring of the spinning wheel. There are also highly unique spinning sutartinės, typified by clear and strict rhythms.
*'''Laundering songs'''. Sometimes the refrain imitates the sounds of the [[beetle]] and [[mangle (machine)|mangle]] — the laundering tools. The songs often [[hyperbole|hyperbolyze]] images of the mother-in-law's outlandish demands, such as using the sea instead of a beetle, and the sky in place of a mangle, and the treetops for drying.
*'''Fishing and hunting songs'''. [[Fishing]] songs are about the sea, the bay, the fisherman, his boat, the net, and they often mention seaside place names, such as [[Klaipėda]] or [[Rusnė]]. The emotions of young people in love are often portrayed in ways that are unique only to fishing songs. The monophonic melodies are typical of singing traditions of the seaside regions of Lithuania. Hunting motifs are very clearly expressed in hunting songs.
*'''Berry picking and [[mushroom gathering]] songs'''. These are singular songs. Berry picking songs describe young girls picking berries, meeting boys and their conversations. Mushroom gathering songs can be humorous, making light of the process of gathering and cooking the mushrooms, describing the "war" of the mushrooms or their "weddings."

=== Instrumental music ===
[[File:Vaiguviskiai.jpg|thumb|left|220 px|Vaiguva, a Lithuanian folklore band]]
The ''rateliai'' (''round dances'') have long been a very important part of Lithuanian folk culture, traditionally performed without instrumental [[accompaniment]]. Since the 19th century, however, fiddle, ''basetle'', ''[[lamzdeliai]]'' and kanklės came to accompany the dances, while modern groups also incorporate bandoneon, accordion, concertina, [[mandolin]], [[clarinet]], [[cornet]], [[guitar]] and [[harmonica]]. During the [[Occupation of the Baltic states#Under Soviet rule (1944–1991)|Soviet occupation]], dance ensembles used box kanklės and a modified clarinet called the ''[[birbynė]]s''; although the ensembles were ostensibly folk-based, they were modernized and sanitized and used harmonized and denatured forms of traditional styles.<ref name="Cronshaw">Cronshaw, pgs. 22 – 23</ref>

The most important Lithuanian popular folk music ensembles included ''[[Skriaudžiai|Skriaudžių]] kanklės'', formed in 1906, and ''Lietuva''. Such ensembles were based on traditional music, but were modernized to be palatable to the masses; the early 20th century also saw the spread of traditional musical plays like ''[[The Kupiškėnai Wedding]]''.<ref name="Cronshaw"/>

Some of the most prominent modern village ensembles: Marcinkonys (Varėna dst.), Žiūrai (Varėna dst.), Kalviai-Lieponys (Trakai dst.), Luokė (Telšiai dst.), ''Linkava'' (Linkuva, Pakruojis dst.), ''Šeduviai'' (Šeduva, Radviliškis dst.), Užušiliai (Biržai dst.), Lazdiniai-Adutiškis (Švenčionys dst.). Some of the most prominent town folklore groups: ''[[Ratilio]]'', ''Ūla'', ''Jievaras'', ''Poringė'' ([[Vilnius]]), ''Kupolė'' ([[Kaunas]]), ''Verpeta'' ([[Kaišiadorys]]), ''Mėguva'' ([[Palanga]]), ''Insula'' ([[Telšiai]]), ''Gastauta'' ([[Rokiškis]]), ''Kupkiemis'' ([[Kupiškis]]), ''Levindra'' ([[Utena, Lithuania|Utena]]), ''Sūduviai'' ([[Vilkaviškis]]). Children folk groups: ''Čiučiuruks'' ([[Telšiai]]), ''Kukutis'' (Molėtai), ''Čirulis'' ([[Rokiškis]]), ''Antazavė'' ([[Zarasai]] dst.)[https://web.archive.org/web/20060204221210/http://ausis.gf.vu.lt/eka/ensembl/ens_hist.html].

{{Gallery
|title=
|width=160 | height=170
|align=center
|state=expanded
|footer= Lithuanian national instruments
|File:Birbyne front back.jpg
|alt1=
|[[Birbynė]]
|File:kankles.jpg
|alt2=
|[[Kanklės]]
|File:Skrabalai.gif
|alt3=
|[[Skrabalai]]
|File:Kaziuko muge 2010 - dudos.jpg
|alt4=
|[[Dūdas]]
|File:Vytenis Jankauskas playing the Lithuanian bagpipes.png
|alt5=
|[[Dūdmaišis]] (Lithuanian bagpipe)
|File:Salmodikon og boge.JPG
|alt6=
|[[Psalmodikon]]
|File:Zurna.jpg
|alt7=
|[[Zurna]]
}}

== Classical music ==

[[File:Mikalojus Konstantinas Čiurlionis photo portrait.jpg|thumb|left|Mikalojus Konstantinas Čiurlionis]]

[[Mikalojus Konstantinas Čiurlionis]] ({{OldStyleDate|September 22|1875|September 10}} in [[Varėna]]—{{OldStyleDate|April 10|1911|March 28}} in [[Pustelnik, Marki|Pustelnik]] near [[Warsaw]]) was a [[Lithuania]]n [[Painting|painter]] and [[composer]]. During his short life he created about 200 pieces of music. His works have had profound influence on modern Lithuanian culture.

Čiurlionis studied piano and composition at the [[Warsaw]] Conservatory (1894–1899). Later he attended composition lectures at the [[Leipzig]] Conservatory (1901–1902). His [[symphonic poem]]s ''In the Forest'' (''Miške'') and ''[[The Sea (music)|The Sea]]'' (''Jūra'') were performed only [[Posthumous work|posthumously]].

''The Čiurlionis String Quartet'' performs in Lithuania and abroad. Every several years junior performers from Lithuania and neighbouring countries take part in ''The Čiurlionis Competition''.

Modern classical composers emerged in seventies - [[Bronius Kutavičius]], [[Feliksas Bajoras]], [[Osvaldas Balakauskas]], [[Onutė Narbutaitė]], [[Vidmantas Bartulis]] and others. Most of those composers explored archaic Lithuanian music and its harmonic combination with modern minimalism and neoromanticism.<ref>{{cite web|title=The Modern Music of Lithuania: Past & Present|url=http://www.mic.lt/en/database/classical/history/|website=www.mic.lt|access-date=25 March 2018}}</ref>

[[File:Mirga Gra-inyt--Tyla conducts the CBSO, Aldeburgh Voices and Aldeburgh Music Club at Aldeburgh Festival-crop.jpg|thumb|right|Mirga Gražinytė-Tyla conducting the [[City of Birmingham Symphony Orchestra]] at the [[Aldeburgh Festival]] in 2017]]

[[Osvaldas Balakauskas]] (born 1937, Miliūnai) Graduated from the Vilnius Pedagogical Institute in 1961, attended Boris Lyatoshinsky's composition class at Kiev Conservatory in 1969. From 1992 to 1994 Balakauskas was ambassador of Lithuania and in 1996 he was awarded with the Lithuanian National Award, the highest artistic and cultural distinction in Lithuania. He is currently head of the Composition Department of the Lithuanian Academy of Music and Theatre. His output consists of symphonies, concertos, chamber and instrumental music.

Conductor and music director of [[City of Birmingham Symphony Orchestra]], [[Mirga Gražinytė-Tyla]] is known for her flamboyance and steely poise.<ref>{{cite news|title=Conductor Mirga Gražinytė-Tyla — a combination of flamboyance and steely poise|url=https://www.ft.com/content/3346d3b8-68a3-11e7-9a66-93fb352ba1fe |archive-url=https://ghostarchive.org/archive/20221210/https://www.ft.com/content/3346d3b8-68a3-11e7-9a66-93fb352ba1fe |archive-date=10 December 2022 |url-access=subscription|newspaper=Financial Times|date=28 July 2017 |quote= On the podium she is a combination of flamboyance and steely poise. In person, Mirga Gražinytė-Tyla is just the same. When I meet the music director of the City of Birmingham Symphony Orchestra, she fills the room with her dynamism, punctuating our conversation with sudden bellows of laughter and effusive hand gestures. But there’s also a cool self-possession, a sense that this petite, immaculately turned-out Lithuanian conductor would never speak without careful deliberation. At just 31, Gražinytė-Tyla has the air of a veteran.|access-date=5 July 2018}}</ref> She is also in top 5 of woman conductors.<ref>{{cite web|title=Classical Music in 2017|url=https://bachtrack.com/files/73896-Classical%20music%20statistics%202017-EN.pdf|website=bachtrack.com|access-date=11 August 2018}}</ref>

The New Ideas Chamber Orchestra NICO and Synaesthesis playing new academic music.

In 1996 [[Music Information Centre Lithuania]] (MICL) was founded. It collects, promotes and shares information on Lithuanian musical culture.

{{columns-list|colwidth=30em|
*[[Bronius Kutavičius]] [http://www.mic.lt/en/database/classical/composers/kutavicius/]
*[[Juozas Gruodis]] [http://www.mic.lt/en/database/classical/composers/gruodis/]
*[[Vidmantas Bartulis]] [http://www.mic.lt/en/database/classical/composers/bartulis/]
*[[Vytautas Barkauskas]] [http://www.mic.lt/en/database/classical/composers/barkauskas/]
*[[Jeronimas Kačinskas]] [http://www.mic.lt/en/database/classical/composers/kacinskas/]
*[[Giedrius Kuprevičius]] [http://www.mic.lt/en/database/classical/composers/kupreviciusgiedrius/]
*[[Vytautas Bacevičius]] [http://www.mic.lt/en/database/classical/composers/bacevicius/]
*[[Šarūnas Nakas]] [http://www.mic.lt/en/database/classical/composers/nakas/]
*[[:lt:Justė Janulytė]] [http://www.mic.lt/en/database/classical/composers/janulyte/]
*[[Ričardas Kabelis]] [http://www.mic.lt/en/database/classical/composers/kabelis/]
*[[Rytis Mažulis]] [http://www.mic.lt/en/database/classical/composers/mazulis/]
*[[Faustas Latėnas]] [http://www.mic.lt/en/database/classical/composers/latenas/]
*[[Onutė Narbutaitė]] [http://www.mic.lt/en/database/classical/composers/narbutaite/]
}}

== Opera ==
[[File:Le pavillon de la Lituanie, Lion d'or (Biennale de Venise 2019) (48099215538).jpg|thumb|Opera performance ''[[Sun & Sea (Marina)]]'' at [[58th Venice Biennale|2019 Venice Biennale]]]]
[[File:Asmik_Grigorian_by_Augustas_Didzgalvis.jpg|thumb | [[Asmik Grigorian]] - Lithuanian operatic [[soprano]]. Winner of [[International Opera Awards|International Opera Award]] as the best female singer of 2019<ref>{{cite web |title=Lithuanian wins best singer at International Opera Awards |url=https://www.lrt.lt/naujienos/news-in-english/19/1054657/lithuanian-wins-best-singer-at-international-opera-awards |website=www.lrt.lt |date=30 April 2019 |access-date=3 May 2019 |quote=Lithuanian opera soprano Asmik Grigorian has won an International Opera Award as the best female singer of 2019 for her role in Salome at the Salzburg Festival.}}</ref> ]]

Although the first opera in Lithuania was staged just 30 years later after it appeared in Italy, the musical and cultural development was constantly interrupted with historical turmoils. The Russian invasion in 1655 was especially grueling - many manors were destroyed, Vilnius was looted and demolished. The war with Sweden was started as well. The period was called ''Tvanas'' ([[Deluge (history)|The Deluge]]). Eventually it led to a partition of [[Polish–Lithuanian Commonwealth]].

In 1785 in Vilnius was the first city theatre created, which hosted operas as well. Musical life continued in the saloons of the aristocrats and nobleman. The house of
singer Kristina Gerhardi-Frank and physician [[Joseph Frank (physician)|Joseph Frank]] was especially well known in Vilnius.

Development of national Lithuanian opera is related with national revival in the 20th century. Themes of the operas were taken from the national history or mythology. Lithuanian language was considered as language of singing.
First Lithuanian national opera ''[[Birutė (opera)|Birutė]]'' by composer [[Mikas Petrauskas]] was staged in 1906 in Vilnius [[Lithuanian National Philharmonic Society|City Concert Hall]]. After regaining the [[Act of Independence of Lithuania|Independence of Lithuania in 1918]] opera ''[[Gražina]]'' (1933) by composer [[Jurgis Karnavičius (composer)|Jurgis Karnavičius]] (1884 - 1941) was the first staged in a new [[Kaunas State Musical Theatre]]. It was followed in 1937 by the next opera of J.Karnavičius ''[[Krzysztof Mikołaj "Perkūnas" Radziwiłł|Radvila Perkūnas]]''.

In [[Boston]] in 1924 Lithuanian emigrants music lovers staged opera by M.Petrauskas ''Eglė žalčių karalienė'' (''[[Eglė the Queen of Serpents]]''). Vytautas Klova (1926 - 2006) created mostly national operas - (''[[Pilėnai]]'' 1955, ''[[Vaiva]]'' 1957, ''Duktė'' (''The Daughter'') 1960, ''Du kalavijai'' (''Two Swords'') 1965, ''Amerikietiškoji tragedija'' (''[[An American Tragedy]]''), 1968, ''Ave vita'', 1974). Operas based on historical thematic were created by Julius Juzeliūnas (1916 - 2001) (''Sukilėliai'' (''The Rebels'') 1957, banned by soviet censorship, staged only in 1977), B. Dvarionas (''Dalia'', 1958).

[[Bronius Kutavičius]] wrote operas ''Kaulo senis ant geležinio kalno'' (''The Old Man of Bone on the Iron Hill'', 1976), ''Strazdas – žalias paukštis'' (''Thrush, the Green Bird'', 1981), ''Lokys'' (''The Bear'', 2000), ''Ignes et fides'' (''Fire and Faith'', 2003),<ref>{{cite web |last1=Gaidamavičiūtė |first1=Rūta |title=Bronius Kutavičius: By Fire and with Faith |url=http://www.mic.lt/en/discourses/lithuanian-music-link/no-6-april-september-2003/bronius-kutavicius-by-fire-and-with-faith/ |website=www.mic.lt |access-date=1 December 2018 |quote=Over the years, Bronius Kutavičius' ability to create an acoustic image of history has become widely acknowledged. It is therefore no coincidence that he was commissioned by the state to write a large-scale work commemorating the 750th anniversary of the coronation of Lithuania's first and only king, Mindaugas. The composer wrote Ignis et fides (Fire and Faith) for solo voices, reciters, choir and symphony orchestra, plus some folk instruments. This diptych will unite two dates of importance for Lithuania: the first mention of the name of Lithuania in historical sources, and the coronation of King Mindaugas.}}</ref> combining opera, ballet and oratorio.

Most notable Lithuanian opera singers: [[Kipras Petrauskas]] (1885 - 1968), [[Virgilijus Noreika]] (1935 - 2018), Vaclovas Daunoras (b. 1937), Irena Milkevičiūtė (b. 1947), [[Violeta Urmana]] (b. 1961). Other singers performing on international scenes are: Aušrinė Stundytė, Asmik Grigorian, Vaidas Vyšniauskas (Kristian Benedikt), Edgaras Montvidas, Justina Gringytė, [[Indre Viskontas]]. Liudas Truikys (1904 - 1987) was a renowned scenic designer. Prominent theatre director [[Eimuntas Nekrošius]] has staged several operas in Lithuania ([[Otello]]) and Italy ([[Macbeth (Verdi)|Macbeth]]). Fashion designer Juozas Statkevičius (b. 1968) created costumes for numerous operas.

The diversity of the modern national opera is represented by: ''Lokys'' (''The Bear'', 2000),<ref>{{cite web|title=Kutavicius: Lokys|url=https://www.classicstoday.com/review/review-9077/|website=www.classicstoday.com|quote=On evidence here, Lithuanian composer Bronius Kutavicius (b. 1932) stands with the finest exponents of contemporary music from the Baltic republics and Scandinavia. His opera Lokys (The Bear) mixes the timeless atmosphere of Pelléas et Mélisande with the expressionist extremes of Wozzeck, if you can imagine such a thing, and does so with complete success.|access-date=6 November 2018}}</ref> ''Geros dienos'' (''Have a Godd Day!'', 2011),<ref>{{cite web|title=HAVE A GOOD DAY! opera|url=https://vimeo.com/205659461|website=vimeo.com|quote=HAVE A GOOD DAY! Opera for 10 cashiers, supermarket sounds and piano by Vaiva Grainytė, Lina Lapelytė, Rugilė Barzdžiukaitė|access-date=4 November 2018}}</ref> ''Cornet'' (2014),<ref>{{cite web|title=Premjera: Onutės Narbutaitės opera "Kornetas"|url=http://www.mic.lt/lt/ivykiai/2014/02/14/premjera-onutes-narbutaites-opera-kornetas/|website=mic.lt|quote=Vasario 21 ir 22 d. LNOBT įvyks pasaulyje plačiai pripažintos lietuvių kompozitorės Onutės Narbutaitės operos „Kornetas“ premjera. Operą kompozitorė sukūrė pagal Rainerio Maria Rilke’s poemą „Sakmė apie korneto Kristupo Rilkės meilę ir mirtį“, kuri buvo ypač populiari Pirmojo pasaulinio karo metais.|access-date=4 November 2018|language=lt-LT}}</ref> ''Post Futurum'' (2018),<ref>{{cite web|title=Post Futurum at Lithuanian National Opera|url=https://www.rhinegold.co.uk/opera_now/post_futurm/|website=www.rhinegold.co.uk|quote=Gintaras Sodeika’s innovative new opera delights in the surreal, painting an unconventional picture of Lithuania’s history through opposing forces of Good and Evil, drawing together some highly original musical and dramatic ideas|access-date=5 November 2018|language=en-US}}</ref> ''Prūsai'' ([[Old Prussians|The Prussians]], 2018).<ref>{{cite web|title=The Prussians|url=http://www.giedriuskuprevicius.lt/litterae/Opera%20%20PRUSAI%20English.pdf|website=www.giedriuskuprevicius.lt|quote=Prussia is a land, southeast of the Baltic Sea, that was inhabited by Prussians and western Lithuanians. Today, this part of East Prussia is sometimes called Lithuania Minor. The Prussians were one of the Baltic nations. For thousands of years the Balts formed a strong community bound together by ties of blood and kinship. From these Baltic tribes, at the end of the first millennium and the beginning of the second, there began to evolve the Prussian, Yotvingian, Lithuanian, and Latvian nations, of which only the last two were fated to survive. The Prussians were pagans who worshiped their own god, who lived in the sky, Perkunas the Thunderer, as well as the Sun, the Moon, and other deities. For religious rites they gathered at altars in groves.|access-date=17 November 2018|language=en-US}}</ref> [[Sun & Sea (Marina)|Modern opera ''Sun & Sea (Marina)'']] (2019)<ref>{{cite web |title=Sun & Sea |url=https://sunandsea.lt/en |access-date=13 April 2019}}</ref> was presented at [[Venice Biennale]], Lithuanian pavilion and was awarded The Golden Lion for best national participation.<ref>{{cite web |title=Arthur Jafa, Lithuania Win Top Prizes at Venice Biennale |url=http://www.artnews.com/2019/05/11/arthur-jafa-lithuania-win-top-prizes-at-venice-biennale/ |website=www.artnews.com |date=11 May 2019 |access-date=11 May 2019 |quote=The Golden Lion for best national participation at the 58th Biennale went to Lithuania, which presented Sun & Sea (Marina), an opera about climate change by Rugilė Barzdžiukaitė, Vaiva Grainytė, and Lina Lapelytė that is set on a manmade beach in a building on the outskirts of the Arsenale. It was selected from among about 90 national pavilions.}}</ref>

Currently operas are staged in [[Lithuanian National Opera and Ballet Theatre]], [[Vilnius City Opera]], [[Kaunas State Musical Theatre]], Klaipėda State Musical Theatre and by company ''Operomanija'' and by [[Lithuanian Opera Company of Chicago]]. Opera is a highly popular genre in Lithuania, collecting full halls. The annual NOA (New Opera Action)<ref>{{cite web|title=NOA|url=http://www.noa.lt/|website=noa.lt|access-date=4 November 2018|language=lt-LT}}</ref> - contemporary alternative opera and multidisciplinary art festival is being organized in Vilnius.

== Musicals ==

In 1971, despite being behind the Iron Curtain in Soviet occupied Lithuania [[Kęstutis Antanėlis]] has staged a rock opera [[Jesus Christ Superstar]] - just one year after its album release.
In 1973 composer [[Vyacheslav Ganelin|Viačeslavas Ganelinas]] and a poet [[Sigitas Geda]] created a film musical ''Velnio nuotaka'' (''[[Devil's Bride (1974 film)|Devil's bride]]''). It is considered the first Lithuanian musical.
In 1974 a musical ''Ugnies medžioklė su varovais'' (''Fire Hunt and Beaters'') (composer - [[Giedrius Kuprevičius]], libretto - [[Saulius Šaltenis]], Liudas Jacinevičius) was staged.

== Choral music ==

In Lithuania [[choral music]] is very important. Only in Vilnius city there are three choirs laureates at the [[European Grand Prix for Choral Singing]].
[[Vytautas Miškinis]] (born 1954) is a composer and choir director who is very popular in Lithuania and abroad. He has written over 400 secular and about 150 religious works.

== Rock music ==
{{Main|Lithuanian rock}}
[[File:Garbanotas Bosistas live in Lithuania.jpg|thumb|right|220px|[[Garbanotas Bosistas]] (The Curly Bassist)]]
The Communist government of the [[Lithuanian SSR]] criticized [[rock music]], which was considered a decadent and corrupting cultural invasion from the West. The first local rock bands started to emerge around 1965 and included ''Kertukai'', ''Aitvarai'' and ''Nuogi ant slenksčio'' (''Naked On A Threshold'')<ref>{{cite web |last1=Bendžius |first1=Simonas |title="NUOGI ANT SLENKSČIO" – ROKO GRUPĖ, ŠOKIRAVUSI SOVIETMEČIO KAUNĄ |url=http://www.bernardinai.lt/straipsnis/2019-10-18-nuogi-ant-slenkscio-roko-grupe-sokiravusi-sovietmecio-kauna/177749 |website=www.bernardinai.lt |date=19 October 2019 |access-date=19 October 2019 |language=LT}}</ref> in Kaunas, and [[Kęstutis Antanėlis]], ''Vienuoliai'' (''The Monks''), and ''Gėlių Vaikai'' (''Flower Childs'') in Vilnius, among others.

[[Radio Luxembourg]] was the most important source of information about the music on other side of the [[Iron Curtain]]. It was very common for Lithuanian hippies or band players to listen to this radio. Radio Luxemburg bears strong associations in Lithuania with the ''[[Romas Kalanta]] generation'' (''Kalantos karta''). Another means was to smuggle [[Gramophone record|LPs]] of popular Western bands into Lithuania and copy them onto [[magnetic tape]]. The records then spread further by making recordings to the friends, classmates.

Unable to express their opinions directly, the Lithuanian artists began organizing patriotic [[Roko Maršas|Roko Maršai]] and were using [[metaphor]]s in their songs' lyrics, which were easily identified for their true meanings by the locals.<ref>{{cite web|last1=Tilvikaitė|first1=Patricija|title=Ir lietuviškas rokas padėjo Lietuvai atkurti Nepriklausomybę|url=http://www.universitetozurnalistas.kf.vu.lt/2016/08/ir-lietuviskas-rokas-padejo-lietuvai-atkurti-nepriklausomybe/|website=www.universitetozurnalistas.kf.vu.lt|access-date=23 August 2016|language=lt}}</ref><ref>{{cite web|title=A. Mamontovas: "Roko maršai" buvo toks įrankis, koks dabar yra internetas|url=http://kauno.diena.lt/naujienos/lietuva/salies-pulsas/mamontovas-roko-marsai-buvo-toks-irankis-koks-dabar-yra-internetas-801615|website=Kauno diena / LRT|access-date=12 March 2017|language=lt}}</ref> [[Postmodernist]] [[Rock music|rock]] band [[Antis (band)|Antis]] and its vocalist [[Algirdas Kaušpėdas]] were one of the most active performers who mocked the Soviet regime by using metaphors. For example, in the song ''Zombiai'' (Zombies), the band indirectly sang about the [[Red Army]] soldiers who occupied the state and its military base in [[Ukmergė]].<ref>{{cite web|title=Ukmergės karinis miestelis|url=http://www.autc.lt/lt/architekturos-objektai/1558|website=Autc.lt|access-date=22 January 2018}}</ref><ref>{{cite web|title=Knyga "Antiška" (II dalis): iki "Anties" lietuviai nežinojo, kas yra zombis (ištrauka, video)|url=https://kultura.lrytas.lt/literatura/knyga-antiska-ii-dalis-iki-anties-lietuviai-nezinojo-kas-yra-zombis-istrauka-video.htm|website=[[Lrytas.lt]]|access-date=29 July 2013|language=lt-LT}}</ref> [[Vytautas Kernagis]]' song ''Kolorado vabalai'' ([[Colorado potato beetle|Colorado beetles]]) was also a favorite due to its lyrics in which true meaning of the Colorado beetles was intended to be the Soviets decorated with the [[Ribbon of Saint George|Ribbons of Saint George]].

In the early independence years, rock band [[Foje]] was particularly popular and gathered tens of thousands of spectators to the concerts.<ref>{{cite web|title=A. Mamontovas: padėsime galutinį tašką "Foje" istorijoje - LRT|url=http://www.lrt.lt/naujienos/kalba-vilnius/32/26683/a-mamontovas-padesime-galutini-taska-foje-istorijoje|website=LRT|date=6 October 2013 |access-date=6 October 2013|language=lt}}</ref> After disbanding in 1997, Foje vocalist [[Andrius Mamontovas]] remained one of the most prominent Lithuanian performers and an active participant in various [[Charity (practice)|charity]] events.<ref>{{cite web|title=A. Mamontovas: populiarumą išnaudoju geriems darbams - LRT|url=http://www.lrt.lt/naujienos/kultura/26/117983/a-mamontovas-populiaruma-isnaudoju-geriems-darbams|website=LRT|date=31 October 2015 |access-date=31 October 2015|language=lt}}</ref> [[Marijonas Mikutavičius]] is famous for creating unofficial Lithuania sport anthem ''Trys milijonai'' (Three million) and official anthem of the [[EuroBasket 2011]] ''Nebetyli sirgaliai'' (English version was named ''Celebrate Basketball'').

In the 1980s, rock bands [[Foje]], [[Antis (band)|Antis]], and [[Bix (rock group)|Bix]] made a big impact in Lithuania. Short-lived [[alternative rock]] group ''Šiaurės kryptis'' (''The Northern Direction'', 1986 - 1995) issued only one album ''Netiekto'', but still considered one of the best groups of that time.

In 1987, 1988 and 1989 Lithuania saw several big rock festivals, such as [[Roko Maršas]] (Rock March). Roko Maršas was connected to the ideology of [[Sąjūdis]] and independence movement of Lithuania.

{{columns-list|colwidth=30em|
*[[Žalvarinis]]
*[[Antis (band)|Antis]]
*[[Garbanotas Bosistas]]
*[[Bix (rock group)|Bix]]
*[[Skylė]]
*[[Atalyja]]
*[[Ba. (band)|Ba.]]
*Hiperbolė
}}

=== Punk rock ===
1986–1987 marked the appearance of the [[punk subculture|punk]] scene in Lithuania. Bands like ''Už Tėvynę'' (''For the Fatherland''), ''Genocidas Raudonajam Interventui'' (''A Genocide for The Red Intervents''), ''SKAT'', and ''Erkė maiše'' were leaning towards the classic punk rock of the 1970s, while others like ''33% kiaulių pakeliui į Vatikaną'' and ''Turboreanimacija'' were more inclined towards [[hardcore punk]] (HC) stylistics. ''Turboreanimacija'' can be regarded as the most influential hardcore punk band of Lithuania, which in its time was well received by fanzines such as ''[[Maximumrocknroll]]'' in the United States. Their first up-tempo albums reminded listeners of early records from Scottish hardcore punk legends ''[[The Exploited]]'', while later ''Turboreanimacija'' embarked on the power-punk road. ''Turboreanimacija'' disbanded in 1997 after granting a [[cult following|cult status]] among the Lithuanian underground. [[Post-punk]] group ''Kardiofonas'' (1986-1989) was highly popular with its hit ''Kalėdinė eglutė'' (''Christmas tree'').

More recent acts of this genre are ska-punk band ''Dr.Green'' (who are famous for their numerous DIY activities and intensive touring through the punk scenes of Europe), street-punkers ''Toro Bravo'' and hardcorists ''Bora'' and ''Mountainside''.

== Pop music ==
[[Image:Marijonas Mikutavičius during EuroBasket 2011.jpg|thumb|220px|Marijonas Mikutavičius in [[EuroBasket 2011]]]]
Origins of Lithuanian pop music are in music of the cafes and restaurants of temporary capital of Lithuania - Kaunas in the 1930s. It was called ''estradinė muzika'' (estrade-music), ''lengvoji muzika'' ([[light music]]) and the phenomena sometimes named as ''mažoji scena'' (the little stage). Pop music bands ''Kopų balsai'' ''(Sounds of the dunes)'' <ref>{{cite web|title="Kopų balsai" - išlikti ne tik atmintyje|author=br. Arūnas Pranciškus Peškaitis OFM|url=http://www.bernardinai.lt/straipsnis/2013-11-11-kopu-balsai-islikti-ne-tik-atmintyje/109849|website=www.bernardinai.lt|date=11 November 2013 |access-date=3 July 2018}}</ref> (in the beginning influenced by Juozas Tiškus orchestra), created in 1957 and band ''Nerija'', which started activity in 1970 became very popular in Lithuania.

From the 2000s on, one of the most popular band in Lithuania is [[SKAMP]]. Although some pop groups sing in English, pop music in Lithuanian language is very popular.

{{columns-list|colwidth=30em|
*[[Vytautas Kernagis]]
*[[Sel (group)|Sel]]
*[[GJan]]
*[[Happyendless]]
*[[Marijonas Mikutavičius]]
*[[Žas]]
*[[Monika Linkytė]]
*[[Donny Montell]]
*[[LT United]]
*[[The Roop]]
*[[Ten Walls]]
*[[Jurga Šeduikytė]]
*[[Leon Somov & Jazzu]]
*[[Radži]]
}}

== Heavy metal ==
{{columns-list|colwidth=30em|
*[[Katedra (band)|Katedra]]
*[[Obtest]]
*[[:lt:Dissimulation]]
*[[:lt:Thundertale]]
}}

== Hip hop ==
{{columns-list|colwidth=30em|
*[[G&G Sindikatas]]
}}
{{columns-list|colwidth=30em|
*[[Yabujin]]
}}

== Electronic ==
The group ''Saulės laikrodis'' created in 1976, and ''Argo'' - in 1979 are considered the pioneers of electronic music in Lithuania. Sound director of ''Argo'', [[Orūnas Urbonas]] constructed sound synthesizers ''(quasi-moog)'' for the group needs.<ref>{{cite web|title=Pirmosios lietuviškos elektronikos grupės "Argo" muzikantai sintezatorių susikūrė patys |url=https://www.lrt.lt/naujienos/kalba-vilnius/32/130114/pirmosios-lietuviskos-elektronikos-grupes-argo-muzikantai-sintezatoriu-susikure-patys|website=www.lrt.lt|date=20 March 2016 |quote=„O. Urbonas dirbo radijo gamykloje Kaune, todėl jam nebuvo sunku gauti įvairiausių detalių, reikalingų šiam instrumentui sukurti. Tai buvo vienbalsis sintezatorius (kvazimugas) su dviem generatoriais, juo negalėjai groti trumpesnių ar ilgesnių natų“, – pasakoja kompozitorius.|access-date=14 June 2018}}</ref>

== Jazz music ==
Jazz was quite often mentioned in the press of Lithuania before the WWII. Back in Lithuania's first period of independence (1918-1940), the country was part of swinging Europe. Nearly every Lithuanian town had its own jazz band, and traditional jazz repertoire was performed by prestigious orchestras under the leadership of [[Mykolas Hofmekleris]]
(violinist),<ref>{{cite web|title=Moishe Hofmekler|url=http://www.mic.lt/en/database/oldies/composers-artists/hofmekleris/|website=www.mic.lt|access-date=5 June 2018}}</ref><ref>{{cite web|title=Lietuviai Kariai Laisvajame Pasaulyje|url=http://partizanai.org/karys-1965m-3-4/5530-lietuviai-kariai-laisvajame-pasaulyje|website=partizanai.org|quote=Smuikininkas Mykolas Hofmekleris vasario 2 d. atsiskyrė su šiuo pasauliu, sulaukęs 67 metų amžiaus. Kaip žinome, jis buvo vienas populiariausių kapelos vedėjų ir dažnai grodavo Lietuvos kariuomenei. Jis buvo apdovanotas DLK Gedimino or-denu. Prieš kiek laiko jis įgrojo Londone apie 40 lietuviškų plokštelių, nacių valdymo laikais buvo Dachau KZ stovykloje. Kilimo buvo iš Vilniaus krašto.|access-date=5 June 2018}}</ref><ref>{{cite web|title=Žydų muzikai tarpukario Kaune: Leiba Hofmekleris|url=http://www.kaunomuziejus.lt/zydu-muzikai-tarpukario-kaune-leiba-hofmekleris/|website=www.kaunomuziejus.lt|access-date=5 June 2018}}</ref> [[Abraomas Stupelis]] (violinist), [[Danielius Pomerancas]] (violinist).<ref>{{cite web|title=Daniel Pomeranz|url=http://www.mic.lt/en/database/oldies/composers-artists/pomerancas/|website=www.mic.lt|access-date=7 June 2018}}</ref> Jazz was played in the modern cafés and restaurants of ''interbellum'' [[Kaunas]] - ''Konradas'', ''Monika'', ''Aldona'', ''Versalis'', ''Metropolis''. In 1935 in the cinema [http://www.autc.lt/en/architecture-objects/994 ''Metropolitain''], first concert of jazz orchestra took place. The jazz orchestra was assembled from leading musicians of Kaunas, most likely the basis was a band which played in the ''Konradas'' café in the [[Laisvės alėja|Laisvės Alley]].<ref>{{cite web|title=Kaunas pilnas kultūros:2016. Nuo peilio iki saksofono vienas žingsnis.|url=https://issuu.com/kaunaspilnaskultros/docs/pilnas_2016_balandis_digital/16|website=issuu.com|access-date=7 June 2018}}</ref>
In 1940 in Kaunas Radio (''Kauno radiofonas'') was the first official jazz orchestra launched and led by Abraomas Stupelis. He is considered the pioneer of the Lithuanian big band.<ref>{{cite web|title=Lithuanian Jazz in Brief|url=http://www.mic.lt/en/database/jazz/history/|website=www.mic.lt|access-date=7 June 2018}}</ref><ref>{{cite web|title=Džiazo maestro pagerbs kolegos|url=http://www.bernardinai.lt/straipsnis/2009-11-20-dziazo-maestro-pagerbs-kolegos/35713|website=www.bernardinai.lt|access-date=7 June 2018}}</ref> Mykolas Hofmekleris in 1932 was decorated with the [[Order of the Lithuanian Grand Duke Gediminas]] for his activity in the field of music.<ref>{{cite web|title=Legendiniai mažosios scenos artistai Moišė Hofmekleris, Danielius Dolskis, Danielius Pomerancas|url=http://www.semplice.lt/Default.aspx?tabid=8087|website=www.semplice.lt|access-date=7 June 2018}}</ref>

Soviet occupation destroyed much of the vibrant cultural life, cafes were closed, jazz was considered as an ideologically and politically charged music of the West.
Jazz scene was active even during the years of Soviet occupation. First sign of revival was an orchestra of [[Kaunas University of Technology|Kaunas Polytechnic Institute]] led by [[Juozas Tiškus]]. Juozas Tiškus formed a professional swing orchestra of 28 members. Juozas Tiškus is also considered one of the instigators of popular Lithuanian music.
The real breakthrough would occur in 1970–71 with the coming together of the [[Vyacheslav Ganelin|Ganelin]]/Tarasov/Chekasin trio, the alleged instigators of the Vilnius Jazz School.<ref>{{cite web|title=Jazz in Lithuania|url=http://www.vilniusjazz.lt/press/99jil.php|website=www.vilniusjazz.lt|access-date=25 March 2018}}</ref> The trio, known also as ''Ganelin Trio'' or ''GTCh'' combined [[free jazz]] with elements of Lithuanian folk and classic music. Café ''Neringa'' in [[Vilnius]] and café ''Tulpė'' (former ''Konradas'') in Kaunas became places for jazz lovers and players.{{cn|date=May 2023}}

Almost anything can be found on the jazz scene in Lithuania today, from [[Dixieland]] and [[a cappella]] groups, to all kinds of [[jazz fusion]], [[Nu jazz|nu-jazz]] and [[jazzcore]].<ref>{{cite web|title=Lithuanian contemporary music|url=http://lithuanianculture.lt/menosakos/music/?lang=en|website=lithuanianculture.lt|access-date=14 June 2018|archive-url=https://web.archive.org/web/20180615055536/http://lithuanianculture.lt/menosakos/music/?lang=en|archive-date=15 June 2018|url-status=dead}}</ref>

There are quite a few international jazz festivals in Lithuania:
{{columns-list|colwidth=30em|
*[[Vilnius Jazz Festival]]
*Vilnius Mama Jazz
*Birštonas Jazz
*[[Kaunas Jazz]]
*[[Klaipėda Castle Jazz Festival]]
*[[Nida Jazz]]
}}

Jazz bands and performers:

{{columns-list|colwidth=30em|
*[[Petras Vyšniauskas]] [http://www.mic.lt/en/database/jazz/composers-artists/vysniauskaspetras/]
*[[:lt:Saulės kliošas]] [http://www.mic.lt/en/database/jazz/composers-artists/sauleskliosas/]
*[[:lt:Liudas Mockūnas]] [http://www.mic.lt/en/database/jazz/composers-artists/mockunas/]
*[[Lithuanian Radio and Television Big Band]] [http://www.mic.lt/en/database/jazz/composers-artists/LRTBigBand/]
}}

== Music festivals and events ==
[[File:Dainu svente 1937 eisena Kaunas.jpg|thumb|right|''Dainų šventė'' (Lithuanian Song Festival) procession in 1937, Kaunas]]
1924 saw the first ''[[Lithuanian Song Festival|Dainų šventė]]'' (The Lithuanian Song Festival), song festivals which were state-supported and helped to keep folk traditions alive; these were held every five years (every four since 1990). Similar festivals take place in [[Estonian Song Festival|Estonia]] and [[Latvian Song and Dance Festival|Latvia]] since the 1870s. The 1960s saw people rebelling against Soviet-controlled traditions, and led a [[roots revival]] that soon led to celebrations of [[Lithuanian culture|Lithuanian identity]] in festivals and celebrations.<ref name="Cronshaw"/>

Lithuania is home to many folk music festivals. The ''Dainų šventė'' song festival is perhaps the most famous; it was first held in 1924, and has continued every five years since. Other major folk festivals include the ''[[Skamba skamba kankliai]]'' and the ''[[Atataria trimitai]]'', both held annually; of historical importance is the ''[[Ant marių krantelio]]'', which was held in the 1980s and was the first major festival of its kind. The [[Baltica International Folklore Festival]] is held in one of the [[Baltic states]] every year.<ref name="Cronshaw"/>

The GAIDA Festival, organised in Vilnius since 1991 is the largest and the most prominent festival of modern music in Lithuania and in all Baltic countries.<ref>{{cite web |title=GAIDA |url=http://www.vilniusfestivals.lt/EN/about-gaida-festival/ |website=www.vilniusfestivals.lt}}</ref>

== References ==
*{{cite book|author=Cronshaw, Andrew|chapter=Singing Revolutions|year=2000|editor1=Broughton, Simon |editor2=Ellingham, Mark |editor3=McConnachie, James |editor4=Duane, Orla|title=World Music, Vol. 1: Africa, Europe and the Middle East|pages=16–24|location=London|publisher=[[Rough Guides]]|isbn=1-85828-636-0}}

== Notes ==
{{Reflist}}

== Further reading ==

* Budzinauskienè, L., Martinelli, M., Kunickytė, L., Makauskaitè, I., Tadarovska, G., Uzorka, M., Būrė, D. and Soriano, A. (2016). ''Opera „Everardas II – Lietuvos karalius“'' (''The Opera Everardo II - king of Lithuania''), Vilnius: Nacionalinis muziejus Lietuvos Didžiosios Kunigaikštystės valdovų rūmai. {{ISBN|9786098061444}} (in Lithuanian, Italian, English, Portuguese, Spanish)
* Leiserowitz, Ruth (2010): ''Jazz in Soviet Lithuania - a Nonconformist Niche''. In: ''Jazz behind the Iron Curtain''. Editors: Gertrud Pickhan, Rüdiger Ritter. Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien: Peter Lang, p. 183-190. ISBN 9783631591727
* Užukauskaitė, Lina (2018): ''Jazz in Lithuanian Literature''. In: ''Jazz in Word. European (Non-)Fiction''. Editors: Kirsten Krick-Aigner, Marc-Oliver Schuster. Würzburg: Königshausen & Neumann, p. 365-382. ISBN 978-3-8260-6341-1
* Trilupaitienė, Jūratė; Būrė, Dainius (2010). ''Opera Lietuvos didžiųjų kunigaikščių rūmuose'' (''Opera in the Palace of the Grand Dukes of Lithuania''), Vilnius: Nacionalinis muziejus Lietuvos Didžiosios Kunigaikštystės valdovų rūmai. {{ISBN|978-609-8061-01-7}} (in Lithuanian, Italian, English, Polish)

== External links ==
*[http://www.mic.lt/en/ Music Information Centre Lithuania] – The most comprehensive Lithuanian music database.
*[http://www.mic.lt/en/discourses/lithuanian-music-link/ Lithuanian Music Link] - An English-language biannual newsletter, dedicated to Lithuanian music.
*[http://www.music.lv/mukti/BalticMI.htm Valdis Muktupāvels. Musical Instruments in the Baltic Region: Historiography and Traditions]
*[https://www.pakartot.lt/ pakartot.lt] - Playlists and discographies of Lithuanian music.
*[http://www.mic.lt/en/database/jazz/history/ Lithuanian Jazz in Brief]
*[http://www.jazzlt.lt/en/ Lietuvos džiazo federacija - publishers of the Lithuanian Jazz]
*[https://www.last.fm/tag/lithuanian+metal/artists Lithuanian Metal Artists on last.fm]
*[http://www.electronicbeats.net/a-look-into-lithuanias-vibrant-electronic-music-scene/ electronicbeats.net - a look into Lithuania’s vibrant electronic music scene]
*[https://nationalphilharmonic.tv/site/index/ nationalphilharmonic.tv] – The digital concert hall of [[Lithuanian National Philharmonic Society]].
*[https://web.archive.org/web/20150629102640/http://ausis.gf.vu.lt/eka/EWG/default.htm Anthology of Lithuanian Ethnoculture (See "Folklore" Section.)]
*[http://www.hardcore.lt/ Vilnius Hardcore – Ska Funk Rasta Punk Scene, Vilnius]
*[http://www.djscene.lt/ Djscene.lt – Lithuanian nightlife news, clubs, party pics, reviews, performers, music and much more.]
*[https://web.archive.org/web/20180614171420/http://margai.lt/en/ Margai.lt] – Lithuanian folk – music, songs, instruments, dances.
* {{in lang|fr}} [http://www.ville-ge.ch/meg/musinfo_ph.php?what=pays=Lituanie&debut=0&bool=AND Audio clips: Traditional music of Lithuania.] [[Musée d'ethnographie de Genève]]. Accessed 25 November 2010.
* (In Lithuanian) [http://kaunasretrojazz.lt kaunasretrojazz.lt] - archives about Kaunas jazz musicians in occupied Lithuania.
* (In Lithuanian) [https://issuu.com/kaunaspilnaskultros/docs/pilnas_2016_balandis_digital Kaunas pilnas kultūros, 2016. p 16] - chronology of the Lithuanian Jazz history.
* (In Lithuanian) [https://www.vaga.lt/files/pdf/7502288.pdf - Lietuvos roko pionieriai] - Pioneers of the Lithuanian rock
* (In Lithuanian) [http://www.rockopedia.lt Rockopedia.lt] - Lithuanian rock encyclopedia.
* (In Lithuanian) [http://www.bernardinai.lt/straipsnis/2015-04-30-dziazas-lietuvoje/62757 Džiazas Lietuvoje]
* (In Lithuanian) [http://xn--urnalai-cxb.lmta.lt/en/journal/ars-et-praxis/ Ars et praxis] - An annual periodical of scientific articles on musicology
* [http://www.modus-radio.com/ www.modus-radio.com] - comments about history of music of Lithuania and Lithuanian composers
* [http://www.lithuanian-ensemble.net Lithuanian Ensemble Network] - professional Contemporary Music organization connecting professional ensembles, soloists and conductors.
* [https://www.last.fm/music/YABUJIN/+wiki Last.FM] - Yabujin biography
{{Music of Europe}}

{{Lithuania topics}}

[[Category:Lithuanian music| ]]
[[Category:Culture of Lithuania]]

Bagpipes

2024-04-05T20:14:58Z

MonkeyPython: /* Image gallery */

{{short description|Woodwind instrument}}
{{About |the general form of bagpipes|other uses}}
{{more citations needed |date = November 2017}}
{{Infobox instrument
|name = Bagpipe
|names =
|image = Gaiteros Galicia.jpg
|image_capt = Bagpipers from [[Asturias]]
|background = woodwind
|classification =
*[[Aerophone]]
*Wind
*Woodwind
|hornbostel_sachs = 422.112
|hornbostel_sachs_desc = [[Reed aerophone]] with conical bore
|developed =
|range =
|related =
*[[Oboe]]
*[[Shawm]]
*[[Bassoon]]
|musicians =
*[[List of bagpipers]]
|articles =
}}

'''Bagpipes''' are a [[woodwind instrument]] using enclosed [[reed (music)|reeds]] fed from a constant reservoir of air in the form of a bag. The [[Great Highland bagpipe]]s are well known, but people have played bagpipes for centuries throughout large parts of [[Europe]], [[Northern Africa]], [[Western Asia]], around the [[Persian Gulf]] and northern parts of [[South Asia]].

The term ''bagpipe'' is equally correct in the singular or the plural, though pipers usually refer to the bagpipes as "the pipes", "a set of pipes" or "a stand of pipes".<ref>{{Cite book|url=https://books.google.com/books?id=SNARAwAAQBAJ&dq=%22stand+of+bagpipes%22&pg=PA561|title=The English dialect dictionary|first=J.|last=Wright|publisher=Рипол Классик|isbn=9785878652940 |via=Google Books}}</ref><ref>{{Cite web|url=https://www.thebagpipemuseum.com/unknown-makers/unknown-33/|title=Unknown #33}}</ref>

== Construction ==
{|align=right
|{{Listen|filename=Skye Boat Song.ogg|title=Skye Boat Song|description=An adaptation of "[[The Skye Boat Song]]" for Great Highland bagpipes played by the Clan Stewart Pipe Band.}}
|}
[[File:Cantiga bagpipes 1.jpg|thumb|right|A detail from the [[Cantigas de Santa Maria]] showing bagpipes with one chanter and a parallel drone (Spain, 13th century).]]
[[File:Bagpipe en.PNG|thumb|On this Bulgarian gajda, the chanter is the short gray pipe at the top, while the drone is the long three-section pipe.]]
[[File:Hieronymus Bosch 068.jpg|thumb|right|A detail from a painting by [[Hieronymus Bosch]] showing two bagpipers (15th century).]]
A set of bagpipes minimally consists of an air supply, a bag, a [[chanter]], and usually at least one [[Drone (music)|drone]]. Many bagpipes have more than one drone (and, sometimes, more than one chanter) in various combinations, held in place in stocks—sockets that fasten the various pipes to the bag.

=== Air supply ===
The most common method of supplying air to the bag is through blowing into a blowpipe or blowstick. In some pipes the player must cover the tip of the blowpipe with the tongue while inhaling, in order to prevent unwanted deflation of the bag, but most blowpipes have a non-return valve that eliminates this need. In recent times, there are many instruments that assist in creating a clean air flow to the pipes and assist the collection of condensation.

The use of a [[bellows]] to supply air is an innovation dating from the [[16th century|16th]] or [[17th century|17th]] century. In these pipes, sometimes called "[[cauld wind pipes (disambiguation)|cauld wind pipes]]," air is not heated or moistened by the player's breathing, so bellows-driven bagpipes can use more refined or delicate reeds. Such pipes include the Irish [[uilleann pipes]]; the [[border pipes|border or Lowland pipes]], [[Scottish smallpipes]], [[Northumbrian smallpipes]] and [[pastoral pipes]] in Britain; the [[musette de cour]], the [[musette bechonnet]] and the [[cabrette]] in France; and the {{ill|Dudy|pl}}, [[Kozioł (bagpipe)|koziol bialy]], and [[koziol czarny]] in Poland.

=== Bag ===
The bag is an airtight reservoir that holds air and regulates its flow via arm pressure, allowing the player to maintain continuous, even sound. The player keeps the bag inflated by blowing air into it through a blowpipe or by pumping air into it with a bellows. Materials used for bags vary widely, but the most common are the skins of local animals such as goats, dogs, sheep, and cows. More recently, bags made of synthetic materials including [[Gore-Tex]] have become much more common. Some synthetic bags have [[Zipper|zips]] that allow the player to fit a more effective moisture trap to the inside of the bag. However, synthetic bags still carry a risk of colonisation by fungal spores, and the associated danger of lung infection if they are not kept clean, even if they otherwise require less cleaning than do bags made from natural substances.

Bags cut from larger materials are usually [[saddle stitch|saddle-stitched]] with an extra strip folded over the seam and stitched (for skin bags) or glued (for synthetic bags) to reduce leaks. Holes are then cut to accommodate the stocks. In the case of bags made from largely intact animal skins, the stocks are typically tied into the points where the limbs and the head joined the body of the whole animal, a construction technique common in [[Central Europe]]. Different regions have different ways of treating the hide. The simplest methods involve just the use of salt, while more complex treatments involve [[milk]], [[flour]], and the removal of fur. The hide is normally turned inside out so that the fur is on the inside of the bag, as this helps to reduce the effect of moisture buildup within the bag.

=== Chanter ===
{{Main|Chanter}}
[[File:Thechanter.jpg|thumb|A Great Highland bagpipe [[practice chanter]]]]
The chanter is the [[melody]] pipe, played with two hands. All bagpipes have at least one chanter; some pipes have two chanters, particularly those in North Africa, in the Balkans, and in Southwest Asia. A chanter can be bored internally so that the inside walls are parallel (or "cylindrical") for its full length, or it can be bored in a conical shape. Popular woods include [[Buxus|boxwood]], [[cornus mas|cornel]], plum or other fruit wood.

The chanter is usually open-ended, so there is no easy way for the player to stop the pipe from sounding. Thus most bagpipes share a constant [[legato]] sound with no [[Rest (music)|rests]] in the music. Primarily because of this inability to stop playing, technical movements are made to break up notes and to create the illusion of articulation and accents. Because of their importance, these embellishments (or "ornaments") are often highly technical systems specific to each bagpipe, and take many years of study to master. A few bagpipes (such as the musette de cour, the [[uilleann pipes]], the Northumbrian smallpipes, the [[Piva (bagpipe)|piva]] and the left chanter of the [[surdelina]]) have closed ends or stop the end on the player's leg, so that when the player "closes" (covers all the holes), the chanter becomes silent.

A [[practice chanter]] is a chanter without bag or drones and has a much quieter reed, allowing a player to practice the instrument quietly and with no variables other than playing the chanter.

The term ''chanter'' is derived from the Latin ''cantare'', or "to sing", much like the modern French verb meaning "to sing", ''[[wikt:chanter#French|chanter]]''.

A distinctive feature of the gaida's chanter (which it shares with a number of other Eastern European bagpipes) is the "flea-hole" (also known as a ''mumbler'' or ''voicer'', ''marmorka'') which is covered by the index finger of the left hand. The flea-hole is smaller than the rest and usually consists of a small tube that is made out of metal or a chicken or duck feather. Uncovering the flea-hole raises any note played by a half step, and it is used in creating the [[musical ornamentation]] that gives [[Balkan music]] its unique character.

Some types of gaida can have a double bored chanter, such as the Serbian three-voiced gajde. It has eight fingerholes: the top four are covered by the thumb and the first three fingers of the left hand, then the four fingers of the right hand cover the remaining four holes.

==== Chanter reed ====
The note from the chanter is produced by a [[Reed (instrument)|reed]] installed at its top. The reed may be a [[Single-reed instrument|single]] (a reed with one vibrating tongue) or [[double reed]] (of two pieces that vibrate against each other). Double reeds are used with both conical- and parallel-bored chanters while single reeds are generally (although not exclusively) limited to parallel-bored chanters. In general, double-reed chanters are found in pipes of Western Europe while single-reed chanters appear in most other regions.

They are made from reed (''[[arundo donax]]'' or [[Phragmites]]), [[bamboo]], or [[elderberry|elder]]. A more modern variant for the reed is a combination of a cotton phenolic (Hgw2082) material from which the body of the reed is made and a clarinet reed cut to size in order to fit the body. These type of reeds produce a louder sound and are not so sensitive to humidity and temperature changes.<ref name=":0">{{Cite web|title = gaida (bagpipe) in Greece : γκάιντα στην Ελλάδα : gaida (Dudelsack) in Griecheland : gaida Yunanistan'da|url = http://www.gaida.gr|website = www.gaida.gr|access-date = 2016-01-24}}</ref>

=== Drone ===
Most bagpipes have at least one [[drone (music)|drone]], a pipe that generally is not fingered but rather produces a constant harmonizing note throughout play (usually the [[Tonic (music)|tonic]] note of the chanter). Exceptions are generally those pipes that have a double-chanter instead. A drone is most commonly a cylindrically bored tube with a single reed, although drones with double reeds exist. The drone is generally designed in two or more parts with a sliding joint so that the pitch of the drone can be adjusted.

Depending on the type of pipes, the drones may lie over the shoulder, across the arm opposite the bag, or may run parallel to the chanter. Some drones have a tuning screw, which effectively alters the length of the drone by opening a hole, allowing the drone to be tuned to two or more distinct pitches. The tuning screw may also shut off the drone altogether. In most types of pipes with one drone, it is pitched two octaves below the tonic of the chanter. Additional drones often add the octave below and then a drone consonant with the fifth of the chanter.

== History ==

=== Possible ancient origins ===
The evidence for bagpipes prior to the 13th century AD is still uncertain, but several textual and visual clues have been suggested. The ''Oxford History of Music'' posits that a sculpture of bagpipes has been found on a [[Hittites|Hittite]] slab at [[Euyuk]] in Anatolia, dated to 1000 BC. Another interpretation of this sculpture suggests that it instead depicts a [[pan flute]] played along with a [[friction drum]].<ref name="vereno">Vereno, Michael Peter. 2021. The Voice of the Wind. Lincoln: International Bagpipe Organisation. pp 14–15</ref>

Several authors identify the [[ancient Greek]] {{transliteration|grc|askaulos}} (ἀσκός ''askos'' – [[wine-skin]], αὐλός ''[[aulos]]'' – reed pipe) with the bagpipe.<ref name="google15">{{Cite book|url=https://books.google.com/books?id=DOfuAgAAQBAJ&pg=PA15|title=The story of the bagpipe|first=William Henry Grattan|last=Flood|publisher=Рипол Классик|isbn=9781176344228 |via=Google Books}}</ref> In the 2nd century AD, [[Suetonius]] described the Roman emperor [[Nero]] as a player of the ''tibia utricularis''.<ref>{{Citation
| title = ''Life of Nero'', 54
| url = https://penelope.uchicago.edu/Thayer/E/Roman/Texts/Suetonius/12Caesars/Nero*.html#54
| publisher = [[Loeb Classical Library]]
| work = Suetonius, The Lives of the Caesars
| page = 185
| access-date = 2013-01-02
}}</ref> [[Dio Chrysostom]] wrote in the 1st century of a contemporary sovereign (possibly Nero) who could play a pipe ([[Tibia (instrument)|tibia]], Roman reedpipes similar to Greek and Etruscan instruments) with his mouth as well as by tucking a bladder beneath his armpit.<ref>{{Citation
| title = Discourses by Dio Chrysostom (Or. 71.9)
| url = https://penelope.uchicago.edu/Thayer/E/Roman/Texts/Dio_Chrysostom/Discourses/71*.html#9
| publisher = [[Loeb Classical Library]]
| work = The Seventy-first Discourse: On the Philosopher (Volume V)
| volume = V
| page = 173
| access-date = 2013-01-02
}}</ref> Vereno{{who|date=November 2022}} suggests that such instruments, rather than being seen as an independent class, were understood as variants on mouth-blown instruments that used a bag as an alternative blowing aid and that it was not until drones were added in the European Medieval era that bagpipes were seen as a distinct class.{{citation needed|date=November 2022}}

=== Spread and development in Europe ===
[[File:Santes Creus Bagpiper.JPG|thumb|left|Medieval bagpiper at the [[Cistercian]] monastery of [[Santes Creus]], Catalonia, Spain]]
[[File:The Image of Irelande - plate02.jpg|right|thumb|''Image of Irelande'', Military use of the bagpipe dated 1581]]

In the early part of the second millennium, representation of bagpipes began to appear with frequency in Western European art and iconography. The [[Cantigas de Santa Maria]], written in [[Galician-Portuguese]] and compiled in [[Kingdom of Castile|Castile]] in the mid-13th century, depicts several types of bagpipes.<ref>{{Citation
| first = Elizabeth
| last = Aubrey
| title = The Music of the Troubadours
| url = https://books.google.com/books?id=1nqgFob3uV0C&pg=PA257
| publisher = [[Indiana University Press]]
| isbn = 978-0-253-21389-1
| year = 1996
| access-date = 2013-01-02}}</ref> Several illustrations of bagpipes also appear in the ''Chronique dite de Baudoin d’Avesnes'', a 13th-century manuscript of northern French origin.<ref>Chronique dite de Baudoin d'Avesnes, Arras, BM, ms. 0863, f. 007, 126v, 149v</ref><ref>{{cite web | title=Hybride jouant de la cornemuse | publisher=Sorbonne, Paris | url=http://musiconis.paris-sorbonne.fr/fiche/429/Hybride+jouant+de+la+cornemuse | access-date=2017-01-09 | archive-url=https://web.archive.org/web/20170110030957/http://musiconis.paris-sorbonne.fr/fiche/429/Hybride+jouant+de+la+cornemuse | archive-date=2017-01-10 | url-status=dead }}</ref> Although evidence of bagpipes in the British Isles prior to the 14th century is contested, they are explicitly mentioned in ''[[The Canterbury Tales]]'' (written around 1380):<ref>{{Citation
| first = Geoffrey
| last = Chaucer
| title = The Canterbury Tales: Prologue to "The Miller's Tale" (line 565)
| url = http://www.bartleby.com/40/0103.html
| access-date = 2013-01-02
}}</ref>
{{blockquote|A baggepype wel coude he blowe and sowne, /And ther-with-al he broghte us out of towne.|Canterbury Tales}}

Bagpipes were also frequent subjects for carvers of wooden choir stalls in the late 15th and early 16th century throughout Europe, sometimes with animal musicians.<ref>{{cite web | title=Cochon jouant de la cornemuse | publisher=Sorbonne, Paris | url=http://musiconis.paris-sorbonne.fr/fiche/233/Cochon+jouant+de+la+cornemuse | access-date=2017-01-09 | archive-url=https://web.archive.org/web/20170110023950/http://musiconis.paris-sorbonne.fr/fiche/233/Cochon+jouant+de+la+cornemuse | archive-date=2017-01-10 | url-status=dead }}</ref>

Actual specimens of bagpipes from before the 18th century are extremely rare; however, a substantial number of paintings, carvings, engravings, and manuscript illuminations survive. These artefacts are clear evidence that bagpipes varied widely throughout Europe, and even within individual regions. Many examples of early folk bagpipes in continental Europe can be found in the paintings of Brueghel, Teniers, Jordaens, and Durer.<ref>{{Citation|title=The Great Highland Bagpipes (an piob-mhor) |url=http://www.northport-bagpipes.org/bagpipes.htm |publisher=The Northport Pipe Band, NY |access-date=2013-01-02 |url-status=dead |archive-url=https://web.archive.org/web/20130211205152/http://www.northport-bagpipes.org/bagpipes.htm |archive-date=February 11, 2013 }}</ref>

The earliest known artefact identified as a part of a bagpipe is a chanter found in 1985 at [[Rostock]], Germany, that has been dated to the late 14th century or the first quarter of the 15th century.<ref>{{Cite web|title=The Rostock Chanter|url=http://www.bagpipesociety.org.uk/articles/2014/chanter/winter/the-rostock-chanter/|access-date=2021-06-06|website=www.bagpipesociety.org.uk}}</ref>

[[File:Hendrick ter Brugghen - Bagpipe Player - Google Art Project.jpg|thumb|right|''De doedelzakspeler'' ("Bagpipe Player"), [[Hendrick ter Brugghen]], 1624]]

The first clear reference to the use of the Scottish [[Highland bagpipes]] is from a French history that mentions their use at the [[Battle of Pinkie]] in 1547. [[George Buchanan]] (1506–82) claimed that bagpipes had replaced the trumpet on the battlefield. This period saw the creation of the ''ceòl mór'' (great music) of the bagpipe, which reflected its martial origins, with battle tunes, marches, gatherings, salutes and laments.<ref>J. E. A. Dawson, ''Scotland Re-Formed, 1488–1587'' (Edinburgh: Edinburgh University Press, 2007), {{ISBN|0-7486-1455-9}}, p. 169.</ref> The Highlands of the early 17th century saw the development of piping families including the [[MacCrimmon (piping family)|MacCrimmonds]], MacArthurs, [[Clan Gregor|MacGregors]], and the Mackays of [[Gairloch]].<ref name="Porterp35">J. Porter, "Introduction" in J. Porter, ed., ''Defining Strains: The Musical Life of Scots in the Seventeenth Century'' (Peter Lang, 2007), {{ISBN|3-03910-948-0}}, p. 35.</ref>

The earliest Irish mention of the bagpipe is in 1206, approximately thirty years after the Anglo-Norman invasion;<ref>"The Concise History of the Bagpipe by Frank J. Timoney | Ireland".</ref> another mention attributes their use to Irish troops in Henry VIII's [[Sieges of Boulogne (1544–46)|siege of Boulogne]].<ref>Donnelly, Seán, The Early History of Piping in Ireland (2001), p. 9</ref> Illustrations in the 1581 book ''[[The Image of Irelande]]'' by [[John Derricke]] clearly depict a bagpiper. Derricke's illustrations are considered to be reasonably faithful depictions of the attire and equipment of the English and Irish population of the 16th century.<ref>{{Citation
| first = John
| last = Derrick
| title = The Image of Irelande
| url = http://www.lib.ed.ac.uk/about/bgallery/Gallery/researchcoll/ireland.html
| place = London
| year = 1581
}}</ref>

The "Battell" sequence from ''[[My Ladye Nevells Booke]]'' (1591) by [[William Byrd]], which probably alludes to the Irish wars of 1578, contains a piece entitled ''The bagpipe: & the drone''. In 1760, the first serious study of the Scottish Highland bagpipe and its music was attempted in Joseph MacDonald's ''Compleat Theory''. A manuscript from the 1730s by a [[William Dixon manuscript|William Dixon]] of [[Northumberland]] contains music that fits the [[border pipes]], a nine-note bellows-blown bagpipe with a chanter similar to that of the modern [[Great Highland bagpipe]]. However, the music in Dixon's manuscript varied greatly from modern Highland bagpipe tunes, consisting mostly of extended variation sets of common dance tunes. Some of the tunes in the Dixon manuscript correspond to those found in the early 19th century manuscript sources of [[Northumbrian smallpipe]] tunes, notably the rare book of 50 tunes, many with variations, by [[John Peacock (piper)|John Peacock]].

[[File:Merry brothers 1887.jpg|thumb|right|''[[Happy Brothers]]'' by [[Uroš Predić]] (1887)]]

As Western classical music developed, both in terms of musical sophistication and instrumental technology, bagpipes in many regions fell out of favour because of their limited range and function. This triggered a long, slow decline that continued, in most cases, into the 20th century.

Extensive and documented collections of traditional bagpipes may be found at the [[Metropolitan Museum of Art]] in New York City, the [[International Bagpipe Museum]] in [[Gijón]], Spain, the [[Pitt Rivers Museum]] in [[Oxford]], England and the [[Morpeth Chantry Bagpipe Museum]] in Northumberland, and the [[Musical Instrument Museum (Phoenix)|Musical Instrument Museum]] in Phoenix, [[Arizona]].

[[File:MDF Strakonice, 2018, 09 Anglie 02.jpg|thumb|left|International Bagpipe Festival, Strakonice, 2018]]

The {{ill|International Bagpipe Festival|cs|Mezinárodní dudácký festival ve Strakonicích}} is held every two years in [[Strakonice]], [[Czech Republic]].

=== Recent history ===
[[File:Afghanistan bagpiper.jpg|thumb|right| A Canadian soldier plays the bagpipes during the war in Afghanistan. Bagpipes are frequently used during funerals and memorials, especially among fire department, military and police forces in the United Kingdom, Ireland, the Commonwealth realms, and the U.S.]]
During the expansion of the [[British Empire]], spearheaded by British military forces that included [[Scottish regiment#Highland Regiments|Highland regiments]], the Scottish Great Highland bagpipe became well known worldwide. This surge in popularity was boosted by large numbers of pipers trained for military service in [[World War I]] and [[World War II]]. This coincided with a decline in the popularity of many traditional forms of bagpipe throughout Europe, which began to be displaced by instruments from the classical tradition and later by gramophone and radio.

As pipers were easily identifiable, combat losses were high, estimated at one thousand in World War I. A front line role was prohibited following high losses in the [[Second Battle of El Alamein]] in 1943, though a few later instances occurred.

In the United Kingdom and [[Commonwealth Nations]] such as [[Canada]], [[New Zealand]] and [[Australia]], the [[Great Highland bagpipe]] is commonly used in the military and is often played during formal ceremonies. Foreign militaries patterned after the British army have also adopted the Highland bagpipe, including those of [[Uganda]], [[Sudan]], [[India]], [[Pakistan]], [[Sri Lanka]], [[Jordan]], and [[Oman]]. Many police and fire services in [[Scotland]], Canada, Australia, New Zealand, [[Hong Kong]], and the [[United States]] have also adopted the tradition of fielding pipe bands.

[[File:Bagpiper in Edinburgh 001.jpg|thumb|right|A bagpiper [[busking]] with the Great Highland bagpipe on the street in [[Edinburgh]], [[Scotland]]]]

In recent years, often driven by revivals of native folk music and dance, many types of bagpipes have enjoyed a resurgence in popularity and, in many cases, instruments that had fallen into obscurity have become extremely popular. In [[Brittany]], the Great Highland bagpipe and concept of the [[pipe band]] were appropriated to create a Breton interpretation known as the [[bagad]]. The pipe-band idiom has also been adopted and applied to the [[Galician bagpipe|Galician gaita]] as well. Bagpipes have often been used in various films depicting moments from Scottish and Irish history; the film ''[[Braveheart]]'' and the theatrical show ''[[Riverdance]]'' have served to make the uilleann pipes more commonly known.

Bagpipes are sometimes played at formal events at Commonwealth universities, particularly in Canada. Because of Scottish influences on the sport of [[curling]], bagpipes are also the official instrument of the [[World Curling Federation]] and are commonly played during a ceremonial procession of teams before major curling championships.

Bagpipe making was once a craft that produced instruments in many distinctive, local and traditional styles. Today, the world's largest producer of the instrument is [[Pakistan]], where the industry was worth $6.8 million in 2010.<ref>{{Citation
| first = Caroline
| last = Jaine
| title = Doing business with Pakistan
| url = http://www.dawn.com/news/663807/doing-business-with-pakistan
| publisher = [[Dawn (newspaper)|Dawn]]
| date = 2011-10-04
| access-date = 2013-02-02
}}</ref><ref>{{cite news
| last = Abbas
| first = Nosheen
| title = The thriving bagpipe business of Pakistan
| url = https://www.bbc.co.uk/news/world-asia-20876096
| work = [[BBC News Online]]
| location = [[Pakistan]]
| date = 2012-12-31
| access-date = 2013-01-02
}}</ref> In the late 20th century, various models of [[electronic bagpipes]] were invented. The first custom-built [[MIDI]] bagpipes were developed by the Asturian piper known as [[Hevia]] (José Ángel Hevia Velasco).<ref>{{Citation
| first = Susana
| last = Roza-Vigil
| title = Bagpipes resonate through rugged coastline of... Spain
| url = http://www.cnn.com/SHOWBIZ/Music/9911/05/wb.galicia/
| publisher = CNN
| series = WorldBeat
| location = Spain
| date = 1999-11-05
| access-date = 2013-01-02
}}</ref>[[File:FIL 2016 - The City Of Auckland Pipe Band - 4780.webm|thumb|Bagpipes players from ''The City Of Auckland Pipe Band''.]]

Astronaut [[Kjell N. Lindgren]] is thought to be the first person to play the bagpipes in [[outer space]], having played "[[Amazing Grace]]" in tribute to late research scientist Victor Hurst aboard the [[International Space Station]] in November 2015.<ref name="BBC2015">{{cite news|title=Astronaut plays bagpipes on International Space Station|work=BBC News|date=7 November 2015|url=https://www.bbc.com/news/uk-scotland-34757254|access-date=30 September 2021}}</ref>

Traditionally, one of the purposes of the bagpipe was to provide music for dancing. This has declined with the growth of dance bands, recordings, and the decline of traditional dance. In turn, this has led to many types of pipes developing a performance-led tradition, and indeed much modern music based on the dance music tradition played on bagpipes is suitable for use as dance music.{{citation needed|date=November 2021}}

== Modern usage ==
=== Types of bagpipes ===
{{Main|List of bagpipes}}

Numerous types of bagpipes today are widely spread across Europe, the Middle East and North Africa as well as through much of the former [[British Empire]]. The name bagpipe has almost become synonymous with its best-known form, the [[Great Highland bagpipe]], overshadowing the great number and variety of traditional forms of bagpipe. Despite the decline of these other types of pipes over the last few centuries, in recent years many of these pipes have seen a resurgence or revival as musicians have sought them out; for example, the [[Uilleann pipes|Irish piping tradition]], which by the mid 20th century had declined to a handful of master players is today alive, well, and flourishing, a situation similar to that of the [[gaita asturiana|Asturian gaita]], the [[Galician gaita]], the Portuguese [[gaita transmontana]], the [[Aragon]]ese [[gaita de boto]], [[Northumbrian smallpipe]]s, the [[Breton people|Breton]] [[biniou]], the [[Balkan]] [[gaida]], the [[Romanians|Romanian]] [[cimpoi]], the Black Sea [[Tulum (bagpipe)|tulum]], the [[Scottish smallpipes]] and [[pastoral pipes]], as well as other varieties. Bulgaria has the [[Kaba gaida]], a large bagpipe of the [[Rhodope mountains]] with a hexagonal and rounded drone, often described as a deep-sounding gaida and the Dzhura gaida with a straight conical drone and of a higher [[pitch (music)|pitch]]. The [[Macedonia (region)|Macedonia]]n gaida is structurally between a kaba and dzhura gaida and described as a medium pitched gaida.

In [[Southeast Europe|Southeastern Europe]] and [[Eastern Europe]] bagpipes known as '''''gaida''''' include: the {{Lang-sq|gajde, mishnica, bishnica}}, {{Lang-rup|gaidã}}, {{Lang-bg|гайда}} ({{Lang|bg-Latn|gaida}}), {{Lang-el|γκάιντα}} ({{Lang|el-Latn|gáida}}) {{Lang|el|τσαμπούνα}} ({{Lang|el-Latn|tsaboúna}}) or {{lang|el|ασκομαντουρα}} ({{lang|el-Latn|askomandoura}}), {{Lang-mk|гајда}} (''{{Lang|mk-Latn|gajda}}''), {{Lang-hbs|gajda/гајда}}, {{Lang-tr|gayda}} also {{Lang|tr|tulum}} and {{Lang-ukr | gayda / ґайда}}.

In Tunisia, it is known by the name "[[Mizwad|mezwed]]". It is used in the Tunisian pop music genre, also called [[mezwed]], that is named after the instrument.
{{Clear left}}

==== Image gallery ====
[[File:Mezoued.gif|thumb|Tunisian Mezwed]]
<gallery>
File:Mmexport1647183006419.jpg|Piper in Petrash, Jordan
File:BulgarianKabaGaidaPlayer.jpg|Bulgarian [[Kaba gaida]] player.
File:Bag piper, Padre, Currie Hall, Royal Military College of Canada, fall 2011.jpg|The Scottish Great Highland bagpipe played at a Canadian military function.
File:Baghet suonatore.jpg|A musician with a Northern Italian [[Baghèt]] wearing traditional dress.
File:A modern model of Baghèt.png|Modern Baghèt (made 2000 by Valter Biella) in G.
File:Zampogna.jpg|Central and southern Italian [[zampogna]].
File:Tulumcu.jpg|[[Laz people|Laz]] man from Turkey playing a [[Tulum (bagpipe)|tulum]].
File:Cillian Vallely on Uilleann Pipes.jpg|[[Cillian Vallely]] playing Irish Uilleann pipes.
File:Tickell 2004.jpg|[[Kathryn Tickell]] playing [[Northumbrian smallpipes]].
File:Gaida.jpg|Man from Skopje, North Macedonia playing the [[Gaida]].
File:Seivane1.jpg|[[Galician gaita]].
File:Sruti upanga.jpg|[[Sruti upanga]], a Southern Indian bagpipe.
File:Duda Bagpipe 001.jpg|Hungarian [[duda]].
File:Serbian bagpiper.jpg|Serbian piper.
File:DudyWielkopolskie.jpg|Polish pipers.
File:Bagad.JPG|[[Bagad]] of Lann Bihoué from the French Navy.
File:Ollegallmo.jpg|Swedish [[säckpipa]].
File:Pastoral pipes removable foot joint.JPG|[[Pastoral pipes]] with removable footjoint and bellows.
File:Street-piper.jpg|Street piper from Sofia, Bulgaria.
File:Torupillimängija.jpg|Estonian [[torupill]] player.
File:Lithuanian bagpipes.png|Lithuanian piper.
File:Modern huemmelchen.jpg|Modern German [[huemmelchen]].
File:Baltarusių dūdmaišis Lietuvos nacionaliniame muziejuje (LNM).jpg|Belarusian bagpipes in Lithuanian museum.
File:Bagad Brest.jpg|A [[bagad]] in [[Brest, France]]
File:Al son de la gaita.jpg|[[Gaita asturiana]].
File:Pibecwd.jpg|[[Welsh bagpipes]] (double-reed type).
File:Gaiteroscantabria.jpg|Cantabrian pipe band.
File:Bagpipe player damascus.jpg|Syrian piper in Damascus, Syria.
File:Tsambouna.jpg|Various forms of the [[Tsampouna]], found in the Greek islands.
File:Селянін грае на дудзе.jpg|Belarusian piper.
File:A żaqq (bagpipe), made from calf pelt, cane, and animal horn.jpg|Maltese [[Żaqq]].
File:Bagpipe player Dam.jpg|Piper playing by the [[Royal Palace of Amsterdam]].
File:Cimpoi.png|Romanian [[cimpoi]] player.
File:Ľubomír Párička gra na dudach.webm|Ľubomír Párička playing bagpipes, Slovak Republic.
File:Associação Gaita-de-Fole.jpg|Portuguese pipers
File:نی انبان ساخته شده در آبپخش.jpg|Bagpipes made in [[Ab Pakhsh]], [[Iran]].
File:شکل قرار گرغتن نی های نی انبان ساخته شده در آبپخش.jpg|Chanter of bagpipes from Ab Pakhsh
File:Sac_de_gemecs.png|[[Sac de gemecs]], from [[Catalonia]]
File:Xeremies_de_Mallorca.jpg|[[Xeremia|Xeremies]], from [[Majorca]]
File:Greek Gaida Player.jpg|Greek [[shepherd]] playing gaida
File:BASA-2072K-1-361-19-Gaida, Bulgaria.JPG|Bulgarian gaida player, a pre-1945 photo. Central State Archive, Sofia
</gallery>

=== Usage in non-traditional music ===
[[File:Enter The Haggis Bagpipe.jpg|thumb|right|Celtic rock band [[Enter the Haggis]] featuring Highland bagpipes]]
Since the 1960s, bagpipes have also made appearances in other forms of music, including rock, metal, jazz, hip-hop, punk, and classical music, for example with [[Paul McCartney]]'s "[[Mull of Kintyre (song)|Mull of Kintyre]]", [[AC/DC]]'s "[[It's a Long Way to the Top (If You Wanna Rock 'n' Roll)]]",<ref name="liming">{{cite journal |last1=Liming |first1=Sheila |title=Bagpipes: a rock-and-roll history |journal=Atlantic Monthly |date=July 9, 2016 |url=https://www.theatlantic.com/entertainment/archive/2016/07/the-bagpipes-legacy-of-noise/490217/|access-date=13 December 2022}}</ref> and [[Peter Maxwell Davies]]'s composition ''[[An Orkney Wedding, with Sunrise]]''. 
[[File:20160409 Oberhausen Zirkus Zeitgeist Saltatio Mortis 0139.jpg|thumb|right|Bagpiper from German band Saltatio Mortis.]]

== Publications ==


=== Periodicals ===
''Periodicals covering specific types of bagpipes are addressed in the article for that bagpipe''
* {{Citation | title = An Píobaire | publisher = Na Píobairí Uilleann | place = Dublin | url = http://pipers.ie/}}.
* {{Citation | title = Chanter | publisher = [[The Bagpipe Society]]}}.
* {{Citation | title = The Piping Times | publisher = The [[College of Piping]] | place = Glasgow}}.
* {{Citation | title = Piping Today | publisher = The National Piping Centre | place = Glasgow}}.
* {{Citation | title = Utriculus | publisher = [[Circolo della Zampogna]] | place = Italy}}.
* {{Citation | title = The Voice | publisher = The Eastern United States Pipe Band Association | place = Newark, [[Delaware|DL]]}}.

=== Books ===
* {{Citation | first = Anthony | last = Baines | date = Nov 1991 | title = Woodwind Instruments and Their History | isbn = 0-486-26885-3 | publisher = Dover Pub | url-access = registration | url = https://archive.org/details/woodwindinstrume00bain }}.
* {{Citation | first = Anthony | last = Baines | year = 1995 | title = Bagpipes | isbn = 0-902793-10-1 | publisher = Pitt Rivers Museum, Univ. of Oxford | edition = 3rd | author-mask = 3}}, 147 pp. with plates.
* {{Citation | title = The Book of the Bagpipe | first = Hugh | last = Cheape}}.
* {{Citation | title = The Bagpipe, The History of a Musical Instrument | first = Francis | last = Collinson | year = 1975}}.
* {{Citation | title = The Voice of the Wind: A Linguistic History of Bagpipes | first = Michael Peter | last = Vereno | year = 2021 | publisher = International Bagpipe Organisation | isbn = 978-1838369804 }}.

== See also ==
* [[List of bagpipes]]
* [[List of bagpipers]]
* [[List of pipe makers]]
* [[List of pipe bands]]
* [[Glossary of bagpipe terms]]
* [[Practice chanter]]

== References ==
{{Reflist}}

==Bibliography==
*{{cite book|last=Garaj|first=Bernard|title=Gajdy a gajdošská tradícia na Slovensku. Bagpipe and Bagpipers´ Tradition in Slovakia|year=1995|publisher=ASCO Ústav hudobnej vedy SAV Bratislava}}
*{{cite book|last=Dzimrevski|first=Borivoje|title=Gajdata vo Makedonija: Instrument-instrumentalist-muzika|year=1996|publisher=Institut za folklor Marko Cepenkov|isbn=978-9989642098}}
*Lommel, Arle. "The Hungarian Duda and Contra-Chanter Bagpipes of the Carpathian Basin." ''The Galpin Society Journal'' (2008): 305-321.
*{{cite book|last=Rice|first=Timothy|title=May It Fill Your Soul: Experiencing Bulgarian Music|url=https://archive.org/details/mayitfillyoursou00rice|url-access=registration|year=1994|publisher=University of Chicago Press|isbn=978-0226711225}}
*{{cite book|last=Atanasov|first=Vergilij|title=The Bulgarian GAIDA/BAGPIPE|year=2002|publisher=Gaida Studies|location=Massachusetts|isbn=0-9724898-0-0}}
*{{cite book|last=Širola|first=Božidar|title=Sviraljke s udarnim jezičkom|year=1937|publisher=JAZU|location=Zagreb}}
*{{cite book|last=Leibman|first=Robert|title=Traditional Songs and Dances from the Soko Banja Area|publisher=Selo Records|location=LP}}
*{{cite book|last=Levy|first=Mark|title=The Bagpipe in the Rhodope Mountains of Bulgaria|year=1985|publisher=University of California}}
*{{cite book|last=Jakovljević|first=Rastko|title=Marginality and Cultural Identities: Locating the Bagpipe Music of Serbia|year=2012|publisher=PhD Thesis, Durham University|url=http://etheses.dur.ac.uk/3544/}}

== External links ==
{{Commons category|Bagpipes}}
{{Wikisource1911Enc|Bag-pipe}}
* [http://www.prydein.com/pipes/ Bagpipe iconography – Paintings and images of the pipes.]
* [http://musiconis.huma-num.fr/fr/results.html?query=bagpipe Musiconis Database of Medieval Musical Iconography: Bagpipe.]
* [https://web.archive.org/web/20091112123617/http://www.researchchannel.org/prog/displayevent.aspx?rID=3365&fID=345 A demonstration of rare instruments including bagpipes] (archived 12 November 2009)
* [http://www.bagpipehistory.info/ ''The Concise History of the Bagpipe'' by Frank J. Timoney]
* [http://www.bagpipesociety.org.uk/ The Bagpipe Society], dedicated to promoting the study, playing, and making of bagpipes and pipes from around the world
* [http://ludowe.instrumenty.edu.pl/en/instruments-/categories/category/343 Bagpipes from polish collections (''Polish folk musical instruments'')]
* [https://www.youtube.com/watch?v=TO8ZRZYB16c&list=PL-vEE7TX3aIfca1edpfKRz3Vt6HURNAMf&index=2 Bagpipes (local polish name "Koza") played by Jan Karpiel-Bułecka] (English subtitles)
* [https://web.archive.org/web/20170709134521/http://www.baghet.info/ Official site of Baghet (bagpipe from North Italy) players.] (archived 9 July 2017)
* [http://turn.do.am/index/obratnaja_svjaz/0-43# Celtic Music : Scottish Military Bagpipes.]
* [http://www.gaida.gr The presence of the gaida in Greece]


{{Instrument tunings}}
{{Greek musical instruments}}

{{authority control}}

[[Category:Bagpipes| ]]
[[Category:Articles containing video clips]]

User talk:MonkeyPython

2024-03-08T15:22:59Z

MonkeyPython: /* sig */ new section

==Problem user==

Standard approach here is just to post increasing levels of [[WP:WARNING|warning templates]] to the user's talk page, and if they get a level four and are still vandalising, the IP address gets blocked for a while. I'll give them a level 3 now. Thanks for catching the edits you did! All gnoming appreciated. --[[User:McGeddon|McGeddon]] ([[User talk:McGeddon|talk]]) 21:28, 3 September 2014 (UTC)

Looks like the baby/young thing originally said "baby" and the IP [https://en.wikipedia.org/w/index.php?title=Alien_(creature_in_Alien_franchise)&diff=prev&oldid=616987932 changed it to "young"]. Dialling back to an old version of the article from 2012, it says "baby". --[[User:McGeddon|McGeddon]] ([[User talk:McGeddon|talk]]) 21:45, 3 September 2014 (UTC)

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== sig ==

testing new sig ~[[User:MonkeyPython|🐒🐍]]~♪~[[User talk:MonkeyPython|何?]] 15:22, 8 March 2024 (UTC)-

Template talk:Polish musical instruments

2024-03-08T12:22:53Z

MonkeyPython: /* bagpipes and squeezeboxes under "percussion" */ new section

{{WikiProject Musical Instruments}}
{{WikiProject Poland}}

== bagpipes and squeezeboxes under "percussion" ==

that doesn't seem right?
is this a specific polish consideration? ie. how they're used musically?
seems they should be under "wind" or new header "reed" [[User:MonkeyPython|MonkeyPython]] ([[User talk:MonkeyPython|talk]]) 12:22, 8 March 2024 (UTC)-

Bock (bagpipe)

2024-02-29T22:56:39Z

MonkeyPython: ad a couple more examples making the sentence more logical

{{Short description|Central European musical instrument}}
[[Image:Bock Dudelsack.jpg|right|thumb|200px|Bohemian-style ''Bock'']]Variants of the '''bock''', a type of [[bagpipe]], were played in Central Europe in what are the modern states of [[Austria]], [[Germany]], [[Poland]] and the [[Czech Republic]]. The tradition of playing the instrument endured into the 20th century, primarily in the Blata, [[Chodsko]], and [[Egerland]] regions of [[Bohemia]], and among the [[Sorbs]] of [[Saxony]].<ref>Režný, Josef. Der sorbische Dudelsack: Spielanleitung mit Notenanhang. Budyšin: Serbski Muzej, 1997.</ref> The name "Bock" (German for ''buck'', i.e. male [[goat]]) refers to the use of goatskins in constructing the bag, similar to the common use of other goat-terms for bagpipes in other nations, such as the French [[cabrette]], Spanish [[Gaita (bagpipe)|gaita]] and Polish [[Koza (bagpipe)|koza]].

==History==
The oldest written mentions of bagpipes in the [[Lands of the Bohemian Crown]] comes from Zbraslav Chronicle (lat. Chronicon Aulae regiae, 1335 - 1339). The earliest description of the mouth-blown Bock is illustrated on plate XI and described by [[Michael Praetorius]] in his treatise, ''Syntagma Musicum 2, De Organographia'' (Wolfenbüttel, 1619), plates issued separately as ''Theatrum Instrumentorum'' (1620).<ref>Praetorius, Michael. The syntagma musicum of Michael Praetorius, Volume two, De organographia: first and second parts, plus all forty-two original woodcut illustrations from Theatrum istrumentorum. English translation, Harold Blumenfeld. New York: Da Capo Press, 1980.</ref>

[[Image:Tomas Spurny.jpg|thumb|200px|left|Tomáš Spurný playing an [[Egerland]]-style ''Bock'']]

==Design==
The [[drone (music)|drone]] of the Bock is usually pitched two octaves below the tonic of the [[chanter]]. The single drone and single chanter have cylindrical bores and employ single [[reed (instrument)|reeds]]. The current variant of the Bock is generally [[bellows]]-blown, which has the advantage of allowing the piper to sing along with their playing. These bellows-blown bagpipes are believed to have made their way into southern and western Bohemia in the first half of the 19th century.<ref>Režný, Josef. 5000 let s dudami (5000 Years with the Bagpipe). Prague: Aula, 2004. page 224</ref>

The chanter and drone terminate in amplifying bells of horn or brass, angled upwards. The top end of the chanter is often shaped in the form of a goat-head. In Egerland-style instruments, the drone hangs downward from the bag, whereas in the Bohemian variant, the drone extends backwards over the player's shoulder.

==Makers and players==
The instrument is now mainly played in the [[Czech Republic]], particularly [[South Bohemia]] in [[Strakonice]] and in [[Western Bohemia]] around the town of [[Domažlice]] in the region known as Chodsko. As the instrument's revival continues, it is also gaining ground in [[Austria]] and [[Bavaria]].

In Chodsko, one of the most famous makers of the Bock (or ''pukl'' in the local Chod dialect) was Bolfík Šteffek (1842–1923), who lived and worked in Újezd. His son, Vuk Šteffek, (1879–1966) carried on the tradition of making and repairing the pukl. Jakub Jahn (1902–1978), who lived in the village of Ždanov, made about 50 Bock bagpipes. Perhaps the most sought after are those made by Jakub Konrady (1905–1987) of [[Domažlice]]; Konrady made more than 200 examples, and his sons, Jaromír (born 1944) and Stanislav (born 1946), continue in the tradition.<ref>Svačina, Rudolf. Dudáci a Dudácka Muzika Na Chodsku. Domažlice: Rudolf Svačina, 1990. pages 33-36</ref> Other makers in western Bohemia include Lubomír Junbauer (born 1950) of Stod, and Jan Hloubek (born 1958) of Klenčí.<ref>Bláha, Zdeněk. Sto Kusů Pro Sólo a Duo Dudy. Domažlice: OKS, 1990. page 2</ref> The most prolific maker in the recent past is Miroslav Janovec of Malonice.

Notable players of the instrument include the American musician [[Wayne Hankin]], who has used it in the recordings of [[Meredith Monk]].

==See also==
*[[Duda]]

==References==
{{reflist}}

[[Category:Bagpipes]]
[[Category:German musical instruments]]
[[Category:Austrian musical instruments]]
[[Category:Czech musical instruments]]

List of bagpipes

2024-02-12T16:49:30Z

MonkeyPython: /* Lithuania */ fix error image and better description

{{Short description|none}}
==Northern Europe==

===Ireland===
*[[Uilleann pipes]]: Also known as Union pipes and Irish pipes, depending on era. Bellows-blown bagpipe with keyed or un-keyed 2-octave chanter, 3 drones and 3 regulators. The most common type of bagpipes in [[Music of Ireland|Irish traditional music]].
*[[Great Irish Warpipes]]: One of the earliest references to the Irish bagpipes comes from an account of the funeral of Donnchadh mac Ceallach, king of Osraige in AD 927.<ref>{{cite web | url=https://archive.org/details/historyofireland09keat/page/218/mode/2up | title=The history of Ireland by Geoffrey Keating | Ireland }}</ref> Bagpipes were a noted instrument in Irish warfare since medieval times, but only became standardized in Irish regiments in the British Army in the last century, when the [[Great Highland Bagpipe]] became standard. The Warpipe differed from the latter only in having a single tenor drone. Irish warpipes fell out of use for centuries due to the British outlawing them; whence the Scottish bagpipes took the place of the Irish bagpipes role in the British army. Warpipes today are rarer specialty instruments in military and civilian pipe bands, or private players.<ref>https://www.achillproperty.ie/achill-pipe-bands</ref>
*[[Brian Boru bagpipes]]: Carried by the Royal Inniskilling Fusiliers and had three drones, one of which was a baritone, pitched between bass and tenor. Unlike the chanter of the Great Highland Bagpipe, its chanter is keyed, allowing for a greater tonal range.
*[[Pastoral pipes]]: Although the exact origin of this keyed, or un-keyed chanter and keyed drones (regulators), pipe is uncertain, it developed into the modern uilleann bagpipe.

===Scotland===
*[[Great Highland Bagpipe]]: This is perhaps the world's best-known bagpipe. It is native to Scotland. It has acquired widespread recognition through its usage in the British military and in pipe bands throughout the world. The bagpipe is first attested in Scotland around 1400, having previously appeared in European artwork in Spain in the 13th century. The earliest references to bagpipes in Scotland are in a military context, and it is in that context that the Great Highland bagpipe became established in the British military and achieved the widespread prominence it enjoys today.
*[[Border pipes]]: also called the "Lowland bagpipe" or "reel pipes", commonly confused with smallpipes, but louder. Played in the [[Scottish Lowlands|Lowlands of Scotland]] it is conically bored, made mostly from [[African blackwood]] like Highland pipes. Some makers have developed fully chromatic chanters.
*[[Scottish smallpipes]]: a modern re-interpretation of an extinct instrument.
*[[Pastoral pipes]]: Although the exact origin of this keyed, or un-keyed chanter and keyed drones (regulators), pipe is uncertain, it developed into the modern uilleann bagpipe.
*[[Zetland pipes]]: a reconstruction of pipes believed to have been brought to the [[Shetland Islands]] by the Vikings, though not clearly historically attested.

===England and Wales===
*[[English bagpipes]]: with the exception of the [[Northumbrian smallpipes]], no English bagpipes maintained an unbroken tradition. However, various other English bagpipes have been reconstructed by Jonathan Swayne and Julian Goodacre.
[[File:Tickell 2004.jpg|thumb|right|[[Kathryn Tickell]] playing a "16 keyed" Northumbrian smallpipe.]]
*[[Northumbrian smallpipes]]: a bellows-blown smallpipe with a closed end chanter played in [[staccato]].
*[[Border pipes]]: also called the "Half-long pipes" in the North East, commonly confused with smallpipes, but louder. Traditionally played in [[Northern England]] as well as the Lowlands of Scotland. English border pipes have been reconstructed by Swayne, and they have in common with the Lowland Scottish pipes above 2-4 drones in a single stock, but the design of the chanter (melody pipe) is closer to the French cornemuse du centre and uses the same "half-closed" fingering system.
*[[Cornish bagpipes]]: an extinct type of double chanter bagpipe from [[Cornwall]] (southwest England); there are now attempts being made to revive it on the basis of literary descriptions and iconographic representations.<ref name=Woodhouse>{{cite book | author= Woodhouse, Harry | year= 1994 | title= Cornish Bagpipes: Fact or Fiction? | publisher= Dyllansow Truran | location= Trewirgie |isbn =978-1-85022-070-1}}</ref>
*[[Welsh pipes]] ({{lang-cy|pibe cyrn}}, ''pibgod''): Of two types, one a descendant of the pibgorn, the other loosely based on the Breton veuze. Both are mouthblown with one bass drone.
*[[Pastoral pipes]]: Although the exact origin of this keyed, or un-keyed chanter and keyed drones (regulators), pipe is uncertain, it was developed into the modern Uilleann bagpipe.
*[[Yorkshire bagpipes]], known in Shakespeare's time, but now extinct
*[[Lincolnshire bagpipes]], a one-drone pipe extinct by 1850, with one reproduction made in the modern era
*[[Lancashire bagpipes]], widely mentioned in early-Modern literature and travel accounts

===Finland===
*[[Säkkipilli]]: The Finnish bagpipes died out but have been revived since the late 20th century by musicians such as Petri Prauda.
*[[Pilai]]: a Finnish bagpipe, described in 18th century texts as similar to the Ukrainian volynka.

===Estonia===
*[[Torupill]]: an [[Estonia]]n bagpipe with one single-reeded chanter and 1-3 drones.[https://web.archive.org/web/20070204154241/http://www.arm.ee/main.html?menu=plaadid&id=56 MP3]

===Latvia===
*[[Dūdas]]: Latvian bagpipe, with single reed chanter and one drone.

===Lithuania===
[[File:Vytenis Jankauskas playing the Lithuanian bagpipes.png|220px|thumb|right|Piper playing Lithuanian bagpipes]]
*[[Dūdmaišis]], or murenka, kūlinė, Labanoro dūda. A bagpipe native to Lithuania, with a single reed chanter and one drone.

===Sweden===
[[File:Säckpipa av leif eriksson.jpg|thumb|Traditional Swedish bagpipes, ''[[Swedish bagpipes|säckpipa]]'', made by Leif Eriksson]]
*[[Swedish bagpipes|Säckpipa]]: Also the Swedish word for "bagpipe" in general, the name is commonly used for the revived Swedish bagpipe, based on surviving säckpipor of the [[Dalarna]] region. It has a cylindrical bore and a single reed, and usually a single drone in the same pitch as the bottom note of the chanter. There are around 20 surviving historical instruments in various museums and private collections.
*[[Walpipe]], according to some 19th century anglophone sources a type of bagpipe used alongside "the Sakpipe" in [[Lapland (Sweden)|Lapland]] during the 18th and 19th centuries. The only known description,<ref>{{Cite web |title=Society of Antiquaries Collections Online {{!}} SAL/02/011/043 |url=https://collections.sal.org.uk/sal.02.011.043 |access-date=2023-10-25 |website=collections.sal.org.uk}}</ref> as well as the name, in addition to it not being mentioned in any Swedish sources, suggests it's not a bagpipe but another name for the [[Swedish cowhorn]].

==Southern Europe==

===Italy===
*[[Zampogna]] (also called ''ciaramella'', ''[[ciaramedda]]'', or ''surdullina'' depending on style and or region): A generic name for an Italian bagpipe, with different scale arrangements for doubled chanters (for different regions of Italy), and from zero to three drones (the drones usually sound a fifth, in relation to the chanter keynote, though in some cases a drone plays the tonic).
*[[Piva bagpipe|Piva]]: used in northern Italy ([[Bergamo]], [[Emilia Romagna|Emilia]]), [[Veneto]] and bordering regions of Switzerland such as [[Ticino]]. A single chantered, single drone instrument, with double reeds, often played in accompaniment to a [[shawm]], or [[piffero]].
*[[Müsa]]: played in [[Pavia]], [[Alessandria]], [[Genova]] and [[Piacenza]].
*[[Baghèt]]: similar to the ''piva'', played in the region of [[Bergamo]], [[Brescia]] and, probably, [[Veneto]].
*[[Surdelina]]: a double-chantered, bellows-blown pipe from [[Naples]], with keys on both chanters and drones
*[[Launeddas]]: is a typical pipe from [[Sardinia]] but it is characterised by the absence of bags: the mouth works as bag.

===Malta===
*[[Żaqq]] (''with [[Article (grammar)|definite article]]'': iż-żaqq): The most common form of [[Malta|Maltese]] bagpipes. A double-chantered, single-reed, droneless hornpipe.
*[[Il-Qrajna]]: a smaller Maltese bagpipe<ref>{{Cite journal|title=The Maltese Zaqq|journal=The Galpin Society Journal|volume=30|pages=112–144|language=en|jstor = 841372|last1 = Partridge|first1 = J. K.|last2=Jeal|first2=Frank|last3=Cooke|first3=P. R.|year=1977|doi=10.2307/841372}}</ref>

===Greece===
The ancient name of bagpipes in Greece is Askavlos (Askos Ασκός means wine skin, [[Aulos|Avlos]] Αυλός is the pipe)
*[[Askomandoura]] ({{lang-el|ασκομαντούρα}}): a double-chantered bagpipe used in [[Crete]]
*[[Tsampouna]] ({{lang-el|τσαμπούνα}}): [[List of islands of Greece|Greek Islands]] bagpipe with a double chanter. One chanter with five holes the second with 1,3 or 5 depending on the island. The tsambouna has no drone as the second chanter replaces the drone.
*[[Gaida]] ({{lang-el|γκάιντα}}): a single-chantered bagpipe with a long separate drone, played in many parts of Mainland Greece. The main center is [[Thrace]], especially around the town of Didymoteicho in the Northern Evros area. In the area of Drama (villages of Kali Vrisi and Volakas) a higher pitched gaida is played. Around Pieria and Olympus mountain (Rizomata and Elatochori) another type of gaida is played. Each of these regions have their distinct sound, tunes and songs.<ref>{{Cite web|title = gaida (bagpipe) in Greece : γκάιντα στην Ελλάδα : gaida (Dudelsack) in Griecheland : gaida Yunanistan'da|url = http://www.gaida.gr|website = www.gaida.gr|access-date = 2015-11-11}}</ref>
*[[Dankiyo]] or [[Tulum (bagpipe)|Tulum]]: traditional double-chantered bagpipes played by [[Pontic Greeks]]

===North Macedonia===
''{{Lang|mk-Latn|Gaida}}'' (pronounced guy'-da) also known as ''{{Lang|mk-Latn|meshnica}}'' ''(''{{Lang-mk|мешница}}'')'' is the Macedonian name of the bagpipe ''(''{{Lang-mk|гајда}}'')''. It's a folk musical wind instrument composed of a bag ({{Lang-mk|мев}}), with three or four tubes for blowing and playing. The Macedonian bagpipe can be two-voiced or three-voiced, depending on the number of drone elements. The most common are the two-voiced bagpipes. The three-voiced bagpipes have an additional small drone pipe called slagarche (pronounced slagar'-che) ''(''{{Lang-mk|[[слагарче]]}}'')''. They can be found in certain parts of Macedonia, most of them in [[Ovče Pole]] ''(''{{Lang-mk|Овчеполието}}'')''.<ref>{{Cite web|title = Доц. м-р Горанчо Ангелов - НЕКОИ ТОНСКИ КАРАКТЕРИСТИКИ КАЈ ГАЈДАТА|url = http://eprints.ugd.edu.mk/12359/6/%D0%9D%D0%95%D0%9A%D0%9E%D0%98%20%D0%A2%D0%9E%D0%9D%D0%A1%D0%9A%D0%98%20%D0%9A%D0%90%D0%A0%D0%90%D0%9A%D0%A2%D0%95%D0%A0%D0%98%D0%A1%D0%A2%D0%98%D0%9A%D0%98%20%D0%9A%D0%90%D0%88%20%D0%93%D0%90%D0%88%D0%94%D0%90%D0%A2%D0%90%20za%20pecat.pdf}}</ref>
On the territory of Macedonia, there are two variants of the placement of the elements:
*The first variant, which is the most widespread, is when the blow pipe and the drone are place of the front legs, and the chanter goes at the head. The small drone goes between the blow pipe and the drone slightly towards the chanter.
*The second variant is found only in [[Radoviš]] and differs from the first in that the drone goes at the animal head while the chanter and the blow pipe are inserted at the legs. The small drone goes between the two legs.<ref>{{Cite web|title = Доц. м-р Горанчо Ангелов - МУЗИЧКИОТ ИНСТРУМЕНТ ГАЈДА И НЕЈЗИНИТЕ ТОНСКИ КАРАКТЕРИСТИКИ|url = http://eprints.ugd.edu.mk/2730/1/Muzickiot%20instrument%20Gajda%20i%20nejzinite%20tonski%20karakteristiki.pdf}}</ref>
[[File:ГАЈДАРЏИЈА.jpg|thumb|Macedonian bagpiper ГАЈДАЏИЈА]]

All bags for these types a bagpipes are made usually from the entire skin of a goat or sheep. The use of donkeyskin has also been reported in the past.

==Central and Eastern Europe==
[[File:Serbian bagpiper.jpg|thumb|right|A [[Serb]]ian bagpiper]]
*[[Dudy]] (also known by the German name ''Bock''): [[Czech Republic|Czech]] bellows-blown bagpipe with a long, crooked drone and chanter (usually with wooden billy-goat head) that curves up at the end.
*Dudy or ''kozoł'' ([[Lower Sorbian language|Lower Sorbian]] ''kózoł'') are large types of bagpipes (in E flat) played among the (originally) [[Sorbian languages|Slavic]]-speaking [[Sorbs]] of Eastern [[Germany]], near the borders with both [[Poland]] and the [[Czech Republic]]; smaller Sorbian types are called ''dudki'' or ''měchawa'' (in F). Yet smaller is the ''měchawka'' (in A, Am) known in German as ''Dreibrümmchen''. The ''dudy/kozoł'' has a bent drone pipe that is hung across the player's shoulder, and the chanter tends to be curved as well.
*[[Parkapzuk]] ([[Armenian language|Armenian]] ''պարկապզուկ'')
*[[Cimpoi]] is the name for the [[Romania]]n bagpipes. Two main categories of bagpipes were used in Romania: with a double chanter and with a single chanter. Both have a single drone and straight bore chanter and is less strident than its Balkan relatives.
*[[Magyar duda]] or [[Hungary|Hungarian]] ''duda'' (also known as ''tömlősíp'', ''bőrduda'' and [[Croatia]]n ''duda'') has a double chanter (two parallel bores in a single stick of wood, Croatian versions have three or four) with single reeds and a bass drone. It is typical of a large group of pipes played in the Carpathian Basin.

===Poland===
[[File:DudyWielkopolskie.jpg|thumb|''Dudy wielkopolskie'' (man) and ''Kozioł czarny'' (woman)]]
*''Dudy'' is the generic term for Polish bagpipes,<ref>[http://dudygraja.webpark.pl/ Dudy grają]</ref> though since the 19th century they are usually referred to as ''kobza'' due to the confusion with [[koza (bagpipe)|koza]] and the relative obscurity of [[kobza]] proper in Poland. They are used in folk music of [[Podhale]] (''koza''), [[Żywiec Beskids]] and [[Cieszyn Silesia]] (''dudy'' and ''gajdy''), and mostly in [[Greater Poland]], where there are four types of bagpipes:
**''Dudy wielkopolskie'', "Greater Polish bagpipes", with two subtypes: [[Rawicz]]-[[Gostyń]] and [[Kościan]]-[[Buk, Greater Poland Voivodeship|Buk]];
**''[[Kozioł biały]] (weselny)'', "white (wedding) buck (used during ''wesele'', the lay part of the wedding)";
**''[[Kozioł czarny]] ((do)ślubny)'', "black (wedding) buck (used during ''ślub'', the religious part of the wedding)";
**''Sierszeńki'', "hornets", a [[bladder pipe]] used as a goose ([[practice pipes]]).

===The Balkans===
*[[Kaba gaida]]: Kaba Gaida – low pitched single-drone bagpipe from the [[Rhodope Mountains]] in [[Bulgaria]]
*[[Gaida]]: Southern Balkan (e.g. [[Bulgaria]]n, [[Greece|Greek]] and [[Albania]]n) bagpipe with one drone and one chanter. Also found in Macedonia and Serbia.
*[[Istarski mih]] (Piva d'Istria): a double chantered, droneless [[Croatia]]n bagpipe whose side by side chanters are cut from a single rectangular piece of wood. They are typically single reed instruments, using the [[Istrian scale]].
*[[Gajdy]] or ''gajde'': the name for various bagpipes of Eastern Europe, found in [[Poland]], [[Serbia]], [[Slovakia]], and [[Croatia]].
*[[Duda]], used in some parts of Croatia

===Belarus===
*[[Duda]] ({{lang-be|Дуда}}) or [[Mutsianka]] ({{lang-be|Муцянка}}) are the names of a [[Belarus]]ian bagpipes.

===Russia===
*[[Volynka]] ({{lang-ru|Волынка}}) is a Russian bagpipe.

====Finno-Ugric Russia====
*[[Shyuvr]], a bagpipe of the Volga-Finnic [[Mari people]]
*[[Puvama]], a bagpipe of the [[Mordvin people]]

====Turkic Russia====
*[[Shapar]], a bagpipe of the Turkic [[Chuvash people]] of the Volga region

===Ukraine===
*[[Duda]] ({{lang-uk|Дуда}}) is a [[Ukraine|Ukrainian]] bagpipe.

==Western Europe==

===France===
[[File:Boha.jpg|thumb|200px|The ''[[boha]]'' of [[Gascony]] ]]
*[[Musette de cour]]: A French open ended smallpipe, believed by some to be an ancestor of the Northumbrian smallpipes, used for classical compositions in 'folk' style in the 18th Century French court. The shuttle design for the drones was recently revived and added to a mouth blown Scottish smallpipe called [[shuttle pipes]].
*[[Biniou]] (or ''biniou kozh'' "old style bagpipe"): a mouth blown bagpipe from [[Brittany]]. The great Highland bagpipe has also been used since the 20th century in marching bands called ''bagadoù'' and known as ''biniou braz'' ("great bagpipe").
*[[Veuze]], found in Western France around Nantes, into the Breton marshes and in the very north of Poitou (Vendée).
*[[Cabrette]]: bellows-blown, played in the [[Auvergne (province)|Auvergne]] region of central France.
*[[Chabrette]] (or ''chabretta''): found in the [[Limousin (province)|Limousin]] region of central France.
*[[Bodega (bagpipe)|Bodega]] (or ''craba''): found in [[Languedoc]] region of southern France, made of an entire goat skin.
*[[Boha]]: found in the regions of [[Gascony]] and [[Landes (department)|Landes]] in southwestern France, notable for having no separate drone, but a drone and chanter bored into a single piece of wood.
*[[Musette bressane]]: found in the [[Bresse]] region of eastern France
*[[Cornemuse du Centre]] (or ''musette du Centre'') (bagpipes of Central France) are of many different types, some mouth blown. They can be found in the [[Bourbonnais]], [[Berry (province)|Berry]], [[Nivernais]], and [[Morvan]] regions of [[France]] and in different tonalities.
*''Chabrette poitevine'': found in the [[Poitou]] region of west-central France, but now extremely rare.
*[[Caramusa]]: a small bagpipe with a single parallel drone, native to [[Corsica]]
*[[Musette bechonnet]], named from its creator, [[Joseph Bechonnet]] (1820-1900 AD) of [[Effiat]].
*[[Bousine]], a small droneless bagpipe played in [[Normandy]]. ([[:fr:Bousine]])
*[[Loure (bagpipe)|Loure]], a Norman bagpipe which gives its name to the French Baroque dance ''[[loure]]''.
*[[Pipasso]], a bagpipe native to Picardy in northern France
*[[Sourdeline]], an extinct bellows-blown pipe, likely of Italian origin
*[[Samponha]], a double-chantered pipe played in the [[Pyrenees]]
*[[Vèze (bagpipe)|Vèze]] (or ''vessie'', ''veuze à Poitiers''), played in [[Poitou]]

[[File:Bagpipe -Sackpfeife (17068478751).jpg|thumb|A Bagpipe Player is playing a Marktsackpfeife with four drones in Germany.]]

===Spain and Portugal===
'''''Gaita''''' is a generic term for "bagpipe" in [[Spanish language|Castilian (Spanish)]], [[Portuguese language|Portuguese]], [[Basque language|Basque]], [[Astur-Leonese languages|Asturian-Leonese]], [[Galician language|Galician]], [[Catalan language|Catalan]] and [[Aragonese language|Aragonese]], for distinct bagpipes used across the northern regions of Spain and Portugal and in the [[Balearic Islands]]. In the south of Spain and Portugal, the term is applied to a number of other woodwind instruments, a trait that the moroccan [[ghaita]] also shares, since its name origin comes from the southern [[iberian peninsula]]. Just like the term "Northumbrian smallpipes" or "Great Highland bagpipes", each region attributes its [[toponym]] to the respective ''gaita'' name. Most of them have a conical chanter with a partial second octave, obtained by [[overblowing]]. Folk groups playing these instruments have become popular in recent years, and pipe bands have been formed in some traditions.
[[File:Gaitasanabresa.jpg|right|thumb|200px|A piper with his ''gaita sanabresa'']]
*[[Gaita alistana]]: played in [[Aliste (shire)|Aliste]], [[Zamora (province)|Zamora]], north-western Spain.
*[[Gaita asturiana]]: native to [[Asturias]], north-western Spain. Very similar to the ''gaita galega'' but of heavier construction with an increased capability for octave jumps and chromatic notes.
*[[Gaita de boto]]: native to [[Aragon]], distinctive for its tenor drone running parallel to the chanter.
*[[Gaita cabreiresa]] (or ''gaita llionesa''): an extinct but revived pipe native to [[Province of León|León]].
*[[Galician gaita]]: traditional bagpipe used in [[Galicia (Spain)|Galicia]], north-west Spain and the [[Minho River|Minho]] river valley, northern Portugal.
*[[Gaita de saco]]: native to [[Soria]], [[La Rioja (Spain)|La Rioja]], [[Álava]], and [[Burgos (province)|Burgos]] in northwestern-central Spain. Possibly the same as the lost ''gaita de fuelle'' of [[Old Castile]].
*[[Gaita sanabresa]]: played in [[Puebla de Sanabria]], in the [[Zamora (province)|Zamora province]] of north-western Spain.
*[[Gaita transmontana|Gaita-de-foles mirandesa]] or gaita transmontana: native to the [[Miranda do Douro]], [[Vimioso]], [[Mogadouro]] and [[Bragança Municipality|Braganza]] in [[Trás-os-Montes (region)|Tras-os-Montes]] region, northern [[Portugal]].
*[[Gaita-de-fole Coimbrã]]: native to [[Coimbra]] in [[Beira Litoral Province|Beira Litoral]] region, center [[Portugal]].
*[[Odrecillo]]: a small medieval bagpipe, with or without drones.
*[[Sac de gemecs]]: used in [[Catalonia]] (north-eastern Spain).
*[[Xeremia|Xeremies]]: played in the island of [[Majorca]], accompanying the [[flabiol]] and drum.
[[File:Bagpiper from Vila Nova de Anços - Coimbra, Portugal.jpg|thumb|Old handmade Gaita Coimbrã. 1930, Armando Leça.]]

===Germany ===

*[[Dudelsack]]: [[Germany|German]] bagpipe with two drones and one chanter. Also called ''Schäferpfeife'' (shepherd pipe) or ''Sackpfeife''. The drones are sometimes fit into one stock and do not lie on the player's shoulder but are tied to the front of the bag. (see: [[:de:Schäferpfeife]])
*[[Marktsackpfeife]]: a bagpipe reconstructed from medieval depictions
*[[Huemmelchen]]: small bagpipe with the look of a small medieval pipe or a Dudelsack.
*Dudy or ''kozoł'' ([[Lower Sorbian language|Lower Sorbian]] ''kózoł'') are large types of bagpipes (in E flat) played among the (originally) [[Sorbian languages|Slavic]]-speaking [[Sorbs]] of Eastern [[Germany]], near the borders with both [[Poland]] and the [[Czech Republic]]; smaller Sorbian types are called ''dudki'' or ''měchawa'' (in F). Yet smaller is the ''měchawka'' (in A, Am) known in German as ''Dreibrümmchen''. The ''dudy/kozoł'' has a bent drone pipe that is hung across the player's shoulder, and the chanter tends to be curved as well.

===The Low Countries===
*[[Doedelzak]] (or ''pijpzak''): found in [[Flanders]] and the [[Netherlands]], this type of bagpipe was made famous in the paintings of [[Pieter Brueghel the Elder]]; died out, but revived in the late 20th century.
*[[Muchosa]] (or ''muchosac''): found in the [[Hainaut (province)|Hainaut]] province of Wallonia, in southern [[Belgium]], and previously known down into the north of France as far as [[Picardy]]

===Switzerland===
*[[Schweizer Sackpfeife]] (Swiss bagpipe): In [[Switzerland]], the ''Sackpfiffe'' was a common instrument in the folk music from the Middle Ages to the early 18th century, documented by iconography and in written sources. It had one or two drones and one chanter with double reeds.

===Austria===
*[[Bock (bagpipe)|Bock]] (literally, ''[[Goat#Etymology|male goat]]''): a bellows-blown pipe with large bells at the end of the single drone and chanter

==West Asia==

===Turkey===
[[File:Touloum.JPG|right|thumb|Pontic bagpipe/dankiyo/tulum consist of: 1. Post - Skin (bag): Animal Skin, 2. Fisaktir - blowpipe: Wood or Bone, 3. Avlos - flute: Wood & Reeds, 4 . Kalame - Reeds: Reeds]]
*[[Dankiyo]]: A word of [[Pontic language|Greek]] origin for "bagpipe" used in the [[Trabzon Province]] of Turkey.
*[[Tulum (bagpipe)|Tulum]] or [[Tulum (bagpipe)|Guda]]: double-chantered, droneless bagpipe of [[Rize]] and [[Artvin]] provinces of Turkey. Usually played by the [[Laz people|Laz]] and [[Hamshenis|Hamsheni]] people.
*[[Karkm]], a bagpipe of the Turkish Turkmen nomads ([[Yörük]])

===Armenia===
*[[Parkapzuk]] ({{lang-hy|Պարկապզուկ}}): A droneless horn-tipped bagpipe played in [[Armenia]]

===Azerbaijan===
*[[Tulum (bagpipe)|Tulum]] ({{lang-az|Tulum}}) or Tulug ({{Lang-az|Tuluq}}): double-chantered, droneless bagpipe native to [[Azerbaijan]]. Used to be common in [[Nakhchivan Autonomous Republic|Nakhchivan]], [[Karabakh]] and [[Qazax|Gazakh]]. Now only used in [[Nakhchivan Autonomous Republic]]. Sometimes used alongside [[Balaban (instrument)|Balaban]].

===Georgia===
*[[Gudastviri]] ({{lang-ka|გუდასტვირი}}): A double-chantered horn-tipped bagpipe played in [[Georgia (country)|Georgia]]. Also called a ''chiboni'' or ''stviri''.


===Iran===
* [[Ney anban]] ({{lang-fa|نی انبان}}): a droneless double-chantered pipe played in Southern [[Iran]]

===Bahrain===
*[[Jirba]] ({{lang|ar|جربة}}): a type of double-chantered droneless bagpipe, primarily played by the ethnic Iranian minority of [[Bahrain]].

===Arabian Peninsula===
*[[Habbān]] ({{lang|ar| هبان}}): a generic term covering several types of bagpipes, including traditional [[Bedouin]] bagpipes in [[Kuwait]], and a modern version of the [[Great Highland Bagpipe]]s played in [[Oman]].

==North Africa==
[[File:Mezoued.gif|right|200px|thumb|The Tunisian ''[[mizwad]]'']]

===Egypt===
*[[Zummarah-bi-soan]], a small Egyptian double-bagpipe

===Libya===
*[[Zukra]] ({{lang-ar|زكرة}}): famous in Libya bagpipe with a double-chanter terminating in two cow horns.

===Tunisia===
*[[Mizwad]] ({{lang-ar|مِزْود}}; plural '''مَزاود''' ''mazāwid''): [[Tunisia]]n bagpipe with a double-chanter terminating in two cow horns.

===Algeria===
*[[Tadghtita]], a Berber bagpipe

==South Asia==


===India===
*[[Mashak]], a bagpipe of Rajasthan, Uttarakhand, and Uttar Pradesh in northern India. The term is also used for the Highland pipes which have displaced the traditional bagpipe over time, such as the ''mushak baja'' ([[Garhwali language|Garhwali]] : मूषक बाजा): in [[Garhwal Himalaya|Garhwal region]]. or ''masak-been'' ([[Kumaoni language|Kumaoni]] : मसकबीन): of the [[Kumaon division|Kumaon Division]].
* [[Titti (bagpipe)]], a Telugu bagpipe of Andhra Pradesh
* [[Sruti upanga]], a bagpipe of Tamil Nadu primarily used for drone accompaniment

==Non-traditional bagpipes==
* [[Electric bagpipes]], bagpipes fitted with an amplifying [[pickup (music technology)|pickup]]
* [[Electronic bagpipes]], an [[electronic musical instrument]] designed to look and sound like bagpipes

==References==
<references/>

[[Category:Bagpipes| ]]
[[Category:Lists of musical instruments|Bagpipes]]

Cabbage roll

2024-02-08T18:52:07Z

MonkeyPython: /* Variations */

{{short description|Dish of cabbage leaves with a filling}}
{{Unreliable sources|date=January 2021}}
[[File:02022 Hungarian stuffed cabbage rolls in pickled cabbage leaves with veal and deer meat.jpg|thumb|Cabbage rolls]]

A '''cabbage roll''' is a dish consisting of cooked [[cabbage]] leaves wrapped around a variety of [[stuffing|fillings]]. It is common to the cuisines of [[Central Europe|Central]], [[Northern Europe|Northern]], [[Eastern Europe|Eastern]] and [[Southeastern Europe]] and much of [[Western Asia]], [[Northern China]], as well as parts of [[North Africa]].
[[Meat]] fillings are traditional in Europe, and include [[beef]], [[lamb (food)|lamb]], or [[pork]] seasoned with [[garlic]], [[onion]], and [[spice]]s. [[Cereal|Grains]] such as [[rice]] and [[barley]], [[edible mushroom|mushrooms]], and [[vegetable]]s are often included as well. Fermented cabbage leaves are used for wrapping, particularly in southeastern Europe. In Asia, seafoods, tofu, and [[shiitake mushroom]]s or [[Vegeta (condiment)|Vegeta]] may also be used. [[Chinese cabbage]] is often used as a wrapping.

Cabbage leaves are stuffed with the filling which are then [[baking|baked]], [[simmering|simmered]], or [[steaming|steamed]] in a covered pot and generally eaten warm, often accompanied with a [[sauce]]. The sauce varies widely by cuisine. In Sweden and Finland, stuffed cabbage is served with [[lingonberry jam]], which is both sweet and tart. In Central and Eastern Europe, [[tomato]]-based sauces and sour cream are typical. In Lebanon, the cabbage is stuffed with rice and minced meat and only rolled to the size of a cigar. It is usually served with a side dish of [[yogurt]] and a type of lemon and olive oil [[vinaigrette]] seasoned with garlic and dried mint.

The cabbage roll is a staple in the Romanian cuisine with variations of the recipe and sizing depending on the region, typically taking up to 6 hours to cook. Traditionally made with pork, beef, bacon, rice, spices and aromatics, broiled in a tomato sauce and served with [[polenta]], sour cream and spicy pickled peppers.

Cooking textbook author Nancy Krcek stated that the origins are unclear and that it is possible multiple groups of people invented it at the same time.<ref>{{cite web|author=Allen, Nancy Krcek|url=https://www.pearsoned.com/stuffed-cabbage-recipes-history-food/|title=Stuffed cabbage: From humble beginnings to staple comfort food|publisher=[[Pearson Education]]|date=2016-12-27|quote=Many cultures claim to have [...] her boiled cabbage leaves.|access-date=2020-05-16|archive-date=2020-08-01|archive-url=https://web.archive.org/web/20200801034418/https://www.pearsoned.com/stuffed-cabbage-recipes-history-food/|url-status=dead}}</ref> A version called [[holishkes]] is traditionally eaten by Jews on [[Simchat Torah]]; [[Gil Marks]] described stuffed cabbage to have entered Jewish cooking some 2,000 years ago.<ref name="Lavine">{{cite news|author=Eileen M. Lavine|url=http://momentmag.com/moment/issues/2011/10/talkofthetable.html|title=Stuffed Cabbage: A Comfort Food for All Ages|work=Moment Magazine|date=September–October 2011|access-date=October 3, 2011|url-status=dead|archive-url=https://web.archive.org/web/20111011080758/http://momentmag.com/moment/issues/2011/10/talkofthetable.html|archive-date=October 11, 2011}}</ref> Recipes vary depending on region; northern Poles prefer a savory sauce, while Galicia, Hungary and Ukraine favor sweet-and-sour, for example.<ref name="Lavine" />

==Variations==
{{div col|colwidth=22em}}
* ''Lahanodolmades''<ref>{{Cite web |url=https://cookpad.com/ke/recipes/3104921-greek-stuffed-cabbage-leaves-lahanodolmades |title=Greek Stuffed Cabbage Leaves (Lahanodolmades) |access-date=12 December 2020 |work=Cookpad |language=en }}</ref> (Λαχανοντολμάδες) – Greece
* ''Töltött káposzta'' – Hungary
* Balandėliai – Lithuania
* ''Halubcy'' – Belarus
* ''Golubtsy'' – Russia
* ''[[Gołąbki]]'' – Poland
* ''Holubtsi'' – Ukraine
* ''Kāpostu tīteņi'' – Latvia
* ''Holubky'' – Czech Republic and Slovakia
* ''[[Holishkes]]'' – Ashkenazi Jewish
* ''Prakas'' – Ashkenazi Jewish
* ''Krouv Memula'' – Israel
* ''Kåldolmar'' – Sweden
* ''Kaalikääryle'' – Finland
* ''Kapsarull'' – Estonia
* ''Japrak'' or ''[[Sarma (food)|Sarma]]'' (''Sarma me lakër të bardhë'') – [[Albania]]
* Сарма (''[[Sarma (food)|Sarma]]'') – North Macedonia
* Сарма / ''[[Sarma (food)|Sarma]]'' – Serbia
* ''[[Sarma (food)|Sarma]]'' / Сарма or ''Japrak'' / Јапрак – Bosnia and Herzegovina
* ''Punjeni kupus'' or ''Arambašići'' or ''[[Sarma (food)|Sarma]]'' – Croatia
* Сарма (''Sarma''; see: [[Sarma (food)|Sarma]]) – Bulgaria
* ''[[Sarmale]]'' – Romania, Moldova
* ''[[Sarma (food)|Sarma]]'' – Southeastern Europe and Turkey
* ''Lahana dolması/sarması''<ref>{{Cite web |url=https://www.haberturk.com/kiymali-lahana-sarmasi-tarifi-nasil-yapilir-hbrt-2574633 |title=Kıymalı lahana sarması, tarifi nasıl yapılır? |date=6 February 2020 |access-date=12 December 2020 |work=[[Habertürk]] |language=tr }}</ref><ref>{{Cite web |url=https://lezzetler.com/etli-lahana-dolmasi-tarif-8111 |title=Etli Lahana Dolması |access-date=12 December 2020 |work=Lezzetler |language=tr }}</ref> – Turkey
* ''Kələm dolması'' – Azerbaijan<ref>{{Cite web |url=https://azcookbook.com/azeri/k%C9%99l%C9%99m-dolmasi/ |title=Kələm Dolması |date=6 February 2010 |access-date=12 December 2020 |work=AZCookbook|language=az }}</ref><ref>{{Cite web |url=https://resept.az/kelem-dolmasi/ |title=Kələm dolması |date=8 December 2012 |access-date=12 December 2020 |work=Resept.az |language=az }}</ref>
* ''Kaghambi tolma'' (կաղամբի տոլմա) – Armenia
* ''Tolma'' (ტოლმა) – Georgia
* ''Dolmeye Kalam'' (cabbage dolma) – Iran
* ''Malfoof Mahshi'' (ملفوف محشي) – the Levant
* ''Mahashi Malfoof'' (محاشي ملفوف) - The Arab states of the Gulf
* ''Mahshi koronmb'' (محشى كرمب) – Egypt and Sudan
* ''{{ill2|Kohlroulade|de}}'' and ''Krautwickel'' – Germany and Austria
* ''Cigares au chou'' – Quebec
* ''Involtini di cavolo'' – Italy
* ''[[Capuns]] – Graubunden, Switzerland and Lombardy, Italy
* ''Capunet'' – Piedmont, Italy
* ''Bragioli'' – Malta
* ''Niños Envueltos'' – Argentina and Uruguay
* ''Charuto de Repolho'' – Brazil
* ''Aluske'' – Paraná, Santa Catarina, and Rio Grande do Sul (Brazil)
* ''Bai Cai Juan'' (白菜卷) – China
* ''Rōru kyabetsu'' (ロールキャベツ) – Japan
* ''Kålrouletter'' - Norway
{{div col end}}

===Europe===

====Armenia====
{{main|Dolma (food)}}
In Armenia, cabbage rolls are stuffed with beans and tart fruits. It is wrapped with cabbage leaves, and stuffed with red beans, garbanzo beans, lentils, cracked wheat, tomato paste, onion and many spices and flavorings. Cabbage rolls are called Pasuts tolma (պասուց տոլմա) (Lenten dolma) in Armenian where they are of seven different grains – chickpea, bean, lentil, cracked wheat, pea, rice and maize.<ref name="Recipe Corner: Basoots Dolma (Lenten Tolma)">{{cite web |last1=Vartanian Datian |first1=Christine |title=Armenian Pasuts Dolma Recipe |url=https://mirrorspectator.com/2020/06/04/recipe-corner-basoots-dolma-lenten-tolma/ |website=The Armenian Mirror Spectator |publisher=The Armenian Mirror Spectator |access-date=25 December 2023 |ref=https://mirrorspectator.com/2020/06/04/recipe-corner-basoots-dolma-lenten-tolma/}}</ref> Armenian cooks sometimes use rose hip syrup to flavor stuffed cabbage rolls.<ref>{{cite book |last1=Duguid |first1=Naomi |title=Taste of Persia: A Cook's Travels Through Armenia, Azerbaijan, Georgia, Iran, and Kurdistan |date=2016-09-06 |publisher=Artisan Books |isbn=978-1-57965-727-7 |pages=400 |url=https://www.amazon.com/Taste-Persia-Travels-Azerbaijan-Kurdistan/dp/1579655483 |access-date=25 December 2023}}</ref>

====Azerbaijan and Turkey====
[[File:Kalam dolmasi Azerbaijan.jpg|thumb|right| Azerbaijani cabbage roll, ({{lang-az|Kələm dolması }})]]
{{main|Sarma (food)}}
Stuffed cabbage leaves ({{lang-az|Kələm dolması }} {{lang-tr|Lahana dolması}}) are popular all year in Azerbaijan and Turkey, but especially in winter when other vegetables are less plentiful. The stuffing usually consists of rice and herbs such as coriander, mint and dill, onions and meat, although there is a variation— ''yalancı dolma'' ("fake" [[dolma]]) — which is meat-free.<ref>Azerbaijani Cuisine—National Tourism Promotion Bureau, 2017.</ref>

==== Balkans ====
{{main|Sarma (food)}}
Cabbage rolls are a culinary standard in [[Turkey]], [[Bulgaria]], [[Greece]], [[North Macedonia]], [[Albania]], [[Serbia]], [[Montenegro]], [[Bosnia and Herzegovina]], [[Croatia]], [[Slovenia]] and [[Romania]]. They are traditionally made with leaves of brined cabbage stuffed with ground beef, pork and rice, while meat can also be omitted or substituted with crushed walnuts, pine nuts and raisins. In [[Romania]] and parts of [[Greece]], cabbage rolls are a favorite dish during Christmas time and other non-fasting holidays. In some countries, such as [[Serbia]], cabbage rolls are traditionally simmered at length in a paprika-based sauce with chunks of smoked bacon.

==== Romania and Moldova ====
{{main|Sarmale}}
With ''sarmale''<ref>{{Citation |last=Diana A. |title=Stuffed Cabbage Rolls - Sarmale |date=2023-01-22 |url=https://www.youtube.com/watch?v=zlQnGi9GlyY |access-date=2023-09-13 |language=en}}</ref> being the national dish of Romania, come different variations and sizing depending on the region.
Sarmale are Romanian stuffed cabbage rolls traditionally served on [[Christmas]] and [[New Year's Eve]] but also served throughout the year at weddings, baptism parties, and other large celebrations. It is considered a winter dish and starts with the orthodox celebration of St. Ignatie day – Preparing the Pig, when Romanians traditionally slaughter the pigs for Christmas.
Ground pork or beef is mixed with sauteed caramelized onions and rice, stuffed in a cabbage leaf, pickled sauerkraut leaf<ref>{{Citation |last=Diana A. |title=Pickled Cabbage |date=2022-12-05 |url=https://www.youtube.com/watch?v=x1i0KbDMsbE |access-date=2023-09-13 |language=en}}</ref> or grape leaf. For flavor, they usually consist of layers with bacon, smoked ribs, or smoked sausage.
Seasoned with spices and aromatics, it is traditionally served with [[polenta]], sour cream and pickled spicy peppers.

==== {{anchor|Töltött káposzta|Hungary}}Hungary ====
The traditional Hungarian cabbage roll ''(töltött káposzta)'' can be made from sweet or sauerkraut cabbage leaves filled with a mixture of minced pork meat, eggs, and rice seasoned with paprika, caraway, salt, and pepper. The Hungarian version often contains minced pepper ([[paprika]]) and is served with [[sour cream]] on top. Many Hungarians serve this food during Christmas and New Year's Eve, although it is a common dish throughout the year (sweet version during summer/fall and the sour during winter/spring time). The sour stuffed cabbage is part of the traditional Hungarian pig slaughter menu and it is said that eating this during the holiday season will bring you wealth and health for the new year.

==== Poland ====
{{main|Gołąbki}}
Stuffed cabbage rolls are a popular Polish dish. Pork and beef mixed with rice or barley are nestled in a cabbage leaf and cooked in the oven or on the stove until tender.

[[File:00101 Rindfleisch - Kohlroulade, Podkarpackie.JPG|thumb|Gołąbki in tomato sauce]]

The cabbage rolls are called ''gołąbki'' in Polish, ''holubky'' by Czechs and Slovaks, or ''sarma'' / ''сарма'' by Serbs, Croatians and Bulgarians. The sauce is often the main difference in regional variations.
In a less popular version called ''leniwe gołąbki'' (lazy cabbage rolls) the ingredients are chopped, combined and baked or fried.

====Ukraine====
In Ukraine, the filling of ''holubtsi'' varies throughout the country. In the [[Carpathian]] region corn grits are used, whereas in the [[Poltava]] area [[buckwheat]] groats are preferred. The cereal is lightly cooked, mixed with fried [[onions]], [[shkvarky]] ([[Pork rind|pork cracklings]]) or raw minced meat. The mixture is combined with spices and seasonings, and is then used as the filling for steamed fresh or pickled cabbage leaves. In spring cabbage leaves are often replaced with fresh [[beetroot]] leaves, and in the southwest – with fresh young grape leaves. The ''holubtsi'' are lightly fried and then stewed with sour cream, or tomato, mushroom or some other sauce. During [[Lent|Lenten periods]] this might be water mixed with [[kvass|kvas]], while at other times it might be a meat broth.

In [[Left Bank Ukraine]] and in the south, ''holubtsi'' are usually big, made from the entire cabbage leaf, while in the [[Dniester]] region and the [[Carpathians]] the cabbage leaf is divided into several pieces. In the latter regions, cooks who made large holubtsi were considered lazy. In Poltava cooks preferred the large holubtsi because they were juicier. In most of Ukraine holubtsi were an everyday dish, but in most of [[Right Bank Ukraine]], with the exception of [[Polissia]], they were also included in holiday meals. Beginning in the 1920s, holubtsi began to be stuffed with a rice-meat mixture, and, instead of kvas, they began to be cooked in tomato juice, sauce or paste. This is the most common way they are prepared nowadays.

Holubtsi are a popular dish for both everyday meal and as special occasion treat. For [[Twelve-dish Christmas Eve supper|Sviata Vecheria]] (Christmas Eve Supper) in many regions of Ukraine holubtsi constitute one of the twelve traditional dishes served on the night. Only Lenten ingredients are used in this case.<ref>Yakovenko, Svitlana 2016, [http://sovabooks.com.au/tradition-on-a-plate-ukrainian-christmas-eve-supper/ ''Ukrainian Christmas Eve Supper: Traditional village recipes for Sviata Vecheria''] {{Webarchive|url=https://web.archive.org/web/20170103204019/http://sovabooks.com.au/tradition-on-a-plate-ukrainian-christmas-eve-supper/ |date=2017-01-03 }}, Sova Books, Sydney</ref><ref>Faryna, Natalka (Ed.) 1976, ''Ukrainian Canadiana'', Ukrainian Women's Association of Canada, Edmonton</ref> On occasion of [[Twelve-dish Christmas Eve supper|Sviata Vecheria]], Boykos and Transcarpathians make Holubtsi from "kryzhavky" (pickled whole heads of cabbage). Into these "pickled" holubtsi they put a stuffing of rice and mushrooms. Carpathian-style holubtsi are usually made from fresh cabbage and stuffed with corn grits, or with grated raw potato (Vorokhta, Verkhovyna, Kvasy). These are best served with mushroom gravy. To differentiate the different types of holubtsi, they are wrapped into different shapes: corn-filled ones are made into the shape of envelopes, with the edges folded in, potato-filled are simply rolled up. A classic Halychian (Galician) [[Twelve-dish Christmas Eve supper|Sviata Vecheria]] dish is holubtsi stuffed with grated potato and served with a mushroom machanka (dipping sauce).

On May 4, 2023, the cooking of holubtsi, a Ukrainian traditional dish, was inscribed in the National Inventory of Elements of the Intangible Cultural Heritage of Ukraine.<ref>{{Cite web |date=2023-05-10 |title=Голубці внесли до переліку нематеріальної культурної спадщини України |url=https://www.unn.com.ua/uk/news/2026864-golubtsi-vnesli-do-pereliku-nematerialnoyi-kulturnoyi-spadschini-ukrayini |access-date=2023-08-13 |website=УНН |language=uk}}</ref>

==== Russia ====

The Russian version of cabbage rolls usually consists of [[Ground meat|minced meat]] mixed with cooked rice (or buckwheat) wrapped in cabbage leaves and stewed in a mixture of either sour cream or tomato sauce or both.

There is an easier-to-make variation of that dish called ''lenivye golubtsy'' (e.g. "lazy" cabbage rolls): the cabbage is chopped and mixed with [[Ground meat|minced meat]] and rice so there is no need to wrap every meatball in a cabbage leaf.<ref>[http://rbth.ru/articles/2009/10/28/281009_golubtsy.html The ultimate Russian comfort food] {{Webarchive|url=https://web.archive.org/web/20130823001117/https://rbth.ru/articles/2009/10/28/281009_golubtsy.html |date=2013-08-23 }}, October 28, 2009, [[Russia Beyond the Headlines]]e</ref>

As for the [[bell pepper]] variant the dish, the Russians refer to it as "perchiki" ("little peppers", even though bell peppers are big among peppers){{cn|date=May 2023}}

<gallery widths="200px" heights="160px">
File:Golubtci 025.jpg|Golubtsi stuffed with buckwheat groats, served with [[Smetana (dairy product)|smetana]]
File:Golubci8.jpg|Golubtsi stuffed with rice and meat mixture
File:כרוב ממולא.jpg|Jewish ''holishkes'' are similar to the dishes described above
</gallery>

====Sweden and Finland====
[[File:Kåldolmar.jpg|thumb|Kåldolmar]]
[[File:Wirsingroulade.jpg|thumb|German ''Wirsingrouladen'' made using [[savoy cabbage]] leaves]]
''Kåldolmar'' ("cabbage dolma") are [[Swedish cuisine|Swedish]] cabbage rolls filled with [[rice]] and minced meat (most often [[pork]]). They are traditionally eaten with boiled or mashed [[potato]]es, [[gravy]], and [[lingonberry]] jam. In [[Finland]] the same dish is known as ''kaalikääryle'' (plural ''kaalikääryleet'').

In 1709, after losing the [[Battle of Poltava]], the wounded [[Charles XII of Sweden]] and the remnants of his army escaped with their [[Cossacks|Cossack]] allies to the [[Ottoman Empire|Ottoman]] town of [[Bender, Moldova|Bender]], in present-day [[Moldavia]], where they were granted refuge by [[Sultan]] [[Ahmed III]]. Charles XII spent more than five years in the Ottoman Empire, trying to convince the Sultan to help him defeat the Russians. When he finally returned to Sweden in 1715, he was followed by his Ottoman creditors and their cooks. The creditors remained in Sweden at least until 1732; it is generally believed that Ottoman style dolma were introduced into Swedish cooking during this period.

As indicated by the name, Swedish ''kåldolmar'' are generally considered a variety of the [[dolma]]. Swedish is the only European language to use the Turkish term dolma ("filled") to denote cabbage rolls.<ref>{{Cite news|date=2013-11-30|title=Krigarkonungen och kåldolmarna|language=sv|work=Svenska Dagbladet|url=https://www.svd.se/krigarkonungen-och-kaldolmarna|access-date=2020-07-25|issn=1101-2412}}</ref>

The earliest known Swedish recipe for "Dolma" is in the 1765 edition of the famous [[cookbook]] of [[Cajsa Warg]].<ref>{{Cite web|title=kåldolmar - Uppslagsverk - NE.se|url=https://www.ne.se/uppslagsverk/encyklopedi/l%C3%A5ng/k%C3%A5ldolmar|access-date=2020-07-25|website=www.ne.se}}</ref> Warg instructed her readers to prepare the rolls using vine leaves, lamb, rice, and lemon juice. Toward the end of the recipe, however, Warg suggested that those who could not afford vine leaves could use preboiled cabbage leaves in their place.<ref name="Karl XII och kåldolmarna">{{Cite news|date=2013-11-28|title=Karl XII och kåldolmarna|language=sv|work=Sveriges Radio|url=https://sverigesradio.se/artikel/5717751|access-date=2020-07-25}}</ref> Nowadays, frozen ''kåldolmar'', cooked with preboiled cabbage leaves, are sold in most major food stores in Sweden.

To cherish early modern cultural interchange between Sweden and the Orient, the Cabbage Dolma Day (Kåldolmens dag) is celebrated on November 30, the day [[Charles XII of Sweden|Charles XII]] was killed during a military campaign in Norway. The celebrations were instated in 2010 by a group known as the Friends of the Cabbage Dolma (Kåldolmens vänner). In a series of media appearances, historian [[Petter Hellström]] explained that the group wanted to make November 30 a day to remember and ponder the multifaceted roots of Sweden's cultural heritage,<ref name="Karl XII och kåldolmarna"/> apparently in contrast to the same day's long history as the unofficial marching day of Swedish [[fascism]] and [[Far-right politics|right wing extremism]].<ref>{{Cite news|last=Sjöström|first=Oskar|date=2018-11-30|title=Så blev Karl XII extremhögerns kelgris|language=sv|work=Svenska Dagbladet|url=https://www.svd.se/sa-blev-karl-xii-extremhogerns-kelgris|access-date=2020-07-25|issn=1101-2412}}</ref> Starting in 2013, the Cabbage Dolma Day was hosted by the [[Swedish History Museum]] in [[Stockholm]], the country's foremost historical museum.<ref>{{Cite web|date=2013-11-28|title=I stället för rasism – kåldolmar|url=https://www.dn.se/arkiv/stockholm/i-stallet-for-rasism-kaldolmar/|access-date=2020-07-25|website=DN.SE|language=sv}}</ref> The celebrations have also been supported by a number of important civil society organizations over the years, notably the [[Church of Sweden]] and the Federation of Local History and Folk Culture (Sveriges hembygdsförbund).

===Africa===
====Egypt====
[[File:Mahshi koromb.jpg|thumb|Mahshi koromb (Egyptian-style cabbage rolls). Note how the ends are not folded in.]]

In [[Egyptian cuisine]], cabbage rolls are called محشي كرمب, pronounced ''maḥshī kromb'' or ''maḥshī koronb'' (as Standard Arabic [m] often turns to [n] in proximity to [b] in [[Egyptian Arabic]]), literally translating to "stuffed cabbage". The leaves are fresh and commonly cut into smaller pieces and partially pre-cooked. The most common filling is a mixture of rice, onion, tomato, herbs, and spices (most typically including mint, dill, and cumin); meat is rarely used in Egyptian stuffed cabbage. The rolls are arranged in a pot and boiled in broth or tomato-based sauce, also including the herbs and spices.<ref name = "Egyptian">{{cite web|title=Egyptian style stuffed cabbage leaves|url=http://www.food.com/recipe/egyptian-style-stuffed-cabbage-leaves-mashy-crump-194768|publisher=Food.com|access-date=22 November 2013}}</ref> As the pieces of cabbage and therefore the rolls are small, the leaves are usually simply rolled around the filling almost like a small cigar, and are left open at the ends rather than folded around the filling to produce a completely enclosed package.<ref name = "Egyptian" />

=== Americas ===
[[File:Stuffed Cabbage Golomki.jpg|thumb|Polish-style ''gołąbki'' served in [[Grand Rapids, Michigan]]]]

====United States====
In regions heavily influenced by Polish immigrants, such as Chicago which claims the largest Polish population outside of Poland, Detroit, Pennsylvania, the southern tier of New York, and [[Northeast Ohio|northeastern Ohio]], the term usually refers instead to stuffed cabbage rolls, such as the Polish [[gołąbki]]. These are also known as ''pigs in a blanket''.<ref>{{cite book|last=Silverman|first=Deborah Anders|title=Polish-American Folklore|publisher=University of Illinois Press|year=2000|page=28|isbn=0-252-0256-9-5|url=https://books.google.com/books?id=OSpC30_ppvYC&pg=PA28}}</ref> [[Jewish]] immigrants from Eastern Europe popularized the dish in [[New York City]], where they became known as ''Jewish cabbage''.<ref name="Lavine"/>

Cabbage rolls also feature prominently in the cuisines of [[Cajuns]] and [[Louisiana Creoles]] of southern Louisiana, where they usually take the form of ground pork mixed with rice and chopped vegetables stuffed into parboiled cabbage leaves and cooked in a [[tomato sauce]]-based liquid.

[[Romani Americans]], [[Chinese Americans]] and [[Vietnamese Americans]] often cook cabbage rolls.

[[Romani people]] in the United States eat ''sarmi'' which is made with cabbage leaves stuffed with pork, onions, peppers, rice, and tomatoes.<ref>{{cite book|title=Gypsies: The Hidden Americans|page=63}}</ref>

===Asia===
====China====
In [[Chinese cuisine]], cabbage rolls are called 白菜卷, pronounced ''báicài juǎn''.

==See also==
* [[List of cabbage dishes]]
* [[List of stuffed dishes]]
* [[Vine leaf roll]]
* [[Dolma]], a similar variety of dishes in terms of having leaves stuffed with filling

==Notes==
{{reflist}}

==References==
{{commons}}
* Wretman, Tore: ''Svensk husmanskost'' (Forum 1967). {{ISBN|91-37-08274-4}}.
{{Jewish baked goods}}

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Cabbage roll

2024-02-08T18:51:17Z

MonkeyPython: /* Variations */

{{short description|Dish of cabbage leaves with a filling}}
{{Unreliable sources|date=January 2021}}
[[File:02022 Hungarian stuffed cabbage rolls in pickled cabbage leaves with veal and deer meat.jpg|thumb|Cabbage rolls]]

A '''cabbage roll''' is a dish consisting of cooked [[cabbage]] leaves wrapped around a variety of [[stuffing|fillings]]. It is common to the cuisines of [[Central Europe|Central]], [[Northern Europe|Northern]], [[Eastern Europe|Eastern]] and [[Southeastern Europe]] and much of [[Western Asia]], [[Northern China]], as well as parts of [[North Africa]].
[[Meat]] fillings are traditional in Europe, and include [[beef]], [[lamb (food)|lamb]], or [[pork]] seasoned with [[garlic]], [[onion]], and [[spice]]s. [[Cereal|Grains]] such as [[rice]] and [[barley]], [[edible mushroom|mushrooms]], and [[vegetable]]s are often included as well. Fermented cabbage leaves are used for wrapping, particularly in southeastern Europe. In Asia, seafoods, tofu, and [[shiitake mushroom]]s or [[Vegeta (condiment)|Vegeta]] may also be used. [[Chinese cabbage]] is often used as a wrapping.

Cabbage leaves are stuffed with the filling which are then [[baking|baked]], [[simmering|simmered]], or [[steaming|steamed]] in a covered pot and generally eaten warm, often accompanied with a [[sauce]]. The sauce varies widely by cuisine. In Sweden and Finland, stuffed cabbage is served with [[lingonberry jam]], which is both sweet and tart. In Central and Eastern Europe, [[tomato]]-based sauces and sour cream are typical. In Lebanon, the cabbage is stuffed with rice and minced meat and only rolled to the size of a cigar. It is usually served with a side dish of [[yogurt]] and a type of lemon and olive oil [[vinaigrette]] seasoned with garlic and dried mint.

The cabbage roll is a staple in the Romanian cuisine with variations of the recipe and sizing depending on the region, typically taking up to 6 hours to cook. Traditionally made with pork, beef, bacon, rice, spices and aromatics, broiled in a tomato sauce and served with [[polenta]], sour cream and spicy pickled peppers.

Cooking textbook author Nancy Krcek stated that the origins are unclear and that it is possible multiple groups of people invented it at the same time.<ref>{{cite web|author=Allen, Nancy Krcek|url=https://www.pearsoned.com/stuffed-cabbage-recipes-history-food/|title=Stuffed cabbage: From humble beginnings to staple comfort food|publisher=[[Pearson Education]]|date=2016-12-27|quote=Many cultures claim to have [...] her boiled cabbage leaves.|access-date=2020-05-16|archive-date=2020-08-01|archive-url=https://web.archive.org/web/20200801034418/https://www.pearsoned.com/stuffed-cabbage-recipes-history-food/|url-status=dead}}</ref> A version called [[holishkes]] is traditionally eaten by Jews on [[Simchat Torah]]; [[Gil Marks]] described stuffed cabbage to have entered Jewish cooking some 2,000 years ago.<ref name="Lavine">{{cite news|author=Eileen M. Lavine|url=http://momentmag.com/moment/issues/2011/10/talkofthetable.html|title=Stuffed Cabbage: A Comfort Food for All Ages|work=Moment Magazine|date=September–October 2011|access-date=October 3, 2011|url-status=dead|archive-url=https://web.archive.org/web/20111011080758/http://momentmag.com/moment/issues/2011/10/talkofthetable.html|archive-date=October 11, 2011}}</ref> Recipes vary depending on region; northern Poles prefer a savory sauce, while Galicia, Hungary and Ukraine favor sweet-and-sour, for example.<ref name="Lavine" />

==Variations==
{{div col|colwidth=22em}}
* ''Lahanodolmades''<ref>{{Cite web |url=https://cookpad.com/ke/recipes/3104921-greek-stuffed-cabbage-leaves-lahanodolmades |title=Greek Stuffed Cabbage Leaves (Lahanodolmades) |access-date=12 December 2020 |work=Cookpad |language=en }}</ref> (Λαχανοντολμάδες) – Greece
* ''Töltött káposzta'' – Hungary
* Balandėliai – Lithuania
* ''Halubcy'' – Belarus
* ''Golubtsy'' – Russia
* ''[[Gołąbki]]'' – Poland
* ''Holubtsi'' – Ukraine
* ''Kāpostu tīteņi'' – Latvia
* ''Holubky'' – Czech Republic and Slovakia
* ''[[Holishkes]]'' – Ashkenazi Jewish
* ''Prakas'' – Ashkenazi Jewish
* ''Krouv Memula'' – Israel
* ''Kåldolmar'' – Sweden
* ''Kaalikääryle'' – Finland
* ''Kapsarull'' – Estonia
* ''Japrak'' or ''[[Sarma (food)|Sarma]]'' (''Sarma me lakër të bardhë'') – [[Albania]]
* Сарма (''[[Sarma (food)|Sarma]]'') – North Macedonia
* Сарма / ''[[Sarma (food)|Sarma]]'' – Serbia
* ''[[Sarma (food)|Sarma]]'' / Сарма or ''Japrak'' / Јапрак – Bosnia and Herzegovina
* ''Punjeni kupus'' or ''Arambašići'' or ''[[Sarma (food)|Sarma]]'' – Croatia
* Сарма (''Sarma''; see: [[Sarma (food)|Sarma]]) – Bulgaria
* ''[[Sarmale]]'' – Romania, Moldova
* ''[[Sarma (food)|Sarma]]'' – Southeastern Europe and Turkey
* ''Lahana dolması/sarması''<ref>{{Cite web |url=https://www.haberturk.com/kiymali-lahana-sarmasi-tarifi-nasil-yapilir-hbrt-2574633 |title=Kıymalı lahana sarması, tarifi nasıl yapılır? |date=6 February 2020 |access-date=12 December 2020 |work=[[Habertürk]] |language=tr }}</ref><ref>{{Cite web |url=https://lezzetler.com/etli-lahana-dolmasi-tarif-8111 |title=Etli Lahana Dolması |access-date=12 December 2020 |work=Lezzetler |language=tr }}</ref> – Turkey
* ''Kələm dolması'' – Azerbaijan<ref>{{Cite web |url=https://azcookbook.com/azeri/k%C9%99l%C9%99m-dolmasi/ |title=Kələm Dolması |date=6 February 2010 |access-date=12 December 2020 |work=AZCookbook|language=az }}</ref><ref>{{Cite web |url=https://resept.az/kelem-dolmasi/ |title=Kələm dolması |date=8 December 2012 |access-date=12 December 2020 |work=Resept.az |language=az }}</ref>
* ''Kaghambi tolma'' (կաղամբի տոլմա) – Armenia
* ''Tolma'' (ტოლმა) – Georgia
* ''Dolmeye Kalam'' (cabbage dolma) – Iran
* ''Malfoof Mahshi'' (ملفوف محشي) – the Levant
* ''Mahashi Malfoof'' (محاشي ملفوف) - The Arab states of the Gulf
* ''Mahshi koronmb'' (محشى كرمب) – Egypt and Sudan
* ''{{ill2|Kohlroulade|de}}'' and ''Krautwickel'' – Germany and Austria
* ''Cigares au chou'' – Quebec
* ''Involtini di cavolo'' – Italy
* ''[[Capuns]] – Graubunden, Switzerland and Lombardy, Italy
* ''Capunet'' – Piedmont, Italy
* ''Bragioli'' – Malta
* ''Niños Envueltos'' – Argentina and Uruguay
* ''Charuto de Repolho'' – Brazil
* ''Aluske'' – Paraná, Santa Catarina, and Rio Grande do Sul (Brazil)
* ''Bai Cai Juan'' (白菜卷) – China
* ''Rōru kyabetsu'' (ロールキャベツ) – Japan
* ''{{ill|Cải bắp cuốn|vi|Bắp cải cuốn thịt|vertical-align=sup|WD=}}'' – Vietnam
* ''kålrouletter'' - Norway
{{div col end}}

===Europe===

====Armenia====
{{main|Dolma (food)}}
In Armenia, cabbage rolls are stuffed with beans and tart fruits. It is wrapped with cabbage leaves, and stuffed with red beans, garbanzo beans, lentils, cracked wheat, tomato paste, onion and many spices and flavorings. Cabbage rolls are called Pasuts tolma (պասուց տոլմա) (Lenten dolma) in Armenian where they are of seven different grains – chickpea, bean, lentil, cracked wheat, pea, rice and maize.<ref name="Recipe Corner: Basoots Dolma (Lenten Tolma)">{{cite web |last1=Vartanian Datian |first1=Christine |title=Armenian Pasuts Dolma Recipe |url=https://mirrorspectator.com/2020/06/04/recipe-corner-basoots-dolma-lenten-tolma/ |website=The Armenian Mirror Spectator |publisher=The Armenian Mirror Spectator |access-date=25 December 2023 |ref=https://mirrorspectator.com/2020/06/04/recipe-corner-basoots-dolma-lenten-tolma/}}</ref> Armenian cooks sometimes use rose hip syrup to flavor stuffed cabbage rolls.<ref>{{cite book |last1=Duguid |first1=Naomi |title=Taste of Persia: A Cook's Travels Through Armenia, Azerbaijan, Georgia, Iran, and Kurdistan |date=2016-09-06 |publisher=Artisan Books |isbn=978-1-57965-727-7 |pages=400 |url=https://www.amazon.com/Taste-Persia-Travels-Azerbaijan-Kurdistan/dp/1579655483 |access-date=25 December 2023}}</ref>

====Azerbaijan and Turkey====
[[File:Kalam dolmasi Azerbaijan.jpg|thumb|right| Azerbaijani cabbage roll, ({{lang-az|Kələm dolması }})]]
{{main|Sarma (food)}}
Stuffed cabbage leaves ({{lang-az|Kələm dolması }} {{lang-tr|Lahana dolması}}) are popular all year in Azerbaijan and Turkey, but especially in winter when other vegetables are less plentiful. The stuffing usually consists of rice and herbs such as coriander, mint and dill, onions and meat, although there is a variation— ''yalancı dolma'' ("fake" [[dolma]]) — which is meat-free.<ref>Azerbaijani Cuisine—National Tourism Promotion Bureau, 2017.</ref>

==== Balkans ====
{{main|Sarma (food)}}
Cabbage rolls are a culinary standard in [[Turkey]], [[Bulgaria]], [[Greece]], [[North Macedonia]], [[Albania]], [[Serbia]], [[Montenegro]], [[Bosnia and Herzegovina]], [[Croatia]], [[Slovenia]] and [[Romania]]. They are traditionally made with leaves of brined cabbage stuffed with ground beef, pork and rice, while meat can also be omitted or substituted with crushed walnuts, pine nuts and raisins. In [[Romania]] and parts of [[Greece]], cabbage rolls are a favorite dish during Christmas time and other non-fasting holidays. In some countries, such as [[Serbia]], cabbage rolls are traditionally simmered at length in a paprika-based sauce with chunks of smoked bacon.

==== Romania and Moldova ====
{{main|Sarmale}}
With ''sarmale''<ref>{{Citation |last=Diana A. |title=Stuffed Cabbage Rolls - Sarmale |date=2023-01-22 |url=https://www.youtube.com/watch?v=zlQnGi9GlyY |access-date=2023-09-13 |language=en}}</ref> being the national dish of Romania, come different variations and sizing depending on the region.
Sarmale are Romanian stuffed cabbage rolls traditionally served on [[Christmas]] and [[New Year's Eve]] but also served throughout the year at weddings, baptism parties, and other large celebrations. It is considered a winter dish and starts with the orthodox celebration of St. Ignatie day – Preparing the Pig, when Romanians traditionally slaughter the pigs for Christmas.
Ground pork or beef is mixed with sauteed caramelized onions and rice, stuffed in a cabbage leaf, pickled sauerkraut leaf<ref>{{Citation |last=Diana A. |title=Pickled Cabbage |date=2022-12-05 |url=https://www.youtube.com/watch?v=x1i0KbDMsbE |access-date=2023-09-13 |language=en}}</ref> or grape leaf. For flavor, they usually consist of layers with bacon, smoked ribs, or smoked sausage.
Seasoned with spices and aromatics, it is traditionally served with [[polenta]], sour cream and pickled spicy peppers.

==== {{anchor|Töltött káposzta|Hungary}}Hungary ====
The traditional Hungarian cabbage roll ''(töltött káposzta)'' can be made from sweet or sauerkraut cabbage leaves filled with a mixture of minced pork meat, eggs, and rice seasoned with paprika, caraway, salt, and pepper. The Hungarian version often contains minced pepper ([[paprika]]) and is served with [[sour cream]] on top. Many Hungarians serve this food during Christmas and New Year's Eve, although it is a common dish throughout the year (sweet version during summer/fall and the sour during winter/spring time). The sour stuffed cabbage is part of the traditional Hungarian pig slaughter menu and it is said that eating this during the holiday season will bring you wealth and health for the new year.

==== Poland ====
{{main|Gołąbki}}
Stuffed cabbage rolls are a popular Polish dish. Pork and beef mixed with rice or barley are nestled in a cabbage leaf and cooked in the oven or on the stove until tender.

[[File:00101 Rindfleisch - Kohlroulade, Podkarpackie.JPG|thumb|Gołąbki in tomato sauce]]

The cabbage rolls are called ''gołąbki'' in Polish, ''holubky'' by Czechs and Slovaks, or ''sarma'' / ''сарма'' by Serbs, Croatians and Bulgarians. The sauce is often the main difference in regional variations.
In a less popular version called ''leniwe gołąbki'' (lazy cabbage rolls) the ingredients are chopped, combined and baked or fried.

====Ukraine====
In Ukraine, the filling of ''holubtsi'' varies throughout the country. In the [[Carpathian]] region corn grits are used, whereas in the [[Poltava]] area [[buckwheat]] groats are preferred. The cereal is lightly cooked, mixed with fried [[onions]], [[shkvarky]] ([[Pork rind|pork cracklings]]) or raw minced meat. The mixture is combined with spices and seasonings, and is then used as the filling for steamed fresh or pickled cabbage leaves. In spring cabbage leaves are often replaced with fresh [[beetroot]] leaves, and in the southwest – with fresh young grape leaves. The ''holubtsi'' are lightly fried and then stewed with sour cream, or tomato, mushroom or some other sauce. During [[Lent|Lenten periods]] this might be water mixed with [[kvass|kvas]], while at other times it might be a meat broth.

In [[Left Bank Ukraine]] and in the south, ''holubtsi'' are usually big, made from the entire cabbage leaf, while in the [[Dniester]] region and the [[Carpathians]] the cabbage leaf is divided into several pieces. In the latter regions, cooks who made large holubtsi were considered lazy. In Poltava cooks preferred the large holubtsi because they were juicier. In most of Ukraine holubtsi were an everyday dish, but in most of [[Right Bank Ukraine]], with the exception of [[Polissia]], they were also included in holiday meals. Beginning in the 1920s, holubtsi began to be stuffed with a rice-meat mixture, and, instead of kvas, they began to be cooked in tomato juice, sauce or paste. This is the most common way they are prepared nowadays.

Holubtsi are a popular dish for both everyday meal and as special occasion treat. For [[Twelve-dish Christmas Eve supper|Sviata Vecheria]] (Christmas Eve Supper) in many regions of Ukraine holubtsi constitute one of the twelve traditional dishes served on the night. Only Lenten ingredients are used in this case.<ref>Yakovenko, Svitlana 2016, [http://sovabooks.com.au/tradition-on-a-plate-ukrainian-christmas-eve-supper/ ''Ukrainian Christmas Eve Supper: Traditional village recipes for Sviata Vecheria''] {{Webarchive|url=https://web.archive.org/web/20170103204019/http://sovabooks.com.au/tradition-on-a-plate-ukrainian-christmas-eve-supper/ |date=2017-01-03 }}, Sova Books, Sydney</ref><ref>Faryna, Natalka (Ed.) 1976, ''Ukrainian Canadiana'', Ukrainian Women's Association of Canada, Edmonton</ref> On occasion of [[Twelve-dish Christmas Eve supper|Sviata Vecheria]], Boykos and Transcarpathians make Holubtsi from "kryzhavky" (pickled whole heads of cabbage). Into these "pickled" holubtsi they put a stuffing of rice and mushrooms. Carpathian-style holubtsi are usually made from fresh cabbage and stuffed with corn grits, or with grated raw potato (Vorokhta, Verkhovyna, Kvasy). These are best served with mushroom gravy. To differentiate the different types of holubtsi, they are wrapped into different shapes: corn-filled ones are made into the shape of envelopes, with the edges folded in, potato-filled are simply rolled up. A classic Halychian (Galician) [[Twelve-dish Christmas Eve supper|Sviata Vecheria]] dish is holubtsi stuffed with grated potato and served with a mushroom machanka (dipping sauce).

On May 4, 2023, the cooking of holubtsi, a Ukrainian traditional dish, was inscribed in the National Inventory of Elements of the Intangible Cultural Heritage of Ukraine.<ref>{{Cite web |date=2023-05-10 |title=Голубці внесли до переліку нематеріальної культурної спадщини України |url=https://www.unn.com.ua/uk/news/2026864-golubtsi-vnesli-do-pereliku-nematerialnoyi-kulturnoyi-spadschini-ukrayini |access-date=2023-08-13 |website=УНН |language=uk}}</ref>

==== Russia ====

The Russian version of cabbage rolls usually consists of [[Ground meat|minced meat]] mixed with cooked rice (or buckwheat) wrapped in cabbage leaves and stewed in a mixture of either sour cream or tomato sauce or both.

There is an easier-to-make variation of that dish called ''lenivye golubtsy'' (e.g. "lazy" cabbage rolls): the cabbage is chopped and mixed with [[Ground meat|minced meat]] and rice so there is no need to wrap every meatball in a cabbage leaf.<ref>[http://rbth.ru/articles/2009/10/28/281009_golubtsy.html The ultimate Russian comfort food] {{Webarchive|url=https://web.archive.org/web/20130823001117/https://rbth.ru/articles/2009/10/28/281009_golubtsy.html |date=2013-08-23 }}, October 28, 2009, [[Russia Beyond the Headlines]]e</ref>

As for the [[bell pepper]] variant the dish, the Russians refer to it as "perchiki" ("little peppers", even though bell peppers are big among peppers){{cn|date=May 2023}}

<gallery widths="200px" heights="160px">
File:Golubtci 025.jpg|Golubtsi stuffed with buckwheat groats, served with [[Smetana (dairy product)|smetana]]
File:Golubci8.jpg|Golubtsi stuffed with rice and meat mixture
File:כרוב ממולא.jpg|Jewish ''holishkes'' are similar to the dishes described above
</gallery>

====Sweden and Finland====
[[File:Kåldolmar.jpg|thumb|Kåldolmar]]
[[File:Wirsingroulade.jpg|thumb|German ''Wirsingrouladen'' made using [[savoy cabbage]] leaves]]
''Kåldolmar'' ("cabbage dolma") are [[Swedish cuisine|Swedish]] cabbage rolls filled with [[rice]] and minced meat (most often [[pork]]). They are traditionally eaten with boiled or mashed [[potato]]es, [[gravy]], and [[lingonberry]] jam. In [[Finland]] the same dish is known as ''kaalikääryle'' (plural ''kaalikääryleet'').

In 1709, after losing the [[Battle of Poltava]], the wounded [[Charles XII of Sweden]] and the remnants of his army escaped with their [[Cossacks|Cossack]] allies to the [[Ottoman Empire|Ottoman]] town of [[Bender, Moldova|Bender]], in present-day [[Moldavia]], where they were granted refuge by [[Sultan]] [[Ahmed III]]. Charles XII spent more than five years in the Ottoman Empire, trying to convince the Sultan to help him defeat the Russians. When he finally returned to Sweden in 1715, he was followed by his Ottoman creditors and their cooks. The creditors remained in Sweden at least until 1732; it is generally believed that Ottoman style dolma were introduced into Swedish cooking during this period.

As indicated by the name, Swedish ''kåldolmar'' are generally considered a variety of the [[dolma]]. Swedish is the only European language to use the Turkish term dolma ("filled") to denote cabbage rolls.<ref>{{Cite news|date=2013-11-30|title=Krigarkonungen och kåldolmarna|language=sv|work=Svenska Dagbladet|url=https://www.svd.se/krigarkonungen-och-kaldolmarna|access-date=2020-07-25|issn=1101-2412}}</ref>

The earliest known Swedish recipe for "Dolma" is in the 1765 edition of the famous [[cookbook]] of [[Cajsa Warg]].<ref>{{Cite web|title=kåldolmar - Uppslagsverk - NE.se|url=https://www.ne.se/uppslagsverk/encyklopedi/l%C3%A5ng/k%C3%A5ldolmar|access-date=2020-07-25|website=www.ne.se}}</ref> Warg instructed her readers to prepare the rolls using vine leaves, lamb, rice, and lemon juice. Toward the end of the recipe, however, Warg suggested that those who could not afford vine leaves could use preboiled cabbage leaves in their place.<ref name="Karl XII och kåldolmarna">{{Cite news|date=2013-11-28|title=Karl XII och kåldolmarna|language=sv|work=Sveriges Radio|url=https://sverigesradio.se/artikel/5717751|access-date=2020-07-25}}</ref> Nowadays, frozen ''kåldolmar'', cooked with preboiled cabbage leaves, are sold in most major food stores in Sweden.

To cherish early modern cultural interchange between Sweden and the Orient, the Cabbage Dolma Day (Kåldolmens dag) is celebrated on November 30, the day [[Charles XII of Sweden|Charles XII]] was killed during a military campaign in Norway. The celebrations were instated in 2010 by a group known as the Friends of the Cabbage Dolma (Kåldolmens vänner). In a series of media appearances, historian [[Petter Hellström]] explained that the group wanted to make November 30 a day to remember and ponder the multifaceted roots of Sweden's cultural heritage,<ref name="Karl XII och kåldolmarna"/> apparently in contrast to the same day's long history as the unofficial marching day of Swedish [[fascism]] and [[Far-right politics|right wing extremism]].<ref>{{Cite news|last=Sjöström|first=Oskar|date=2018-11-30|title=Så blev Karl XII extremhögerns kelgris|language=sv|work=Svenska Dagbladet|url=https://www.svd.se/sa-blev-karl-xii-extremhogerns-kelgris|access-date=2020-07-25|issn=1101-2412}}</ref> Starting in 2013, the Cabbage Dolma Day was hosted by the [[Swedish History Museum]] in [[Stockholm]], the country's foremost historical museum.<ref>{{Cite web|date=2013-11-28|title=I stället för rasism – kåldolmar|url=https://www.dn.se/arkiv/stockholm/i-stallet-for-rasism-kaldolmar/|access-date=2020-07-25|website=DN.SE|language=sv}}</ref> The celebrations have also been supported by a number of important civil society organizations over the years, notably the [[Church of Sweden]] and the Federation of Local History and Folk Culture (Sveriges hembygdsförbund).

===Africa===
====Egypt====
[[File:Mahshi koromb.jpg|thumb|Mahshi koromb (Egyptian-style cabbage rolls). Note how the ends are not folded in.]]

In [[Egyptian cuisine]], cabbage rolls are called محشي كرمب, pronounced ''maḥshī kromb'' or ''maḥshī koronb'' (as Standard Arabic [m] often turns to [n] in proximity to [b] in [[Egyptian Arabic]]), literally translating to "stuffed cabbage". The leaves are fresh and commonly cut into smaller pieces and partially pre-cooked. The most common filling is a mixture of rice, onion, tomato, herbs, and spices (most typically including mint, dill, and cumin); meat is rarely used in Egyptian stuffed cabbage. The rolls are arranged in a pot and boiled in broth or tomato-based sauce, also including the herbs and spices.<ref name = "Egyptian">{{cite web|title=Egyptian style stuffed cabbage leaves|url=http://www.food.com/recipe/egyptian-style-stuffed-cabbage-leaves-mashy-crump-194768|publisher=Food.com|access-date=22 November 2013}}</ref> As the pieces of cabbage and therefore the rolls are small, the leaves are usually simply rolled around the filling almost like a small cigar, and are left open at the ends rather than folded around the filling to produce a completely enclosed package.<ref name = "Egyptian" />

=== Americas ===
[[File:Stuffed Cabbage Golomki.jpg|thumb|Polish-style ''gołąbki'' served in [[Grand Rapids, Michigan]]]]

====United States====
In regions heavily influenced by Polish immigrants, such as Chicago which claims the largest Polish population outside of Poland, Detroit, Pennsylvania, the southern tier of New York, and [[Northeast Ohio|northeastern Ohio]], the term usually refers instead to stuffed cabbage rolls, such as the Polish [[gołąbki]]. These are also known as ''pigs in a blanket''.<ref>{{cite book|last=Silverman|first=Deborah Anders|title=Polish-American Folklore|publisher=University of Illinois Press|year=2000|page=28|isbn=0-252-0256-9-5|url=https://books.google.com/books?id=OSpC30_ppvYC&pg=PA28}}</ref> [[Jewish]] immigrants from Eastern Europe popularized the dish in [[New York City]], where they became known as ''Jewish cabbage''.<ref name="Lavine"/>

Cabbage rolls also feature prominently in the cuisines of [[Cajuns]] and [[Louisiana Creoles]] of southern Louisiana, where they usually take the form of ground pork mixed with rice and chopped vegetables stuffed into parboiled cabbage leaves and cooked in a [[tomato sauce]]-based liquid.

[[Romani Americans]], [[Chinese Americans]] and [[Vietnamese Americans]] often cook cabbage rolls.

[[Romani people]] in the United States eat ''sarmi'' which is made with cabbage leaves stuffed with pork, onions, peppers, rice, and tomatoes.<ref>{{cite book|title=Gypsies: The Hidden Americans|page=63}}</ref>

===Asia===
====China====
In [[Chinese cuisine]], cabbage rolls are called 白菜卷, pronounced ''báicài juǎn''.

==See also==
* [[List of cabbage dishes]]
* [[List of stuffed dishes]]
* [[Vine leaf roll]]
* [[Dolma]], a similar variety of dishes in terms of having leaves stuffed with filling

==Notes==
{{reflist}}

==References==
{{commons}}
* Wretman, Tore: ''Svensk husmanskost'' (Forum 1967). {{ISBN|91-37-08274-4}}.
{{Jewish baked goods}}

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Cabbage roll

2024-02-08T18:46:27Z

MonkeyPython: /* Variations */

{{short description|Dish of cabbage leaves with a filling}}
{{Unreliable sources|date=January 2021}}
[[File:02022 Hungarian stuffed cabbage rolls in pickled cabbage leaves with veal and deer meat.jpg|thumb|Cabbage rolls]]

A '''cabbage roll''' is a dish consisting of cooked [[cabbage]] leaves wrapped around a variety of [[stuffing|fillings]]. It is common to the cuisines of [[Central Europe|Central]], [[Northern Europe|Northern]], [[Eastern Europe|Eastern]] and [[Southeastern Europe]] and much of [[Western Asia]], [[Northern China]], as well as parts of [[North Africa]].
[[Meat]] fillings are traditional in Europe, and include [[beef]], [[lamb (food)|lamb]], or [[pork]] seasoned with [[garlic]], [[onion]], and [[spice]]s. [[Cereal|Grains]] such as [[rice]] and [[barley]], [[edible mushroom|mushrooms]], and [[vegetable]]s are often included as well. Fermented cabbage leaves are used for wrapping, particularly in southeastern Europe. In Asia, seafoods, tofu, and [[shiitake mushroom]]s or [[Vegeta (condiment)|Vegeta]] may also be used. [[Chinese cabbage]] is often used as a wrapping.

Cabbage leaves are stuffed with the filling which are then [[baking|baked]], [[simmering|simmered]], or [[steaming|steamed]] in a covered pot and generally eaten warm, often accompanied with a [[sauce]]. The sauce varies widely by cuisine. In Sweden and Finland, stuffed cabbage is served with [[lingonberry jam]], which is both sweet and tart. In Central and Eastern Europe, [[tomato]]-based sauces and sour cream are typical. In Lebanon, the cabbage is stuffed with rice and minced meat and only rolled to the size of a cigar. It is usually served with a side dish of [[yogurt]] and a type of lemon and olive oil [[vinaigrette]] seasoned with garlic and dried mint.

The cabbage roll is a staple in the Romanian cuisine with variations of the recipe and sizing depending on the region, typically taking up to 6 hours to cook. Traditionally made with pork, beef, bacon, rice, spices and aromatics, broiled in a tomato sauce and served with [[polenta]], sour cream and spicy pickled peppers.

Cooking textbook author Nancy Krcek stated that the origins are unclear and that it is possible multiple groups of people invented it at the same time.<ref>{{cite web|author=Allen, Nancy Krcek|url=https://www.pearsoned.com/stuffed-cabbage-recipes-history-food/|title=Stuffed cabbage: From humble beginnings to staple comfort food|publisher=[[Pearson Education]]|date=2016-12-27|quote=Many cultures claim to have [...] her boiled cabbage leaves.|access-date=2020-05-16|archive-date=2020-08-01|archive-url=https://web.archive.org/web/20200801034418/https://www.pearsoned.com/stuffed-cabbage-recipes-history-food/|url-status=dead}}</ref> A version called [[holishkes]] is traditionally eaten by Jews on [[Simchat Torah]]; [[Gil Marks]] described stuffed cabbage to have entered Jewish cooking some 2,000 years ago.<ref name="Lavine">{{cite news|author=Eileen M. Lavine|url=http://momentmag.com/moment/issues/2011/10/talkofthetable.html|title=Stuffed Cabbage: A Comfort Food for All Ages|work=Moment Magazine|date=September–October 2011|access-date=October 3, 2011|url-status=dead|archive-url=https://web.archive.org/web/20111011080758/http://momentmag.com/moment/issues/2011/10/talkofthetable.html|archive-date=October 11, 2011}}</ref> Recipes vary depending on region; northern Poles prefer a savory sauce, while Galicia, Hungary and Ukraine favor sweet-and-sour, for example.<ref name="Lavine" />

==Variations==
{{div col|colwidth=22em}}
* ''Lahanodolmades''<ref>{{Cite web |url=https://cookpad.com/ke/recipes/3104921-greek-stuffed-cabbage-leaves-lahanodolmades |title=Greek Stuffed Cabbage Leaves (Lahanodolmades) |access-date=12 December 2020 |work=Cookpad |language=en }}</ref> (Λαχανοντολμάδες) – Greece
* ''Töltött káposzta'' – Hungary
* Balandėliai – Lithuania
* ''Halubcy'' – Belarus
* ''Golubtsy'' – Russia
* ''[[Gołąbki]]'' – Poland
* ''Holubtsi'' – Ukraine
* ''Kāpostu tīteņi'' – Latvia
* ''Holubky'' – Czech Republic and Slovakia
* ''[[Holishkes]]'' – Ashkenazi Jewish
* ''Prakas'' – Ashkenazi Jewish
* ''Krouv Memula'' – Israel
* ''Kåldolmar'' – Sweden
* ''Kaalikääryle'' – Finland
* ''Kapsarull'' – Estonia
* ''Japrak'' or ''[[Sarma (food)|Sarma]]'' (''Sarma me lakër të bardhë'') – [[Albania]]
* Сарма (''[[Sarma (food)|Sarma]]'') – North Macedonia
* Сарма / ''[[Sarma (food)|Sarma]]'' – Serbia
* ''[[Sarma (food)|Sarma]]'' / Сарма or ''Japrak'' / Јапрак – Bosnia and Herzegovina
* ''Punjeni kupus'' or ''Arambašići'' or ''[[Sarma (food)|Sarma]]'' – Croatia
* Сарма (''Sarma''; see: [[Sarma (food)|Sarma]]) – Bulgaria
* ''[[Sarmale]]'' – Romania, Moldova
* ''[[Sarma (food)|Sarma]]'' – Southeastern Europe and Turkey
* ''Lahana dolması/sarması''<ref>{{Cite web |url=https://www.haberturk.com/kiymali-lahana-sarmasi-tarifi-nasil-yapilir-hbrt-2574633 |title=Kıymalı lahana sarması, tarifi nasıl yapılır? |date=6 February 2020 |access-date=12 December 2020 |work=[[Habertürk]] |language=tr }}</ref><ref>{{Cite web |url=https://lezzetler.com/etli-lahana-dolmasi-tarif-8111 |title=Etli Lahana Dolması |access-date=12 December 2020 |work=Lezzetler |language=tr }}</ref> – Turkey
* ''Kələm dolması'' – Azerbaijan<ref>{{Cite web |url=https://azcookbook.com/azeri/k%C9%99l%C9%99m-dolmasi/ |title=Kələm Dolması |date=6 February 2010 |access-date=12 December 2020 |work=AZCookbook|language=az }}</ref><ref>{{Cite web |url=https://resept.az/kelem-dolmasi/ |title=Kələm dolması |date=8 December 2012 |access-date=12 December 2020 |work=Resept.az |language=az }}</ref>
* ''Kaghambi tolma'' (կաղամբի տոլմա) – Armenia
* ''Tolma'' (ტოლმა) – Georgia
* ''Dolmeye Kalam'' (cabbage dolma) – Iran
* ''Malfoof Mahshi'' (ملفوف محشي) – the Levant
* ''Mahashi Malfoof'' (محاشي ملفوف) - The Arab states of the Gulf
* ''Mahshi koronmb'' (محشى كرمب) – Egypt and Sudan
* ''{{ill2|Kohlroulade|de}}'' and ''Krautwickel'' – Germany and Austria
* ''Cigares au chou'' – Quebec
* ''Involtini di cavolo'' – Italy
* ''[[Capuns]] – Graubunden, Switzerland and Lombardy, Italy
* ''Capunet'' – Piedmont, Italy
* ''Bragioli'' – Malta
* ''Niños Envueltos'' – Argentina and Uruguay
* ''Charuto de Repolho'' – Brazil
* ''Aluske'' – Paraná, Santa Catarina, and Rio Grande do Sul (Brazil)
* ''Bai Cai Juan'' (白菜卷) – China
* ''Rōru kyabetsu'' (ロールキャベツ) – Japan
* ''{{ill|Cải bắp cuốn|vi|Bắp cải cuốn thịt|vertical-align=sup|WD=}}'' – Vietnam
* ''Kålruller'' - Norway
{{div col end}}

===Europe===

====Armenia====
{{main|Dolma (food)}}
In Armenia, cabbage rolls are stuffed with beans and tart fruits. It is wrapped with cabbage leaves, and stuffed with red beans, garbanzo beans, lentils, cracked wheat, tomato paste, onion and many spices and flavorings. Cabbage rolls are called Pasuts tolma (պասուց տոլմա) (Lenten dolma) in Armenian where they are of seven different grains – chickpea, bean, lentil, cracked wheat, pea, rice and maize.<ref name="Recipe Corner: Basoots Dolma (Lenten Tolma)">{{cite web |last1=Vartanian Datian |first1=Christine |title=Armenian Pasuts Dolma Recipe |url=https://mirrorspectator.com/2020/06/04/recipe-corner-basoots-dolma-lenten-tolma/ |website=The Armenian Mirror Spectator |publisher=The Armenian Mirror Spectator |access-date=25 December 2023 |ref=https://mirrorspectator.com/2020/06/04/recipe-corner-basoots-dolma-lenten-tolma/}}</ref> Armenian cooks sometimes use rose hip syrup to flavor stuffed cabbage rolls.<ref>{{cite book |last1=Duguid |first1=Naomi |title=Taste of Persia: A Cook's Travels Through Armenia, Azerbaijan, Georgia, Iran, and Kurdistan |date=2016-09-06 |publisher=Artisan Books |isbn=978-1-57965-727-7 |pages=400 |url=https://www.amazon.com/Taste-Persia-Travels-Azerbaijan-Kurdistan/dp/1579655483 |access-date=25 December 2023}}</ref>

====Azerbaijan and Turkey====
[[File:Kalam dolmasi Azerbaijan.jpg|thumb|right| Azerbaijani cabbage roll, ({{lang-az|Kələm dolması }})]]
{{main|Sarma (food)}}
Stuffed cabbage leaves ({{lang-az|Kələm dolması }} {{lang-tr|Lahana dolması}}) are popular all year in Azerbaijan and Turkey, but especially in winter when other vegetables are less plentiful. The stuffing usually consists of rice and herbs such as coriander, mint and dill, onions and meat, although there is a variation— ''yalancı dolma'' ("fake" [[dolma]]) — which is meat-free.<ref>Azerbaijani Cuisine—National Tourism Promotion Bureau, 2017.</ref>

==== Balkans ====
{{main|Sarma (food)}}
Cabbage rolls are a culinary standard in [[Turkey]], [[Bulgaria]], [[Greece]], [[North Macedonia]], [[Albania]], [[Serbia]], [[Montenegro]], [[Bosnia and Herzegovina]], [[Croatia]], [[Slovenia]] and [[Romania]]. They are traditionally made with leaves of brined cabbage stuffed with ground beef, pork and rice, while meat can also be omitted or substituted with crushed walnuts, pine nuts and raisins. In [[Romania]] and parts of [[Greece]], cabbage rolls are a favorite dish during Christmas time and other non-fasting holidays. In some countries, such as [[Serbia]], cabbage rolls are traditionally simmered at length in a paprika-based sauce with chunks of smoked bacon.

==== Romania and Moldova ====
{{main|Sarmale}}
With ''sarmale''<ref>{{Citation |last=Diana A. |title=Stuffed Cabbage Rolls - Sarmale |date=2023-01-22 |url=https://www.youtube.com/watch?v=zlQnGi9GlyY |access-date=2023-09-13 |language=en}}</ref> being the national dish of Romania, come different variations and sizing depending on the region.
Sarmale are Romanian stuffed cabbage rolls traditionally served on [[Christmas]] and [[New Year's Eve]] but also served throughout the year at weddings, baptism parties, and other large celebrations. It is considered a winter dish and starts with the orthodox celebration of St. Ignatie day – Preparing the Pig, when Romanians traditionally slaughter the pigs for Christmas.
Ground pork or beef is mixed with sauteed caramelized onions and rice, stuffed in a cabbage leaf, pickled sauerkraut leaf<ref>{{Citation |last=Diana A. |title=Pickled Cabbage |date=2022-12-05 |url=https://www.youtube.com/watch?v=x1i0KbDMsbE |access-date=2023-09-13 |language=en}}</ref> or grape leaf. For flavor, they usually consist of layers with bacon, smoked ribs, or smoked sausage.
Seasoned with spices and aromatics, it is traditionally served with [[polenta]], sour cream and pickled spicy peppers.

==== {{anchor|Töltött káposzta|Hungary}}Hungary ====
The traditional Hungarian cabbage roll ''(töltött káposzta)'' can be made from sweet or sauerkraut cabbage leaves filled with a mixture of minced pork meat, eggs, and rice seasoned with paprika, caraway, salt, and pepper. The Hungarian version often contains minced pepper ([[paprika]]) and is served with [[sour cream]] on top. Many Hungarians serve this food during Christmas and New Year's Eve, although it is a common dish throughout the year (sweet version during summer/fall and the sour during winter/spring time). The sour stuffed cabbage is part of the traditional Hungarian pig slaughter menu and it is said that eating this during the holiday season will bring you wealth and health for the new year.

==== Poland ====
{{main|Gołąbki}}
Stuffed cabbage rolls are a popular Polish dish. Pork and beef mixed with rice or barley are nestled in a cabbage leaf and cooked in the oven or on the stove until tender.

[[File:00101 Rindfleisch - Kohlroulade, Podkarpackie.JPG|thumb|Gołąbki in tomato sauce]]

The cabbage rolls are called ''gołąbki'' in Polish, ''holubky'' by Czechs and Slovaks, or ''sarma'' / ''сарма'' by Serbs, Croatians and Bulgarians. The sauce is often the main difference in regional variations.
In a less popular version called ''leniwe gołąbki'' (lazy cabbage rolls) the ingredients are chopped, combined and baked or fried.

====Ukraine====
In Ukraine, the filling of ''holubtsi'' varies throughout the country. In the [[Carpathian]] region corn grits are used, whereas in the [[Poltava]] area [[buckwheat]] groats are preferred. The cereal is lightly cooked, mixed with fried [[onions]], [[shkvarky]] ([[Pork rind|pork cracklings]]) or raw minced meat. The mixture is combined with spices and seasonings, and is then used as the filling for steamed fresh or pickled cabbage leaves. In spring cabbage leaves are often replaced with fresh [[beetroot]] leaves, and in the southwest – with fresh young grape leaves. The ''holubtsi'' are lightly fried and then stewed with sour cream, or tomato, mushroom or some other sauce. During [[Lent|Lenten periods]] this might be water mixed with [[kvass|kvas]], while at other times it might be a meat broth.

In [[Left Bank Ukraine]] and in the south, ''holubtsi'' are usually big, made from the entire cabbage leaf, while in the [[Dniester]] region and the [[Carpathians]] the cabbage leaf is divided into several pieces. In the latter regions, cooks who made large holubtsi were considered lazy. In Poltava cooks preferred the large holubtsi because they were juicier. In most of Ukraine holubtsi were an everyday dish, but in most of [[Right Bank Ukraine]], with the exception of [[Polissia]], they were also included in holiday meals. Beginning in the 1920s, holubtsi began to be stuffed with a rice-meat mixture, and, instead of kvas, they began to be cooked in tomato juice, sauce or paste. This is the most common way they are prepared nowadays.

Holubtsi are a popular dish for both everyday meal and as special occasion treat. For [[Twelve-dish Christmas Eve supper|Sviata Vecheria]] (Christmas Eve Supper) in many regions of Ukraine holubtsi constitute one of the twelve traditional dishes served on the night. Only Lenten ingredients are used in this case.<ref>Yakovenko, Svitlana 2016, [http://sovabooks.com.au/tradition-on-a-plate-ukrainian-christmas-eve-supper/ ''Ukrainian Christmas Eve Supper: Traditional village recipes for Sviata Vecheria''] {{Webarchive|url=https://web.archive.org/web/20170103204019/http://sovabooks.com.au/tradition-on-a-plate-ukrainian-christmas-eve-supper/ |date=2017-01-03 }}, Sova Books, Sydney</ref><ref>Faryna, Natalka (Ed.) 1976, ''Ukrainian Canadiana'', Ukrainian Women's Association of Canada, Edmonton</ref> On occasion of [[Twelve-dish Christmas Eve supper|Sviata Vecheria]], Boykos and Transcarpathians make Holubtsi from "kryzhavky" (pickled whole heads of cabbage). Into these "pickled" holubtsi they put a stuffing of rice and mushrooms. Carpathian-style holubtsi are usually made from fresh cabbage and stuffed with corn grits, or with grated raw potato (Vorokhta, Verkhovyna, Kvasy). These are best served with mushroom gravy. To differentiate the different types of holubtsi, they are wrapped into different shapes: corn-filled ones are made into the shape of envelopes, with the edges folded in, potato-filled are simply rolled up. A classic Halychian (Galician) [[Twelve-dish Christmas Eve supper|Sviata Vecheria]] dish is holubtsi stuffed with grated potato and served with a mushroom machanka (dipping sauce).

On May 4, 2023, the cooking of holubtsi, a Ukrainian traditional dish, was inscribed in the National Inventory of Elements of the Intangible Cultural Heritage of Ukraine.<ref>{{Cite web |date=2023-05-10 |title=Голубці внесли до переліку нематеріальної культурної спадщини України |url=https://www.unn.com.ua/uk/news/2026864-golubtsi-vnesli-do-pereliku-nematerialnoyi-kulturnoyi-spadschini-ukrayini |access-date=2023-08-13 |website=УНН |language=uk}}</ref>

==== Russia ====

The Russian version of cabbage rolls usually consists of [[Ground meat|minced meat]] mixed with cooked rice (or buckwheat) wrapped in cabbage leaves and stewed in a mixture of either sour cream or tomato sauce or both.

There is an easier-to-make variation of that dish called ''lenivye golubtsy'' (e.g. "lazy" cabbage rolls): the cabbage is chopped and mixed with [[Ground meat|minced meat]] and rice so there is no need to wrap every meatball in a cabbage leaf.<ref>[http://rbth.ru/articles/2009/10/28/281009_golubtsy.html The ultimate Russian comfort food] {{Webarchive|url=https://web.archive.org/web/20130823001117/https://rbth.ru/articles/2009/10/28/281009_golubtsy.html |date=2013-08-23 }}, October 28, 2009, [[Russia Beyond the Headlines]]e</ref>

As for the [[bell pepper]] variant the dish, the Russians refer to it as "perchiki" ("little peppers", even though bell peppers are big among peppers){{cn|date=May 2023}}

<gallery widths="200px" heights="160px">
File:Golubtci 025.jpg|Golubtsi stuffed with buckwheat groats, served with [[Smetana (dairy product)|smetana]]
File:Golubci8.jpg|Golubtsi stuffed with rice and meat mixture
File:כרוב ממולא.jpg|Jewish ''holishkes'' are similar to the dishes described above
</gallery>

====Sweden and Finland====
[[File:Kåldolmar.jpg|thumb|Kåldolmar]]
[[File:Wirsingroulade.jpg|thumb|German ''Wirsingrouladen'' made using [[savoy cabbage]] leaves]]
''Kåldolmar'' ("cabbage dolma") are [[Swedish cuisine|Swedish]] cabbage rolls filled with [[rice]] and minced meat (most often [[pork]]). They are traditionally eaten with boiled or mashed [[potato]]es, [[gravy]], and [[lingonberry]] jam. In [[Finland]] the same dish is known as ''kaalikääryle'' (plural ''kaalikääryleet'').

In 1709, after losing the [[Battle of Poltava]], the wounded [[Charles XII of Sweden]] and the remnants of his army escaped with their [[Cossacks|Cossack]] allies to the [[Ottoman Empire|Ottoman]] town of [[Bender, Moldova|Bender]], in present-day [[Moldavia]], where they were granted refuge by [[Sultan]] [[Ahmed III]]. Charles XII spent more than five years in the Ottoman Empire, trying to convince the Sultan to help him defeat the Russians. When he finally returned to Sweden in 1715, he was followed by his Ottoman creditors and their cooks. The creditors remained in Sweden at least until 1732; it is generally believed that Ottoman style dolma were introduced into Swedish cooking during this period.

As indicated by the name, Swedish ''kåldolmar'' are generally considered a variety of the [[dolma]]. Swedish is the only European language to use the Turkish term dolma ("filled") to denote cabbage rolls.<ref>{{Cite news|date=2013-11-30|title=Krigarkonungen och kåldolmarna|language=sv|work=Svenska Dagbladet|url=https://www.svd.se/krigarkonungen-och-kaldolmarna|access-date=2020-07-25|issn=1101-2412}}</ref>

The earliest known Swedish recipe for "Dolma" is in the 1765 edition of the famous [[cookbook]] of [[Cajsa Warg]].<ref>{{Cite web|title=kåldolmar - Uppslagsverk - NE.se|url=https://www.ne.se/uppslagsverk/encyklopedi/l%C3%A5ng/k%C3%A5ldolmar|access-date=2020-07-25|website=www.ne.se}}</ref> Warg instructed her readers to prepare the rolls using vine leaves, lamb, rice, and lemon juice. Toward the end of the recipe, however, Warg suggested that those who could not afford vine leaves could use preboiled cabbage leaves in their place.<ref name="Karl XII och kåldolmarna">{{Cite news|date=2013-11-28|title=Karl XII och kåldolmarna|language=sv|work=Sveriges Radio|url=https://sverigesradio.se/artikel/5717751|access-date=2020-07-25}}</ref> Nowadays, frozen ''kåldolmar'', cooked with preboiled cabbage leaves, are sold in most major food stores in Sweden.

To cherish early modern cultural interchange between Sweden and the Orient, the Cabbage Dolma Day (Kåldolmens dag) is celebrated on November 30, the day [[Charles XII of Sweden|Charles XII]] was killed during a military campaign in Norway. The celebrations were instated in 2010 by a group known as the Friends of the Cabbage Dolma (Kåldolmens vänner). In a series of media appearances, historian [[Petter Hellström]] explained that the group wanted to make November 30 a day to remember and ponder the multifaceted roots of Sweden's cultural heritage,<ref name="Karl XII och kåldolmarna"/> apparently in contrast to the same day's long history as the unofficial marching day of Swedish [[fascism]] and [[Far-right politics|right wing extremism]].<ref>{{Cite news|last=Sjöström|first=Oskar|date=2018-11-30|title=Så blev Karl XII extremhögerns kelgris|language=sv|work=Svenska Dagbladet|url=https://www.svd.se/sa-blev-karl-xii-extremhogerns-kelgris|access-date=2020-07-25|issn=1101-2412}}</ref> Starting in 2013, the Cabbage Dolma Day was hosted by the [[Swedish History Museum]] in [[Stockholm]], the country's foremost historical museum.<ref>{{Cite web|date=2013-11-28|title=I stället för rasism – kåldolmar|url=https://www.dn.se/arkiv/stockholm/i-stallet-for-rasism-kaldolmar/|access-date=2020-07-25|website=DN.SE|language=sv}}</ref> The celebrations have also been supported by a number of important civil society organizations over the years, notably the [[Church of Sweden]] and the Federation of Local History and Folk Culture (Sveriges hembygdsförbund).

===Africa===
====Egypt====
[[File:Mahshi koromb.jpg|thumb|Mahshi koromb (Egyptian-style cabbage rolls). Note how the ends are not folded in.]]

In [[Egyptian cuisine]], cabbage rolls are called محشي كرمب, pronounced ''maḥshī kromb'' or ''maḥshī koronb'' (as Standard Arabic [m] often turns to [n] in proximity to [b] in [[Egyptian Arabic]]), literally translating to "stuffed cabbage". The leaves are fresh and commonly cut into smaller pieces and partially pre-cooked. The most common filling is a mixture of rice, onion, tomato, herbs, and spices (most typically including mint, dill, and cumin); meat is rarely used in Egyptian stuffed cabbage. The rolls are arranged in a pot and boiled in broth or tomato-based sauce, also including the herbs and spices.<ref name = "Egyptian">{{cite web|title=Egyptian style stuffed cabbage leaves|url=http://www.food.com/recipe/egyptian-style-stuffed-cabbage-leaves-mashy-crump-194768|publisher=Food.com|access-date=22 November 2013}}</ref> As the pieces of cabbage and therefore the rolls are small, the leaves are usually simply rolled around the filling almost like a small cigar, and are left open at the ends rather than folded around the filling to produce a completely enclosed package.<ref name = "Egyptian" />

=== Americas ===
[[File:Stuffed Cabbage Golomki.jpg|thumb|Polish-style ''gołąbki'' served in [[Grand Rapids, Michigan]]]]

====United States====
In regions heavily influenced by Polish immigrants, such as Chicago which claims the largest Polish population outside of Poland, Detroit, Pennsylvania, the southern tier of New York, and [[Northeast Ohio|northeastern Ohio]], the term usually refers instead to stuffed cabbage rolls, such as the Polish [[gołąbki]]. These are also known as ''pigs in a blanket''.<ref>{{cite book|last=Silverman|first=Deborah Anders|title=Polish-American Folklore|publisher=University of Illinois Press|year=2000|page=28|isbn=0-252-0256-9-5|url=https://books.google.com/books?id=OSpC30_ppvYC&pg=PA28}}</ref> [[Jewish]] immigrants from Eastern Europe popularized the dish in [[New York City]], where they became known as ''Jewish cabbage''.<ref name="Lavine"/>

Cabbage rolls also feature prominently in the cuisines of [[Cajuns]] and [[Louisiana Creoles]] of southern Louisiana, where they usually take the form of ground pork mixed with rice and chopped vegetables stuffed into parboiled cabbage leaves and cooked in a [[tomato sauce]]-based liquid.

[[Romani Americans]], [[Chinese Americans]] and [[Vietnamese Americans]] often cook cabbage rolls.

[[Romani people]] in the United States eat ''sarmi'' which is made with cabbage leaves stuffed with pork, onions, peppers, rice, and tomatoes.<ref>{{cite book|title=Gypsies: The Hidden Americans|page=63}}</ref>

===Asia===
====China====
In [[Chinese cuisine]], cabbage rolls are called 白菜卷, pronounced ''báicài juǎn''.

==See also==
* [[List of cabbage dishes]]
* [[List of stuffed dishes]]
* [[Vine leaf roll]]
* [[Dolma]], a similar variety of dishes in terms of having leaves stuffed with filling

==Notes==
{{reflist}}

==References==
{{commons}}
* Wretman, Tore: ''Svensk husmanskost'' (Forum 1967). {{ISBN|91-37-08274-4}}.
{{Jewish baked goods}}

{{DEFAULTSORT:Cabbage Roll}}
[[Category:Stuffed vegetable dishes]]
[[Category:Arab cuisine]]
[[Category:Argentine cuisine]]
[[Category:Armenian cuisine]]
[[Category:Ashkenazi Jewish cuisine]]
[[Category:Austrian cuisine]]
[[Category:Azerbaijani cuisine]]
[[Category:Belarusian cuisine]]
[[Category:Bulgarian cuisine]]
[[Category:Chilean cuisine]]
[[Category:Chinese cuisine]]
[[Category:Czech cuisine]]
[[Category:Finnish cuisine]]
[[Category:German cuisine]]
[[Category:Hungarian cuisine]]
[[Category:Israeli cuisine]]
[[Category:Jordanian cuisine]]
[[Category:Japanese cuisine]]
[[Category:Korean cuisine]]
[[Category:Lithuanian cuisine]]
[[Category:Lenten foods]]
[[Category:Moldovan cuisine]]
[[Category:Palestinian cuisine]]
[[Category:Polish cuisine]]
[[Category:Lebanese cuisine]]
[[Category:Levantine cuisine]]
[[Category:Romanian cuisine]]
[[Category:Russian cuisine]]
[[Category:Slavic cuisine]]
[[Category:Slovak cuisine]]
[[Category:Swedish cuisine]]
[[Category:Syrian cuisine]]
[[Category:Turkish cuisine]]
[[Category:Ukrainian cuisine]]
[[Category:Vietnamese cuisine]]
[[Category:Culture of Cleveland]]
[[Category:World cuisine]]
[[Category:Cabbage dishes]]
[[Category:Jewish cuisine]]
[[Category:Cuisine of the Mid-Atlantic states]]
[[Category:Cuisine of the Midwestern United States]]
[[Category:Louisiana cuisine]]
[[Category:Types of food]]
[[Category:Romani cuisine]]
[[Category:Croatian cuisine]]
[[Category:Intangible Cultural Heritage of Ukraine]]

Duda (disambiguation)

2024-01-29T13:44:16Z

MonkeyPython: /* Other uses */ a typo for sure

{{wiktionary|duda}}
A '''[[duda]]''' is a Hungarian bagpipe.

'''Duda''' may also refer to:
{{TOC right}}

==Places==
*Duda, a village in [[Subcetate]] Commune, Harghita County, Romania
*Duda, a village in [[Duda-Epureni]] Commune, Vaslui County, Romania
* [[Duda Mică River]], Romania
* [[Duda Mare River]], Romania

==People==
*[[Duda (name)]], including a list of people with the name
*[[Dūda (surname)]], including a list of people with the name

===Mononyms===
*[[Duda (footballer, born 1968)]], born Edmilton Conceição dos Santos, Brazilian forward
*[[Duda (footballer, born 1974)]], born Carlos Eduardo Ventura, Brazilian football forward
*[[Duda (footballer, born 1980)]], born Sérgio Paulo Barbosa Valente, Portuguese football midfielder
*[[Duda (footballer, born 1988)]], born Carlos Eduardo Schneider, Brazilian football forward
*[[Duda (footballer, born 1994)]], born Eduardo Haas Gehlen, Brazilian football defender
*[[Duda Francelino]] (born 1995), born Maria Eduarda Francelino da Silva, Brazilian women's football forward
*[[Eduarda Santos Lisboa]] (born 1998), nicknamed Duda, Brazilian beach volleyball player

==Other uses==
*''[[La duda]]'', a telenovella broadcast in Mexico by the TV Azteca network
*[[Dūda]], a Latvian bowed string instrument
*[[Dūdas]], a Latvian bagpipe instrument

== See also ==
* [[Doodah (disambiguation)]]
* [[Duda River (disambiguation)]]
* [[Dudda (disambiguation)]]

{{disambiguation|geo|hndis}}

French bagpipes

2024-01-26T15:47:50Z

MonkeyPython: interwiki linking

{{Short description|Bagpipes from France}}
{{Unreferenced|date=December 2009}}
[[File:Felibree-Piegut cornemuse 03.JPG|alt=French bagpipes being played.|thumb|French bagpipes being played.]]
'''French bagpipes''' cover a wide range and variety of styles of bagpipes and piping, from the Celtic piping and [[Music of Brittany]] to the Northern Occitan's [[cabrette]].

The Center-France bagpipes (called in French ''cornemuse du centre'' or ''musette du centre'') are of many different types, some mouth blown, some bellows blown; some names for these instruments include ''chevrette'' (which means "little goat," referring to the use of a goatskin for its bag), ''chabrette'', ''chabretta'', ''chabreta'', ''cabreta'', ''bodega'', and ''boha''. It can be found in the [[Bourbonnais]], [[Nivernais]], and [[Morvan]] regions of [[France]].

A distinguishing factor of most French bagpipes is the placement of the tenor drone alongside the chanter rather than in the same stock as the bass drone.

In the northern regions of [[Occitania]]: [[Auvergne (province)|Auvergne]], is found the (generally) bellows blown ''[[Cabrette|cabreta]]'', and in [[Music of Limousin|Limousin]] the mouth blown ''[[Chabrette|chabreta]]''. The cabrette is much played in areas of Paris where Auvergnats tended to settle; this bagpipe is in most cases played without a drone, and together with an accordion. The chabrette, while having a similar name, is a quite different pipe, with a triple-bored bass drone played across the player's arm rather than over the shoulder. The form of the chabrette chanter appears similar to early oboes, including a swallow-tail key for the lowest note which is placed under a fontenelle.

The Occitan names also refer to the goat. In the Occitan region of [[Languedoc]], and especially in the ''Montanha negre'' (Black Mountain) area, the ''bodega'' is played. This is a very large mouth blown pipe made from the skin of an entire goat. In [[Gascony]], a small mouth blown bagpipe called ''boha'' (from ''bohar'' meaning "to blow") is used.

There are a number of piping schools. One of the most important is the Conservatoire Occitan, located in the city of Toulouse ([[Occitania]]), but there are also important schools in Limoges, Aurillac, Belin, Mazamet, and other towns. There is also a school of cabrette playing in Paris, with around 50 pupils. Although Central French pipes are generally used to play traditional music, some Occitan pop groups use them as well. Such groups include [[La Talvera]], Familha Artus, and Tenareze.

==See also==
* [[Biniou]]
* [[Bodega (bagpipe)]]
* [[Boha]]
* [[Bousine]]
* [[Cabrette]]
* [[Chabrette]]
* [[Cornemuse du Centre]]
* [[Loure (bagpipe)]]
* [[Musette bechonnet]]
* [[Musette bressane]]
* [[Musette de cour]]
* [[Pipasso]]
* [[Samponha]]
* [[Sourdeline]]
* [[Veuze]]
* [[Cornamuse]]

{{DEFAULTSORT:French Bagpipes}}
[[Category:Bagpipes]]
[[Category:French musical instruments]]
[[Category:Breton musical instruments]]
[[Category:Bagpipes by country]]

Electronic bagpipes

2024-01-26T11:33:42Z

MonkeyPython: /* Players */ less sensationalist language

{{distinguish|Electric bagpipes}}
{{multiple issues|
{{more citations needed|date=January 2018}}
{{fanpov|date=January 2018}}
{{original research|date=January 2018}}
}}
[[File:Degerpipes.jpg|thumb|right|Degerpipes electronic bagpipe chanter]]
The '''electronic bagpipes''' is an [[electronic musical instrument]] emulating the tone and/or playing style of the [[bagpipes]]. Most electronic bagpipe emulators feature a simulated [[chanter]], which is used to play the melody. Some models also produce a harmonizing [[Drone (music)|drone]](s). Some variants employ a simulated bag, wherein the player's pressure on the bag activates a switch maintaining a constant tone. As with other electronic musical instruments, they must be plugged into an [[instrument amplifier]] and [[loudspeaker]] (or headphones) to hear the sound. Some electronic bagpipes are [[MIDI controllers]] that can be plugged into a [[synth module]] to create synthesized or sampled bagpipe sounds.

Electronic bagpipes are produced to replicate various types of bagpipes from around the world, including the Scottish [[Great Highland bagpipe]] (also known as piob mhor), Irish [[uilleann pipes]], Galician [[Galician gaita|gaita]], Asturian [[Asturian gaita|gaita]] French [[cornemuse]], Italian [[zampogna]] and Swedish [[säckpipa]].<ref>{{Cite web|date=2020-05-04|title=Electronic Bagpipes: The Historical View of Electronic Bagpipes' Origin|url=https://comparebagpipes.com/bagpipes/electronic-bagpipes/|access-date=2021-12-10|website=Compare Bagpipes|language=en-US}}</ref>

They have gone from being a rare curiosity to a widely used instrument used for practice, and even performance, by both amateur and professional players.

==History==
[[File:Hevia2003.jpg|thumb|right|200px|[[Hevia]] and his electronic [[Gaita asturiana|Asturian bagpipe]]]]
Electronic bagpipes have been attested as early as 1962, when ''The Electronic Musical Instrument Manual'' noted the existence of electronic bagpipes using transistors, caveating: " but there is only one commercial musical instrument on the market and it would seem reasonable to wait for the elimination of some of the less desirable features of transistors..."<ref>{{cite web|url=https://books.google.com/books?id=decIAQAAMAAJ&q=%22electronic+bagpipes%22 |title=The electronic musical instrument manual: a guide to theory and design - Alan Lockhart Monteith Douglas - Google Books |accessdate=2014-01-20|last1=Douglas |first1=Alan |year=1962 }}</ref>

In the late 1970s, the late Bazzell Ray Cowan of [[Austin, Texas]], an electronics engineer and piper, developed the first practical electronic bagpipe with an authentic pipe sound, which he called the Bazpipe. According to Mr. Cowan (in an interview in 1993), the project had originally been in response to a bet with another piper at a wedding.
The original version consisted of a chanter (the melody pipe) utilizing gold-plated metal contacts, which in turn were connected to a motherboard, transistors and a speaker, powered by a 6 volt lantern battery, all housed in an extruded plastic "bag" the size and shape of a regular bagpipe bag.

Eventually, with the advance of technology, he was able to downsize it, till by the early 1990s, it consisted of a chanter topped with a 6 x 4 inch plastic box which housed all the components, including a 2-inch speaker, all powered by a 9 volt battery. By his death in 1996, it had become one of a well-known devices of the genre. Many of the later electronic pipes would be modeled on the Bazpipe.{{citation needed|date=October 2012}}

Another pioneer was George H. Boyd, whose system, although not as easily portable as the Bazpipe, produced an authentic "bagpipe" sound. Boyd also developed the first electronic uilleann (Irish) bagpipe, but only made one prototype.{{citation needed|date=October 2012}}

A range of publications through the 1980s discussed such electronic piping developments, and in 1981 the company Keltronics advertised what they claimed to be "the world's first electronic bagpipes".<ref>{{cite web|url=https://books.google.com/books?id=jiMiAQAAIAAJ&q=%22electronic+bagpipes%22 |title=Scottish Field - Google Books |year=1981 |accessdate=2014-01-20}}</ref>
However, as can be seen from the dates, Cowan's device (and others) pre-dated not only Keltronics, but most other devices.

Other interesting developments included the Ross Technologies Programmable Electronic Bagpipes, which, though looking similar to the Bazpipe, was capable of playing in different keys in order to accompany different instruments. Their second generation model, could not only emulate the Scottish bagpipe and play harmonies, but could emulate other instruments as well. Later models included the MicroPipes, which are a headphones-only electronic practice chanter, and the MidiPipes featuring realistic wavetable sound and MIDI output capability.<ref>{{cite web|url=http://www.rosspipes.com/ |title=Ross Technologies Electronic Bagpipes|publisher=rosspipes.com |date= |accessdate=2017-04-09}}</ref>

Later commercial developments included the work of [[Anders Fagerström]], who in 1991 manufacturing a Scottish Highland practice chanter emulator, and later developed a "full" set electronic pipes emulation. Fagerstrom also produces emulators of the Galician bagpipe and Swedish säckpipa.{{citation needed|date=October 2012}}

Manfred Deger of Germany developed an interesting Scottish Highland pipe emulator with MIDI, and has since expanded its capabilities.<ref>{{cite web|url=http://www.deger.com/ |title=DegerPipes Electronic Bagpipe Chanter |publisher=deger.com |date= |accessdate=2016-02-22}}</ref>

In the early 1990s a multidisciplinary team composed of Alberto Arias, Miguel Dopico and [[Hevia|José Ángel Hevia]] patented the first electronic bagpipe in history. Hevia’s CD “No Man’s Land” was released in 1998 and more than two million copies were sold worldwide. Since then the electronic bagpipe has established itself as a versatile tool in the new musical discourse of European bagpipe playing.

A similar development with a pressure-sensitive bag was copied In 2005 the German Rolf Jost, and has since been produced under the brand-name [[redpipes]], in varieties emulating various bagpipes.

Another innovation, developed by Ramón M Castro and José Antonio García, is the vPipes, an Irish uilleann pipes emulator with remarkable capabilities, including the ability to make the caoine ("cry" - a slurring, note-bending finger movement which produces a sound characteristic of Irish music). It does not use the General MIDI, instead it uses Emulation Mode, a proprietary interface developed by the vPipes team.{{citation needed|date=October 2012}}

There is also an electronic bagpipe instrument called Master Gaita,<ref>{{cite web|url=http://www.mastergaita.com |title=masterGaita.com}}</ref> artisanally created under demand by José J. Presedo, which has been in development for more than a decade spawning several iterations, and currently consists of a bagpipe chanter attached to a cushioned bag which contains a USB connector (which creates a MIDI device in the computer) and, optionally, a MIDI connector which can be used to connect a wireless MIDI transmitter stored inside the bag so the instrument works completely wirelessly.

There have also been a number of software programs that have emulated bagpipes using a computer and MIDI interface, as well as computer-based bagpipe music reading and writing programs.

Other recent developments have been made by Michael Eskin, a programmer and piper in California, who has developed several virtual instrument emulator apps for the iPad and iPhone. Among these are bagpipes (including Scottish Highland and smallpipes, Irish uilleann pipes, and Swedish säckpipa), as well as a set of regulators for the iPad which can be played in concert with the uilleann pipe apps. He also produces concertina and accordion apps.

In 2016, a new kind of electronic bagpipes, based on optical fingering detection have been introduced : the 'a-pipes'.

There are also some [[Open Source]] approaches to electronic bagpipes like the [[eChanter]]<ref>{{cite web|url=http://www.echanter.com |title=eChanter.com |publisher=eChanter.com |date= |accessdate=2014-01-20}}</ref> or the [[OpenPipe]]<ref>{{cite web |url=http://www.openpipe.cc/ |title=Home |website=openpipe.cc}}</ref> project. Both of them take advantage of the widely spread [[Arduino]] board and facilitate people with some technical skills to build and customise their own electronic bagpipes.

Most of the modern versions incorporate MIDI capabilities, and have built-in interfaces.

==Players==
{{unreferenced section|date=January 2018}}
The first adopter of the electronic bagpipe as a performance instrument was [[Hevia]]. Hevia’s CD “No Man’s Land” was released in 1998 and more than two million copies were sold worldwide. Since then the electronic bagpipe has established itself as a versatile tool in the new musical discourse of European bagpipe playing.

The original instruments were seen mainly as curiosities, or at most, as practice instruments. However, later they were adopted more noted players like James McColl, a senior Scottish piper. He still uses an early Boyd pipe for practice and demonstrations.

Another early adopter of the electronic bagpipe as a performance instrument was Sean Folsom (formerly of the California-based Celtic group, Shiela na Gig) who incorporated a Bazpipe in his wide-ranging exhibition of world bagpipes and other instruments in the early 1990s. Folsom introduced the Bazpipe to a fellow piper, who immediately saw the potential, and subsequently incorporated it in performances with his group and on their recording. Doubtless others were doing the same thing, as their use is now widespread.

Bands and musicians now playing electronic bagpipes include [[Korn]], [[Ithilien (band)|Ithilien]], [[Eluveitie]], [[Gaelic Storm]], [[Red Hot Chilli Pipers]], [[Seer (band)|Seer]], [[Hevia]], [[Nightwish]], and [[The Wiggles]].

==References==
{{reflist}}

==See also==
* [[Digital accordion]] - a bellows-driven electronic instrument

{{DEFAULTSORT:Electronic Bagpipes}}
[[Category:Bagpipes]]
[[Category:Electronic musical instruments]]

Cornemuse du Centre

2024-01-26T10:25:34Z

MonkeyPython: clarified sentence

{{Short description|French bagpipe}}
{{Unreferenced|date=May 2019|bot=noref (GreenC bot)}}
The '''cornemuse du Centre France''' (or '''musette du Centre''') (bagpipes of Central France) is a type of [[bagpipes]] native to Central France. They have two drones, one an octave, one two octaves, below the tonic of the [[chanter]]. They can be found in the [[Bourbonnais]], [[Berry (province)|Berry]], [[Nivernais]], and [[Morvan]] regions of [[France]] and in different tonalities.

== Construction ==
[[image:Robert-Amyot-Brizon-2002.jpg|thumb|right|280px|Musette du Centre]]
The drones consist of tubes of wood (two for the small drone, three for the larger) that telescope into one another to tune the instrument. The drones have single reeds. The chanter is equipped with a double reed of reed or plastic.

The chanter can be in a wide variety of keys, depending on its length:
* 6 inches (Upper G)
* 10 inches (Upper D)
* 11 inches (Upper C)
* 14 inches (A)
* 16 inches (G)
* 18 inches (F)
* 20 inches (D)
* 23 inches (C)
* 24 inches (A#)
* 26 inches (A)
* 30 inches (Lower G)

== Famous players ==
*[[Eric Montbel]]
*[[Jean Blanchard]]
*[[Robert Amyott]]
*[[Julien Barbances]]

== Playing ==
The cornemuse du centre is a [[chromatic scale|chromatic]] instrument, on most modern instruments all semitones of the scale can be played. The instrument is (generally) not tuned to an [[equal temperament]], to allow playing in harmony with the drones. Also, due to the presence of the drones which cannot be tuned to another pitch, only a subset of the keys which would be technically feasible are usually played, i.e. the drone is either the key's [[tonic (music)|tonic]] or the [[dominant (music)|dominant]]. Further, typically used embellishments do not work as well or not at all if the music is transposed to another key. As most semitones can be played, music in different [[Mode (music)|modes]] of a key can be and are traditionally played (e.g. on a cornemuse du centre 20p: D-major, D-minor, D-mixolydian etc.), which would not be possible on a purely [[diatonic]] instrument.

The fingering of the chanter is usually semi-closed for high pitched instruments, which means that the fingers of the lower hand (which is usually the right hand) are placed on their holes when removing the fingers of the upper hand. Chanters of 20 inches or greater are generally played with open fingering.

[[Category:Bagpipes]]
[[Category:French musical instruments]]

Transcription into Japanese

2024-01-22T22:00:36Z

MonkeyPython: /* Extended katakana */ grammatical

{{More citations needed|date=July 2022}}
{{Short description|Overview about transcription into Japanese}}
{{Japanese writing}}


In contemporary [[Japanese writing system|Japanese writing]], foreign-language loanwords and foreign names are normally written in the [[katakana]] script, which is one component of the Japanese writing system. As far as possible, sounds in the source language are matched to the nearest sounds in the Japanese language, and the result is [[transcription (linguistics)|transcribed]] using standard katakana characters, each of which represents one syllable (strictly [[Mora (linguistics)|mora]]). For example, ''America'' is written アメリカ (''A-me-ri-ka''). To accommodate various foreign-language sounds not present in Japanese, a system of extended katakana has also developed to augment standard katakana.

Katakana, like [[hiragana]], has a one-to-one correspondence between sounds and characters. Therefore, once the "Japanese sound" of a word is established, there is no ambiguity in its katakana spelling (unlike spelling in English, for example).

A much less common form of transcription, [[Ateji]], uses [[kanji]] characters for their phonetic values.

==Practicalities of transcription==
===Word length===
{{See also|Japanese abbreviated and contracted words}}
Because Japanese is written with relatively complex [[Kanji]] characters, Japanese text must generally be written larger for legibility. Furthermore, as both Kanji and [[Kana]] are traditionally of equal width and height, Japanese characters are generally much larger than Latin characters. As Kanji are logographic and Kana encode entire syllables (or rather, [[morae]]), the higher information density of Japanese writing usually evens out with the larger text so that Japanese and English texts take about the same amount of space, but challenges arise with foreign consonant clusters incompatible with [[Japanese phonology#Phonotactics|Japanese phonotactics]] and the Kana system. For example, the word [[remote control]] becomes the cumbersome リモートコントロール (''ri-mō-to-ko-n-to-rō-ru'') in Japanese. Here, additional vowels are added between {{IPA-ja|t|}} and {{IPA-ja|k|}}, between {{IPA-ja|t|}} and {{IPA-ja|ɾ|}}, and after {{IPA-ja|ɾ|}} at the word's end, and the vowels of ''mo'' and ''ro'' have been lengthened to mimic the English pronunciation. These additional sounds not only add to the word's length when spoken, but it also severely bloats the word when written. As such, the word is typically shortened to simply リモコン (''ri-mo-ko-n'') in modern Japanese speech and writing.

===Syllable structure===
Since Japanese has few closed syllables, syllable-final consonants in the source language are often represented using the ''-u'' (or sometimes ''-o'' or ''-i'') kanas with implicitly silent vowels – though this vowel often is pronounced in Japanese – or the [[syllable coda]] is not represented at all. For example, the name ''Jim'' is written ジム (''Ji-mu''). A similar principle applies to consonant clusters; for example ''spring'' would be transcribed as スプリング (''su-pu-ri-n-gu''), and ''scratch'' would be transcribed as スクラッチ (''su-ku-ra-cchi'').

===Diphthongs===
Japanese has only five native vowel sounds, each a pure vowel ([[monophthong]]) with a long and short form, and some degree of approximation is necessary when representing vowels from, for example, [[English vowels|English]]. [[Diphthong]]s are represented by sequences of vowels, and pronounced with [[Hiatus (linguistics)|hiatus]], as a sequence of discrete monophthongs, not a diphthong, as in ブラウン ''Bu-ra-u-n'' "Brown", ナイス ''na-i-su'' "nice", ディア ''di-a'' "dear/deer", レア ''re-a'' "rare". etc. The English spelling <ore> (phonologically /ɔː/ ([[Received Pronunciation|RP]]) or /ɔːr/ ([[General American|GA]])) is usually "diphthongized" as ''o-a'' in Japanese (e.g. コア ''ko-a'' "core"), possibly because it is also pronounced as a diphthong (/oə/) in some accents of English. The English /eɪ/ is transcribed to either ''e-e'' (エース ''e-e-su'' "ace") or ''e-i'' (スペイン ''Su-pe-i-n'' "Spain"); similarly, /əʊ/ is transcribed to either ''o-o'' (ショー ''sho-o'' "show") or ''o-u'' (シャドウ ''sha-do-u'' "shadow").

=== Phonemes ===
Japanese does not have separate ''l'' and ''r'' sounds, and ''l-'' is normally transcribed using the kana that are perceived as representing ''r-''. For example, ''London'' becomes ロンドン (''Ro-n-do-n''). Other sounds not present in Japanese may be converted to the nearest Japanese equivalent; for example, the name ''Smith'' is written スミス (''Su-mi-su''). Foreign sounds can be difficult to express in Japanese, resulting in spellings such as フルシチョフ ''Furushichofu'' ([[Nikita Khrushchev|Khrushchev]]), アリー・ハーメネイー ''Arī Hāmeneī'' ([[Ali Khamenei]]) and イツハク・パールマン ''Itsuhaku Pāruman'' or イツァーク・パールマン ''Itsāku Pāruman'' ([[Itzhak Perlman]]).

The English [[voiceless labialized velar approximant]] /hw/ (orthographically ''wh''), which is a distinct phoneme from /w/ in some varieties of English, can be transcribed as ''ho(w)-''. For example, ''White'' is ホワイト ''Howaito'', ''whale'' is ホエール ''hoēru''.

French /w/ is typically transcribed as ''u'', but the sequence /wa/ is as ''o-(w)a'' (e.g. ポアロ ''Po-a-ro'' "Poirot").

The English /ti(ː)/ and /tɪ/ is typically transcribed to チ ''chi'' (e.g. チーム ''chīmu'' "team"), but ティ ''ti'' is also used (ティア ''tia'' "tear"). The suffix ''-tic'' can be transcribed to either チック ''-chikku'' or ティック ''-tikku''. However, ''-ty'' is almost always transcribed to ティ(ー) ''-ti(i)'', not *チ(ー) *''-chi(i)'' (e.g. パーティー ''pātī'' "party", インフィニティ ''infiniti'' "infinity").

The English schwa /ə/ is variously "transcribed" to ''a'', ''e'', ''o'', depending on the English spelling (this is more of [[transliteration]] than it is transcription). For example, デュアル ''dyu-a-ru'' "dual", デュエル ''dyu-e-ru'' "duel", テスタメント ''Te-su-ta-me-n-to'' "Testament", ロンドン ''Ro-n-do-n'' "London". There are no definite rules when it comes to the schwa, however; e.g. ランダム ''ra-n-da-mu'' "random", オープン ''o-o-pu-n'' "open", ザ ''za'' "the". The British /ə/ which is equivalent to the North American /ɚ/ is transcribed to a(-a); e.g. コンピュータ(ー) ko-n-pyu-u-ta(-a) "computer", モーター ''mo-o-ta-a'' "motor". On the other hand, the French schwa is transcribed to ''u'' or ''o'' (e.g. ソムリエ ''so-mu-ri-e'' "sommelier", ド ''do'' "de") similarly to instances where there's a lack of vowels, and the German schwa is almost always transcribed to ''e'' (e.g. アルベルト ''A-ru-be-ru-to'' "Albert", ウンディーネ ''un-di-i-ne'' "undine").

Although the diphthong /au/ across languages is usually transcribed as アウ ''a-u'', local reading transcriptions of the same sequence from Mandarin, represented in both Wade–Giles and Pinyin as ''ao'' are represented as アオ ''a-o'' instead, again in more of a manner of transliteration based on these systems - e.g. マオ・ツォートン ''ma-o tso-o-to-n'' ([[Mao Zedong]]).

The English /æ/ is typically transcribed to ''a''; e.g. マン ''ma-n'' "man", チャネル ''cha-ne-ru'' "channel". The sequences /kæ/ and /ɡæ/ are sometimes transcribed to ''kya'' and ''gya'' respectively; e.g. キャンディ ''kyandi'' "candy", ギャラクシー ''gya-ra-ku-shi-i'' "galaxy".

The older English suffix ''-age'' /-ɪdʒ/ is always transcribed to ''-e-e-ji'' as if it were pronounced as /eɪdʒ/ as in "age" or "rage"; e.g. メッセージ ''me-s-se-e-ji'' "message", パッケージ ''pa-k-ke-e-ji'' "package". The more recent ''-age'' /-ɑːʒ/ is more "properly" transcribed to ''-a-a-ju''; e.g. ミラージュ ''mi-ra-a-ju'' "mirage". However, "garage" /gəˈrɑːʒ/ is more commonly transcribed to ガレージ ''ga-re-e-ji'' as it also has /ˈgærɪdʒ/ as an alternative pronunciation in [[British English]].

The phoneme /v/ in various languages is transcribed either to ''b'' or ''v'', although it is unknown whether there is such an equivalent phoneme /v/ in Japanese. For example, ベネチア ''Benechia'' / ヴェネツィア ''Ve-ne-tsi-a'' "Venezia" (Italian for "Venice"), オーバー ''o-o-ba-a'' "over", ラブ ''ra-bu'' / ラヴ ''ravu'' "love".

The German /v/ (orthographically ''w'') can be transcribed in several ways. In long-established words, it is generally ''w''. E.g.: ''Walküre'' "valkyrie" > ワルキューレ ''wa-ru-kyu-u-re''. In newer transcriptions, it can also be ''v''. E.g.: ''Schwestern'' "sisters" > シュヴェスタン ''shu-ve-su-tan''.

''Wa'' is usually written as ワ, although ウァ is sometimes used in transcriptions from Ancient Greek or Latin (e.g. ミネルウァ ''Mi-ne-ru-wa'' "Minerva").

French vowels are usually [[phoneme|phonemically]] transcribed, but non-phonemic [[French phonology#Stress|stress]]ed vowels (utterance-final) are sometimes also transcribed as long vowels. Compare the examples of メゾン ''me-zo-n'' "maison" and カレー ''ka-re-e'' "Calais", in which the same vowel /ɛ/ is transcribed as ''e'' and ''e-e'' depending on whether it is stressed or not. The French schwa is ignored altogether: words are usually transcribed as if there were no schwa at all. For example, the word "le" is transcribed as ル ''ru'', as is the single sound /l/ in "cheval" > シュヴァル ''shuvaru''.

Although a syllable-final /n/ is typically transcribed using the moraic ン ''n'', ン is used in French to transcribe nasalized vowels, so French words with a final /n/ often use ヌ ''nu'' instead for distinction, e.g. マドレーヌ ''Ma-do-re-e-nu'' "Madeleine". This is especially the case when the masculine and feminine of a word are distinct in French, e.g. ''bon'' --> ボン ''bo-n'', vs. ''bonne'' --> ボンヌ ''bo-n-nu'' (the ''n'' is sometimes doubled, especially when the French orthography uses two ''n'', even if it has no consequence in the French pronunciation).

Plain short consonants may be transcribed as geminated consonants to reflect the [[Tenseness|laxness]] of the preceding vowel, although this is not universal and there are plenty of exceptions. For example: English ''kick'' is キック ''ki-k-ku'' and ''castle'' is キャッスル ''kya-s-su-ru'', but ''extra'' is エクストラ ''e-ku-su-to-ra'' and ''battle'' is バトル ''ba-to-ru''. This practice expands to almost all English [[obstruent]]s regardless of their [[Voice (phonetics)|voicing]] (/k/, /ɡ/, /s/, /z/, /f/, etc.), also to German/Scots /x/, occasionally to /n/ and /m/ (as pseudo-geminated consonant sequences /nn/ or /nm/). For example: English ''bag'' is バ(ッ)グ ''ba-(g)-gu''; English ''Anna'' is アンナ ''A-n-na''; English ''gamma'' is ガンマ ''ga-n-ma''; English ''shuffle'' is シャッフル ''sha-f-fu-ru''; German ''Mach'' is マッハ ''ma-h-ha'', ''Masoch'' is マゾッホ ''Ma-zo-h-ho''.

German [x] is transcribed roughly as ''h-h'', accordingly to its preceding vowel, if it's not followed by a vowel (e.g. マッハ ''ma-h-ha'' "Mach", バッハ ''Ba-h-ha'' "Bach", マゾッホ ''Ma-zo-h-ho'' "Masoch"); [ç], its allophone occurring only after high vowels and consonants, are as ''h'' if followed by a vowel (e.g. メルヘン ''me-ru-hen'' "Märchen"), or as ''hi'' if not (e.g. リヒター ''Ri-hi-ta-a'' "Richter"). Russian /x/ is transcribed as ''fu'' if not followed by a vowel (e.g. カザフスタン ''Ka-za-fu-su-ta-n'' "Kazakhstan"). Mandarin [ɕ] (in pinyin ''x(i)'') is transcribed as ''sh'' (e.g. シャオ ''shao'' from 小 ''xiǎo'' "little").

Geminated consonants are typically transcribed consistently and faithfully, as [[gemination]] is also featured in Japanese. The only notable exceptions are /rr/ and /ɲɲ/, although /ll/ and /ʎʎ/ are still transcribed. Examples: {{lang-ar|الله|translit=Allāh}} is アッラーフ ''A-r-ra-a-fu''; [[Italian language|Italian]] ''Donatello'' is ドナテッロ ''Do-na-te-r-ro''; Italian ''degli'' is デッリ ''de-r-ri''; but Italian ''Verrocchio'' is simply ヴェロッキオ ''Ve-ro-k-ki-o'', not *''Ve-r-ro-k-ki-o''. Italian /ɲɲ/ may be transcribed as the lengthened portion of the preceding vowel and a sequence of /nj/. For example, ''Sardegna'' is サルデーニャ ''Sa-ru-de-e-nya''.

Similar to the way speakers of English say Italian words, Japanese does not usually transcribe the Italian glide /j/ to reflect its true nature, but as /i/, perhaps for consistency and convenience. For example, ''Venezia'' is ヴェネツィア ''Ve-ne-tsi-a'', ''Sicilia'' is シチリア ''Shi-chi-ri-a''. Contemporary transcriptions of palatalized consonants from Slavic languages, however, are made using [[yōon]], e.g.: Russian ピャチゴルスク ''Pya-chi-go-ru-su-ku'' ([[Pyatigorsk]]), Polish ビェルスコ＝ビャワ ''Bye-ru-su-ko=bya-wa'' ([[Bielsko-Biała]]).

Modern English compounds are usually transcribed in a way that reflects the independent pronunciations of the individual components. That is to say, there is no phonetic linking between components. For example, "overall" is transcribed as オーバーオール ''o-o-ba-a-o-o-ru'', not *''o-o-ba-a-ro-o-ru'' as it is pronounced in English. However, there are a few exceptions, such as "pineapple", which is transcribed as パイナップル ''pa-i-na-p-pu-ru'', or "double-u", as ダブリュー ''da-bu-ryu-u''.

===Long vowels===
Long vowels are generally written with ー to indicate lengthening, as in コーラ ''kōra'' (cola), rather than writing a distinct vowel ×コウラ *''koura.'' There are two irregularities of note here. Firstly, lengthening of the final vowel may be ambiguous, and vary over time or between users. For example, in present Japan, "computer" is generally represented as コンピューター ''konpyūtā'' (long final), but in some cases, such as the computer industry, following [[Japanese Industrial Standards]], it is represented as コンピュータ ''konpyūta'' (short final).<ref>See [[:ja:コンピューター]]</ref> Secondly, in modern Chinese loanwords, notably food names, in careful transcription diphthongs are represented by separate vowels, even if in Japanese they would appear to be a long vowel; this is particularly common with ''òu,'' especially in 豆 ''dòu'' "(soy) bean", usually rendered as トウ. Further, long vowels in the Japanese transcription need not reflect Chinese pronunciation. For example, the dish 東坡肉 "[[Dongpo pork]]", in [[pinyin]] ''dōngpōròu'' (''dōng·pō·ròu''), is represented in Japanese as ドンポーロウ ''donpōrou,'' or more commonly トンポーロウ ''tonpōrou.'' Note that in Chinese pinyin ''ō'' represents a high tone, while in Japanese ''ō'' represents a long vowel, and /d/ is pronounced differently (Chinese /d/ is similar to Japanese or English /t/). This distinction is not always followed, and varies by term: the spelling トンポーロー ''tonpōrō'' is also common; and in terms such as 回鍋肉 [[twice cooked pork]], the spelling ホイコーロー is more common, despite representing diphthongs.

===Extended katakana===
In modern times, an extended katakana system has developed to cater for foreign sounds not present in Japanese. Most of these novel katakana forms are [[digraph (orthography)|digraphs]], composed of standard katakana characters, but in digraph combinations not found in native words. For example, the word ''photo'' is transcribed as フォト (''fo-to''), where the novel digraph フォ (''fo'') is made up from フ (normally ''fu'') plus a novel small combining form of オ (normally ''o''). In other cases novel diacritics may be applied to create new sounds, such as ヴ for ''vu'', which consists of ウ (''u'') combined with a [[dakuten]] to indicate a [[Voice (phonetics)|voiced]] pronunciation.

===Interpunct===
Japanese is written without spaces between words, and, to aid understanding, foreign phrases and names are sometimes transliterated with an [[interpunct]] separating the words, called a {{nihongo|''nakaguro''|中黒||[[Interpunct#Japanese|middle dot]]}}; for example, {{nihongo2|ビル・ゲイツ}} ([[Bill Gates]]). When it is assumed that the reader knows the separate ''[[gairaigo]]'' words in the phrase, the middle dot is omitted, especially for [[wasei eigo]]. For example, the phrase {{nihongo2|コンピューターゲーム}} ''konpyūtā gēmu'' ("computer game") contains two well-known gairaigo, and therefore is not written with a middle dot; the same principle is applied for {{nihongo2|パンティストッキング}} ''panti sutokkingu'' ("pantyhose", lit. "panty stocking"), Japanese coinage.

==Katakana tables==
The following tables give the [[Hepburn romanization]] and an approximate [[International Phonetic Alphabet|IPA]] transcription for katakana as used in contemporary Japanese. Their use in transcription is, of course, in the inverse direction.

===Standard katakana===
{{katakana table|legend=
|unused text=Katakana characters unused or obsolete for contemporary Japanese are usually not used for transcription either. Digraphs are used for the resulting holes in the table instead.
|wi=|we=|obsolete color=#EFFAFA
|yi=|ye=|wu=|unused color=#EFFAFA
|di=|du=|dya=|dyu=|dyo=|etymologic color=#EFFAFA
|sokuon=|iteration mark=|voiced iteration mark=
|n=<big>[[N (kana)|ン]]</big> n {{IPA-ja|m, n, ɲ, ŋ, ɴ, ɰ̃|}}
|wo=<big>[[Wo (kana)|ヲ]]</big> wo {{IPA-ja|wo|}}
}}

===Extended katakana===
The following katakana {{nihongo||特殊音|tokushuon}}<ref>[http://www.saiga-jp.com/japanese_language.html Saiga] {{Webarchive|url=https://web.archive.org/web/20170930024944/http://www.saiga-jp.com/japanese_language.html |date=2017-09-30 }}</ref> have been developed or proposed specifically for the purposes of transcribing foreign words. Examples such as トゥ(tu) in カートゥーン(cartoon), ティ(ti) in パーティ(party), ツァ (tsa) in モーツァルト(Mozart) are found mostly in foreign words.

{|
|- valign="top"
|{{Color box|#FFCC99|Orange|border=darkgray}}
|General kana combinations used for loanwords or foreign place names or personal names, set forth by the [[Government of Japan|Japanese government]]'s [[Ministry of Education, Culture, Sports, Science and Technology]] (MEXT, Monbushō).<ref>{{cite web|url=http://www.mext.go.jp/b_menu/hakusho/nc/k19910628002/k19910628002.html|title=外来語の表記：文部科学省|access-date=2011-12-12|archive-date=2019-11-18|archive-url=https://web.archive.org/web/20191118073641/http://www.mext.go.jp/b_menu/hakusho/nc/k19910628002/k19910628002.html|url-status=dead}}</ref>
|- valign="top"
|{{Color box|#99CCFF|*Blue|border=darkgray}}
|Combinations used for more accurate transliteration of foreign sounds, again set forth by MEXT.{{Clarify | reason = The difference between this and the previous category is not very clear. Aren't '''all''' these extended katakana 'used for more accurate transliteration of foreign sounds'?|date=March 2012}}
|- valign="top"
|{{Color box|#EEE8AA|†Beige|border=darkgray}}
|Suggestions by the [[American National Standards Institute]] (ANSI Z39.11)<ref>{{cite web|url=http://www.halcat.com/roomazi/doc/ansiz3911.html|title=■米国規格(ANSI Z39.11-1972)―要約|access-date=2011-01-24|url-status=dead|archive-url=https://web.archive.org/web/20150924024633/http://www.halcat.com/roomazi/doc/ansiz3911.html|archive-date=2015-09-24}}</ref> and the [[British Standards Institution]] (BS 4812),<ref>{{cite web|url=http://www.halcat.com/roomazi/doc/bs4812.html|title=■英国規格(BS 4812:1972)―要約|access-date=2011-01-24|url-status=dead|archive-url=https://web.archive.org/web/20130603222816/http://halcat.com/roomazi/doc/bs4812.html|archive-date=2013-06-03}}</ref> both are identical and from 1972.{{clarify|Both, ANSI Z39.11 and BS 4812:1972, are about the Romanization of Japanese, i.e. Hepburn, not the other way around. http://www.niso.org/apps/group_public/project/details.php?project_id=34 http://www.standardsuk.com/products/BS-4812-1972.php|date=February 2013}} Attention: In these old standards obsolete kanas like ヰ(wi) and ヱ(we) are still included, same for ヷ(va), ヸ(vi), ヹ(ve), ヺ(vo).
|- valign="top"
|{{Color box|#E1A1FF|‡Purple|border=darkgray}}
|Combinations that appear in the 1974 version of the [[Hyōjun-shiki]] formatting.<ref>[http://www.halcat.com/roomazi/doc/hyouzyunC.html ローマ字文の手ほどき: 標準式ローマ字書き日本語の書き方] {{Webarchive|url=https://web.archive.org/web/20150924024638/http://www.halcat.com/roomazi/doc/hyouzyunC.html |date=2015-09-24 }}</ref>
|}

{{katakana table extended}}

==Table of transcription from English==
:{| class="wikitable"
|-
! scope="col" colspan=2 | English phonemes
! scope="col" rowspan=2 | Common English [[grapheme]]s
! scope="col" colspan=3 | Japanese transcription in modified [[Hepburn romanization]]
! scope="col" rowspan=2 | Examples
|-
! scope="col" | [[Received Pronunciation]]
! scope="col" | [[General American]]
! scope="col" | If the English consonant is [[prevocalic]] and not [[postvocalic]]
! scope="col" | If the English consonant is [[intervocalic]]
! scope="col" | If the English consonant is not prevocalic
|-
| colspan=2| {{IPA|/æ/}}
| ⟨a⟩; ⟨ae⟩; ⟨al⟩; ⟨au⟩
| colspan=3|a; ā
|ハンド ''hando'' "h'''a'''nd"; ラム ''r'''a'''mu'' "ram", "RAM"; サモン ''s'''a'''mon'', サーモン ''s'''ā'''mon'' "salmon" Exception: '''エ'''ンド '''''e'''ndo'' "and"
|-
|{{IPA|/ɒ/}}; {{IPA|/ɔː/}}
|{{IPA|/ɑː/}}; {{IPA|/ɔː/}}
|⟨a⟩; ⟨ach⟩; ⟨au⟩; ⟨o⟩; ⟨ou⟩
|colspan=3|o; a; ō
|ノック ''n'''o'''kku'' "knock"; ショップ ''sh'''o'''ppu'' "shop"; '''オ'''ラクル '''o'''''rakuru'' "oracle"; ウ'''ォ'''リアー ''woriā'', ウ'''ォー'''リアー ''w'''ō'''riā'' "warrior"; ウ'''ォ'''ッチ ''w'''o'''tchi'' "watch"; ヨット ''y'''o'''tto'' "yacht"; ツモロー ''tsum'''o'''rō'', トゥモロー ''tum'''o'''rō'' "tomorrow"; コロンビア ''Kor'''o'''nbia'' "Colombia"; サッカー ''s'''a'''kkā'' "soccer"; カレッジ ''k'''a'''rejji'' "college"; カクテル ''k'''a'''kuteru'' "cocktail"; カリフラワー ''k'''a'''rifurawā'' "cauliflower"; バレーボール ''b'''a'''rēbōru'' "volleyball"; ライノセラス ''rainoser'''a'''su'' "rhinoceros"; ドール ''d'''ō'''ru'' "doll"; ウ'''ォー'''ター ''w'''ō'''tā'' "water"; ゴーグル ''g'''ō'''guru'' "goggle"; トーマス ''T'''ō'''masu'' "Thomas"
|-
|{{IPA|/ɑː/}}
|{{IPA|/æ/}}; {{IPA|/ɑː/}}
|⟨a⟩; ⟨al⟩; ⟨au⟩
|colspan=3|ā, a
|'''アー'''ント '''''ā'''nto'' "aunt"; ハーフ ''h'''ā'''fu'' "half"; バス ''b'''a'''su'' "bath"; フ'''ァ'''スト ''f'''a'''suto'', フ'''ァー'''スト ''f'''ā'''suto'' "fast"; シカゴ ''Shik'''a'''go'' "Chicago"; ダンス ''d'''a'''nsu'' "dance"
|-
|{{IPA|/ɑː(ɹ)/}}
|{{IPA|/ɑːɹ/}}
|⟨ar⟩; ⟨ear⟩; ⟨er⟩
|
|ār; a
|ā
|カー ''k'''ā''''' "car"; マーカー ''m'''ā'''kā'' "marker"; ハート ''h'''ā'''to'' "heart"; サージェント ''s'''ā'''jento'' "sergeant"; マーマレード ''m'''ā'''marēdo'', ママレード ''m'''a'''marēdo'' "marmalade"
|-
|colspan=2|{{IPA|/aɪ/}}
|⟨ai⟩; ⟨ei⟩; ⟨eigh⟩; ⟨i⟩; ⟨ic⟩; ⟨ie⟩; ⟨igh⟩; ⟨is⟩; ⟨oy⟩; ⟨uy⟩; ⟨y⟩; ⟨ye⟩
|colspan=3|ai
|ハイ ''h'''ai''''' "high", "hi"; ライト ''r'''ai'''to'' "right", "light"; ガイ ''g'''ai''''' "guy"; ガイド ''g'''ai'''do'' "guide"; スタイル ''sut'''ai'''ru'' "style"; ハイト ''h'''ai'''to'' "height"
|-
|{{IPA|/aɪə(ɹ)/}}
|{{IPA|/aɪɚ/}}; {{IPA|/aɪ/}}
|⟨ia(r)⟩; ⟨igher⟩; ⟨ire⟩; ⟨iro⟩
|
|aiar; aiyar
|aia; aiā; aiya; aiyā
|フ'''ァイアー''' ''f'''aiā''''', フ'''ァイヤー''' ''f'''aiyā''''' "fire"; '''アイア'''ン '''''aia'''n'' "iron"; ダイアリー ''d'''aiar'''ī'', ダイヤリー ''d'''aiyar'''ī'' "diary"; ダイヤモンド ''d'''aiya'''mondo'' "diamond" Exceptions: '''アイル'''ランド '''''Airu'''rando'' "Ireland"; '''アイロ'''ン '''''airo'''n'' "iron"
|-
|{{IPA|/aɪl/}}
|{{IPA|/l/}}
|⟨ile⟩
|colspan=2|
|airu, uru, oru
|ミサイル ''mis'''airu''''' "missile"; レプタイル ''reput'''airu''''', レプトル ''reput'''oru''''' "reptile"
|-
|colspan=2|{{IPA|/aʊ/}}
|⟨au⟩; ⟨ou⟩; ⟨ough⟩; ⟨ow⟩
|colspan=3|au; a
|タウン ''t'''au'''n'' "town"; ダウン ''d'''au'''n'' "down"; プラウ ''pur'''au''''' "plough", "plow"; フ'''ァウ'''ンデーション ''f'''au'''ndēshon'', フ'''ァ'''ンデーション ''f'''a'''ndēshon'' "foundation"
|-
|{{IPA|/aʊə(ɹ)/}}
|{{IPA|/aʊɚ/}}
|⟨our⟩; ⟨ower⟩
|
|awār
|awā
|パワー ''p'''awā''''' "power"; '''アワー''' '''''awā''''' "our", "hour"
|-
|colspan=2|{{IPA|/b/}}
|⟨b⟩; ⟨bb⟩; ⟨be⟩; ⟨pb⟩
|b
|b; bb
|bu; bbu
|ベンチ '''''b'''enchi'' "bench"; バ'''ッブ'''ル '''''b'''a'''bbu'''ru'' "bubble"; ラ'''ブ''' ''ra'''bu''''' "lab"; '''ブ'''ラザー '''''bu'''razā'' "brother"; '''ブ'''レイク '''''Bu'''reiku'' "Blake" Exception: カップボード ''ka'''ppub'''ōdo'' "cupboard"
|-
|colspan=2|{{IPA|/d/}}
|⟨d⟩; ⟨dd⟩; ⟨de⟩
|d
|d; dd; j
|do; ddo; zu; zzu; tto
|デス '''''d'''esu'' "death"; ベ'''ッド''' ''be'''ddo''''' "bed"; サンデー ''San'''d'''ē'' "Sunday"; '''ド'''ゥーム '''''d'''ūmu'' "doom"; '''ド'''ラゴン '''''do'''ragon'' "dragon"; キ'''ッド''' ''ki'''ddo''''', キ'''ッズ''' ''ki'''zzu''''' "kid"; リ'''ド'''ラー ''Ri'''do'''rā'' "Riddler"; ゼ'''ット''' ''ze'''tto''''' "zed"; アンデ'''ッド''' ''an'''d'''e'''ddo''''', アンデ'''ット''' ''an'''d'''e'''tto''''' "undead"; エジソン ''E'''j'''ison'', エディソン ''E'''d'''ison'', エディスン ''E'''d'''isun'' "Edison"; クレジット ''kure'''j'''itto'' "credit"
|-
|{{IPA|/dju(ː)/}}
|{{IPA|/du(ː)/; /dʒə/}}
|⟨dew⟩; ⟨du⟩; ⟨due⟩
|dyū; dyu
|colspan=2|
|'''デュー'''ク '''''dyū'''ku'' "duke"; '''デュ'''アル '''''dyu'''aru'' "dual"; '''デュ'''エル '''''dyu'''eru'' "duel"; '''デュー''' '''''dyū''''' "dew", "due"; エ'''デュ'''ケーション ''e'''dyu'''kēshon'' "education"
|-
|colspan=2|{{IPA|/dz/}}
|⟨ds⟩; ⟨dds⟩
|colspan=2|
|zu; zzu
|エイ'''ズ''' ''ei'''zu''''' "AIDS"; キ'''ッズ''' ''ki'''zzu''''' "kids"; グ'''ッズ''' ''gu'''zzu''''' "goods"
|-
|colspan=2|{{IPA|/dʒ/}}
|⟨di⟩; ⟨dg⟩; ⟨dge⟩; ⟨g⟩; ⟨ge⟩; ⟨j⟩
|j
|j; jj; z
|ji; jji; tsu
|ジャンプ '''''j'''anpu'' "jump"; エ'''ッジ''' ''e'''jji''''' "edge"; '''ジ'''ェリー '''''J'''erī'' "Gerry", "Jerry"; バ'''ジ'''ェット ''ba'''j'''etto'' "budget"; ガレー'''ジ''' ''garē'''ji''''' "garage"; ソルジャー ''soru'''j'''ā'' "soldier"; エン'''ジ'''ェル ''en'''j'''eru'', エンゼル ''en'''z'''eru'' "angel"; '''ジ'''ェミナイ, '''ヂ'''ェミナイ '''''J'''eminai'' "Gemini"; キャベ'''ツ''' ''kyabe'''tsu''''' "cabbage"
|-
|colspan=2|{{IPA|/ð/}}
|⟨th⟩; ⟨the⟩
|colspan=2|z; j
|zu
|ザ '''''z'''a'', ジー '''''j'''ī'' "the"; マザー ''ma'''z'''ā'' "mother"; アルゴリ'''ズ'''ム ''arugori'''zu'''mu'' "algorithm"
|-
|colspan=2|{{IPA|/ɛ/}}
|⟨ae⟩; ⟨e⟩; ⟨ea⟩; ⟨ie⟩; ⟨oe⟩
|colspan=3|e
|'''エ'''ンド '''''e'''ndo'' "end"; ヘッド ''h'''e'''ddo'' "head"; フレンド ''fur'''e'''ndo'' "friend" Exception: セーター ''sētā'' "sweater"
|-
|{{IPA|/ɛə(ɹ)/}}
|{{IPA|/ɛɹ/}}
|⟨ar⟩; ⟨air⟩; ⟨are⟩; ⟨ear⟩; ⟨eir⟩; ⟨ere⟩; ⟨ey're⟩
|
|ear; er
|ea; eā
|'''エア''' '''''ea''''', '''エアー''' '''''eā''''' "air"; シ'''ェア''' ''sh'''ea''''' "share"; ベア ''b'''ea''''' "bear"; エリア '''''er'''ia'' "area" Exception: プレーリー ''pur'''ēr'''ī'' "prairie"
|-
|colspan=2 rowspan=3|{{IPA|/ə/}}
|⟨a⟩
|colspan=3|a
|アーカンソー ''Āk'''a'''nsō'' "Arkansas"; イングランド ''Ingur'''a'''ndo'' "England"; マリガン ''marig'''a'''n'' "mulligan"; '''ア'''バウト '''''a'''bauto'' "about"; コンマ ''konm'''a''''' "comma" Exception: プレデター ''pured'''e'''tā'' "predator"
|-
|⟨o⟩
|colspan=3|o; u; a
|コモン ''kom'''o'''n'' "common"; '''オ'''ブ '''''o'''bu'' "of"; ツデー ''ts'''u'''dē'', ト'''ゥ'''デー ''t'''u'''dē'' "today"; ダイナソー ''dain'''a'''sō'', ダイノソー ''dain'''o'''sō'' "dinosaur"; セカンド ''sek'''a'''ndo'' "second"
|-
|⟨gh⟩; ⟨ou⟩; ⟨ough⟩; ⟨u⟩
|colspan=3|a
|サラ ''sar'''a''''' "thorough"; バラ ''bar'''a''''' "borough"; エディンバラ ''Edinb'''a'''r'''a''''' "Edinburgh"; アルバカーキ ''Arub'''a'''kāki'' "Albuquerque"; ニューフ'''ァ'''ンドランド ''Nyūf'''a'''ndorando'' "Newfoundland"
|-
|rowspan=2|{{IPA|/ə(ɹ)/}}
|rowspan=2|{{IPA|/ɚ/}}
|⟨ar⟩; ⟨er⟩; ⟨ure⟩
|
|ar
|a; ā
|ハンガー ''hang'''ā''''' "hanger", "hangar"; コンピュータ ''konpyūt'''a''''', コンピューター ''konpyūt'''ā''''' "computer"; ロバート ''Rob'''ā'''to'' "Robert"; フューチャー ''fyūch'''ā''''' "future"; ノーザン ''nōz'''a'''n'' "northern"; プロパティ ''purop'''a'''ti'' "property"; ハンカチーフ ''hank'''a'''chīfu "handkerchief"
|-
|⟨or⟩; ⟨our⟩
|
|ar
|ā; oru
|モーター ''mōt'''ā''''' "motor"; カラー ''kar'''ā''''' "colour"; カーソル ''kās'''oru''''' "cursor"; メルボルン ''Merub'''oru'''n'' "Melbourne"
|-
|{{IPA|/əd/}}
|{{IPA|/ɚd/}}
|⟨oard⟩; ⟨ord⟩
|colspan=3|ōdo
|オックスフ'''ォード''' ''Okkusuf'''ōdo''' "Oxford"
|-
|colspan=2 rowspan=2|{{IPA|/əl/}}; {{IPA|/l/}}
|⟨al⟩
|colspan=2|
|aru
|プロポーザル ''puropōz'''aru''''' "proposal"; ライバル ''raib'''aru''''' "rival"; タイダル ''taid'''aru''''' "tidal"; オフィシャル ''ofish'''aru''''' "official"
|-
|⟨ael⟩; ⟨el⟩; ⟨le⟩
|colspan=2|
|uru; oru; eru
|ベーグル ''bēg'''uru''''' "bagel"; マッスル ''mass'''uru''''' "muscle"; テーブル ''tēb'''uru''''' "table"; サイクル ''saik'''uru''''' "cycle"; ミドル ''mid'''oru''''' "middle"; ステープル ''sutēp'''uru''''' "staple"; ケトル ''ket'''oru''''' "kettle"; パズル ''paz'''uru''''' "puzzle"; パネル ''pan'''eru''''' "panel"; レベル ''reb'''eru''''', レヴ'''ェル''' ''rev'''eru''''' "level", "revel", "rebel"; マイケル ''Maik'''eru''''' "Michael"
|-
|colspan=2 rowspan=2|{{IPA|/əm/}}
|⟨am⟩; ⟨em⟩; ⟨om⟩; ⟨ome⟩
|colspan=2|
|amu
|キングダム ''kingud'''amu''''' "kingdom"; ランダム ''rand'''amu''''' "random"; セイラム ''Seir'''amu''''' "Salem"; ゴッサム ''Goss'''amu''''' "Gotham"; オーサム ''ō'''samu''''' "awesome"
|-
|⟨um⟩
|colspan=2|
|amu; umu
|アルバム ''arub'''amu''''' "album"; オポッサム ''oposs'''amu''''' "opossum"; デューテリ'''ウム''' ''dyūteri'''umu''''' "deuterium"; バキュ'''ーム''' ''bakyūmu'' "vacuum"
|-
|colspan=2|{{IPA|/ən/}}; {{IPA|/n/}}
|⟨ain⟩; ⟨en⟩; ⟨on⟩
|colspan=2|
|un; on; en
|ハイフン ''haif'''un''''' "hyphen"; セブン ''seb'''un''''' "seven"; フォールン ''fōr'''un''''' "fallen"; オープン ''ōp'''un''''' "open"; トークン ''tōk'''un''''' "token"; リーズン ''rīz'''un''''' "reason"; シーズン ''shīz'''un''''' "season"; プリズン ''puriz'''un''''' "prison"; レッスン ''ress'''un''''' "lesson"; セコンド ''sek'''on'''do'' "second"; サドン ''sad'''on''''' "sudden"; スウェーデン ''Suwēd'''en''''' "Sweden"; マウンテン ''maunt'''en''''' "mountain"; ブリテン ''Burit'''en''''' "Britain"; テスタメント ''tesutam'''e'''nto'' "testament"; ヘレン ''Heren'' "Hell'''e'''n" Exception: クライ'''アン'''ト ''kurai'''an'''to'' "client"; セカンド ''sek'''an'''do'' "second"
|-
|colspan=2|{{IPA|/əs/}}
|⟨us⟩
|colspan=2|
|asu
|バイラス ''bair'''a'''su'', ヴァイラス ''vair'''a'''su'' "virus"; コーカス ''Kōkas'''a'''su'' "Caucasus"
|-
|{{IPA|/əʊ/}}
|{{IPA|/oʊ/}}
|⟨au⟩; ⟨eau⟩; ⟨eaux⟩; ⟨o⟩; ⟨oa⟩; ⟨oe⟩; ⟨oh⟩; ⟨ough⟩; ⟨ow⟩; ⟨owe⟩
|colspan=3|ō; ou; o
|ゴー ''g'''ō''''' "go"; ショー ''sh'''ō''''' "show"; シャドー ''shad'''ō''''', シャドウ ''shad'''ou''''' "shadow"; ホーム ''h'''ō'''mu'' "home"; ソウル ''s'''ou'''ru'' "soul"; '''オ'''ハイ'''オ''' '''''O'''hai'''o''''' "Ohio"; ポニー ''p'''o'''nī'' "pony"
|-
|{{IPA|/ɜː(ɹ)/}}
|{{IPA|/ɜːɹ/}}
|⟨ear⟩; ⟨er⟩; ⟨ir⟩; ⟨olo⟩; ⟨ur⟩
|
|ār
|ā; a
|'''アー'''ス '''''ā'''su'' "earth"; スターリング ''Sut'''ā'''ringu'' "Sterling", "Stirling"; バーチャル ''b'''ā'''charu'' "virtual"; カーブ ''k'''ā'''bu'' "curve", "curb"; カーネル ''k'''ā'''neru'' "colonel", "kernel"; シャツ ''sh'''a'''tsu'' "shirt"; オル'''タ'''ナティブ ''orut'''a'''natibu'' "alternative"; ファーリー ''f'''ār'''ī'' "furry"
|-
|colspan=2|{{IPA|/eɪ/}}
|⟨a⟩; ⟨ae⟩; ⟨ai⟩; ⟨ais⟩; ⟨ait⟩; ⟨al⟩; ⟨au⟩; ⟨ay⟩; ⟨e⟩; ⟨ei⟩; ⟨eigh⟩; ⟨et⟩; ⟨ey⟩
|colspan=3|ē; ei; e
|ネーム ''n'''ē'''mu'' "name"; ゲージ ''g'''ē'''ji'' "gauge"; ドレイク ''dor'''ei'''ku'' "drake"; '''エイ'''ト '''''ei'''to'' "eight"; レイフ ''R'''ei'''fu'' "Ralph"; ポテト ''pot'''e'''to'' "potato"; '''エ'''ンジェル '''''e'''njeru'' "angel"; '''エ'''ンシェント '''''e'''nshento'' "ancient"; ブレザー ''bur'''e'''zā'' "blazer"; '''エ'''プロン '''''e'''puron'' "apron"; レディ ''r'''e'''di'', レディー ''r'''e'''dī'' "lady"; ベビー ''b'''e'''bī'' "baby" Exceptions: オーストラリア ''Ōsutor'''a'''ria'' "Australia"; カナディアン ''Kan'''a'''dian'' "Canadian"; ラジオ ''r'''a'''jio'' "radio"; スタジアム ''sut'''a'''jiamu'' "stadium"
|-
|colspan=2|{{IPA|/f/}}
|⟨f⟩; ⟨fe⟩; ⟨ff⟩; ⟨gh⟩; ⟨ph⟩; ⟨u⟩
|f; h
|f; ff
|fu; ffu
|'''フ'''ァウル '''''f'''auru'' "foul"; '''フ'''ライ '''''fu'''rai'' "fry", "fly"; '''フ'''ラワー '''''fu'''rawā'' "flower"; シャ'''ッフ'''ル ''sha'''ffu'''ru'' "shuffle"; ラ'''フ''' ''ra'''fu''''' "rough"; ヘッドホン ''heddo'''h'''on'' "headphone"; レ'''フ'''テナント ''re'''fu'''tenanto'' "lieutenant"
|-
|colspan=2|{{IPA|/ɡ/}}
|⟨g⟩; ⟨gg⟩; ⟨gh⟩; ⟨gu⟩; ⟨gue⟩
|g
|g; gg
|gu; ggu
|ガン '''''g'''an'' "gun"; バ'''ッグ''' ''ba'''ggu''''' "bag"; '''グ'''ラインダー '''''gu'''raindā'' "grinder"; '''グ'''ルー '''''gu'''rū'' "glue"; マ'''グ'''ル ''Ma'''gu'''ru'' "Muggle"; グール '''''g'''ūru'' "ghoul"; ギター '''''g'''itā'' "guitar"
|-
|colspan=2|{{IPA|/ɡæ/}}
|⟨ga⟩
|ga; gya
|colspan=2|
|'''ガ'''ジェット '''''ga'''jetto'' "gadget"; '''ギャ'''ラクシー '''''gya'''rakushī'' "galaxy"; '''ギャ'''ル '''''gya'''ru'' "gal"
|-
|colspan=2|{{IPA|/ɡz/}}
|⟨gs⟩; ⟨ggs⟩; ⟨x⟩; ⟨xh⟩
|
|guz; guj; kiz; kuz
|guzu; gguzu
|エグジット ''e'''guj'''itto'' "exit"; エグゾーダス ''e'''guz'''ōdasu'' "exodus"; エグザミネーション ''e'''guz'''aminēshon'' "examination"; エキゾチック ''e'''kiz'''ochikku'' "exotic"; エキゾースト ''e'''kiz'''ōsuto'' "exhaust"; バ'''ッグズ''' ''ba'''gguzu''''' "bags"
|-
|{{IPA|/ɡzjuː/}}
|{{IPA|/ɡzuː/}}
|⟨xu⟩; ⟨xhu⟩
|
|gujū
|
|エ'''グジュー'''ム ''e'''gujū'''mu'' "exhume"
|-
|colspan=2|{{IPA|/h/}}
|⟨gh⟩; ⟨h⟩
|h
|colspan=2|
|ハンター '''''h'''antā'' "hunter"; ハッブル '''''H'''abburu'' "Hubble"
|-
|colspan=2|{{IPA|/huː/}}; {{IPA|/hʊ/}}
|⟨hoo⟩; ⟨who⟩
|colspan=2|fū
|
|'''フー''' '''''fū''''' "who"; '''フ'''ッド '''''fu'''ddo'', '''フー'''ド '''''fū'''do'' "hood"; '''フ'''ック '''''fu'''kku'', '''ホ'''ック '''''ho'''kku'' "hook"
|-
|colspan=2|{{IPA|/ɪ/}}
|⟨a⟩; ⟨ae⟩; ⟨e⟩; ⟨ei⟩; ⟨i⟩; ⟨ie⟩; ⟨oe⟩
|colspan=3|i; ī; e; ē
|'''イ'''ンプット '''''i'''nputto'' "input"; リミテッド ''r'''i'''m'''i'''t'''e'''ddo'' "limited"; ネイキッド ''neik'''i'''ddo'' "naked"; トイレット ''toir'''e'''tto'' "toilet"; オレンジ ''or'''e'''nji'' "orange"; ステッカー ''sut'''e'''kkā'' "sticker"; デステニー ''desut'''e'''nī'' "destiny"; デジタル ''d'''e'''jitaru'' "digital"; アイデア ''aid'''e'''a'' "idea"; メッセージ ''mess'''ē'''ji'' "message"; ガレージ ''gar'''ē'''ji'' "garage"; ダメージ ''dam'''ē'''ji'' "damage"; カレッジ ''kar'''e'''jji'' "college"; チョコレート ''chokor'''ē'''to'' "chocolate"; パレス ''par'''e'''su'' "palace"; アルティメット ''arutim'''e'''tto'' "ultimate"; ネッカチーフ ''nekkach'''ī'''fu'' "neckerchief"
|-
|{{IPA|/ɪə(ɹ)/}}
|{{IPA|/ɪɹ/}}
|⟨aer⟩; ⟨e're⟩; ⟨ear⟩; ⟨eer⟩; ⟨er⟩; ⟨ere⟩; ⟨ier⟩; ⟨ir⟩
|
|iar; iyar; īr; ir; ear
|ia; iya; īa; ea
|ギア ''g'''ia''''' "gear"; ミーアキャット ''m'''īa'''kyatto'' "meerkat"; '''イヤ'''ホン '''''iya'''hon'' "earphone"; ヒーロー ''h'''īr'''ō'' "hero"; ヒロイン ''h'''ir'''oin'' "heroine"; ステアリング ''sut'''ear'''ingu'' "steering"
|-
|colspan=2 rowspan=2|{{IPA|/i/}}
|⟨e⟩; ⟨ea⟩; ⟨ee⟩; ⟨ei⟩; ⟨y⟩
|colspan=3|i; ī; yi; ē
|コミッテ'''ィー''' ''komitt'''ī''''' "committee"; ヤンキー ''Yank'''ī''''' "Yankee"; シテ'''ィー''' ''shit'''i''''' "city"; コメデ'''ィ''' ''komed'''i''''', コメデ'''ィー''' ''komed'''ī''''' "comedy"; アポストロフ'''ィ''' ''aposutorof'''i''''' "apostrophe"; ハッピー ''happ'''ī''''', ハッピィ ''happ'''yi''''' "happy"; キャンデ'''ィ''' ''kyand'''i''''', キャンデ'''ィー''' ''kyand'''ī''''', キャンデー ''kyand'''ē''''' "candy"
|-
|⟨ay⟩; ⟨ey⟩
|colspan=3|ī; ē; ei; e
|マリー ''Mar'''ī''''', マーレイ ''Mār'''ei''''' "Murray"; リンジー ''Rinj'''ī''''' "Lindsay"; ハービー ''Hāb'''ī''''' "Harvey"; ハーレー ''Hār'''ē''''' "Harley"; ラムゼイ ''Ramuz'''ei''''' "Ramsay"; ハネムーン ''han'''e'''mūn'', ハニームーン ''han'''ī'''mūn'' "honeymoon"
|-
|colspan=2|{{IPA|/iː/}}
|⟨ae⟩; ⟨e⟩; ⟨ea⟩; ⟨ee⟩; ⟨i⟩; ⟨ie⟩; ⟨oe⟩
|colspan=3|ī; ē; e
|チーム ''ch'''ī'''mu'' "team"; グリーン ''gur'''ī'''n'' "green"; ピース ''p'''ī'''su'' "piece", "peace"; タキシード ''takish'''ī'''do'' "tuxedo"; デーモン ''d'''ē'''mon'' "demon"; ノルウ'''ェー'''ジャン ''Noruw'''ē'''jan'' "Norwegian"; ハイ'''エ'''ナ ''hai'''e'''na'' "hyena"; フ'''ェ'''ニックス ''f'''e'''nikkusu'' "phoenix"
|-
|colspan=2|{{IPA|/j/}}
|⟨y⟩
|y; i
|colspan=2|
|ヤング '''''y'''angu'' "young"; ヨーク '''''Y'''ōku'' "York"; '''イ'''ェール '''''Y'''ēru'' "Yale"; '''イ'''エロー '''''i'''erō'', '''イ'''エロウ '''''i'''erou'' "yellow"; '''イ'''エス '''''i'''esu'' "yes"
|-
|{{IPA|/ju(ː)/}}; {{IPA|/jʊ/}}
|{{IPA|/ju(ː)/}}; {{IPA|/jə/}}
|⟨eu⟩; ⟨u⟩; ⟨you⟩; ⟨yu⟩; ⟨ut⟩
|colspan=2|yū; yu
|
|'''ユー''' '''''yū''''' "you", "U"; '''ユ'''ニオン '''''yu'''nion'' "union"; ダブリ'''ュー''' ''dabur'''yū''''' "W"; サミ'''ュ'''エル ''Sam'''yu'''eru'' "Samuel"; フォーミ'''ュ'''ラ ''fōm'''yu'''ra'' "formula"
|-
|{{IPA|/jʊə(ɹ)/}}; {{IPA|/jəɹ/}}
|{{IPA|/jʊɹ/}}; {{IPA|/jəɹ/}}
|⟨eu(r)⟩; ⟨u(r)⟩; ⟨you(r)⟩; ⟨you're⟩; ⟨yu(r)⟩; ⟨uh(r)⟩
|
|yūr; yur; yuar
|yua
|ユーロ '''''yūr'''o'' "euro"; '''ユア''' '''''yua''''' "your", "you're"; マーキュリー ''Māk'''yur'''ī'' "Mercury"
|-
|colspan=2|{{IPA|/k/}}
|⟨c⟩; ⟨cc⟩; ⟨ch⟩; ⟨che⟩; ⟨ck⟩; ⟨k⟩; ⟨ke⟩; ⟨kh⟩; ⟨qu⟩; ⟨que⟩
|k
|k; kk
|ku; kku; ki; kki
|カップ '''''k'''appu'' "cup"; キ'''ック''' '''''k'''i'''kku''''' "kick"; テイ'''ク''' ''tei'''ku''''' "take"; ストライ'''キ''' ''sutorai'''ki''''' "strike"; ケー'''キ''' '''''k'''ē'''ki''''' "cake"; ステー'''キ''' ''sutē'''ki''''' "steak"; デ'''ッキ''' ''de'''kki''''' "deck"; '''ク'''ラウン '''''ku'''raun'' "clown"; サッカー ''sa'''kk'''ā'' "soccer", "sucker"; '''ク'''ロニ'''ク'''ル '''''ku'''roni'''ku'''ru'' "chronicle"
|-
|colspan=2|{{IPA|/kæ/}}
|⟨ca⟩; ⟨cha⟩; ⟨ka⟩
|ka; kya
|colspan=2|
|'''カ'''ンザス '''''Ka'''nzasu'' "Kansas"; '''カ'''メラ '''''ka'''mera'' "camera"; '''キャ'''メロン '''''Kya'''meron'' "Cameron"; '''キャ'''ンディー '''''kya'''ndī'' "candy"; '''キャ'''プテン '''''kya'''puten'' "captain"
|-
|colspan=2|{{IPA|/ks/}}
|⟨cc⟩; ⟨cs⟩; ⟨chs⟩; ⟨cks⟩; ⟨ks⟩; ⟨khs⟩; ⟨x⟩; ⟨xe⟩
|
|kus; kkus; kis; kish
|kkusu; kisu
|メ'''キシ'''コ ''Me'''kishi'''ko'' "Mexico"; テキサス ''Te'''kis'''asu'' "Texas"; テ'''キス'''ト ''te'''kisu'''to'' "text"; プロキシ ''puro'''kish'''i'' "proxy"; タキシード ''ta'''kish'''īdo'' "tuxedo"; シ'''ックス''' ''shi'''kkusu''''' "six", "sicks"; コンプレ'''ックス''' ''konpure'''kkusu''''' "complex"
|-
|colspan=2|{{IPA|/kʃ/}}
|⟨cti⟩; ⟨xi⟩
|
|kush
|
|コネクション ''kone'''kush'''on'' "connection", "connexion"
|-
|colspan=2|{{IPA|/kʃuəl/}}
|⟨xual⟩
|
|kusharu; kushuaru
|
|バイセ'''クシャル''' ''baise'''kusharu''''', バイセ'''クシュアル''' ''baise'''kushuaru''''' "bisexual"
|-
|colspan=2|{{IPA|/kw/}}
|⟨cho⟩; ⟨cqu⟩; ⟨qu⟩
|colspan=2|ku; kuw; kw; k
|
|'''ク'''オーク '''''ku'''ōku'', '''ク'''ォーク '''''kw'''ōku'' "quark"; '''ク'''イーン '''''ku'''īn'', '''ク'''ィーン '''''kw'''īn'' "queen"; クワイア '''''kuw'''aia'' "choir"; スコール ''su'''k'''ōru'' "squall"; ターコイズ ''tā'''k'''oizu'' "turquoise"
|-
|colspan=2|{{IPA|/l/}}
|⟨l⟩; ⟨le⟩; ⟨ll⟩
|r
|r
|ru
|ループ '''''r'''ūpu'' "loop"; ボー'''ル''' ''bō'''ru''''' "ball"; ブリー ''bu'''r'''ī'' "bully"
|-
|colspan=2|{{IPA|/m/}}
|⟨m⟩; ⟨mb⟩; ⟨me⟩; ⟨mm⟩; ⟨mn⟩
|m
|m; nm
|mu; n
|メイ '''''M'''ei'' "May"; サモン ''sa'''m'''on'' "summon"; ゲー'''ム''' ''gē'''mu''''' "game"; ラ'''ン'''プ ''ra'''n'''pu'' "lamp", "lump", "ramp", "rump"; ナ'''ン'''バー ''na'''n'''bā'' "number"; ガンマ ''ga'''nm'''a'' "gamma"; ボ'''ム''' ''bo'''mu''''' "bomb"; オータ'''ム''' ''ōta'''mu''''' "autumn"
|-
|colspan=2|{{IPA|/n/}}
|⟨n⟩; ⟨nd⟩; ⟨ne⟩; ⟨nn⟩
|n
|n; nn
|n; nu
|ナイ'''ン''' ''nai'''n''''' "nine"; ファ'''ン''' ''fa'''n''''' "fan"; バナナ ''ba'''n'''a'''n'''a'' "banana"; ア'''ン'''ナ ''A'''nn'''a'' "Anna"; エ'''ヌ''' ''e'''nu''''' "N"; カ'''ン'''ニング ''ka'''nn'''ingu'' "cunning"; ハ'''ン'''サム ''ha'''n'''samu'' "handsome"; ハ'''ン'''カチーフ ''ha'''n'''kachīfu'' "handkerchief"
|-
|{{IPA|/nju(ː)/}}
|{{IPA|/nu(ː)/}}
|⟨new⟩; ⟨neu⟩; ⟨nu⟩
|colspan=3|nyū
|'''ニュー''' '''''nyū''''' "new"; '''ニュー'''トロン '''''nyū'''toron'' "neutron"
|-
|{{IPA|/njʊə(ɹ)/}}
|{{IPA|/nʊɹ/}}
|⟨newr⟩; ⟨neur⟩; ⟨nur⟩; ⟨nure⟩
|
|nyūr
|
|ニューロン '''''nyūr'''on'' "neuron"
|-
|colspan=2|{{IPA|/ŋ/}}; {{IPA|/ŋɡ/}}
|⟨n⟩; ⟨ng⟩
|
|ng
|n; ngu
|シンガー ''si'''ng'''ā'' "singer"; フィンガー ''fi'''ng'''ā'' "finger"; リ'''ン'''ク ''ri'''n'''ku'' "link"; リ'''ング''' ''ri'''ngu''''' "ring"; バーミンガム ''Bāmi'''ng'''amu'', バーミ'''ング'''ハム ''Bāmi'''ngu'''hamu'' "Birmingham"; チューイ'''ン'''ガム ''chūi'''n''' gamu'' "chewing gum"; ワシ'''ン'''トン ''Washi'''n'''ton'' "Washington"; ブーメラ'''ン''' ''būmera'''n''''' "boomerang"
|-
|colspan=2|{{IPA|/ɔː/}}
|⟨al⟩; ⟨au⟩; ⟨aw⟩; ⟨oa⟩; ⟨ough⟩
|colspan=3|ō; ou; o
|トーク ''t'''ō'''ku'' "talk"; '''オー'''ストリア '''''Ō'''sutoria'' "Austria"; クロー ''kur'''ō''''', クロウ ''kur'''ou''''' "claw", "craw"; ストロー ''sutor'''ō''''' "straw"; ストロベリー ''sutor'''o'''berī'' "strawberry"
|-
|colspan=2|{{IPA|/ɔːl/}}
|⟨al⟩; ⟨aul⟩; ⟨awl⟩
|
|ōr
|ōru; oru; aru
|クローラー ''ku'''ōr'''ā'' "crawler"; '''オル'''タナティブ '''''oru'''tanatibu'' "alternative"; ワルツ ''w'''aru'''tsu'' "waltz"; アサルト ''as'''aru'''to'' "assault"
|-
|rowspan=2|{{IPA|/ɔː(ɹ)/}}
|rowspan=2|{{IPA|/ɔːɹ/}}
|⟨ar⟩; ⟨aur⟩; ⟨oar⟩; ⟨or⟩; ⟨our⟩; ⟨wor⟩
|colspan=2|
|ō(r); oru; oa; ā
|ボード ''b'''ō'''do'' "board"; コース ''k'''ō'''su'' "course"; フ'''ォー''' ''f'''ō''''' "four"; ストーム ''sut'''ō'''mu'' "storm"; トルネード ''t'''oru'''nēdo'' "tornado"; ボーテックス ''b'''ō'''tekkusu'', ボルテックス ''b'''oru'''tekkusu'' "vortex"; ノルウェー ''N'''oru'''wē'' "Norway"; ウ'''ォー''' ''w'''ō''''' "war"; '''オア''' '''''oa''''' "or", "oar"; ダイナソー ''dainas'''ō''''', ダイノソー ''dainos'''ō''''' "dinosaur"; コーラス ''k'''ōr'''asu'' "chorus"; ソード ''s'''ō'''do'' "sword"; ワープ ''w'''ā'''pu'' "warp"; ホグワーツ ''Hoguw'''ā'''tsu'' "Hogwarts"
|-
|⟨oor⟩; ⟨ore⟩
|colspan=2|
|oa
|コア ''k'''oa''''' "core"; フ'''ォア''' ''f'''oa''''' "fore"; ドア ''d'''oa''''' "door"; フロア ''fur'''oa''''' "floor"
|-
|colspan=2|{{IPA|/ɔɪ/}}
|⟨eu⟩; ⟨oi⟩; ⟨oy⟩
|colspan=3|oi
|コイン ''k'''oi'''n'' "coin"; トイ ''t'''oi''''' "toy" Exception: ボーイ ''b'''ōi''''' "boy"
|-
|colspan=2|{{IPA|/ɔɪə(ɹ)/}}
|⟨awyer⟩
|colspan=3|oiyā
|ロイヤー ''r'''oiyā''''' "lawyer"
|-
|colspan=2|{{IPA|/ɔɪəl/}}
|⟨oyal⟩
|colspan=3|oiyaru
|ロイヤル ''r'''oiyaru''''' "royal", "loyal"
|-
|colspan=2|{{IPA|/p/}}
|⟨p⟩; ⟨pe⟩; ⟨ph⟩; ⟨pp⟩
|p
|p; pp
|pu; ppu
|パック '''''p'''akku'' "pack"; ト'''ップ''' ''to'''ppu''''' "top"; '''プ'''ランクトン '''''pu'''rankuton'' "plankton"; '''プ'''ルーフ '''''pu'''rūfu'' "proof"
|-
|{{IPA|/ɹ/}}; {{IPA|/(ɹ)/}}
|{{IPA|/ɹ/}}
|⟨lo⟩; ⟨r⟩; ⟨re⟩; ⟨rh⟩; ⟨rps⟩; ⟨rr⟩; ⟨rt⟩
|r
|r
|''omitted''; ru
|ラム '''''r'''amu'' "ram", "RAM", "rum"; テリー ''Te'''r'''ī'' "Terry"; リズム '''''r'''izumu'' "rhythm"; バー ''bā'' "bar"; カリフォ'''ル'''ニア ''Karifo'''ru'''nia'' "California"; アー'''ル''' ''ā'''ru''''' "R", "are"
|-
|colspan=2|{{IPA|/ˌɹiːˌɪ/}}
|⟨rei⟩
|colspan=3|rii; ryi; ri
|'''リイ'''ンカーネーション '''''rii'''nkānēshon'' , '''リィ'''ンカーネーション '''''ryi'''nkānēshon'', '''リ'''ンカーネーション '''''ri'''nkānēshon'', '''リ'''ンカーネイション '''''ri'''nkāneishon'', '''リ'''ンカネーション '''''ri'''nkanēshon'' "reincarnation"
|-
|colspan=2|{{IPA|/s/}}
|⟨'s⟩; ⟨c⟩; ⟨ce⟩; ⟨s⟩; ⟨s'⟩; ⟨sc⟩; ⟨se⟩; ⟨ss⟩; ⟨st⟩; ⟨sw⟩
|s; sh
|s; ss; sh; ssh
|su; ssu
|サンド '''''s'''ando'' "sand"; シンク '''''sh'''inku'' "sink", "cinque"; メッセンジャー ''me'''ss'''enjā'' "messenger"; ケーシング ''kē'''sh'''ingu'' "casing"; キ'''ス''' ''ki'''su''''', キ'''ッス''' ''ki'''ssu''''' "kiss"; キャ'''ッス'''ル ''kya'''ssu'''ru'' "castle"; '''ス'''トップ '''''su'''toppu'' "stop"; '''ス'''ラッシュ '''''su'''rasshu'' "slash"; セント '''''s'''ento'' "cent"; マ'''ッス'''ル ''ma'''ssu'''ru'' "muscle"; クリ'''ス'''マ'''ス''' ''Kuri'''su'''ma'''su''''' "Christmas" Exception: '''シ'''チュー '''''shi'''chū'' "stew"
|-
|{{IPA|/sjuː/}}
|{{IPA|/suː/}}
|⟨su⟩
|colspan=2|shū
|
|コン'''シュー'''マー ''kon'''shū'''mā'' "consumer"
|-
|colspan=2|{{IPA|/ʃ/}}
|⟨ch⟩; ⟨che⟩; ⟨ci⟩; ⟨s⟩; ⟨sc⟩; ⟨sch⟩; ⟨sh⟩; ⟨si⟩; ⟨sti⟩; ⟨ti⟩
|sh
|sh; ssh
|shu; sshu
|シップ '''''sh'''ippu'' "ship"; クラッシャー ''kura'''ssh'''ā'' "crusher"; フラ'''ッシュ''' ''fura'''sshu''''' "flash", "flush"; '''シュ'''ラウド '''''shu'''raudo'' "shroud"; ディメンション ''dimen'''sh'''on'' "dimension"; アクション ''aku'''sh'''on'' "action"; イグニッション ''iguni'''ssh'''on'' "ignition"; スペシャル ''supe'''sh'''aru'' "special"
|-
|colspan=2|{{IPA|/ʃuəl/}}
|⟨sual⟩
|colspan=2|sharu; shuaru
|
|コンセン'''シャル''' ''konsen'''sharu''''' "consensual"
|-
|colspan=2|{{IPA|/t/}}
|⟨bt⟩; ⟨ct⟩; ⟨pt⟩; ⟨t⟩; ⟨te⟩; ⟨th⟩; ⟨tt⟩; ⟨tte⟩
|t; ch; ts
|t; tt; ts
|to; tto; tsu; ttsu; do
|テープ '''''t'''ēpu'' "tape"; インフィニ'''テ'''ィ ''infini'''t'''i'' "infinity"; チップ '''''ch'''ippu'' "tip"; チーム '''''ch'''īmu'' "team"; スチーム ''su'''ch'''īmu'' "steam"; チケ'''ット''' '''''ch'''ike'''tto''''', '''テ'''ィケ'''ット''' '''''t'''ike'''tto''''', テケ'''ツ''' '''''t'''eke'''tsu''''' "ticket"; ツアー '''''ts'''uā'' "tour"; ツー '''''ts'''ū'', トゥー '''''t'''ū'' "two", "to"; タイタン '''''T'''ai'''t'''an'' "Titan"; スケー'''ト''' ''sukē'''to''''' "skate"; ヒ'''ッテ'''ィング ''hi'''tt'''ingu'' "hitting"; カー'''ト'''ゥーン ''kā'''t'''ūn'' "cartoon"; キャ'''ット''' ''kya'''tto''''', キャ'''ッツ''' ''kya'''ttsu''''' "cat"; シャ'''ツ''' ''sha'''tsu''''' "shirt"; ピーナ'''ッツ''' ''pīna'''ttsu''''', ピーナ'''ツ''' ''pīna'''tsu''''', ピーナ'''ット''' ''pīna'''tto''''' "peanut"; フルー'''ツ''' ''furū'''tsu''''' "fruit"; スー'''ツ''' ''sū'''tsu''''', スート ''sū'''to''''' "suit"; '''ト'''ランプ '''''to'''rampu'' "trump"; バ'''ト'''ル ''ba'''to'''ru'' "battle"; テムズ '''''T'''emuzu'', テームズ '''''T'''ēmuzu'' "Thames"; コネチカ'''ット''' ''Kone'''ch'''ika'''tto''''' "Connecticut"; アドバンス'''ト''' ''adobansu'''to''''', アドバンス'''ド''' ''adobansu'''do''''' "advanced"
|-
|{{IPA|/tjuː/}}
|{{IPA|/tuː/}}
|⟨tew⟩; ⟨tu⟩; ⟨tue⟩
|chū; chuw; tyū
|colspan=2|
|'''チュー'''ナー '''''chū'''nā'' "tuner"; '''チュー'''バ '''''chū'''ba'', '''テュー'''バ '''''tyū'''ba'' "tuba"; スチュワード ''su'''chuw'''ādo'' "steward"; '''チュー'''ズデー '''''Chū'''zudē'' "Tuesday"
|-
|colspan=2|{{IPA|/ts/}}
|⟨t's⟩; ⟨ts⟩; ⟨tts⟩
|colspan=2|
|tsu; ttsu
|キャ'''ッツ''' ''kya'''ttsu''''' "cats"; イ'''ッツ''' ''i'''ttsu''''' "it's", "its"
|-
|colspan=2|{{IPA|/tʃ/}}
|⟨ch⟩; ⟨tch⟩
|ch
|ch; tch
|chi; tchi
|チキン '''''ch'''ikin'', チケン '''''ch'''iken'', チッケン '''''ch'''ikken'' "chicken"; キチン ''ki'''ch'''in'', キッチン ''ki'''tch'''in'', キ'''ッチ'''ェン ''ki'''tch'''en'' "kitchen"; マ'''ッチ''' ''ma'''tchi''''' "match"
|-
|{{IPA|/tʃʊə(ɹ)/}}
|{{IPA|/tʃʊɹ/}}
|⟨ture⟩
|
|chua
|
|マ'''チュア''' ''ma'''chua''''' "mature"
|-
|colspan=2|{{IPA|/tʃuəl/}}
|⟨tual⟩
|colspan=2|
|charu; chuaru
|バー'''チャル''' ''bā'''charu''''', バー'''チュアル''' ''bā'''chuaru''''' "virtual"
|-
|colspan=2|{{IPA|/θ/}}
|⟨th⟩; ⟨the⟩
|s; sh
|s; ss; sh; ssh; j
|su; ssu
|ソー '''''S'''ō'' "Thor"; シーフ '''''sh'''īfu'' "thief"; バ'''ス'''ルーム ''ba'''su'''rūmu'' "bathroom"; '''ス'''レッド '''''su'''reddo'' "thread"; ゴッサム ''Go'''ss'''amu'' "Gotham"; アメシスト ''ame'''sh'''isuto'', アメジスト ''ame'''j'''isuto'' "amethyst"
|-
|colspan=2|{{IPA|/ʊ/}}
|⟨oo⟩; ⟨u⟩
|colspan=3|u
|ブック ''b'''u'''kku'' "book"; ブル ''b'''u'''ru'' "bull"
|-
|{{IPA|/ʊə(ɹ)/}}; {{IPA|/ɔː(ɹ)/}}
|{{IPA|/ʊɹ/}}
|⟨oor⟩; ⟨our⟩; ⟨ure⟩
|
|uar; ūr
|ua; ūa; uā
|ムーア ''m'''ūa''''' "moor"; シュア ''sh'''ua''''' "sure"; ツアー ''ts'''uā''''' "tour"; ツーリスト ''ts'''ūr'''isuto'' "tourist"; ミズーリ ''Miz'''ūr'''i'' "Missouri"
|-
|colspan=2|{{IPA|/u(ː)/}}
|⟨ew⟩; ⟨o⟩; ⟨oe⟩; ⟨oo⟩; ⟨ou⟩; ⟨ough⟩; ⟨ue⟩; ⟨ui⟩
|colspan=3|ū; u; yū
|ド'''ゥー''' ''d'''ū''''' "do"; コクーン ''kok'''ū'''n'' "cocoon"; シュー ''sh'''ū''''' "shoe"; スープ ''s'''ū'''pu'' "soup"; スルー ''sur'''ū''''' "through"; ブルーマー ''bur'''ū'''mā'', ブルマー ''bur'''u'''mā'' "bloomer"; ジュース ''j'''ū'''su'' "juice"; ブイ ''b'''u'''i'' "buoy"; クルー ''kur'''ū''''' "crew"; コークスクリ'''ュー''' ''kōkusukur'''yū''''' "corkscrew"; アンドリ'''ュー''' ''Andor'''yū''''' "Andrew" Exceptions: ドリトル ''D'''o'''ritoru'' "Dolittle"; スタジオ ''sut'''a'''jio'' "studio"; アコースティック ''ak'''ō'''sutikku'' "acoustic"
|-
|colspan=2|{{IPA|/v/}}
|⟨ph⟩; ⟨v⟩; ⟨ve⟩; ⟨w⟩
|b; v
|b; v
|bu; vu
|バイキング '''''B'''aikingu'', '''ヴ'''ァイキング '''''V'''aikingu'' "Viking"; ラ'''ブ''' ''ra'''bu''''', ラ'''ヴ''' ''ra'''vu''''' "love"; スティー'''ヴ'''ン ''Sutī'''vu'''n'' "Stephen"
|-
|colspan=2|{{IPA|/ʌ/}}
|⟨o⟩; ⟨oo⟩; ⟨ou⟩; ⟨u⟩
|colspan=3|a; o
|マフィン ''m'''a'''fin'', マッフィン ''m'''a'''ffin'' "muffin"; ブラッド ''bur'''a'''ddo'' "blood"; プラス ''pur'''a'''su'' "plus"; カミング ''k'''a'''mingu'' "coming"; マンスリー ''m'''a'''nsurī'' "monthly"; パンチ ''p'''a'''nchi'', ポンチ ''p'''o'''nchi'' "punch"; コロンビア ''Kor'''o'''nbia'' "Columbia"; トンネル ''t'''o'''nneru'' "tunnel"; フロント ''fur'''o'''nto'' "front"; モンク ''m'''o'''nku'' "monk"; モンキー ''m'''o'''nkī'' "monkey"; ロンドン ''R'''o'''ndon'' "London"
|-
|colspan=2 rowspan=2|{{IPA|/w/}}
|⟨w⟩; ⟨ou⟩
|u; w; ''omitted''
|u; w
|
|グ'''ウ'''ェン ''Gu'''w'''en'' "Gwen"; ス'''ウ'''ェーデン ''Su'''w'''ēden'' "Sweden"; '''ウ'''ォーム '''''w'''ōmu'' "warm"; ワーム '''''w'''āmu'' "worm"; ツイン ''tsuin'' "twin"; ジャガー ''jagā'' "jaguar"; ペンギン ''pengin'' "penguin"; ティンクル ''tinkuru'' "twinkle"; サンドイッチ ''sandoitchi'', サンド'''ウ'''ィッチ ''sando'''w'''itchi'' "sandwich"; セーター ''sētā'' "sweater"; ア'''ウ'''ェイクン ''a'''w'''eikun'', ア'''ウ'''エイクン ''a'''u'''eikun'' "awaken"
|-
|⟨wh⟩
|how; ho; u; w
|colspan=2|
|ホワイト '''''how'''aito'' "white"; ホワッツ '''''how'''attsu'' "what's"; '''ホ'''エール '''''ho'''ēru'' "whale"; '''ホ'''イール '''''ho'''īru'' "wheel"; '''ホ'''イップ '''''ho'''ippu'', '''ウ'''イップ '''''u'''ippu'', '''ウ'''ィップ '''''w'''ippu'' "whip"; '''ウ'''ィート '''''w'''īto'' "wheat"
|-
|colspan=2|{{IPA|/wʊ/}}
|⟨wo⟩; ⟨woo⟩
|u; ū
|colspan=2|
|'''ウ'''ッド '''''u'''ddo'' "wood"; '''ウー'''マン '''''ū'''man'' "woman"
|-
|colspan=2|{{IPA|/z/}}
|⟨'s⟩; ⟨s⟩; ⟨sc⟩; ⟨se⟩; ⟨ss⟩; ⟨z⟩; ⟨ze⟩; ⟨zz⟩
|z; j
|z; zz; j; jj
|zu; zzu; su
|ズーム '''''z'''ūmu'' "zoom"; ジッパー '''''j'''ippā'' "zipper"; ライジング ''rai'''j'''ingu'' "rising"; クレージ ''kurē'''j'''ī'' "crazy"; フェイ'''ズ''' ''fei'''zu''''' "phase"; パ'''ズ'''ル ''pa'''zu'''ru'' "puzzle"; ディジー ''di'''j'''ī'', ディ'''ズ'''ィー ''di'''z'''ī'' "dizzy"; ポゼッション ''po'''z'''esshon'' "possession"; ミズーリ ''Mi'''z'''ūri'' "Missouri"; ニュー'''ス''' ''nyū'''su''''' "news"; ブルー'''ス''' ''burū'''su''''' "blues"; フェアリー'''ズ''' ''fearī'''zu''''', フェアリー'''ス''' ''fearī'''su''''' "fairies"; ゼット '''''z'''etto'', '''ズ'''ィ '''''z'''i'' "Z"
|-
|colspan=2|{{IPA|/ʒ/}}
|⟨g⟩; ⟨ge⟩; ⟨si⟩; ⟨ti⟩; ⟨zi⟩
|
|j
|
|テレビジョン ''terebi'''j'''on'' "television"; イクエージョン ''ikuē'''j'''on'' "equation"; ブレージャー''burē'''j'''ā'' "brazier"
|-
|colspan=2|{{IPA|/ʒuəl/}}
|⟨sual⟩
|
|juaru
|
|ビ'''ジュアル''' ''bi'''juaru''''' "visual"
|}

== See also ==
* [[Romanization of Japanese]]
* [[Transcription into Korean]]

== References ==
{{Reflist}}
{{Japanese language}}

[[Category:Japanese writing system]]
[[Category:Transcription (linguistics)]]

Tilslørte bondepiker

2024-01-21T19:49:08Z

MonkeyPython: fix ordering (also see https://no.wikipedia.org/wiki/Tilsl%C3%B8rte_bondepiker)

{{Short description|Scandinavian dessert}}
{{Infobox prepared food
| name = Tilslørte bondepiker / bondepige med slør
| name_lang = no
| image = Bondepiker fra Grythengsepler.jpg
| image_size = 250px
| caption = Änglamat / Tilslørte bondepiker Bondepige med slør
| alternate_name =
| country = [[Scandinavia]]
| region =
| creator =
| course =
| type = [[Dessert]]
| served =
| main_ingredient = Mashed fruit (apples or plums), [[whipped cream]], [[Bread crumb|bread-]] or [[Rusk|rusk crumbs]]
| variations =
| calories =
| other =
}}
[[File:Verschleiertes_Bauernmädchen.jpg|thumb|Verschleiertes Bauernmädchen served in a glass bowl]]

'''Tilslørte bondepiker''' ({{Lit|}} ''veiled peasant girls''. Known in [[Swedish language|Swedish]] as ''änglamat''; [[Danish language|Danish]]: ''bondepige med slør''; [[Norwegian language|Norwegian]]: ''tilslørte bondepiker''; [[Finnish language|Finnish]]: ''pappilan hätävara''; {{lang-de|Verschleiertes Bauernmädchen}}; {{lang-nds|Buerndeern mit Sleier}}) is a traditional [[Scandinavia]]n [[dessert]]. The dessert is available in a number of different variations. It is typically served in transparent [[glass]] or [[Bowl (vessel)|bowls]].<ref>{{cite web|last=Finckenhagen|first=Lise|date=6 March 2013|title=Tilslørte bondepiker|url=https://www.godt.no/oppskrift/284/tilsloerte-bondepiker|archive-url=|archive-date=|access-date=March 1, 2020|website=Godt.no}}</ref><ref>{{cite web|last=|first=|date=13 August 2016|title=Nutrition-dense deliciousness: Bondepige med Slør (Nordic Apple Trifle)|url=http://spiceinthecity.co/2016/08/13/nutrition-dense-deliciousness-bondepige-med-slor-nordic-apple-trifle/|url-status=dead|archive-url=https://web.archive.org/web/20161105211001/http://spiceinthecity.co/2016/08/13/nutrition-dense-deliciousness-bondepige-med-slor-nordic-apple-trifle/|archive-date=5 November 2016|access-date=March 1, 2020|website=Spice In The City}}</ref>

Example of a recipe: [[Apple sauce|Applesauce]] (or other mashed fruits) are spread out at the bottom, followed by a layer of toasted [[Bread crumb|bread-]] or [[Rusk|rusk crumbs]], a layer of [[whipped cream]], followed by another layer of sauce, and usually a thin layer of crumbs and or whipped cream on top. Often in multiple layers. Possible decorations also include hazelnuts or flaked almonds.<ref>{{cite web|last1=Mette|first1=Jantzen|title=Bondepige med slør|url=https://www.isabellas.dk/kager-desserter/desserter/bondepige-med-sloer|website=Isabellas|access-date=20 April 2018|language=Danish|date=20 January 2009}}</ref>{{Failed verification|This recipe is not the one in source, but what source does say is that it can be varied.|date=June 2020}}

==See also==
* [[List of desserts]]
* {{portal-inline|Food}}

==References==
{{Reflist}}
{{Refbegin}}
==Related reading==
*S. Schmidt-Nielsen, ''Mat-leksikon: en oppslagsbok for mat og drikkevarer''. Trondheim 1947 (In [[Norwegian language|Norwegian]])
{{Refend}}

{{DEFAULTSORT:Tilslorte bondepiker}}
[[Category:Desserts]]
[[Category:Fruit dishes]]
[[Category:Scandinavian culture]]

{{Dessert-stub}}

Surdelina

2024-01-21T15:26:36Z

MonkeyPython:

{{Short description|Surdelina was a type of bag pipe instrument}}
The '''surdelina''', '''sourdeline''' or '''sampogna''' was a kind of [[bag pipe]] which was described and illustrated by [[Marin Mersenne|Mersenne]] as the '''musette de Naples''' or '''musette de Italie''' <ref>http://web.archive.org/web/20190507075614/http://www.bagpipeworld.co.uk/country/reconstructions.html</ref> its construction was very complicated. Mersenne states that the instrument was invented by Jean Baptiste Riva (who was living in Paris in 1620), Dom Julio and Vincenze; but Mersenne seems to have made alterations himself in the original instrument, which are not very clearly explained. There were two chanters with narrow cylindrical bore and having both finger-holes and keys; and two drones each having ten keys. The four pipes were fixed in the same stock, and double reeds were used throughout; the bag was inflated by means of bellows.

Passenti of Venice published a collection of melodies for the [[zampogna]] in 1628, under the title of Canora Zampogna.<ref>{{1911|wstitle=Bag-pipe}}</ref>

In the 17th century, it was also played in France.

== Modern revival ==
The bagpipe, being a complex instrument based on folk origins, eventually went into disuse. Recent extensive research had been made as to the origins of it's developments and by 2019 work was performed to recreate the complex instruments as depicted in paintings of the are. <ref>https://www.bagpipesociety.org.uk/articles/2020/chanter/summer/new-interpretation-fully-keyed-sordellinas/</ref><ref>https://www.bagpipesociety.org.uk/articles/2015/chanter/autumn/the-sourdeline-of-manfredo-settala-part-2/</ref>

==References==
{{reflist}}

[[Category:Italian musical instruments]]

[[Category:French musical instruments]]
[[Category:Music in Naples]]
[[Category:Bagpipes]]

Surdelina

2024-01-21T15:26:10Z

MonkeyPython: add more info, prepare for merging with https://en.wikipedia.org/w/index.php?title=Sourdeline

{{Short description|Surdelina was a type of bag pipe instrument}}
The '''surdelina''', '''sourdeline''' or '''sampogna''' was a kind of [[bag pipe]] which was described and illustrated by [[Marin Mersenne|Mersenne]] as the '''musette de Naples''' or ''musette de Italie''' <ref>http://web.archive.org/web/20190507075614/http://www.bagpipeworld.co.uk/country/reconstructions.html</ref> its construction was very complicated. Mersenne states that the instrument was invented by Jean Baptiste Riva (who was living in Paris in 1620), Dom Julio and Vincenze; but Mersenne seems to have made alterations himself in the original instrument, which are not very clearly explained. There were two chanters with narrow cylindrical bore and having both finger-holes and keys; and two drones each having ten keys. The four pipes were fixed in the same stock, and double reeds were used throughout; the bag was inflated by means of bellows.

Passenti of Venice published a collection of melodies for the [[zampogna]] in 1628, under the title of Canora Zampogna.<ref>{{1911|wstitle=Bag-pipe}}</ref>

In the 17th century, it was also played in France.

== Modern revival ==
The bagpipe, being a complex instrument based on folk origins, eventually went into disuse. Recent extensive research had been made as to the origins of it's developments and by 2019 work was performed to recreate the complex instruments as depicted in paintings of the are. <ref>https://www.bagpipesociety.org.uk/articles/2020/chanter/summer/new-interpretation-fully-keyed-sordellinas/</ref><ref>https://www.bagpipesociety.org.uk/articles/2015/chanter/autumn/the-sourdeline-of-manfredo-settala-part-2/</ref>

==References==
{{reflist}}

[[Category:Italian musical instruments]]

[[Category:French musical instruments]]
[[Category:Music in Naples]]
[[Category:Bagpipes]]

Sourdeline

2024-01-21T15:26:03Z

MonkeyPython: merging into Surdelina

#REDIRECT [[Surdelina]]

Amaretto

2024-01-04T17:13:32Z

MonkeyPython: /* Cocktails */

{{Short description|Italian almond liqueur}}
{{Other uses}}
{{Distinguish|amoretto|amaretti di Saronno}}
{{Use mdy dates|date=October 2016}}

[[File:Amaretto Bottles 4.JPG|thumb|Bottles of amaretto liqueur]]
'''Amaretto''' (Italian for "a little bitter") is a sweet Italian [[liqueur]] that originated in [[Saronno]]. Depending on the brand, it may be made from [[apricot kernel]]s, [[bitter almond]]s, [[peach]] stones, or [[almond]]s, all of which are natural sources of the [[benzaldehyde]] that provides the almond-like flavour of the liqueur.<ref>{{cite web|title=Best of Sicily Magazine|url=http://www.bestofsicily.com/mag/art306.htm|website=Amaretto|publisher=Roberta Gangi|access-date=17 March 2018}}</ref><ref name="franciacorta">{{cite web|url=http://www.ahardyusa.com/italian_liqueurs/GOZIO_Amaretto.aspx|title=GOZIO Amaretto Almond Liqueur|publisher=AHardy USA Ltd.|access-date=October 18, 2010|archive-url=https://web.archive.org/web/20120712062645/http://www.ahardyusa.com/italian_liqueurs/GOZIO_Amaretto.aspx|archive-date=July 12, 2012}}</ref> It generally contains 21 to 28 percent [[alcohol by volume]].<ref>{{Cite web|last=Graham|first=Colleen|title=What Is Amaretto Liqueur?|url=https://www.thespruceeats.com/what-is-amaretto-liqueur-760248|access-date=2020-09-25|website=The Spruce Eats|language=en}}</ref><ref>{{cite web |url=https://culinarylore.com/drinks:amaretto/ |title=Amaretto Liqueur |website=Culinary Lore |date=September 6, 2012 |first=Eric |last=Troy}}</ref>

When served as a beverage, amaretto can be drunk by itself, used as an ingredient to create several popular [[Cocktail|mixed drink]]s, or added to [[coffee]]. Amaretto is also commonly used in [[Italian cuisine|Italian]] and other [[cuisine]]s, especially in recipes for [[confectionery]] and sweet [[baked goods]].

==Origin==

===Etymology===
The name ''amaretto'' originated as a [[Diminutive#Italian|diminutive]] of the [[Italian language|Italian]] word ''amaro'', meaning "bitter", which references the distinctive flavour lent by the ''mandorla amara'' or by the [[drupe]] kernel. However, the bitterness of amaretto tends to be mild, and sweeteners (and sometimes sweet almonds) enhance the flavour in the final products.<ref name="Almonds">Hopkins, Kate. [http://www.accidentalhedonist.com/index.php/2004/08/28/almonds_who_really_cares "Almonds: Who Really Cares?"] {{Webarchive|url=https://web.archive.org/web/20061018211830/http://www.accidentalhedonist.com/index.php/2004/08/28/almonds_who_really_cares |date=October 18, 2006 }} (August 28, 2004). Accidental Hedonist. Retrieved January 1, 2007.</ref> Thus, one can interpret the liqueur's name as a description of the taste as "a little bitter". [[Cyanide]] is processed out of the almond preparation before its use.{{citation needed|date=December 2018}}

One should not confuse amaretto with [[Amaro (liqueur)|amaro]], a different family of Italian liqueurs that, while also sweetened, have a stronger bitter flavour derived from herbs.

===Legend===
Despite the history of introducing and accepting almonds into Italian cuisine, newer takes on the meanings and origins have been popularized by two major brands. Though of sometimes questionable provenance, these tales hold a sentimental place in Saronno culture:

{{quote|In 1525, a [[Saronno]] church commissioned artist [[Bernardino Luini]], one of [[Leonardo da Vinci]]'s pupils, to paint its [[sanctuary]] with [[fresco]]es. As the church was dedicated to the [[Virgin Mary]], Luini needed to depict the [[Madonna (art)|Madonna]] but needed a model. He found his inspiration in a young widowed innkeeper, who became his model and (in most versions) lover. The woman wished to give him a gift out of gratitude and affection. Her simple means did not permit much, so she steeped apricot kernels in brandy and presented the resulting concoction to a touched Luini.<ref name="FoodNetwork">foodnetwork.ca. [http://www.foodnetwork.ca/guides/a-brief-history-of-amaretto/8076/story.html "A Brief History of Amaretto"] {{Webarchive|url=https://web.archive.org/web/20120711195258/http://www.foodnetwork.ca/guides/a-brief-history-of-amaretto/8076/story.html |date=July 11, 2012 }}. Shaw Media Inc. Retrieved December 30, 2011.</ref><ref name="Disaronno Legend">{{cite web |url=https://www.disaronno.com/en/italian-dolce-vita/tradition/ |website=Disaronno.com |title=Tradition |access-date=2023-06-17}}</ref>}}

==Notable brands==
*[[DeKuyper]] – Netherlands
*[[Disaronno]] – Italy
*[[Lazzaroni]] – Italy
*[[Lucas Bols|Bols]] – Netherlands
*[[Girolamo Luxardo|Luxardo]] – Italy

==Usage==
Amaretto serves a variety of culinary uses.

===Cooking===
* Amaretto is frequently added to desserts, including ice cream, which enhances the flavour of the dessert with almonds and is complementary to the flavour of chocolate. [[Tiramisu]], a popular Italian cake, is often flavoured with either real amaretto or alcohol-free amaretto aroma.
* Savoury recipes that call for amaretto usually involve meats, such as chicken.
* A few shots of amaretto can be added to pancake batter for a richer flavour.
* Amaretto is often added to almondine sauce for fish and vegetables.
* Amaretto is often added to whipped cream.
* Amaretto chocolate truffles

===Cocktails===
Cocktails with Amaretto liqueur as a primary ingredient:
* ''Amaretto Piña Colada'' - Amaretto liqueur, light rum, coconut milk, and pineapple juice.<ref>{{cite web|title=Amaretto Pina Colada|url=http://www.dekuyperusa.com/recipe/amaretto-pina-colada|access-date=January 2, 2016}}</ref>
* ''[[Amaretto Sour]]'' - Amaretto liqueur, lemon juice, egg white, sugar or [[simple syrup]] and orange slice and cherries, for garnish .<ref>{{cite web|last=Morgenthaler|first=Jeffrey|title=I Make the Best Amaretto Sour in the World|date=February 9, 2012 |url=http://www.jeffreymorgenthaler.com/2012/i-make-the-best-amaretto-sour-in-the-world/|access-date=December 12, 2013}}</ref><ref>{{cite web |title=Amaretto Sour |url=https://www.absolutdrinks.com/en/drinks/amaretto-sour/ |website=Absolut Drinks |access-date=18 October 2020 |language=en}}</ref><ref>{{Cite web|url=http://www.dekuyperusa.com/recipe/amaretto-stone-stour?country=US&dob_month=01&dob_day=01&dob_year=1971|title=Amaretto Stone Sour Drink Recipe {{!}} DeKuyperUSA|access-date=August 3, 2016|archive-url=https://web.archive.org/web/20160814133942/http://www.dekuyperusa.com/recipe/amaretto-stone-stour?country=US&dob_month=01&dob_day=01&dob_year=1971|archive-date=August 14, 2016|url-status=dead}}</ref>
* ''[[French Connection (cocktail)|French Connection]]'' - Amaretto liqueur and [[Cognac]]. - [[List of IBA official cocktails|IBA official cocktail]]
* ''[[Godfather (cocktail)|Godfather]]'' - Amaretto liqueur and [[Scotch whisky|Scotch]].
* ''Nutcracker Martini'' - Amaretto liqueur, dark [[Chocolate liqueur|crème de cacao]], vodka, and [[Irish cream]].<ref>{{cite web|title=DeKuyper Nutcracker Martini|url=http://www.dekuyperusa.com/recipe/nutcracker-martini|access-date=January 2, 2016|archive-url=https://web.archive.org/web/20151203060223/http://www.dekuyperusa.com/recipe/nutcracker-martini|archive-date=December 3, 2015|url-status=dead}}</ref>
* ''Snickerdoodle Cookie Martini'' - Amaretto liqueur, cinnamon liqueur, and cinnamon vodka.<ref>{{cite web|title=Snickerdoodle Cookie Martini|url=http://www.dekuyperusa.com/recipe/snickerdoodle-cookie-martini|access-date=January 2, 2016|archive-date=January 27, 2021|archive-url=https://web.archive.org/web/20210127125726/https://www.dekuyperusa.com/recipe/snickerdoodle-cookie-martini|url-status=dead}}</ref>
* ''Toasted Almond'' - Amaretto liqueur, coffee liqueur, and milk or cream. Some versions add vodka.<ref>{{cite web |url=https://www.thespruceeats.com/roasted-almond-roasted-toasted-almond-cocktails-759835 |title=Toasted Almond Cocktail |first=Colleen |last=Graham |date=July 20, 2022 |website=The Spruce Eats |access-date=2023-06-17}}</ref><ref>{{cite web |url=https://tipsybartender.com/recipe/toasted-almond/ |title=Toasted Almond |website=Tipsy Bartender |date=November 10, 2017 |access-date=2023-06-17}}</ref>
* ''Dirty Mother Fucker'' - Amaretto, beer and cola. <ref>{{cite web |url=https://homedrinkmenu.com/drink-recipe/dirty-mother-fucker}}</ref>

===Orgeat syrup===
Amaretto is sometimes used as a substitute for [[Orgeat syrup]] in places where the syrup cannot be found or to impart a less sweet flavour.

==See also==
{{portal|Liquor}}
* [[Bitter almond liqueur]], a similar drink from Portugal
* [[List of almond dishes]]
* [[List of cocktails]]

==References==
{{reflist}}

==External links==
{{Commons category}}
{{commons category|Amaretto liqueurs}}

{{Lombard cuisine}}
{{Alcoholic beverages}}

[[Category:Amaretto liqueurs| ]]
[[Category:Almond dishes]]
[[Category:Nut liqueurs]]
[[Category:Italian liqueurs]]
[[Category:Cuisine of Lombardy]]

Amaretto

2024-01-04T17:11:59Z

MonkeyPython: /* Cocktails */

{{Short description|Italian almond liqueur}}
{{Other uses}}
{{Distinguish|amoretto|amaretti di Saronno}}
{{Use mdy dates|date=October 2016}}

[[File:Amaretto Bottles 4.JPG|thumb|Bottles of amaretto liqueur]]
'''Amaretto''' (Italian for "a little bitter") is a sweet Italian [[liqueur]] that originated in [[Saronno]]. Depending on the brand, it may be made from [[apricot kernel]]s, [[bitter almond]]s, [[peach]] stones, or [[almond]]s, all of which are natural sources of the [[benzaldehyde]] that provides the almond-like flavour of the liqueur.<ref>{{cite web|title=Best of Sicily Magazine|url=http://www.bestofsicily.com/mag/art306.htm|website=Amaretto|publisher=Roberta Gangi|access-date=17 March 2018}}</ref><ref name="franciacorta">{{cite web|url=http://www.ahardyusa.com/italian_liqueurs/GOZIO_Amaretto.aspx|title=GOZIO Amaretto Almond Liqueur|publisher=AHardy USA Ltd.|access-date=October 18, 2010|archive-url=https://web.archive.org/web/20120712062645/http://www.ahardyusa.com/italian_liqueurs/GOZIO_Amaretto.aspx|archive-date=July 12, 2012}}</ref> It generally contains 21 to 28 percent [[alcohol by volume]].<ref>{{Cite web|last=Graham|first=Colleen|title=What Is Amaretto Liqueur?|url=https://www.thespruceeats.com/what-is-amaretto-liqueur-760248|access-date=2020-09-25|website=The Spruce Eats|language=en}}</ref><ref>{{cite web |url=https://culinarylore.com/drinks:amaretto/ |title=Amaretto Liqueur |website=Culinary Lore |date=September 6, 2012 |first=Eric |last=Troy}}</ref>

When served as a beverage, amaretto can be drunk by itself, used as an ingredient to create several popular [[Cocktail|mixed drink]]s, or added to [[coffee]]. Amaretto is also commonly used in [[Italian cuisine|Italian]] and other [[cuisine]]s, especially in recipes for [[confectionery]] and sweet [[baked goods]].

==Origin==

===Etymology===
The name ''amaretto'' originated as a [[Diminutive#Italian|diminutive]] of the [[Italian language|Italian]] word ''amaro'', meaning "bitter", which references the distinctive flavour lent by the ''mandorla amara'' or by the [[drupe]] kernel. However, the bitterness of amaretto tends to be mild, and sweeteners (and sometimes sweet almonds) enhance the flavour in the final products.<ref name="Almonds">Hopkins, Kate. [http://www.accidentalhedonist.com/index.php/2004/08/28/almonds_who_really_cares "Almonds: Who Really Cares?"] {{Webarchive|url=https://web.archive.org/web/20061018211830/http://www.accidentalhedonist.com/index.php/2004/08/28/almonds_who_really_cares |date=October 18, 2006 }} (August 28, 2004). Accidental Hedonist. Retrieved January 1, 2007.</ref> Thus, one can interpret the liqueur's name as a description of the taste as "a little bitter". [[Cyanide]] is processed out of the almond preparation before its use.{{citation needed|date=December 2018}}

One should not confuse amaretto with [[Amaro (liqueur)|amaro]], a different family of Italian liqueurs that, while also sweetened, have a stronger bitter flavour derived from herbs.

===Legend===
Despite the history of introducing and accepting almonds into Italian cuisine, newer takes on the meanings and origins have been popularized by two major brands. Though of sometimes questionable provenance, these tales hold a sentimental place in Saronno culture:

{{quote|In 1525, a [[Saronno]] church commissioned artist [[Bernardino Luini]], one of [[Leonardo da Vinci]]'s pupils, to paint its [[sanctuary]] with [[fresco]]es. As the church was dedicated to the [[Virgin Mary]], Luini needed to depict the [[Madonna (art)|Madonna]] but needed a model. He found his inspiration in a young widowed innkeeper, who became his model and (in most versions) lover. The woman wished to give him a gift out of gratitude and affection. Her simple means did not permit much, so she steeped apricot kernels in brandy and presented the resulting concoction to a touched Luini.<ref name="FoodNetwork">foodnetwork.ca. [http://www.foodnetwork.ca/guides/a-brief-history-of-amaretto/8076/story.html "A Brief History of Amaretto"] {{Webarchive|url=https://web.archive.org/web/20120711195258/http://www.foodnetwork.ca/guides/a-brief-history-of-amaretto/8076/story.html |date=July 11, 2012 }}. Shaw Media Inc. Retrieved December 30, 2011.</ref><ref name="Disaronno Legend">{{cite web |url=https://www.disaronno.com/en/italian-dolce-vita/tradition/ |website=Disaronno.com |title=Tradition |access-date=2023-06-17}}</ref>}}

==Notable brands==
*[[DeKuyper]] – Netherlands
*[[Disaronno]] – Italy
*[[Lazzaroni]] – Italy
*[[Lucas Bols|Bols]] – Netherlands
*[[Girolamo Luxardo|Luxardo]] – Italy

==Usage==
Amaretto serves a variety of culinary uses.

===Cooking===
* Amaretto is frequently added to desserts, including ice cream, which enhances the flavour of the dessert with almonds and is complementary to the flavour of chocolate. [[Tiramisu]], a popular Italian cake, is often flavoured with either real amaretto or alcohol-free amaretto aroma.
* Savoury recipes that call for amaretto usually involve meats, such as chicken.
* A few shots of amaretto can be added to pancake batter for a richer flavour.
* Amaretto is often added to almondine sauce for fish and vegetables.
* Amaretto is often added to whipped cream.
* Amaretto chocolate truffles

===Cocktails===
Cocktails with Amaretto liqueur as a primary ingredient:
* ''Amaretto Piña Colada'' - Amaretto liqueur, light rum, coconut milk, and pineapple juice.<ref>{{cite web|title=Amaretto Pina Colada|url=http://www.dekuyperusa.com/recipe/amaretto-pina-colada|access-date=January 2, 2016}}</ref>
* ''[[Amaretto Sour]]'' - Amaretto liqueur, lemon juice, egg white, sugar or [[simple syrup]] and orange slice and cherries, for garnish .<ref>{{cite web|last=Morgenthaler|first=Jeffrey|title=I Make the Best Amaretto Sour in the World|date=February 9, 2012 |url=http://www.jeffreymorgenthaler.com/2012/i-make-the-best-amaretto-sour-in-the-world/|access-date=December 12, 2013}}</ref><ref>{{cite web |title=Amaretto Sour |url=https://www.absolutdrinks.com/en/drinks/amaretto-sour/ |website=Absolut Drinks |access-date=18 October 2020 |language=en}}</ref><ref>{{Cite web|url=http://www.dekuyperusa.com/recipe/amaretto-stone-stour?country=US&dob_month=01&dob_day=01&dob_year=1971|title=Amaretto Stone Sour Drink Recipe {{!}} DeKuyperUSA|access-date=August 3, 2016|archive-url=https://web.archive.org/web/20160814133942/http://www.dekuyperusa.com/recipe/amaretto-stone-stour?country=US&dob_month=01&dob_day=01&dob_year=1971|archive-date=August 14, 2016|url-status=dead}}</ref>
* ''[[French Connection (cocktail)|French Connection]]'' - Amaretto liqueur and [[Cognac]]. - [[List of IBA official cocktails|IBA official cocktail]]
* ''[[Godfather (cocktail)|Godfather]]'' - Amaretto liqueur and [[Scotch whisky|Scotch]].
* ''Nutcracker Martini'' - Amaretto liqueur, dark [[Chocolate liqueur|crème de cacao]], vodka, and [[Irish cream]].<ref>{{cite web|title=DeKuyper Nutcracker Martini|url=http://www.dekuyperusa.com/recipe/nutcracker-martini|access-date=January 2, 2016|archive-url=https://web.archive.org/web/20151203060223/http://www.dekuyperusa.com/recipe/nutcracker-martini|archive-date=December 3, 2015|url-status=dead}}</ref>
* ''Snickerdoodle Cookie Martini'' - Amaretto liqueur, cinnamon liqueur, and cinnamon vodka.<ref>{{cite web|title=Snickerdoodle Cookie Martini|url=http://www.dekuyperusa.com/recipe/snickerdoodle-cookie-martini|access-date=January 2, 2016|archive-date=January 27, 2021|archive-url=https://web.archive.org/web/20210127125726/https://www.dekuyperusa.com/recipe/snickerdoodle-cookie-martini|url-status=dead}}</ref>
* ''Toasted Almond'' - Amaretto liqueur, coffee liqueur, and milk or cream. Some versions add vodka.<ref>{{cite web |url=https://www.thespruceeats.com/roasted-almond-roasted-toasted-almond-cocktails-759835 |title=Toasted Almond Cocktail |first=Colleen |last=Graham |date=July 20, 2022 |website=The Spruce Eats |access-date=2023-06-17}}</ref><ref>{{cite web |url=https://tipsybartender.com/recipe/toasted-almond/ |title=Toasted Almond |website=Tipsy Bartender |date=November 10, 2017 |access-date=2023-06-17}}</ref>
* ''Dirty Mother fucker'' - Amaretto, beer and cola. <ref>{{cite web |url=https://homedrinkmenu.com/drink-recipe/dirty-mother-fucker}}</ref>

===Orgeat syrup===
Amaretto is sometimes used as a substitute for [[Orgeat syrup]] in places where the syrup cannot be found or to impart a less sweet flavour.

==See also==
{{portal|Liquor}}
* [[Bitter almond liqueur]], a similar drink from Portugal
* [[List of almond dishes]]
* [[List of cocktails]]

==References==
{{reflist}}

==External links==
{{Commons category}}
{{commons category|Amaretto liqueurs}}

{{Lombard cuisine}}
{{Alcoholic beverages}}

[[Category:Amaretto liqueurs| ]]
[[Category:Almond dishes]]
[[Category:Nut liqueurs]]
[[Category:Italian liqueurs]]
[[Category:Cuisine of Lombardy]]

Reclam de xeremies

2023-11-27T13:25:11Z

MonkeyPython:

{{Infobox instrument
| name = Reclam de xeremies
| names =
| image = Reclam_de_xeremia.jpg
| image_capt = Reclam de xeremies, modern manufacture
| background = woodwind
| classification = [[aerophone]]
| hornbostel_sachs = 422.221.2
| hornbostel_sachs_desc = [[single-reed instrument|single-reed aerophone]]s with a regular bore and fingerholes, sets of clarinets
| inventors =
| developed =
| range =
| related = [[arghul]], [[clarinet]], [[diplica]], [[dili tuiduk]], [[dozaleh]], [[Arghul#.C3.87ifte|cifte]], [[launeddas]], [[mijwiz]], [[pilili]], [[sipsi]], zammara, [[zummara]]
| musicians =
| builders =
| articles =
}}

The '''''reclam de xeremies''''', also known as the '''''xeremia bessona'''''<ref>http://www.enciclopedia.cat/fitxa_v2.jsp?NDCHEC=0100439 Gran Enciclopèdia Catalana</ref> or '''''xeremieta''''',<ref>Segons Juanma Sánchez a: http://www.tamborileros.com/tradiberia/aerfono2.htm</ref> is a [[double clarinet]] with two single reeds, traditionally found on the [[Pityusic Islands|Pityusic Island]] of [[Ibiza]], off the [[Mediterranea]]n coast of [[Spain]].

It consists of two cane tubes of equal length, bound together by cord and small pieces of lead to stabilise the tubes. On each tube are several finger holes, traditionally four in the front and one on the back, though in modern instruments the back hole is often omitted. At the top end of each cane a smaller piece of cane holding the single reed, or directly cut into the instrument's top end, making it an [[idioglot]] single reed instrument.<ref>Crivillé, Josep: El folklore musical. Alianza Editorial. Madrid, 1983. p. 374</ref>

Traditionally the fingerholes gave a [[pentatonic scale]] in a tuning varying by instrument.


Various researches<ref>García-Matos, Manuel: Instrumentos musicales folklóricos de España. ''Anuario Musical'', 9 (1954), p. 161</ref> believe that the ''reclam'' descends from a similar instrument of Hellenic Egypt. In any case, it does indeed appear to be very similar in design to other Mediterranean [[double clarinet]]s such as the Arabic ''[[mijwiz]]'', the Tunisian ''zumarra'', the Egyptian ''[[argul]]'' or the Sardinian ''[[launeddas]]''

Per the [[Hornbostel-Sachs]] classification, this is classified as a "cojoined single-reed instrument," categorised by the number 422.22.

==References==
{{reflist}}

{{Reed aerophones}}
{{Single reeds}}
[[Category:Culture of Ibiza]]
[[Category:Single-reed instruments]]
[[Category:Balearic musical instruments]]

Reclam de xeremies

2023-11-27T13:24:53Z

MonkeyPython: the Maltese zummara is a mirliton, see https://hwawarfjuri.wordpress.com/tag/zummara/ and https://vassallohistory.wordpress.com/2571-2/

{{Infobox instrument
| name = Reclam de xeremies
| names =
| image = Reclam_de_xeremia.jpg
| image_capt = Reclam de xeremies, modern manufacture
| background = woodwind
| classification = [[aerophone]]
| hornbostel_sachs = 422.221.2
| hornbostel_sachs_desc = [[single-reed instrument|single-reed aerophone]]s with a regular bore and fingerholes, sets of clarinets
| inventors =
| developed =
| range =
| related = [[arghul]], [[clarinet]], [[diplica]], [[dili tuiduk]], [[dozaleh]], [[Arghul#.C3.87ifte|cifte]], [[launeddas]], [[mijwiz]], [[pilili]], [[sipsi]], zammara, [[zummara]]
| musicians =
| builders =
| articles =
}}

The '''''reclam de xeremies''''', also known as the '''''xeremia bessona'''''<ref>http://www.enciclopedia.cat/fitxa_v2.jsp?NDCHEC=0100439 Gran Enciclopèdia Catalana</ref> or '''''xeremieta''''',<ref>Segons Juanma Sánchez a: http://www.tamborileros.com/tradiberia/aerfono2.htm</ref> is a [[double clarinet]] with two single reeds, traditionally found on the [[Pityusic Islands|Pityusic Island]] of [[Ibiza]], off the [[Mediterranea]]n coast of [[Spain]].

It consists of two cane tubes of equal length, bound together by cord and small pieces of lead to stabilise the tubes. On each tube are several finger holes, traditionally four in the front and one on the back, though in modern instruments the back hole is often omitted. At the top end of each cane a smaller piece of cane holding the single reed, or directly cut into the instrument's top end, making it an [[idioglot]] single reed instrument.<ref>Crivillé, Josep: El folklore musical. Alianza Editorial. Madrid, 1983. p. 374</ref>

Traditionally the fingerholes gave a [[pentatonic scale]] in a tuning varying by instrument.


Various researches<ref>García-Matos, Manuel: Instrumentos musicales folklóricos de España. ''Anuario Musical'', 9 (1954), p. 161</ref> believe that the ''reclam'' descends from a similar instrument of Hellenic Egypt. In any case, it does indeed appear to be very similar in design to other Mediterranean [[double clarinet]]s such as the Arabic ''[[mijwiz]]'', the Tunisian ''zumarra'', the Egyptian ''[[argul]]'' or the Sardinian ''[[launeddas]]'1

Per the [[Hornbostel-Sachs]] classification, this is classified as a "cojoined single-reed instrument," categorised by the number 422.22.

==References==
{{reflist}}

{{Reed aerophones}}
{{Single reeds}}
[[Category:Culture of Ibiza]]
[[Category:Single-reed instruments]]
[[Category:Balearic musical instruments]]

Xeremia

2023-11-23T16:52:05Z

MonkeyPython: /* Name */ typo

{{short description|Bagpipe from Majorca}}
[[Image:Xeremier.jpg|right|thumb|250px|Xeremia]]

The '''''xeremia''''' ({{IPA-ca|ʃəɾəˈmi.ə}}, plural ''xeremies'') is a type of [[bagpipe]] native to the island of [[Majorca]] (''Mallorca'').<ref name=toni>*{{cite web|last=Genovart Espinosa |first=Antoni |title=Xeremies i Xeremiers a Mallorca |date=October 2007 |location=Sant Llorenç des Cardassar, Spain |url=http://www.mallorcaweb.net/xeremiers/index.htm |access-date=28 November 2007 |url-status=dead |archive-url=https://web.archive.org/web/20110726072521/http://www.mallorcaweb.net/xeremiers/index.htm| archive-date=26 July 2011}}</ref> It consists of a bag made of skin (or modern synthetic materials), known as a ''sac'' or ''sarró'' which retains the air, a blowpipe (''bufador''), a melody pipe or chanter (''grall''), and several, generally three, drones (''bordons''). The primary drone (''roncó'') sounds a tonic note, but the other drones are sometimes simply false drones for ornamentation.<ref name=Aqueron>{{cite web|last=Breno |title=Xeremies mallorquina, un poco de lenguas, geografia e historia. |date=2002-03-02 |url=http://usuarios.lycos.es/Aqueron/xeremia.htm |access-date=2007-11-30 |url-status=dead |archive-url=https://web.archive.org/web/20071202133126/http://usuarios.lycos.es/aqueron/xeremia.htm |archive-date=December 2, 2007 }}</ref>

The ''xeremia'' has a distinctively bright and piercing sound, which has traditionally accompanied festivals and other activities in the islands throughout history.

==Name==
The name ''xeremia'' is of French origin. The Old French word ''chalemie'' over time became ''charemie''. This is related to the influence of [[Occitania]] during the [[Kingdom of Aragon]], as Catalan was quite strong from the year 531 to approximately 1131, as the Occitan cultural centre expanded through the means of minstrels and bards, throughout the territory that would later be known as [[Catalonia]].<ref name=Aqueron/>

The instrument's name may be used in the singular or in the plural and has several variants, depending on the location. In [[Ibiza]] the instrument exists only without a bag, but is called also [[Reclam de xeremies|Xeremia]]. In the [[Balearic Islands]] it is called ''xeremia'', ''xirimia'', ''xeremies'' or ''xirimies'' while in Catalonia it is known as ''[[sac de gemecs]]''.<ref name=toni_2>{{cite web|last=Genovart Espinosa |first=Antoni |title=Otros nombres de sano xeremia |date=October 2007 |location=Sant Llorenç des Cardassar, Spain |url=http://www.mallorcaweb.net/xeremiers/historia/05_altresnoms.htm |access-date=29 November 2007 |url-status=dead |archive-url=https://web.archive.org/web/20110726072540/http://www.mallorcaweb.net/xeremiers/historia/05_altresnoms.htm |archive-date=26 July 2011}}</ref>

==History==
The first reliable evidence of bagpipes in the [[Iberian Peninsula]] dates to the [[Middle Ages]]. The first written reference dates to the 9th century, in a letter from [[Saint Jerome]] to [[Caius Posthumus Dardanus|Dardanus]]:

{{blockquote|"The ''chorus'' is a simple leather hide with two brass tubes. The player blows into one, and the chorus emits the sound through the other".}}

The influence of the court of Aragon and particularly that of Catalonia in the Balearic Islands and the cultural exchanges on both sides of the [[Pyrenees]] together with Catalan hegemony in [[Occitania]], which had been a strong cultural center, caused an increase the number of bards and minstrels increased. In 1209 there was a massive migration of bards and minstrels fleeing Occitania, due to repression by the northern French monarchs, encouraged by [[Pope Innocent III]]. Bagpipes became prominent in those areas where the courts of Aragon and Catalonia had influence.

When [[James I the Conqueror]], conquered Majorca and [[Ibiza]] and repopulated those lands with his vassals of Catalan origin, they brought the bagpipes with them: the ''sac de gemecs'', from which the Mallorcan ''xeremia'' (''xeremia mallorquina'') is derived.

In the archive of the [[Crown of Aragon]] there is a document from the year 1343 that names one ''Joan Mascum, bagpipe minstrel to the king, from Majorca'' in reference to king [[James III of Majorca|James III]]. Further, it is known that the minstrels of the king of Mallorca brought to the court of [[Peter IV of Aragon|Peter IV]] the ceremonial playing of the bagpipe through the city of [[Tortosa]] in the year 1353. There are further reports that bagpipers from a variety of nations would congregate, especially during [[Lent]].

Similar pipes are attested in [[Barcelona]] as early as 1119, and in [[Valencia, Spain|Valencia]] in 1258. Reports state that a procession of [[Saint Dionysius]] contained "two trumpeters, two ''tabalers'', and bagpipe." After 1335, there are frequent mentions of the xeremia in records. Following this period, the pipes became even more widespread, becoming popular among shepherds and beggars, although in a primitive form.

During the reign of [[Alfonso V of Aragon|Alfonso V]] of Aragon and IV of Catalonia, called ''The Magnanimous'' the instrument spread, along with other cultural trappings, to the kingdom's possessions in the Mediterranean. Reports from 1420 indicate that the court of [[Naples]] included players of the ''xalamies''.

It is in the 19th century that the instrument was modified, becoming more like the xeremia we know today. The evolution of other instruments had marginalized the bagpipes, whose range was only a single octave. As it was difficult to modernize the pipes, they remained a simple and primitive instrument. Though it faded from popularity in other Catalan territories, this was not the case of the Balearic Islands where isolation and a predominantly rural population preserved the instrument within the culture.

The ''xeremia'', close relative of the ''sac de gemecs'', maintains its popularity in the culture of the Baleares even as native bagpiping traditions across Europe went into decline. At the end of the 20th century, several folkloric and cultural groups were working for the instrument's continued survival and expansion.<ref name=toni_1>*{{cite web|last=y Cucurull |first=Tomàs |title=Es sac de gemecs. El sac de gemecs. |year=2007 |edition=año 2000 |location=Sant Jaume dels Domenys, Cataluña, Spain |url=http://www.mallorcaweb.net/xeremiers/historia/03_sacgemecs.htm |access-date=2007-11-28 |url-status=dead |archive-url=https://web.archive.org/web/20110726072619/http://www.mallorcaweb.net/xeremiers/historia/03_sacgemecs.htm |archive-date=26 July 2011 }}</ref>

The evolution of the ''xeremia'' may be divided into two periods. Between the 12th and 16th centuries ''conviven instrumentos con "trompa" o sin ella.'' From the 16th century onwards its form resembled that of the modern variant, with the drones atop the instrument. The direct relation between this pipe and the sac de gemecs is still reflected in that the only major difference between the two pipes is that all the drones of the sac de gemecs sound, whereas two of the three xeremia drones are often dummy drones for aesthetic purposes, with only one of the three actually functional.

==La cobla==
[[Image:Xeremiers2.jpg|right|thumb|300px|''Colla'' (group) formed by ''xeremier'' and ''flabioler''.]]
The ''xeremia'' is generally played within an ensemble known as the ''cobla de tres quartans'', known popularly through the ''Ses Xeremies''. In actuality, this ensemble is usually abbreviated to a ''mitja cobla'' ("half cobla") or ''colla'' consisting of only a xeremia and a ''[[flabiol]]'' (regional [[tabor pipe]]) and ''tambor'' or ''tamboret'' (drum).

Coblas may take the form of:

*''Mitja cobla'', or ''media cobla'' ("half cobla"): these are composed of one xeremia and one ''flabiol'' with ''tambor'' (drum). This form of cobla is very popular in the Balearic Islands and Catalonia. The xeremia and flabiol play the melody in unison with the flabiol accompanying himself on the drum.
*''Tres quartans de cobla'', or ''tres cuartos de cobla'' ("three-quarter cobla"): composed of a ''sac de gemecs'', [[Catalan shawm|''tarota'']], a ''flabiol'' and a ''tamboret'' played by three musicians (as the flabiol and tamboril are played by the same musician), thus the term "three-quarter", which appears to have its origins amongst medieval minstrel groups. En el siglo XVIII las {{lang|ca|coblas de ministrils}} were formed with a flabiol and drum, tarota, and a xeremia, and had an important role in popular festivals. The drum established the rhythm, the bagpipe played the melody and drones, the flabiol copied the melody, and the tarota played a similar melody an octave lower than the pipes and flabiol.

==Repertoire==
Given the long history of the instrument, the repertoire of the xeremia is likewise wide, even more so in the context of the ''colla''.

There are two distinct periods of xeremia repertoire: during the first transmission of tunes was "closed", with each pair of pipers maintaining a fixed repertoire and without introducing new pieces, which also impeded other pipers from adopting their own, to the degree that pipers would refuse to play in front of other ''collas'', in order to prevent their songs from being copied. This period caused the wide divergence of musical styles between communities of pipers. The second period is defined by the diffusion and learning of these same tunes.

There are pieces documented shortly following the conquest of the island by the kingdom of Aragón such as the ''danzas de los cossiers'' de [[Montuïri]], [[Algaida]], [[Manacor]] and [[Pollença]] or the ''Cavallets'' danced in [[Felanitx]], [[Pollença]] and [[Artà]]. There are also the dances of ''Sant Joan Pelós'' (or ''Sant Joan Pelut''), the ''Moratons'', the ''Indis'' and the ''Balls de Cintes'', these last of which have almost disappeared. Along with these, there are other tunes such as [[jota (music)|jota]]s and [[bolero]]s such as [[pasodoble]]s, [[Rhumba|rumbas]], [[waltz]]es, etc.
<ref name=Aqueron/>

==Cultural aspects==
The term "''xeremia''" has a role in the popular speech of Majorca. Several phrases and proverbs refer to the instrument:

*''Content com unes xeremies'' - Happy as a bagpipe
*''Plorar com unes xeremies'' - To cry like a bagpipe
*''Dits, dits, que vent no en falta'' - Fingers, fingers, may you not lack for wind
*''Riure-se'n des Sant i ses xeremies'' - To laugh at the saint and the bagpipe
*''Més inflat que unes xeremies'' - More swollen than a bagpipe <ref name=Aqueron/>

==References==
{{Reflist}}

== External links ==
{{Commons category}}
* [http://www.xeremiers.com/ Web sobre la xeremies]
* [https://web.archive.org/web/20071202133126/http://usuarios.lycos.es/aqueron/xeremia.htm La xeremia]
* [http://www.mallorcaweb.net/xeremies/ Els Xeremiers des Puig de Sa Font]
* [http://www.mallorcaweb.net/grallalsac/ Associació Cultural Grallalsac]
* [https://archive.today/20130119152637/http://www.collalembolic.com/M%C3%BAsica Tradicional Valenciana]

{{Music of Spain}}

[[Category:Bagpipes]]
[[Category:Balearic musical instruments]]
[[Category:Culture of Mallorca]]

Charumera

2023-09-12T14:53:42Z

MonkeyPython: re-creating this with more information. it's not a shawm. text from https://en.wikipedia.org/wiki/Suona#Origins and https://en.wikipedia.org/wiki/Charumera#Charumera

The {{nihongo|''charumera''|チャルメラ|}}, or {{nihongo|''charumeru''|チャルメル|}}, is a double-reed instrument in traditional [[Japanese music]] descended either from shawms brought to Japan by Portuguese [[Christian missionaries]],<ref>{{cite book |last1=Burgess |first1=Geoffrey |last2=Haynes |first2=Bruce |title=The Oboe |url=https://books.google.com/books?id=wQfnx89NXDUC&q=Charumera&pg=RA1-PA23 |publisher=[[Yale University Press]] |location=New Haven, CT |year=2004 |isbn=0-300-09317-9}}</ref> or possibly Iberian traders in the 16th century.<ref>Sibyl Marcuse, ''Musical Instruments: A yo Dictionary'', corrected edition (The Norton Library N758) (New York: W. W. Norton, 1975): 90</ref> It is sometimes used in [[kabuki]] theatre performances. It is also strongly associated in popular culture with street vendors of [[ramen]], who played a distinctive melody on it to attract customers.

The Japanese ''[[charumera]]'' name is derived from ''charamela'', the Portuguese word for [[shawm]]. Its sound was well known throughout Japan, as it is often used today by street vendors selling [[ramen]].<ref>[https://web.archive.org/web/20080629080555/http://www.worldramen.net/ABC/Wheretoeatyatai/Charumera.html Charumera] WorldRamen.com</ref>

Choucroute garnie

2023-08-20T11:51:44Z

MonkeyPython: /* Background */ more logical link

{{Short description|Alsatian Recipe}}
[[File:2021-01-10 13-08-38 ILCE-6500 DSC01353 DxO (50958169387).jpg|thumb|right|A garnie served with pork meat, sauerkraut and sausage]]
'''''Choucroute garnie''''' ([[French language|French]] for ''dressed sauerkraut'') is an [[Alsace|Alsatian]] recipe for preparing [[sauerkraut]] with [[sausage]]s and other [[Salting (food)|salted]] [[meat]]s and [[charcuterie]], and often [[potato]]es.

Although [[sauerkraut]]/cabbage is a traditionally [[Germany|German]] and [[Eastern Europe]]an dish, when [[Alsace]] and [[Lorraine (province)|Lorraine]] became part of France following the [[Peace of Westphalia|Westphalia peace treaties]] in 1648, it brought this dish to the attention of [[French cuisine|French chefs]] and it has since been widely adopted in [[France]].

==Background==
[[File:Export-09523.jpg|thumb|Choucroute garnie, with Montbéliard, Strasbourg, Toulouse, Vienna sausages and potatoes.]]
In principle, there is no fixed recipe for this dish{{cn|date=November 2014}} – any preparation of hot sauerkraut with meat and potatoes could qualify – but in practice there are certain traditions, favourite recipes, and stereotypical garnishes that are more easily called ''choucroute garnie'' than others. Traditional recipes call for three types of sausage: [[Morteau sausage]] or [[Montbéliard sausage]], [[Strasbourg sausage]] and [[Frankfurter Würstchen|Frankfurt sausage]]. Fatty, inexpensive or [[Salting (food)|salted]] cuts of [[pork]] also often form a part of ''choucroute garnie'', including [[ham hock]]s, pork knuckles and shoulders, [[back bacon]] and slices of salt pork. Other recipes call for pieces of [[Fish as food|fish]] or [[goose]] meat, but this is far less typical.

The cabbage itself is usually heated with a glass of [[Riesling]] or other dry white [[wine]]s or [[Stock (food)|stock]], and [[goose]] or [[lard|pork fat]]. In some recipes, it may also be cooked with chopped [[onion]] and sliced [[apple]]s. Food writer [[Jeffrey Steingarten]] attempted to catalogue the composition of an authentic recipe in 1989. He writes that every traditional recipe includes [[black pepper]]corns, [[cloves]], [[garlic]], [[juniper berries]], [[onions]], and [[potato]]es; most include [[bay leaf|bay leaves]] and wine.

Like ''[[cassoulet]]'', ''[[pot-au-feu]]'', and many other examples of France's regional cuisine, its origin is in a traditional, inexpensive dish, but grand versions (such as ''Choucroute royale'', made with [[Champagne (wine)|Champagne]] instead of Riesling), and grand ingredients (such as ''[[foie gras]]'' and wild game) are mentioned both in traditional sources (e.g. [[Ali-Bab]]<ref>Ali-Bab, ''Gastronomie pratique: Une bible gourmande en 5000 recettes'', {{ISBN|2-08-200728-6}}</ref>) and in recipes from contemporary chefs and restaurants.

''Choucroute garnie'' is available throughout France in canned or [[microwavable]] ready-to-eat form. A Hungarian version includes stuffed cabbage leaves in addition to the other ingredients. Shredded cabbage can also be added along with the sauerkraut to produce a somewhat less acidic version.

==See also==
* [[Berner Platte]] – a similar Swiss dish
* [[Schlachteplatte]] – a similar German dish

==References==
{{Reflist}}

==Further reading==
{{Cookbook|Choucroute}}
{{Wiktionary|choucroute}}
* {{cite book|author=Steingarten, Jeffrey|title=The Man Who Ate Everything|chapter=True Choucroute|pages=237–248|year=1997|publisher=Vintage Books|isbn=0-375-70202-4}} The chapter is an essay first published in 1989.
* {{Larousse Gastronomique|Sauerkraut}}

[[Category:Alsatian cuisine]]

Josep Maria Ventura i Casas

2023-08-01T15:19:53Z

MonkeyPython: /* Life */ trivia from https://en.wikipedia.org/wiki/Cobla remove if unwanted

{{Short description|Spanish musician and composer (1817–1875)}}
{{refimprove|date=March 2014}}
[[File:Pep Ventura.jpg|thumb|Pep Ventura]]
'''Josep Maria Ventura i Casas''' ([[Alcalá la Real]] ([[Jaén, Spain|Jaén]]), 1817 – [[Figueres]] ([[Catalonia]]), 1875), popularly known as '''Pep Ventura''', was a Spanish musician and composer from [[Catalonia]] who consolidated the long [[sardana]] and reformed the [[cobla]], adding instruments to give it its current formation.

He is considered the father of the modern [[Sardana]] by the profound transformation that he printed to these compositions, based on giving it greater musical extension, in the inclusion of new instruments, especially the [[tenora]] (instrument creation of Andreu Turon) from 1849 and its arrangement in the cobla, which will imitate another musical formations of this type. His performance before the Queen [[Isabella II of Spain]] in the [[Monastery of Montserrat]] together with other artists of the [[Renaixença]] consecrated him as a figure in the Catalan cultural world.

==Life==
Ventura's family came from the Catalan region of [[Empordà]]. He was born in [[Andalusia]], where his father, a low-ranking military officer, was assigned to participate in the operations of repression of banditry that followed the [[Peninsular War|War of Spanish Independence]]. At the age of two years, the family moved again to [[Catalonia]], to the Gironan town of [[Roses, Girona|Roses]] in 1819, when the father was assigned to that city. The boy was soon left an orphan and went to live with his paternal grandfather. He learned the office of [[tailor]] and notions of [[solfège]] from his future father-in-law, Joan Llandrich, director of the cobla that bore his name. Around 1848, Ventura inherited the direction of the Llanrich cobla.

Ventura considered the sardana form too limited, always 98 measures and hardly two minutes in length, emerging as an important figure in the period of innovation of the sardana with an unlimited number of measures (long sardanes) in opposition to the traditional, short sardana.

He altered the composition of the cobla, which he likewise considered too limited, transforming the archaic ''cobla de tres quartans'' ([[bagpipes]], [[shawm]], [[flabiol]] and [[tambori]]) into a formation that was initially composed of five or seven musicians but which progressively incorporated [[brass instruments]]. He organized the [[woodwind instruments|woodwind]] and brass instruments into two rows, headed by a [[double bass]]. Other ''cobles'' adopted this model, which has endured with only small changes.

Ventura died in 1875 in Figueres, leaving his mark on Catalan musical culture.
His melodies, arranged by masters like {{ill|Francesc Pujol|lt=Pujol|ca|Francesc Pujol i Pons|es|Francisco Pujol|ru|Пухоль-и-Понс, Франсеск}}, [[Antoni Nicolau|Nicolau]], and {{ill|Lluís Albert|ca|Lluís Albert i Rivas}}, have made Pep Ventura immortal. He left 312 long sardanes, many of them untitled, and many short sardanes and choral compositions. His opus of 550 pieces is conserved, in Ventura's originally handwriting, in the archives of the Orfeó Català.<ref name="ref-2144405256">{{cite web|url=http://www.orfeocatala.cat/en/holdings-and-collections-at-the-documentations-centre_35676|title=Holdings and collections at the Documentations Centre | Orfeó Català|publisher=orfeocatala.cat|accessdate=2014-03-23|archive-url=https://web.archive.org/web/20140323110414/http://www.orfeocatala.cat/en/holdings-and-collections-at-the-documentations-centre_35676|archive-date=2014-03-23|url-status=dead}}</ref> There is a small street named after him in [[Barcelona]], as well as a subway stop, presumably because of this achievement.

==References==
{{reflist}}

==External links==
*{{cite web|url=http://www.palaumusica.cat/tresorsbiblioteca/cat/nostra01a.html|title=Sardana sobre motivos del Faust de Pep Ventura|publisher=palaumusica.cat|accessdate=2014-03-23}}

{{Authority control}}

{{DEFAULTSORT:Ventura i Casas, Josep Maria}}
[[Category:1817 births]]
[[Category:1875 deaths]]
[[Category:People from Alcalá la Real]]
[[Category:People from Alt Empordà]]
[[Category:Composers from Catalonia]]
[[Category:19th-century composers]]
[[Category:Sardana]]

Cobla

2023-08-01T15:16:20Z

MonkeyPython: /* History */ removed unsrourced trivia, anyway fits better on his page instead

{{For|the Old Occitan literary genre|cobla esparsa}}
[[Image:CoblaBaixLlobregat 9079.jpg|thumb|right|300 px|"Cobla Baix Llobregat" playing in front of the [[Palau de la Generalitat de Catalunya|Palau de la Generalitat]] in [[Barcelona]]]]

The '''cobla''' ({{IPA-ca|ˈkobːlə}}, plural ''cobles'') is a traditional music ensemble of [[Catalonia]], and in [[Northern Catalonia]] in France. It is generally used to accompany the [[Sardana]], a traditional Catalan folk dance, danced in a circle.

==Structure==
The modern Cobla normally consists of 11 players with the following instruments:

*One [[flabiol]], a type of [[fipple flute]] played with the left hand while a [[tambori|''tamborí'']], a small drum attached to the left arm of the player, is played with the other hand.
*Four [[Catalan shawm]]s – double-reed woodwinds
**Two tibles – a ''tible'' is like an oboe, but with a louder sound
**Two tenores – a ''tenora'' is a larger version of the tible
*Five brass instruments
**Two [[trumpet]]s
**A [[trombone]] – often a valve-trombone
**Two [[fiscorn]]s – a ''fiscorn'' is a rotary-valved baritone [[saxhorn]] with the bell facing forward, similar in appearance to a large [[flugelhorn]]
*A string bass – originally and still often a three-string [[double bass]]

There are small variations to this instrumentation in contemporary coblas: for example there is sometimes a third trumpet player.

The playing formation has two rows. The front row has (as seen by the audience from left to right) the flabiolist (with pipe and drum), the second and first tibles, and the first and second tenores. The back row, often raised, has the second and first trumpets, the trombone, and the first and second fiscorns. The double bass player, often standing, is on the right of the band.

==History==
[[File:Céret - Fête de la sardane - Cobla de Llobregat.jpg|thumb|Cobla Principal de Llobregat playing in [[Céret]] (2013)]]
Originally, the cobla was a 3-piece band:
*One person played the [[flabiol]] and drum
*The second person played the tible
*The third played [[bagpipes]]

The main instrument in the cobla, the tenora, was developed around 1850 by French-Catalan luthier Andreu Toron, in [[Perpignan]]/Perpinyà.

The modern 11-piece cobla was developed by the Catalan musician [[Pep Ventura|Josep Maria "Pep" Ventura]]. He wrote over 200 [[Sardana]] compositions.

==See also==
*[[Sardana]]

==External links==
*[http://cdtrrracks.com/ La Sardana] Videos of cobles performing sardanes
* [https://www.youtube.com/watch?v=Vwa4a8NjXJw El testament n'Amèlia] Video of a performance of this sardana (composer [[Joan Lamote de Grignon]]), by the cobla "Comtat d'Empúries" in [[Castelló d'Empúries]]
*[http://www.selvatana.com The Selvatana Cobla site] has many pictures and the history of this particular cobla, which was founded in 1913.
*[https://web.archive.org/web/20180806222411/http://cobla-amsterdam.nl/ www.cobla-amsterdam.nl], site of the only non-Catalan cobla in the world, Cobla La Principal d'Amsterdam, founded in 1987 by a group of Dutch professional musicians, distinguished with the Catalan Creu de Sant Jordi in 2007.
*[https://web.archive.org/web/20060501012258/http://www.ce.berkeley.edu/~coby/essays/sardana.htm The Sardana and I], an essay about Catalan traditional dancing and music.
*[[:Image:SardanaPlSantJaume 9081.ogg|45-sec Video of Sardana music and dance on Commons]]
*[https://web.archive.org/web/20111007113832/http://martinpaling.com/blog/2009/05/15/sardana-dance/ Audio Recording of Cobla Music, Palamos, Catalunya]
* MP-3 examples of [[sardana]] music are available on the [http://www.selvatana.com/Selvatana%20-%20Al%B7legoria%20(part%201).mp3 Selvatana Cobla]{{dead link|date=August 2017 |bot=InternetArchiveBot |fix-attempted=yes }} and [https://web.archive.org/web/20070630120519/http://www.coblasabadell.com/mp3/lescomares.mp3 Cobla Sabadell] sites.

{{Music of Spain}}
{{Authority control}}

[[Category:Catalan music]]
[[Category:Sardana]]

[[de:Sardana#Die Cobla, das Sardana-Orchester]]

Gralla (instrument)

2023-07-31T07:44:33Z

MonkeyPython: /* Types */ no need to duplicate translations

{{Short description|Instrument}}
{{Infobox Instrument
| name = Gralla
| names = Grall de pastor, xaramita, xirimita
| image = Gralla ginjoler josep bonamusa.jpg
| image_capt = A gralla with a detached reed
| background = woodwind
| classification = *[[Wind instrument|Wind]]
*[[Woodwind]]
*[[Double reed]]
| hornbostel_sachs = 422.12
| hornbostel_sachs_desc = [[Double reed|Double-reeded]] [[aerophone]] with conical tube.
| related = *[[Dolçaina]]
*[[Xeremia]]
}}
The '''gralla''' ({{IPA-ca|ˈɡɾaʎə}}), also known as '''grall de pastor''', '''xaramita''' or '''xirimita''', is a traditional [[Catalonia|Catalan]] double reed instrument in the [[shawm]] family classified in the group 422.112 in the [[Hornbostel–Sachs|Hornbostel-Sachs]] system. Like the [[dolçaina]] from Valencia – a very similar instrument that many experts consider a variety of the gralla –. The gralla comes from the ancient [[shawm|xeremia]] a medieval instrument largely used until the Baroque. Probably, the name of the instrument comes from its strident sound similar to the sound of a [[Western jackdaw|Jackdaw]] native to Catalonia and northern Spain and also called 'Gralla' in Catalan.

[[File:Grallers i tabalers.JPG|right|thumb|The ''grallers'' of a [[castell]]s team (''colla castellera'')]]

This traditional instrument is used during the construction and dismantling of human towers or [[castell]]s and other traditional festivities. it is usually played with the [[timbal]], a percussion instrument similar to a drum. The traditional ''gralla'' melody used in castells, called the ''toc de castells,'' serves to advise the castellers within the tower what stage of the construction their colleagues have reached, as they are unable to see this.

The ''gralla'' regains its popularity in the end of 1970s.<ref name=":0" />
[[File:Grallaire.png|right|thumb|A gralla player or ''grallaire''.]]

==Types==
There are two types of ''gralla'', the ''seca''(dry) and the ''dolça'', (sweet). Both can be characterised by their sound: the ''gralla seca'' has a harsher or strident sound while the ''gralla dolça'' has metal keys that increase its register.<ref name=":0">{{Cite web|url=https://www.barcelona.cat/culturapopular/en/festivals-and-traditions/festival-characters-and-elements/gralla|title=Gralla {{!}} Cultura Popular|website=www.barcelona.cat|access-date=2020-04-26}}</ref>

==Components==
[[File:Par_de_inxes_Viquipedia.jpg|right|thumb|Closeup of the reeds used in gralles]]
* ''Cap'': in the top of the instrument is where the tudell is inserted with the canya.
* ''Tub'': the part between the tudell and the canya or inxa.
* ''Tudell'': a conic tube made of metal where the canya is inserted.
* ''Canya'' o ''inxa'': Formed by two identical reeds made of wood but independent, tied together by a wire.
* ''Cos'': the central part of the instrument. A conical wood tube with six gaps in the front side and one in the back.
* ''Campana'': the final part that act like an amplifier of the sound and has two gaps in the sides. It is usually covered with metal.

==References==
{{Reflist}}

== External links ==
{{Commons category|Gralles}}
*[http://www.grallers.cat/ Grallers.cat El web de la gralla i el món graller]
*[http://gralla.skamot.com/ Partitures per a gralla] {{Webarchive|url=https://web.archive.org/web/20120418162555/http://gralla.skamot.com/ |date=2012-04-18 }}
*[https://web.archive.org/web/20070311005120/http://www.capgrossos.com/colla/colla_gralles.asp?MENU=2.18%2F Més partitures per a gralla]
*[http://www.lagralla.info/cat/partitures.php?id=5/ Encara més partitures per a gralla]

{{Double reed}}
{{Music of Spain}}
{{Authority control}}

[[Category:Catalan musical instruments]]
[[Category:Oboes]]

Ladybeard

2023-03-29T20:56:19Z

MonkeyPython: /* See also */ fix naming as per japanese article.

{{short description|Australian wrestler, stuntman, metal vocalist}}
{{EngvarB|date=August 2016}}
{{Use dmy dates|date=October 2019}}
{{Infobox person
| name = Ladybeard
| image = Ladybeard by Gage Skidmore.jpg
| alt =
| caption = Magarey in his Ladybeard persona in 2016
| birth_name = Richard Magarey
| birth_date = {{Birth date and age|df=y|1983|8|3}}
| birth_place = [[Adelaide]], [[South Australia]], Australia
| death_date = 
| death_place =
| death_cause =
| alma_mater = [[Flinders University]]
| spouse = 
| children =
| family =
| website = http://www.ladybeard.com/
| module = {{ Infobox professional wrestler
| child = yes
| height = {{convert|6|ft|0|in|cm|abbr=on}}<ref name="Cagematch"/>
| billed = [[Adelaide]], [[South Australia]]
|names = '''Ladybeard'''<ref name="Cagematch">{{cite web|url=https://www.cagematch.net/?id=2&nr=15273|title=Ladybeard|access-date=4 August 2017|publisher=Cagematch}}</ref> Richard Burn<ref name="Cagematch"/>
| trainer =
| debut = 2009
| retired =
| website =
}}
| module2 = {{ Infobox musical artist
| embed = yes
| years_active = 2015–present
| genre = [[Kawaii metal]]
| instrument = {{ flatlist|
* Vocals
}}
| associated_acts = {{ flatlist|
*BABYBEARD
* [[Ladybaby]]
* Deadlift Lolita
}}
}}
}}
'''Richard Magarey''' (born 3 August 1983) is an Australian [[stunt actor]], [[professional wrestler]], singer and [[YouTuber]], known for his bearded [[crossdressing]] persona named {{nihongo|'''Ladybeard'''|レディビアード|lead=yes}}. He is currently vocalist of the band BABYBEARD, formerly with the band [[Ladybaby]] and [[Deadlift Lolita]].

==Early career==
According to GirlsWalker, Magarey first started crossdressing when he was 14 years old using his sister's school uniform. Ever since then, cute outfits have been part of his eventual wrestling gimmick.<ref>{{cite web|title=話題沸騰中☆ヒゲ女装レディビアードに迫る！|url=http://girlswalker.com/topics/entertainment/2014/08/11/44643/|website=Girlswalker.com|access-date=17 November 2016|date=11 August 2011}}</ref>

Magarey graduated from the [[Flinders University]] of South Australia Drama Centre in 2004 with a [[Bachelor of Creative Arts]] before moving to Melbourne to train in Hong Kong-style martial arts and cinematic stunt work with [[Paul Andreovski]] of the [[Jackie Chan Stunt Team]].{{citation needed|date=February 2017}}

==Wrestling and acting career==
Originally from [[Adelaide]], Magarey moved to Hong Kong in 2006 to kickstart his martial arts stunt career in films, later becoming a hit in Hong Kong as a cross-dressing pro wrestler. He held roles in two [[Michael Gleissner]] movies: [[Irreversi]], shot in 2010 in Hong Kong (where Magarey was also the [[stand-in]] for lead actor [[Ian Bohen]]), and [[Deep Gold]], shot in 2011 in the [[Philippines]]. He also starred as the main foreign villain in [[The Fortune Buddies]]. In October 2013 he moved to Tokyo, Japan to attempt a similar career there. On January 1, 2015 Ladybeard released the DVD+CD "Ladybeard Justice Fight Ai To Yuki To Bikini To Hige To".<ref>{{cite web|title=Ladybeard is in a movie called Justice Fight check out the trailer|url=https://uniteasia.org/ladybeard-is-in-a-movie-called-justice-fight-check-out-the-trailer/|website=UnitAsia.org|access-date=17 May 2017|date=12 July 2015}}</ref> In 2017 Ladybeard was part of the Australian documentary "Big in Japan".<ref name="Big in Japan Documentary">{{cite web|url=https://pozible.com/project/big-in-japan-documentary|title=Big in Japan Documentary: An Outrageous Diy Fame Journey|date=28 October 2016|publisher=pozible.com|access-date=17 May 2017}}</ref>

In addition to his native English, Ladybeard has conversational levels of Japanese, Cantonese, Mandarin Chinese and can understand some German.<ref>{{cite web |title=Sitting Down with a Pro Cross-Dressing Idol Wrestler (ft. Ladybeard) - Trash Taste #44 |url=https://www.youtube.com/watch?v=jePOmeSAgdg |via=YouTube |publisher=Trash Taste |access-date=2021-04-17}}</ref>

== Championships and accomplishments ==
* '''[[DDT Pro-Wrestling]]'''
** [[Ironman Heavymetalweight Championship]] ([[Ironman Heavymetalweight Championship#Title history|3 times]])
** [[KO-D 10-Man Tag Team Championship]] ([[KO-D 10-Man Tag Team Championship#Title history|1 time]]) – with [[Ken Ohka]], [[LiLiCo]], [[Makoto Oishi]] and [[Super Sasadango Machine]]<ref>{{cite web | url = http://www.tokyo-sports.co.jp/prores/mens_prores/738459/ | script-title=ja:ＬｉＬｉＣｏが初代ＫＯ―Ｄ１０人タッグ王座奪取股間握らせ投げ技発射 | date=20 August 2017 | access-date=20 August 2017 | work=[[Tokyo Sports]] | language=Japanese}}</ref>
* '''[[Union Pro Wrestling]]'''
** [[Fly To Everywhere World Championship]] ([[Fly To Everywhere World Championship#Title history|1 time]])<ref>{{cite web|url=http://www.cagematch.net/?id=5&nr=2327|title=Union Pro Fly To Everywhere World Championship " Titles Database |first=Philip|last=Kreikenbohm|publisher=cagematch.net}}</ref>

==Music career==
[[File:T-SPOOK 2016 Ladybeard (Onechans) (33930919055).jpg|thumb|Ladybeard at T-SPOOK 2016, an event held at [[Odaiba]].]]
Ladybeard's musical style is described as [[Kawaiicore]], a [[portmanteau]] of [[kawaii]] (Japanese for "cute") and the -core suffix associated with [[Metalcore|hardcore metal]] genres.<ref name="ForbesDL" /> His motto is "Sing, dance, destroy!".

===Ladybaby===
In 2015, he formed the band with singers [[Rie Kaneko]] and {{ill|Rei Kuromiya|jp|黒宮れい}} called [[Ladybaby]].<ref>{{cite web|url=https://www.vice.com/read/japans-biggest-metal-band-features-two-underaged-girls-and-a-bearded-cross-dressing-singer-111|title=Japan's Biggest Metal Band Features Two Underaged Girls and a Bearded, Cross-Dressing Singer|work=[[Vice (magazine)|Vice]]|date=10 October 2015|access-date=15 January 2016}}</ref><ref>{{cite web|last1=Iannella|first1=Antimo|title=J-pop sensation LadyBeard, aka Adelaide's Richard Magarey, goes viral|url=http://www.adelaidenow.com.au/entertainment/confidential/jpop-sensation-ladybeard-aka-adelaides-richard-magarey-goes-viral/news-story/cbecc2ea106d2ef86b407fa53833c676|website=The Advertiser|location=Adelaide|access-date=23 January 2016|date=15 July 2015}}</ref> On 4 July, the group released their first track and music video titled 'Nippon Manju' ('Japanese Bun', in English) which is a song that covers all the things they love about Japan.{{citation needed|date=March 2020}} Released in July 2015, the music video went viral on YouTube, at one point gathering 1 million views in 2 days.<ref>{{cite web|url=http://www.metronews.ru/novosti/internet-vzorval-klip-gruppy-ladybaby-s-borodatym-solistom-v-plat-e/Tpoogi---tO3DgADl6eVA/|title=Интернет взорвал клип группы Ladybaby с бородатым солистом в платье: Буквально за два дня количество просмотров этого клипа увеличилось на миллион|date=8 July 2015|publisher=[[Metro International]]|access-date=15 January 2016|language=Russian}}</ref> Their second single, released in Japan on 13 January 2016, debuted at number 15 in the daily [[Oricon]] charts.<ref>{{cite web|url=http://www.oricon.co.jp/rank/js/d/2016-01-12/p/2/|title=オリコンデイリー CDシングルランキング 2016年01月12日付 11～20位|publisher=[[Oricon]]|access-date=15 January 2016|archive-url=https://web.archive.org/web/20160114092345/http://www.oricon.co.jp/rank/js/d/2016-01-12/p/2/|archive-date=14 January 2016}}</ref> Ladybeard has since withdrawn from the group. The group re-branded itself, going by "The Idol Formerly Known as LADYBABY".<ref name="LADYBABY">{{cite web|url=http://natalie.mu/music/news/196554|title=LADYBABYからレディビアード脱退、れい＆理江は改名して再始動|date=1 August 2016|publisher=[[natalie (website)|natalie]]|access-date=31 July 2016}}</ref> in 2018, the group returned to the original name after Rei left the group and three other girls joined. Ladybeard did however make a guest appearance on the EP "ホシノナイソラ -Starless_Sky-", providing additional growling vocals on the song "ビリビリマネー -Biri Biri Money-".

===Deadlift Lolita===
[[File:Deadlift Lolita's signing event, Comic Exhibition 20170813.jpg|thumb|Deadlift Lolita in 2017]]
On 28 February 2017, Ladybeard announced the formation of a new group, "Deadlift Lolita", with bodybuilding model and wrestler [[Reika Saiki]].<ref>{{cite web|url=http://nextshark.com/reika-saiki-japanese-wrestler-model/|title=A Japanese Model for a Pro Wrestling League is Probably Buffer Than You Are|website=nextshark.com|date=27 January 2016}}</ref><ref>{{cite web|url=http://en.rocketnews24.com/2016/01/26/japan-cant-stop-looking-at-modeling-idols-big-beautiful-muscles-%e3%80%90photos%e3%80%91/|title=Japan can't stop looking at modeling idol's big, beautiful...muscles! 【Photos】|date=26 January 2016}}</ref><ref>{{cite web|url=https://www.dl-lolita.com/about-eng|title=DEADLIFT LOLITA OFFICIAL|website=DEADLIFT LOLITA OFFICIAL}}</ref><ref>{{cite web|url=http://dokipress.com/japanese-idols/ladybeard-starts-new-group-deadlift-lolita-with-reika-saiki/|title=Ladybeard starts new group: Deadlift Lolita with Reika Saiki – Dokipress|date=28 February 2017}}</ref> They are joined by guitarist {{ill|Isao Fujita|jp|ISAO (ギタリスト)}}, who also accompanied [[Babymetal]]. Their first single "Six Pack Twins" was released on 31 March 2017.<ref name="ForbesDL">{{cite web|url=https://www.forbes.com/sites/laurenorsini/2017/03/03/japans-only-crossdressing-death-metal-vocalist-forms-bodybuilding-idol-group-deadlift-lolita/|title=Japan's Only Crossdressing Death-Metal Vocalist Forms Bodybuilding Idol Group 'Deadlift Lolita'|first=Lauren|last=Orsini}}</ref>

===Solo and collaborations===
On 1 January 2015 Ladybeard released the single CD bonus of the DVD "LadyBeard Justice Fight – Ai to Yuki to Bikini to Hige to -", with the single and four remixes of the song "Ladybeard Justice Fight".<ref name="鼓膜シュレッダー – Ladybeard Justice Fight 特典音楽CD">{{cite web|url=https://www.discogs.com/%E9%BC%93%E8%86%9C%E3%82%B7%E3%83%A5%E3%83%AC%E3%83%83%E3%83%80%E3%83%BC-Ladybeard-Justice-Fight-%E7%89%B9%E5%85%B8%E9%9F%B3%E6%A5%BDCD/release/6604844|title=鼓膜シュレッダー – Ladybeard Justice Fight 特典音楽CD|date=3 February 2015|publisher=discogs|access-date=17 May 2017}}</ref> On 20 January 2016 Ladybeard was featured in Shiori Tomita single "Valentine Kiss Cover", version of "[[Valentine Kiss]]", from [[Sayuri Kokushō]]. On 19 October 2016 Ladybeard released a collaboration single with PEE and Yuuka Furukawa, "Wanchan Aruchan".<ref name="わんちゃんズ(Ladybeard+ぺえ+古川優香)">{{cite web|url=https://itunes.apple.com/jp/album/id1162463608?app=itunes|title=わんちゃんズ(Ladybeard+ぺえ+古川優香)|date=19 October 2016|publisher=iTunes.com|access-date=17 May 2017}}</ref> On 28 October 2016 he released a collaboration single with the Chinese idol group ATF, "Ghost Script".<ref name="Ghost Script">{{cite web|url=https://itunes.apple.com/us/album/%E5%B9%BD%E7%81%B5%E6%89%8B%E8%AE%B0-single/id1165756305|title=Ghost Script – Single ATF & Ladybeard|date=28 October 2016|publisher=iTunes.com|access-date=17 May 2017}}</ref> On 23 May 2018 he released a collaboration single with the drummer MURATA TAMU, "Super D & D ~Kanzen ni Lead Shite I My Me~", with "D zettai! Samurai in the rain" as b-side.<ref>{{cite web|url=https://www.cdjapan.co.jp/product/DAKARK-1020?s_ssid=e36dd5ade2e0c705|title=Super D&D – Kanzen ni Lead Shite I My Me – / D Zettai! SAMURAI in the Rain [CD+DVD]|date=23 April 2018|publisher=cdjapan|access-date=23 April 2018}}</ref> On 7 July 2020 he made screams in the single from Zakk Cash "[[Limit-Break x Survivor|Limit Break X Survivor (Dragon Ball Super Collaborative Cover)]] (feat. Amalee, Ladybeard, Samuel Cristea, Eric Emery, Julian Comeau, Mark Barela, Callgirl & Christian Grey"). All the proceeds from streams are going to [[Action Against Hunger]], supporting victims of the [[2019–20 Australian bushfire season|Aussie bushfires]], and those most affected by [[Coronavirus disease 2019|Covid]].

=== BABYBEARD ===
On April 12, 2021, Ladybeard announced the formation of a new group called BABYBEARD with singers Suzu and Kotomi. Their debut releases "Nippon Kara Konnichiwa" and "PIENIZER" began streaming on April 28, 2021.<ref>{{Cite web|last=afaenia|date=2021-04-15|title=Ladybeard returns with brand new unit "BABYBEARD"|url=https://jrocknews.com/2021/04/ladybeard-new-unit-babybeard.html|access-date=2021-04-16|website=JROCK NEWS|language=en-US}}</ref> "Nippon Kara Konnichiwa" reached iTunes Store • J-Pop Top Songs • Australia • TOP 2 on April 28, 2021 and iTunes Store • J-Pop Top Songs • America • TOP 4 on April 29, 2021.<ref>{{Cite web|title=BABYBEARD|url=https://www.tunecore.co.jp/|access-date=2021-05-05|website=TuneCore Japan|language=en}}</ref> Songs for the group were written by Takashi Asano and Natsumi Tadano, the writers of [[Ladybaby]]'s "Nippon Manju".<ref>{{Cite web|date=2021-04-22|title=BABYBEARD - Interview (2021)|url=https://unijolt.com/babybeard-interview-2021/|access-date=2021-05-05|website=UniJolt|language=en-US}}</ref>

==See also==
{{Portal|Australia|Japan|Music}}
* [[Exótico]]
* [[Kawaii metal]]
* [[Cat with Beard from JAPAN|Cat with Beard from JAPAN PODCAST]]

==References==
{{Reflist}}

==External links==
* {{official website|http://www.ladybeard.com/}}
* {{IMDb name | 2246060}}

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[[Category:1983 births]]
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Torupill

2023-03-08T12:00:45Z

MonkeyPython: /* Place in Estonian folk music */ clean up some language

{{Short description|Type of bagpipe from Estonia}}
{{Use dmy dates|date=October 2013}}

[[File:Tallinn Digital Summit. Welcome dinner hosted by HE Donald Tusk. Arrivals (36707742133).jpg|thumb|400px|Torupill pipers]]
The '''torupill''' ({{literal translation|pipe instrument|lk=yes}}) is a traditional [[bagpipes|bagpipe]] from [[Estonia]].

==Place in Estonian folk music==
It is not clear when the bagpipe became established in Estonia.

The instrument was known throughout Estonia. The bagpipe tradition was longest preserved in West and North Estonia where [[folk music]] retained archaic characteristics for a longer time.
Later when the [[fiddle]] was taking over folk music a lot of bagpipe tunes were transcribed for it.

Very often the bagpipe was used for playing dance music; other instruments served this purpose only in the absence of the bagpipe. Some old ceremonial dances, such as the Round Dance (''Voortants'') and the Tail Dance (''Sabatants'') were performed together with a bagpiper who walked at the head of the column. Ceremonial music took an important place in the bagpipers' repertoires in the 17th century, as seen from the literary sources of that time. For instance, the presence of a bagpiper was considered essential during weddings, where he had to take part in certain ceremonies. There were special tunes, [[marches]] or riding melodies that were performed in the wedding procession, etc. The bagpiper was an indispensable participant in dances and social gatherings. He accompanied [[minstrel]]s during [[Martinmas]] and [[Christmas]]. No pub could manage without a good musician.

[[File:Torupillimängija., AM 12854-163 F 5496-163.jpg|thumb|[[Juhan Maaker]], one of the most notable torupill musicians of the 19th and 20th-centuries.]]
One of the most popular players in history has been considered [[Juhan Maaker]] (1845–1930) at the time called the king of bagpipe players in Estonia.<ref>{{cite web |url=http://www.estinst.ee/publications/estonianculture/II_MMV/jaago.html |title=bagpipe "One goose makes two sounds." |author=Cätlin Jaago |date=February 2005 |publisher=[[Estonian Institute]] |access-date=18 May 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110811052156/http://www.estinst.ee/publications/estonianculture/II_MMV/jaago.html |archive-date=11 August 2011 |df=dmy-all }}</ref> Another notable player include his nephew [[Aleksander Maaker]] (1890–1968). After Aleksander's death there was only one surviving bagpipe player alive in Estonia: [[Olev Roomet]] who became the bagpipe revivalist in Estonia by training 25 new players in the 1970s.<ref name="instrumental1976">{{cite book |quote=Conservatoire royal de musique de Bruxelles. Musée instrumental |title=Brussels Museum of Musical Instruments bulletin |url=https://books.google.com/books?ei=tdzRTbnoGOH20gHvve3KCw&ct=result&id=UQc9AQAAIAAJ&dq=Estonian+Bagpipe |year=1976 |publisher=F. Knuf. |page=53 |last1=Tõnurist |first1=Igor |chapter=THE ESTONIAN BAGPIPE |chapter-url=http://www.users.on.net/~kustas/torupill/ |access-date=22 October 2013}}</ref>

In modern times bagpipe playing is a part of the [[curriculum]] at University of Tartu Viljandi Culture Academy's Traditional Music faculty and in a number of regular music schools around the country.<ref>{{cite web |url=http://www.folk.ee/kultuurilaegas/et/aa_index/rp_pillid_ja_muusika/rp_rahvapillid/rp_puhkpillid/rp_klarnet/rp_torupill |title=Torupill |publisher=folk.ee |access-date=18 May 2011|language=et}}</ref>

==Construction==

The Estonian bagpipe has a bag, a mouth-pipe (blow-pipe) for inflating the bag, a melody-pipe ([[chanter]]) and 1 or 2, rarely 3, drones.

===Bag===

The bag ("tuulekott", "magu", "lõõts", "kott", etc.) was usually made of the stomach of a [[grey seal]] in the western and northern parts of Estonia and on the islands. Most valued were the stomachs of large old seals. The bag that was made of a seal's stomach, was not spoilt either by aridity or by humidity. A bagpiper of the Hiiu island is known to have said that if his bagpipe (made of a seal's stomach) became wet, it sounded richer because the seal is a sea animal.

The bags were also made of the stomach of an ox, cow, [[elk]] or dog, but sometimes they were sewn of the skin of a dog, cat, goat or seal (with the fur outward) or even of the skin of a [[Lynx]].

In bag-making certain superstitions were observed. In South Estonia, for example, some thought that the more a dog howled when being hanged, the better the sound of the bagpipe later.{{Citation needed|date=October 2008}}

===Blow pipe===

The blow pipe ("puhumispulk", "naput", "naba", "puhknapp", "napp") was made of wood.

===Chanter===

The chanter ("sõrmiline", "putk", "esimik", etc.) was made of [[juniper]], [[pine]], [[ash (tree)|ash]] or, more seldom, of a tube of cane. It had 5–6 holes. The chanter was single-reeded, generally with a parallel rather than conical bore.

The bottom end of the chanter sometimes had 1 – 2 holes in the side bored obliquely into the pipe, so that some straws or twigs could be put in to control the pitch.

The chanter was placed in an oval wooden stock ("kibu", "kloba", "torupakk", "käsilise pakk").
The stock-end of the chanter contained a reed ("piuk", "keel", "roog", "raag", "vile").

===Drone===

The drones ("passitoru", "pass", "kai", "tori", "pill", "pulk", "toro") were made of wooden pipes, different in shape and diameter.
The number of pipes determined their length. If there is only one, it is quite long, if two, they are both shorter. In some rare cases bagpipes with 3 drones could be found.
The drone consists of 2 – 3 separate joints. In the lower end there is a wooden bell. The joints can be pulled out in order to tune the drone. The drone is placed in an oval or round stock.

==Repertoire==

Although they can be quite long sometimes (with 3 passages or more), they remain simple in their structure.

The music for the bagpipe has much in common with the melodies of old Estonian so-called [[runic]] songs. A number of tunes, like the instrument itself, are of foreign origin. Supposedly they chiefly derive from [[Sweden]]. The Swedish influence is suggested by the texts of dance songs for the bagpipe, and the dances themselves also seem to come from Sweden.

''From the English translation (by [http://www.users.on.net/~kustas/torupill/ Kustas Tiivas] ) of Igor Tõnurist's texts.''<ref>[http://www.users.on.net/~kustas/torupill/ Torupill]</ref>

==Notable players==
*[[Korpiklaani|Jaakko Lemmetty]]
*[[Aleksander Maaker]]
*[[Juhan Maaker]]
*[[Lauri Õunapuu]]
*[[Olev Roomet]]
*[[Ants Taul]]

==See also==
*[[Culture of Estonia]]

==References==
{{reflist}}

==External links==
*[https://torupill.ee/ Torupill.ee] by hereditary pipemaker Andrus Taul
*[https://web.archive.org/web/20110720130145/http://www.pillimeister.torupillitalu.ee/indexeng.php Estonian Bagpipe] archive of Taul's earlier site

[[Category:Bagpipes]]
[[Category:Estonian musical instruments]]

That Man (song)

2023-02-21T14:42:56Z

MonkeyPython: /* Track listing */

{{Cleanup bare URLs|date=September 2022}}
{{Infobox song
| name = That Man
| cover = That Man (Caro Emerald single.jpg
| alt =
| type = single
| artist = [[Caro Emerald]]
| album = [[Deleted Scenes from the Cutting Room Floor]]
| released = {{Start date|2010|05|14|df=y}} (The Netherlands)
| recorded =
| studio =
| venue =
| genre = [[Jazz]], [[swing music|swing]]
| length = 3:52
| label = [[Grandmono]]
| writer = David Schreurs, [[Vincent Degiorgio]]
| producer = David Schreurs, Jan Van Wieringen
| prev_title = [[A Night like This (song)|A Night like This]]
| prev_year = 2009
| next_title = [[Stuck (Caro Emerald song)|Stuck]]
| next_year = 2010
}}

"'''That Man'''" is a single by Dutch jazz and pop-swing singer [[Caro Emerald]]. It was released on 14 May 2010 as a [[Music download|Digital download]] as the third single from the album ''[[Deleted Scenes from the Cutting Room Floor]]'' in the [[Netherlands]], while it was released on 2 December 2011 as a [[CD single]] and as a Digital download as the fourth single from the album in Germany.<ref>{{Cite web|url=https://www.amazon.de/s/ref=nb_sb_noss?__mk_de_DE=%C5M%C5Z%D5%D1&url=search-alias%3Daps&field-keywords=that+man&x=0&y=0|title = Amazon.de : That man|website = Amazon Germany}}</ref>
The song was featured in the opening scene of Marvel's [[Agent Carter (TV series)|Agent Carter]], Season 1, Episode 1.

==Music video==
A music video to accompany the release of "That Man" was first released onto [[YouTube]] on 1 July 2010 at a total length of three minutes and fifty-one seconds.<ref>[https://www.youtube.com/watch?v=CFA6dEwWOb4 Caro Emerald - That Man (Official Video) YouTube].</ref>

== Track listing ==
;''That Man – Single ''<ref>{{Cite web|url=https://itunes.apple.com/nl/album/that-man-ep/id372420015|title=That Man - EP van Caro Emerald|work=iTunes|language=Dutch}}</ref>
# "That Man" – 3:52
# "That Man" (Radio Edit) – 3:19
# "That Man" (Instrumental) – 3:47

==Chart performance==
{| class="wikitable sortable"
|-
! Chart (2010)
! Peak position
|-
{{singlechart|Dutch40|22|artist=Caro Emerald}}
|-
{{singlechart|Dutch100|29|artist=Caro Emerald|song=That Man}}
|-
{{singlechart|UK|84|artist=Caro Emerald|song=That Man|date=2011-07-30}}
|-
{{singlechart|UKindie|9|artist=Caro Emerald|song=That Man|date=2011-07-30}}
|-
|}

==Release history==
{| class="wikitable plainrowheaders"
|-
! scope="col" | Country
! scope="col" | Date
! scope="col" | Format
! scope="col" | Label
|-
| Netherlands
| 14 May 2010
| rowspan="2"|[[Music download|Digital download]]
| rowspan="3"|[[Grandmono]]
|-
| rowspan="2"| Germany <ref>{{Cite web|url=https://www.amazon.de/That-Man-2-Track-Caro-Emerald/dp/B0062Z22L2/ref=sr_1_3?s=music&ie=UTF8&qid=1323534205&sr=1-3|title=That Man|website=Amazon Germany}}</ref><ref>https://www.amazon.de/gp/product/B0067QW446/ref=dm_sp_alb?ie=UTF8&qid=1323534288&sr=8-2</ref>
| rowspan="2"| 2 December 2011
|-
| [[CD single]]
|-
|}

In January 2015, the song was used in the [[Now is Not the End|pilot episode]] of the American TV series ''[[Agent Carter (TV series)|Agent Carter]]''. The song was also used in the season three ''[[The Vampire Diaries]]'' episode "Do Not Go Gentle" and in the [[Disneynature]] film ''[[Chimpanzee (film)|Chimpanzee]]''.

== References ==
{{Reflist}}

{{Caro Emerald}}
{{Use dmy dates|date=October 2019}}

[[Category:2010 singles]]
[[Category:2010 songs]]
[[Category:English-language Dutch songs]]
[[Category:Caro Emerald songs]]
[[Category:Songs written by David Schreurs]]
[[Category:Songs written by Vincent DeGiorgio]]

That Man (song)

2023-02-21T14:42:29Z

MonkeyPython: /* Track listing */ I'm removing this because none of the sources talk of it. none of the discographies list it, and an internet search for it does not yield any result at all.

{{Cleanup bare URLs|date=September 2022}}
{{Infobox song
| name = That Man
| cover = That Man (Caro Emerald single.jpg
| alt =
| type = single
| artist = [[Caro Emerald]]
| album = [[Deleted Scenes from the Cutting Room Floor]]
| released = {{Start date|2010|05|14|df=y}} (The Netherlands)
| recorded =
| studio =
| venue =
| genre = [[Jazz]], [[swing music|swing]]
| length = 3:52
| label = [[Grandmono]]
| writer = David Schreurs, [[Vincent Degiorgio]]
| producer = David Schreurs, Jan Van Wieringen
| prev_title = [[A Night like This (song)|A Night like This]]
| prev_year = 2009
| next_title = [[Stuck (Caro Emerald song)|Stuck]]
| next_year = 2010
}}

"'''That Man'''" is a single by Dutch jazz and pop-swing singer [[Caro Emerald]]. It was released on 14 May 2010 as a [[Music download|Digital download]] as the third single from the album ''[[Deleted Scenes from the Cutting Room Floor]]'' in the [[Netherlands]], while it was released on 2 December 2011 as a [[CD single]] and as a Digital download as the fourth single from the album in Germany.<ref>{{Cite web|url=https://www.amazon.de/s/ref=nb_sb_noss?__mk_de_DE=%C5M%C5Z%D5%D1&url=search-alias%3Daps&field-keywords=that+man&x=0&y=0|title = Amazon.de : That man|website = Amazon Germany}}</ref>
The song was featured in the opening scene of Marvel's [[Agent Carter (TV series)|Agent Carter]], Season 1, Episode 1.

==Music video==
A music video to accompany the release of "That Man" was first released onto [[YouTube]] on 1 July 2010 at a total length of three minutes and fifty-one seconds.<ref>[https://www.youtube.com/watch?v=CFA6dEwWOb4 Caro Emerald - That Man (Official Video) YouTube].</ref>

== Track listing ==
;''That Man – EP''<ref>{{Cite web|url=https://itunes.apple.com/nl/album/that-man-ep/id372420015|title=That Man - EP van Caro Emerald|work=iTunes|language=Dutch}}</ref>
# "That Man" – 3:52
# "That Man" (Radio Edit) – 3:19
# "That Man" (Instrumental) – 3:47

==Chart performance==
{| class="wikitable sortable"
|-
! Chart (2010)
! Peak position
|-
{{singlechart|Dutch40|22|artist=Caro Emerald}}
|-
{{singlechart|Dutch100|29|artist=Caro Emerald|song=That Man}}
|-
{{singlechart|UK|84|artist=Caro Emerald|song=That Man|date=2011-07-30}}
|-
{{singlechart|UKindie|9|artist=Caro Emerald|song=That Man|date=2011-07-30}}
|-
|}

==Release history==
{| class="wikitable plainrowheaders"
|-
! scope="col" | Country
! scope="col" | Date
! scope="col" | Format
! scope="col" | Label
|-
| Netherlands
| 14 May 2010
| rowspan="2"|[[Music download|Digital download]]
| rowspan="3"|[[Grandmono]]
|-
| rowspan="2"| Germany <ref>{{Cite web|url=https://www.amazon.de/That-Man-2-Track-Caro-Emerald/dp/B0062Z22L2/ref=sr_1_3?s=music&ie=UTF8&qid=1323534205&sr=1-3|title=That Man|website=Amazon Germany}}</ref><ref>https://www.amazon.de/gp/product/B0067QW446/ref=dm_sp_alb?ie=UTF8&qid=1323534288&sr=8-2</ref>
| rowspan="2"| 2 December 2011
|-
| [[CD single]]
|-
|}

In January 2015, the song was used in the [[Now is Not the End|pilot episode]] of the American TV series ''[[Agent Carter (TV series)|Agent Carter]]''. The song was also used in the season three ''[[The Vampire Diaries]]'' episode "Do Not Go Gentle" and in the [[Disneynature]] film ''[[Chimpanzee (film)|Chimpanzee]]''.

== References ==
{{Reflist}}

{{Caro Emerald}}
{{Use dmy dates|date=October 2019}}

[[Category:2010 singles]]
[[Category:2010 songs]]
[[Category:English-language Dutch songs]]
[[Category:Caro Emerald songs]]
[[Category:Songs written by David Schreurs]]
[[Category:Songs written by Vincent DeGiorgio]]

Serbo-Croatian

2023-02-16T19:43:22Z

MonkeyPython: /* Demographics */ simplified sentence

{{short description|South Slavic language}}
{{About|the language}}
{{pp-semi|small=yes}}
{{Infobox language
| name = Serbo-Croatian
| altname = {{plainlist|
*[[Serbian language|Serbian]]
*[[Croatian language|Croatian]]
*[[Bosnian language|Bosnian]]
*[[Montenegrin language|Montenegrin]]}}
| nativename = {{plainlist|
*{{lang|sh-Latn|srpskohrvatski}} / {{lang|sh-Latn|hrvatskosrpski}}
*{{lang|sh-Cyrl|српскохрватски}} / {{lang|sh-Cyrl|хрватскосрпски}}
}}
| states = [[Serbia]], [[Croatia]], [[Bosnia and Herzegovina]], [[Montenegro]], and [[Kosovo]]{{efn|name=status}}
| region =
| ethnicity = [[Bosniaks]] [[Croats]] [[Montenegrins]] [[Serbs]]
| speakers = {{sigfig|18.799796|2}} million
| date = 2022
| ref = <ref>{{e25|hbs}}</ref>
| familycolor = Indo-European
| fam2 = [[Balto-Slavic languages|Balto-Slavic]]
| fam3 = [[Slavic languages|Slavic]]
| fam4 = [[South Slavic languages|South Slavic]]
| fam5 = [[Western South Slavic languages|Western South Slavic]]
| stand1 = [[Serbian language|Serbian]]
| stand2 = [[Croatian language|Croatian]]
| stand3 = [[Bosnian language|Bosnian]]
| stand4 = [[Montenegrin language|Montenegrin]]
| dia1 = '''[[Dialects of Serbo-Croatian]]''':
| dia2 = [[Shtokavian]] (standard)
| dia3 = [[Bunjevac dialect|Bunjevac]]
| dia4 = [[Slavomolisano dialect|Slavomolisano]]
| dia5= [[Torlakian]]
| dia6= [[Chakavian]]
| dia7= [[Kajkavian]]
| script = {{plainlist|
* [[Latin script|Latin]] ([[Gaj's Latin alphabet|Gaj]])
* [[Cyrillic script|Cyrillic]] ([[Serbian Cyrillic alphabet|Serbian]] and [[Montenegrin Cyrillic alphabet|Montenegrin]])
* [[Yugoslav Braille]]}}
| iso1 = sh
| iso1comment = (deprecated)
| iso3 = hbs
| lc1 = bos
| ld1 = [[Bosnian language|Bosnian]]
| lc2 = cnr
| ld2 = [[Montenegrin language|Montenegrin]]
| lc3 = hrv
| ld3 = [[Croatian language|Croatian]]
| lc4 = srp
| ld4 = [[Serbian language|Serbian]]
| lc5 = svm
| ld5 = [[Slavomolisano]]
| lc6 = ckm
| ld6 = [[Chakavian]]
| lc7 = kjv
| ld7 = [[Kajkavian]]
| lingua = 53-AAA-g
| glotto = sout1528
| glottorefname = Serbian-Croatian-Bosnian
| nation = {{plainlist|
*{{flag|Serbia}} (as Serbian)
*{{flag|Croatia}} (as Croatian)
*{{flag|Bosnia and Herzegovina}} (as Bosnian, Croatian, Serbian)
*{{flag|Montenegro}} (as Montenegrin)
*{{flag|Kosovo}}{{efn|name=status}} (as Serbian)<ref>{{cite web |url = http://www.kushtetutakosoves.info/repository/docs/Constitution.of.the.Republic.of.Kosovo.pdf |title = Constitution of the Republic of Kosovo |page=2 |access-date=2012-08-17 }}</ref>
*{{EU}} (as Croatian)}}
| minority = {{plainlist|
*{{flag|Austria}} ([[Burgenland Croatian|Burgenland]])<ref>http://www.brg-lienz.tsn.at/events/.../minorities/.../austrian%20minorities%20legislation.doc{{Dead link|date=January 2019 |bot=InternetArchiveBot |fix-attempted=yes }}</ref>
*{{flag|Hungary}}<ref>1993, Minorities Act No. LXXVII</ref><ref name=e25srp/>
*{{flag|Italy}} ([[Slavomolisano|Molise]])<ref>{{cite web |url=http://www.sardegnacultura.it/documenti/7_93_20061218095702.pdf|title=Legge Regionale n.15 del 14 maggio 1997 - Tutela e valorizzazione del patrimonio culturale delle minoranze linguistiche nel Molise - Bollettino Ufficiale n. 10 del 16.5.1997|publisher=Sardegna Cultura|access-date=2018-07-15}}</ref>
*{{flag|Romania}}<ref>2007, National Minority Status Law, Article 3(2)</ref><ref name=e25srp/> (in [[Carașova]], [[Lupac]]){{Citation needed|date=April 2016}})
*{{flag|Slovakia}}<ref>{{cite web |url = http://www.b92.net/eng/news/society-article.php?yyyy=2010&mm=02&dd=09&nav_id=65083 |title=B92.net |website=B92.net |access-date=2013-09-01 |url-status=dead |archive-url= https://web.archive.org/web/20131110174015/http://www.b92.net/eng/news/society-article.php?yyyy=2010&mm=02&dd=09&nav_id=65083 |archive-date=2013-11-10 }}</ref>
*{{CZE}}<ref>{{cite web |url = http://www.minorityrights.org/?lid=1834 |title=Minority Rights Group International : Czech Republic : Czech Republic Overview |website=Minorityrights.org |access-date = 2012-10-24 }}</ref>
*{{MKD}}<ref>{{cite web |url = http://www.minorityrights.org/?lid=4021 |title = Minority Rights Group International : Macedonia : Macedonia Overview |website = Minorityrights.org |access-date = 2012-10-24 }}</ref>}}
| agency = {{plainlist|
*[[Institute of Croatian Language and Linguistics]] (Croatian)
*[[Board for Standardization of the Serbian Language]] (Serbian)
*Language Institute at [[University of Sarajevo]] (Bosnian)
*Faculty for Montenegrin language and literature, formerly Institute for Montenegrin language and literature (Montenegrin)}}
| map = Serbo croatian language2005.png
| mapcaption = {{legend|#a7f0f0|Areas where Serbo-Croatian is spoken by a plurality of inhabitants (as of 2005){{update inline|date=July 2018}} 
----
'''Note:''' a [[Kosovo]] independence disputed, see [[2008 Kosovo declaration of independence]]
| notice = IPA
}}}}
{{South Slavic languages sidebar}}

'''Serbo-Croatian''' ({{IPAc-en|audio=En-us-Serbo-Croatian.ogg|ˌ|s|ɜːr|b|oʊ|k|r|oʊ|ˈ|eɪ|ʃ|ən}})<ref name="lpd">{{citation |last=Wells |first=John C. |year=2008 |title=Longman Pronunciation Dictionary |edition=3rd |publisher=Longman |isbn=978-1-4058-8118-0 }}</ref>{{refn|name=jones2003|{{Citation |last=Jones |first=Daniel |author-link=Daniel Jones (phonetician) |title=English Pronouncing Dictionary |editor=Peter Roach |editor2=James Hartmann |editor3=Jane Setter |place=Cambridge |publisher=Cambridge University Press |orig-date=1917 |year=2003 |isbn=978-3-12-539683-8 }}}} – also called '''Serbo-Croat''' ({{IPAc-en|ˌ|s|ɜːr|b|oʊ|ˈ|k|r|oʊ|æ|t}}),<ref name="lpd" />{{refn|name=jones2003}} '''Serbo-Croat-Bosnian''' ('''SCB'''),<ref>{{cite journal |last1=Čamdžić |first1=Amela |last2=Hudson |first2=Richard |year=2007 |title=Serbo-Croat-Bosnian clitics and Word Grammar |publisher=UCL Psychology and Language Sciences |url = http://www.phon.ucl.ac.uk/home/PUB/WPL/02papers/camdzic_hudson.pdf |journal=Research in Language |doi=10.2478/v10015-007-0001-7 |hdl=11089/9540 |s2cid=54645947 |access-date = 11 September 2013 |hdl-access=free }}</ref> '''Bosnian-Croatian-Serbian''' ('''BCS'''),{{sfn|Alexander|2006|p=XVII}} and '''Bosnian-Croatian-Montenegrin-Serbian''' ('''BCMS''')<ref name=ThomasOsipov /> – is a [[South Slavic languages|South Slavic language]] and the primary language of [[Serbia]], [[Croatia]], [[Bosnia and Herzegovina]], and [[Montenegro]]. It is a [[pluricentric language]] with four<ref>{{cite book |last=Mørk |first=Henning |year=2002 |language=da |title=Serbokroatisk grammatik: substantivets morfologi |trans-title=Serbo-Croatian Grammar: Noun Morphology |series=Arbejdspapirer ; vol. 1 |location=Århus |publisher=Slavisk Institut, Århus Universitet |page=unpaginated (Preface) |oclc=471591123 }}</ref> [[mutually intelligible]] [[Standard language|standard varieties]], namely [[Serbian language|Serbian]], [[Croatian language|Croatian]], [[Bosnian language|Bosnian]], and [[Montenegrin language|Montenegrin]].<ref>{{cite book |last=Šipka |first=Danko |author-link=Danko Sipka |year=2019 |title=Lexical layers of identity: words, meaning, and culture in the Slavic languages |location=New York, NY |publisher=Cambridge University Press |pages=206, 166 |doi=10.1017/9781108685795|isbn=978-953-313-086-6 |s2cid=150383965 |lccn=2018048005 |oclc=1061308790 |quote = Serbo-Croatian, which features four ethnic variants: Serbian, Croatian, Bosnian, and Montenegrin }}</ref><ref name="Econ">{{cite news |url = https://www.economist.com/the-economist-explains/2017/04/10/is-serbo-croatian-a-language |title = Is Serbo-Croatian a language? |date=10 April 2017 |newspaper=The Economist }}</ref>

South Slavic languages historically formed a [[dialect continuum|continuum]]. The turbulent history of the area, particularly due to expansion of the [[Ottoman Empire]], resulted in a patchwork of dialectal and religious differences. Due to population migrations, [[Shtokavian]] became the most widespread dialect in the western Balkans, intruding westwards into the area previously occupied by [[Chakavian]] and [[Kajkavian]] (which further blend into [[Slovene language|Slovenian]] in the northwest). [[Bosniaks]], [[Croats]] and [[Serbs]] differ in religion and were historically often part of different cultural circles, although a large part of the nations have lived side by side under foreign overlords. During that period, the language was referred to under a variety of names, such as "Slavic" in general or "Serbian", "Croatian" or "Bosnian" in particular. In a classicizing manner, it was also referred to as "[[Illyrian (South Slavic)|Illyrian]]".

The process of [[linguistic standardization]] of Serbo-Croatian was originally initiated in the mid-19th-century [[Vienna Literary Agreement]] by Croatian and Serbian writers and philologists, decades before a Yugoslav state was established.{{sfn|Blum|2002|pp=130–132}} From the very beginning, there were slightly different literary Serbian and Croatian standards, although both were based on the same dialect of Shtokavian, [[Eastern Herzegovinian dialect|Eastern Herzegovinian]]. In the 20th century, Serbo-Croatian served as the official language of the [[Kingdom of Yugoslavia]] (when it was called "Serbo-Croato-Slovenian"),<ref name="Busch2004" /> and later as one of the official languages of the [[Socialist Federal Republic of Yugoslavia]]. The [[breakup of Yugoslavia]] affected language attitudes, so that [[Language secessionism#In Serbo-Croatian|social conceptions of the language separated]] along ethnic and political lines. Since the breakup of Yugoslavia, Bosnian has likewise been established as an official standard in Bosnia and Herzegovina, and there is an ongoing movement to [[codification (linguistics)|codify]] a separate Montenegrin standard.

Like other South Slavic languages, Serbo-Croatian has a simple [[Serbo-Croatian phonology|phonology]], with the common five-vowel system and twenty-five consonants. Its [[Serbo-Croatian grammar|grammar]] evolved from [[History of the Slavic languages|Common Slavic]], with complex [[inflection]], preserving seven [[grammatical case]]s in nouns, pronouns, and adjectives. Verbs exhibit [[imperfective aspect|imperfective]] or [[perfective aspect]], with a moderately complex tense system. Serbo-Croatian is a [[pro-drop language]] with flexible word order, [[subject–verb–object]] being the default. It can be written in either localized variants of [[Latin alphabet|Latin]] ([[Gaj's Latin alphabet]], [[Montenegrin alphabet|Montenegrin Latin]]) or [[Cyrillic script|Cyrillic]] ([[Serbian Cyrillic alphabet|Serbian Cyrillic]], [[Montenegrin Cyrillic]]) whose thirty letters mutually map one-to-one, and the [[orthography]] is highly [[Phonemic orthography|phonemic]] in all standards.

==Name==
Serbo-Croatian generally goes by the individual names Serbian, Croatian, Bosnian, and sometimes Montenegrin, including sub-dialects such as [[Bunjevac dialect|Bunjevac]].<ref>"The same language [Croatian] is referred to by different names, Serbian (srpski), Serbo-Croat (in Croatia: hrvatsko-srpski), Bosnian (bosanski), based on political and ethnic grounds. […] the names Serbian, Croatian, and Bosnian are politically determined and refer to the same language with possible slight variations." ({{Harvnb | Brown | Anderson | 2006 | p = 294}})</ref>

In the language itself, it is typically known as {{lang-sh-Latn-Cyrl|srpskohrvatski|српскохрватски|separator=/|label=none}} "Serbo-Croatian", {{lang-sh-Latn-Cyrl|hrvatskosrpski|хрватскoсрпски|separator=/|label=none}} "Croato-Serbian", or informally {{lang-sh-Latn-Cyrl|naški|нашки|separator=/|label=none}} "ours".<ref name=Econ/>

Throughout the history of the South Slavs, the vernacular, literary, and written languages (e.g. Chakavian, Kajkavian, Shtokavian) of the various regions and ethnicities developed and diverged independently. Prior to the 19th century, they were collectively called "Illyric", "Slavic", "Slavonian", "Bosnian", "Dalmatian", "Serbian" or "Croatian".<ref>{{cite journal |author=Kordić, Snježana |author-link=Snježana Kordić |title=Moderne Nationalbezeichnungen und Texte aus vergangenen Jahrhunderten |trans-title=Modern nation names and texts in the past |url=http://www.zeitschrift-fuer-balkanologie.de/index.php/zfb/article/view/222/222 |language=de |journal=Zeitschrift für Balkanologie |volume=46 |issue=1 |pages=40–41 |year=2010 |issn=0044-2356 |ssrn=3440016 |id={{CROSBI|495349}}. {{ZDB|201058-6}} |archive-date=1 June 2012 |url-status=live |archive-url=https://web.archive.org/web/20120601175024/http://bib.irb.hr/datoteka/495349.MODERNE_NATIONALBEZEICHNUNGEN.PDF |access-date=11 May 2014 }}</ref> Since the nineteenth century the term ''Illyrian'' or ''Illyric'' was used quite often (thus creating confusion with the [[Illyrian language]]). Although [[Illyrian (South Slavic)|the word ''Illyrian'' was used on a few occasions before]], its widespread usage began after [[Ljudevit Gaj]] and several other prominent linguists met at [[Ljudevit Vukotinović]]'s house to discuss the issue in 1832.<ref>{{cite book |last=Despalatović |first=Elinor Murray |title=Ljudevit Gaj and the Illyrian Movement |publisher=East European Quarterly; [[Columbia University Press]] |page=[https://archive.org/details/ljudevitgajillyr0000desp/page/64 64] |location=New York and London |year=1975 |isbn=978-0-914710-05-9 |url=https://archive.org/details/ljudevitgajillyr0000desp/page/64 }}</ref> The term ''Serbo-Croatian'' was first used by [[Jacob Grimm]] in 1824,{{Sfn | Lencek | 1976 | p = 46}}{{Sfn | Pohl | 1996 | pp = 209–210}} popularized by the Viennese philologist [[Jernej Kopitar]] in the following decades, and accepted by Croatian [[Zagreb]] grammarians in 1854 and 1859.{{Sfn | Lencek | 1976 | p = 49}} At that time, Serb and Croat lands were still part of the [[Ottoman Empire|Ottoman]] and [[Austrian Empire]]s. Officially, the language was called variously ''Serbo-Croat, Croato-Serbian, Serbian and Croatian, Croatian and Serbian, Serbian or Croatian, Croatian or Serbian.''  Unofficially, Serbs and Croats typically called the language "Serbian" or "Croatian", respectively, without implying a distinction between the two,{{Sfn | Brown | Anderson | 2006 | p = 259}} and again in independent [[Bosnia and Herzegovina]], "Bosnian", "Croatian", and "Serbian" were considered to be three names of a single official language.<ref>"In 1993 the authorities in Sarajevo adopted a new language law (Službeni list Republike Bosne i Hercegovine, 18/93): In the Republic of Bosnia and Herzegovina, the Ijekavian standard literary language of the three constitutive nations is officially used, designated by one of the three terms: Bosnian, Serbian, Croatian." ({{Harvnb | Bugarski | Hawkesworth | 2006 | p = 142}})</ref> Croatian linguist [[Dalibor Brozović]] advocated the term ''Serbo-Croatian'' as late as 1988, claiming that in an analogy with Indo-European, Serbo-Croatian does not only name the two components of the same language, but simply charts the limits of the region in which it is spoken and includes everything between the limits ('Bosnian' and 'Montenegrin').<ref>{{cite book |last=Brozović |first=Dalibor |author-link=Dalibor Brozović |title=Jezik, srpskohrvatski/hrvatskosrpski, hrvatski ili srpski : izvadak iz II izdanja Enciklopedije Jugoslavije |publisher=Jugoslavenski Leksikografski zavod "Miroslav Krleža" |page=4 |language=sh |chapter=Jezik, srpskohrvatski/hrvatskosrpski, hrvatski ili srpski |trans-chapter=Language, Serbo-Croatian/Croato-Serbian, Croatian or Serbian : Extract From the Second Edition of the Encyclopedia of Yugoslavia |location=Zagreb |year=1988 |isbn=978-86-7053-014-0 |oclc=645757653}}</ref> Today, use of the term "Serbo-Croatian" is controversial due to the prejudice that nation and language must match.<ref>{{cite book|last=Richter Malabotta |first=Melita |editor1-last=Busch |editor1-first=Brigitta |editor2-last=Kelly-Holmes |editor2-first=Helen |title=Language, Discourse and Borders in the Yugoslav Successor States |url=https://archive.org/details/languagediscours00busc |url-access=limited |publisher=Multilingual Matters |page=[https://archive.org/details/languagediscours00busc/page/n86 81] |chapter=Semantics of War in Former Yugoslavia |location=Clevedon |year=2004 |oclc=803615012}}</ref>{{Sfn | Mappes-Niediek | 2005 | p = 30}}<ref>{{cite book |last=Kordić |first=Snježana |author-link=Snježana Kordić |editor1-last=Ajdačić |editor1-first=Dejan |editor2-last=Lazarević Di Đakomo |editor2-first=Persida |title=U čast Pera Jakobsena: zbornik radova |publisher=SlovoSlavia |pages=225–239 |language=sh |chapter=Ideologija nacionalnog identiteta i nacionalne kulture |trans-chapter=The ideology of national identity and culture |chapter-url=http://bib.irb.hr/datoteka/522531.Ideologija_nacionalnog.PDF |series=Studia in honorem ; vol. 1 |location=Beograd |year=2010 |isbn=978-86-87807-02-0 |oclc=723062357 |s2cid=132883650 |ssrn=3439190 |id={{CROSBI|522531}} |archive-url=https://web.archive.org/web/20120601175039/http://bib.irb.hr/datoteka/522531.Ideologija_nacionalnog.PDF|url-status=live|archive-date=1 June 2012|url=http://bib.irb.hr/datoteka/522531.Ideologija_nacionalnog.PDF |ref=none}}</ref> It is still used for lack of a succinct alternative,<ref>{{cite book|last=Obst |first=Ulrich |editor1-last=Okuka |editor1-first=Miloš |editor2-last=Schweier |editor2-first=Ulrich |title=Festschrift für Peter Rehder zum 65. Geburtstag |series=Welt der Slaven ; vol. 21 |publisher=Otto Sagner |page=212 |language=de |chapter=Zum genitivus qualitatis und zu alternativen Möglichkeiten in den drei 'Buddenbrooks'-Übersetzungen aus dem kroatischen und serbischen Sprachgebiet |location=Munich |year=2004 |oclc=55018584}}</ref> though alternative names have emerged, such as ''Bosnian/Croatian/Serbian'' (BCS),<ref>Tomasz Kamusella. ''The Politics of Language and Nationalism in Modern Central Europe''. Palgrave Macmillan, 2008. pp. 228, 297.</ref> which is often seen in political contexts such as the [[International Criminal Tribunal for the former Yugoslavia]].

== History ==

=== Early development ===
[[File:Hvalov_zbornik1.jpg|thumb|[[Hval's Codex]], 1404]]

In the [[9th century]], [[Old Church Slavonic]] was adopted as the language of the [[liturgy]] in churches serving various [[Slavs|Slavic]] nations. This language was gradually adapted to non-liturgical purposes and became known as the Croatian version of Old Slavonic. The two variants of the language, liturgical and non-liturgical, continued to be a part of the [[Glagolitic]] service as late as the middle of the 19th century. The earliest known Croatian Church Slavonic Glagolitic manuscripts are the ''Glagolita Clozianus'' and the ''Vienna Folia'' from the 11th century.<ref name="encyclopedia">{{cite book |last=Price |first=Glanville |url=https://archive.org/details/encyclopediaofla0000unse_d0q8/page/425/mode/2up |title=Encyclopedia of the languages of Europe |publisher=Blackwell Publishers Ltd |year=1998 |isbn=978-0-631-19286-2 |location=Oxford, UK |page=425  |url-access=registration}}</ref>

{{listen|filename=Baška_tablet.wav|title=Speech example|description=An example of Old Croatian used in Baška tablet.}}

The beginning of written Serbo-Croatian can be traced from the tenth century and on when Serbo-Croatian medieval texts were written in five scripts: [[Latin script|Latin]], [[Glagolitic script|Glagolitic]], [[Early Cyrillic]], [[Bosnian Cyrillic]] (''bosančica/bosanica''),<ref>{{cite journal |last=Kapetanovic |first=Amir |title=HRVATSKA SREDNJOVJEKOVNA LATINICA |journal=Hrvatska Srednjovjekovna Latinica |year=2005 |url=https://docs.google.com/viewer?a=v&q=cache:-FfopGzc4sYJ:www.ihjj.hr/images/Izdanja/Rasprave/31_23_susret_Kapetanovic.pdf+amir+kapetanovic+hrvatska+srednjovjekovna+latinica&hl=hr&gl=hr&pid=bl&srcid=ADGEESgQtRoCdABc_WUuJP8hR8BPDF7rKm5524iRm7SQ_9NveXR7vd5BLh0Rid3WZJPhnMsIF5E6_9CCZRBjLJTQLfeAdaIyHbrKDTblw4i1J_SKf4qOwi0f5mD4zr6mLIB_Nnhh_1WT&sig=AHIEtbQAFkElGfn2sHCefPWxrMFWYSUbDw}}</ref> and [[Arebica]], the last principally by Bosniak nobility. Serbo-Croatian competed with the more established literary languages of [[Latin]] and Old Slavonic in the west and Persian and Arabic in the east.

Old Slavonic developed into the Serbo-Croatian variant of [[Church Slavonic]] between the 12th and 16th centuries.

Among the earliest attestations of Serbo-Croatian are: the [[Humac tablet]], dating from the 10th or 11th century, written in Bosnian Cyrillic and Glagolitic; the [[Plomin tablet]], dating from the same era, written in Glagolitic; the [[Valun tablet]], dated to the 11th century, written in Glagolitic and Latin; and the [[Inscription of Župa Dubrovačka]], a Glagolitic tablet dated to the 11th century.

The [[Baška tablet]] from the late 11th century was written in Glagolitic.<ref>{{cite journal |url=http://hrcak.srce.hr/index.php?show=clanak&id_clanak_jezik=21348 | first = Branko | last = Fučić | author-link = Branko Fučić |title=Najstariji hrvatski glagoljski natpisi |journal=[[Slovo (journal)|Slovo]] |volume=21 |date=September 1971 |language=sh}}</ref> It is a large stone tablet found in the small [[Church of St. Lucy, Jurandvor]] on the Croatian island of [[Krk]] that contains text written mostly in [[Chakavian dialect|Chakavian]] in the Croatian [[commons:Category:Angular Glagolitic letters|angular Glagolitic]] script. It is also important in the history of the nation as it mentions [[Zvonimir]], the king of Croatia at the time.

The [[Charter of Ban Kulin]] of 1189, written by [[Ban Kulin]] of Bosnia, was an early Shtokavian text, written in Bosnian Cyrillic.

The luxurious and ornate representative texts of Serbo-Croatian Church Slavonic belong to the later era, when they coexisted with the Serbo-Croatian vernacular literature. The most notable are the "[[Missal]] of Duke Novak" from the Lika region in northwestern Croatia (1368), "Evangel from Reims" (1395, named after the town of its final destination), [[Hrvoje's Missal]] from Bosnia and Split in Dalmatia (1404),<ref>{{cite web |url=http://www.danstopicals.com/hvalovzbornik.htm |title=Hrvoje's Missal ~ 1403–1404 |access-date=9 March 2012 }}</ref> and the first printed book in Serbo-Croatian, the Glagolitic [[Missale Romanum Glagolitice]] (1483).<ref name="encyclopedia" />

During the 13th century Serbo-Croatian vernacular texts began to appear, the most important among them being the "Istrian land survey" of 1275 and the "[[Vinodol Codex]]" of 1288, both written in the Chakavian dialect.<ref>{{cite web |url=http://www.ihjj.hr/oHrJeziku-vinodol-zakon.html |title=VINODOLSKI ZAKON (1288) |access-date=9 March 2012 |url-status=dead |archive-url=https://archive.today/20120314161751/http://www.ihjj.hr/oHrJeziku-vinodol-zakon.html |archive-date=14 March 2012 }}</ref><ref>{{cite web |url=http://www.ihjj.hr/oHrJeziku-Istarski-razvod.html |title=Istarski Razvod |access-date=9 March 2012 |url-status=dead |archive-url=https://archive.today/20120707211237/http://www.ihjj.hr/oHrJeziku-Istarski-razvod.html |archive-date=7 July 2012 }}</ref>

The [[Shtokavian dialect]] literature, based almost exclusively{{Citation needed|date=August 2010}} on Chakavian original texts of religious provenance ([[missal]]s, [[breviary|breviaries]], [[Breviary|prayer books]]) appeared almost a century later. The most important purely Shtokavian vernacular text is the [[Vatican Croatian Prayer Book]] (c. 1400).<ref>{{cite web |url=http://www.zupa-svetoga-antuna-bj.hr/duhovna_misao.php?subaction=showfull&id=1151333873&archive=&start_from=&ucat=2& |archive-url=https://wayback.archive-it.org/all/20171011114124/http://zupa-svetoga-antuna-bj.hr/ |url-status=dead |archive-date=11 October 2017 |title=Vatikanski hrvatski molitvenik |access-date=9 March 2012 }}</ref>

Both the language used in legal texts and that used in Glagolitic literature gradually came under the influence of the vernacular, which considerably affected its [[phonology|phonological]], [[morphology (linguistics)|morphological]], and [[lexicology|lexical]] systems. From the 14th and the 15th centuries, both secular and religious songs at church festivals were composed in the vernacular.

Writers of early Serbo-Croatian [[religious]] [[poetry]] (''začinjavci'') gradually introduced the vernacular into their works. These ''začinjavci'' were the forerunners of the rich literary production of the 16th-century literature, which, depending on the area, was Chakavian-, Kajkavian-, or Shtokavian-based.<ref name="encyclopedia" /> The language of religious poems, translations, [[miracle play|miracle]] and [[morality play]]s contributed to the popular character of medieval Serbo-Croatian literature.

One of the earliest dictionaries, also in the Slavic languages as a whole, was the ''Bosnian–Turkish Dictionary'' of 1631 authored by [[Muhamed Hevaji Uskufi]] and was written in the [[Arebica]] script.<ref>{{cite web | title = Gammel ordbok i ny drakt | date = 2012-04-10 | publisher = [[University of Oslo]] | language = no | url = http://www.hf.uio.no/ilos/for-ansatte/aktuelt/saker/2012/bosnisk-ordbok.html | access-date = 2013-12-09 | archive-url = https://web.archive.org/web/20150924041443/http://www.hf.uio.no/ilos/for-ansatte/aktuelt/saker/2012/bosnisk-ordbok.html | archive-date = 2015-09-24 | url-status = dead }}</ref><ref>{{cite book |title=Testimony of a Bosnian |last=Tanović-Miller|first=Naza|year=2001|publisher= [[Texas A&M University Press]]|page=209; ''"Turkish–Bosnian" dictionary, one of the first Slavic dictionaries in Europe, was written by a Bosnian ethnographer and poet, Muhamed Hevai Uskufi, from Tuzla in 1631.''}}</ref>

=== Standardization ===
[[File:Rjecnik hrvatskoga ili srpskoga jezika.jpg|left|thumb|upright|[[Đuro Daničić]], ''Rječnik hrvatskoga ili srpskoga jezika'' (Croatian or Serbian Dictionary), 1882]]
[[File:Gramatika bosanskog jezika.jpg|thumb|upright|''Gramatika bosanskoga jezika'' (Grammar of the Bosnian Language), 1890]]

In the mid-19th century, Serbian (led by self-taught writer and folklorist [[Vuk Stefanović Karadžić]]) and most Croatian writers and linguists (represented by the [[Illyrian movement]] and led by [[Ljudevit Gaj]] and [[Đuro Daničić]]), proposed the use of the most widespread dialect, [[Shtokavian dialect|Shtokavian]], as the base for their common standard language. Karadžić standardised the [[Serbian Cyrillic alphabet]], and Gaj and Daničić standardized the [[Gaj's Latin Alphabet|Croatian Latin alphabet]], on the basis of vernacular speech phonemes and the principle of phonological spelling. In 1850 Serbian and Croatian writers and linguists signed the [[Vienna Literary Agreement]], declaring their intention to create a unified standard.{{Sfn | Greenberg | 2004 | p = 24}} Thus a complex bi-variant language appeared, which the Serbs officially called "Serbo-Croatian" or "Serbian or Croatian" and the Croats "Croato-Serbian", or "Croatian or Serbian". Yet, in practice, the variants of the conceived common literary language served as different literary variants, chiefly differing in lexical inventory and stylistic devices. The common phrase describing this situation was that Serbo-Croatian or "Croatian or Serbian" was a single language. In 1861, after a long debate, the [[Croatian Parliament|Croatian Sabor]] put up several proposed names to a vote of the members of the parliament; "Yugoslavian" was opted for by the majority and legislated as the official language of the [[Triune Kingdom]]. The [[Austrian Empire]], suppressing Pan-Slavism at the time, did not confirm this decision and legally rejected the legislation, but in 1867 finally settled on "Croatian or Serbian" instead.<ref>{{cite magazine |url=http://www.snjezana-kordic.de/SAMARDZIJA.htm |url-status=dead |archive-url=https://web.archive.org/web/20161023141331/http://www.snjezana-kordic.de/SAMARDZIJA.htm |archive-date=23 October 2016 |magazine=[[:sh:Književna republika|Književna republika]] |title=Pseudoznanost na djelu |trans-title=Pseudoscience at work |first=Snježana |last=Kordić |year=2007 |number=7–9 |location=Zagreb |pages=243–250 |editor-first1=Velimir |editor-last1=Visković |editor-link1=:sh:Velimir Visković |issn=1334-1057 |oclc=190812698}}</ref> During the [[Austro-Hungarian occupation of Bosnia and Herzegovina]], the language of all three nations in this territory was declared "Bosnian" until the death of administrator [[Benjamin von Kállay|von Kállay]] in 1907, at which point the name was changed to "Serbo-Croatian".<ref>{{cite book |title=Industrialization of Bosnia-Hercegovina: 1878–1918 |url=https://archive.org/details/industrializatio0000unse_i6h0 |url-access=registration |last=Sugar |first=Peter F. |year=1963 |publisher=University of Washington Press |page=[https://archive.org/details/industrializatio0000unse_i6h0/page/201 201]}}</ref><ref>{{cite book |title=Serbia, Croatia and Slovenia at Peace and at War: Selected Writings, 1983–2007 |last=Ramet |first=Sabrina P. |year=2008 |publisher=LIT Verlag Münster |chapter=Nationalism and the 'Idiocy' of the Countryside: The Case of Serbia |pages=74–76 |isbn=978-3-03735-912-9}}</ref><ref name=velikonja>{{cite book |title=Religious Separation and Political Intolerance in Bosnia-Herzegovina |last=Velikonja |first=Mitja |year=1992 |publisher=Texas A&M University Press |isbn=978-1-58544-226-3 |url-access=registration |url=https://archive.org/details/religiousseparat0000veli }}</ref>

With unification of the first the [[Kingdom of the Serbs, Croats, and Slovenes]] – the approach of Karadžić and the Illyrians became dominant. The official language was called "Serbo-Croato-Slovenian" (''srpsko-hrvatsko-slovenački'') in the 1921 constitution.<ref name="Busch2004">{{cite book|last1=Busch|first1=Birgitta|last2=Kelly-Holmes|first2=Helen|title=Language, Discourse and Borders in the Yugoslav Successor States|url=https://books.google.com/books?id=MlXQ5zKb_VQC&pg=PA26|year=2004|publisher=Multilingual Matters|isbn=978-1-85359-732-9|pages=26}}</ref> In 1929, the constitution was suspended,<ref>{{cite book|last=Tomasevich|first=Jozo|title=Contemporary Yugoslavia|url=https://books.google.com/books?id=a--6hauBIb4C&pg=PA8|year=1969|publisher=University of California Press|pages=8–9}}</ref> and the country was renamed the [[Kingdom of Yugoslavia]], while the official language of Serbo-Croato-Slovene was reinstated in the 1931 constitution.<ref name="Busch2004" />

In June 1941, the Nazi puppet [[Independent State of Croatia]] began to rid the language of "Eastern" (Serbian) words, and shut down Serbian schools.<ref name="Crowe2013">{{cite book |first=David M. |last=Crowe |author-link=David M. Crowe |title=Crimes of State Past and Present: Government-Sponsored Atrocities and International Legal Responses |url=https://books.google.com/books?id=GRTdAAAAQBAJ&pg=PA61 |date=13 September 2013 |publisher=Routledge |isbn=978-1-317-98682-9 |page=61}}</ref> The totalitarian dictatorship introduced a language law that promulgated [[Croatian linguistic purism]] as a policy that tried to implement a complete elimination of Serbisms and internationalisms.<ref name="Busch2004 Sprachen im Disput">{{cite book | last=Busch |first=Brigitta |year=2004 |language=de |title=Sprachen im Disput |url=https://heteroglossia.net/fileadmin/user_upload/publication/sprachen_disput.pdf |location=Klagenfurt |publisher=Drava |page=205 |isbn=3-85435-428-2 |access-date=16 May 2022}}</ref>

On January 15, 1944, the Anti-Fascist Council of the People's Liberation of Yugoslavia ([[AVNOJ]]) declared Croatian, Serbian, Slovene, and Macedonian to be equal in the entire territory of Yugoslavia.{{Sfn | Greenberg | 2004 | p = 115}} In 1945 the decision to recognize Croatian and Serbian as separate languages was reversed in favor of a single Serbo-Croatian or Croato-Serbian language.{{Sfn | Greenberg | 2004 | p = 115}} In the [[League of Communists of Yugoslavia|Communist]]-dominated [[Socialist Federal Republic of Yugoslavia|second Yugoslavia]], ethnic issues eased to an extent, but the matter of language remained blurred and unresolved.

In 1954, major Serbian and Croatian writers, linguists and literary critics, backed by [[Matica srpska]] and [[Matica hrvatska]] signed the [[Novi Sad Agreement]], which in its [[The Novi Sad Agreement#The text of the Novi Sad Agreement|first conclusion]] stated: "Serbs, Croats and Montenegrins share a single language with two equal variants that have developed around Zagreb (western) and Belgrade (eastern)". The agreement insisted on the [[The Novi Sad Agreement#The text of the Novi Sad Agreement|equal status]] of Cyrillic and Latin scripts, and of Ekavian and Ijekavian pronunciations.<ref name=JonkeRazvoj>{{cite journal|author=Jonke, Ljudevit |author-link=Ljudevit Jonke |title=Razvoj hrvatskoga književnog jezika u 20. stoljeću |trans-title=The Development of the Croatian language in the 20th century |journal=[[Jezik]] |volume=16 |issue=1 |page=18 |year=1968 |language=sh |issn=0021-6925}}</ref> It also specified that ''Serbo-Croatian'' should be the name of the language in official contexts, while in unofficial use the traditional ''Serbian'' and ''Croatian'' were to be retained.<ref name=JonkeRazvoj /> Matica hrvatska and Matica srpska were to work together on a dictionary, and a committee of Serbian and Croatian linguists was asked to prepare a ''pravopis''. During the sixties both books were published simultaneously in Ijekavian Latin in Zagreb and Ekavian Cyrillic in Novi Sad.{{Sfn | Kordić | 2010 | pp = 303–304}} Yet Croatian linguists claim that it was an act of unitarianism. The evidence supporting this claim is patchy: Croatian linguist Stjepan Babić complained that the television transmission from Belgrade always used the Latin alphabet<ref name=BabHh>{{cite book|last=Babić |first=Stjepan| author-link=Stjepan Babić |year=2004 |language=sh |title=Hrvanja hrvatskoga |trans-title=Croatian Language Quarrels |location=Zagreb |publisher=Školska knjiga |page=36 |isbn=978-953-0-61428-4}}</ref>— which was true, but was not proof of unequal rights, but of frequency of use and prestige. Babić further complained that the Novi Sad Dictionary (1967) listed side by side words from both the Croatian and Serbian variants wherever they differed,<ref name=BabHh /> which one can view as proof of careful respect for both variants, and not of unitarism. Moreover, Croatian linguists criticized those parts of the Dictionary for being unitaristic that were written by Croatian linguists.<ref>{{cite journal |author=Milutinović, Zoran |title=Review of the Book ''Jezik i nacionalizam'' |journal=[[The Slavonic and East European Review]] |volume=89 |issue=3 |pages=522–523 |year=2011 |url=http://www.snjezana-kordic.de/Rec_SEER.pdf |issn=0037-6795 |oclc=744233642 |id={{ZDB|209925-1}} |archive-date=2012-10-04 |url-status=dead |archive-url=https://web.archive.org/web/20121004024736/http://www.snjezana-kordic.de/Rec_SEER.pdf |access-date=25 May 2014 }}</ref> And finally, Croatian linguists ignored the fact that the material for the ''Pravopisni rječnik'' came from the Croatian Philological Society.<ref>{{cite journal|author=Jonke, Ljudevit |author-link=Ljudevit Jonke |title=Drugi i treći sastanak Pravopisne komisije |trans-title=The second and third meeting of The Orthographic Commission |journal=Jezik |volume=4 |issue=2 |page=59 |year=1955 |language=sh |issn=0021-6925}}</ref><ref>{{cite journal |author=Jonke, Ljudevit |author-link=Ljudevit Jonke |title=Pravopis hrvatskosrpskoga književnog jezika |trans-title=Serbo-Croatian Spelling-Book |journal=Jezik |volume=9 |issue=2 |pages=57–59 |year=1961 |language=sh |issn=0021-6925}}</ref> Regardless of these facts, Croatian intellectuals brought the [[Declaration on the Status and Name of the Croatian Literary Language]] in 1967. On occasion of the publication's 45th anniversary, the Croatian weekly journal ''Forum'' published the Declaration again in 2012, accompanied by a critical analysis.<ref>{{cite news |title=SOS ili tek alibi za nasilje nad jezikom |trans-title=SOS, or nothing but an alibi for violence against language |url=http://bib.irb.hr/datoteka/578565.O_Deklaraciji_Forum.jpg |last=Kordić |first=Snježana |author-link=Snježana Kordić |language=sh |location=Zagreb |publisher=Forum |date=16 March 2012 |pages=38–39 |issn=1848-204X |id={{CROSBI|578565}} |archive-date=21 December 2012 |url-status=live |archive-url=https://web.archive.org/web/20121221223957/http://bib.irb.hr/datoteka/578565.O_Deklaraciji_Forum.jpg |access-date=9 April 2013 }}</ref>

West European scientists judge the Yugoslav language policy as an exemplary one:{{Sfn | Gröschel | 2009 | p = 72}}{{Sfn | Mappes-Niediek | 2005 | pp = 18, 64}} although three-quarters of the population spoke one language, no single language was official on a federal level.{{Sfn | Blum | 2002 | pp = 41–42}} Official languages were declared only at the level of constituent republics and provinces,<ref name=Gak>{{cite journal |author=Gak, Vladimir G. |title=K tipologii form jazykovoj politiki |trans-title=Towards a typology of language policy |journal=Voprosy Jazykoznanija |volume=5 |pages=122–123 |year=1989 |language=ru }}</ref>{{Sfn | Blum | 2002 | pp = 47–48}}{{Sfn | Gröschel | 2003 | pp = 160–161}} and very generously: Vojvodina had five (among them Slovak and Romanian, spoken by 0.5 per cent of the population), and Kosovo four (Albanian, Turkish, Romany and Serbo-Croatian).<ref name=Gak />{{Sfn | Blum | 2002 | p = 65}} Newspapers, radio and television studios used sixteen languages,{{Sfn | Blum | 2002 | p = 81}} fourteen were used as languages of tuition in schools, and nine at universities.<ref name=Gak />{{Sfn | Blum | 2002 | pp = 73–79}} Only the Yugoslav Army used Serbo-Croatian as the sole language of command, with all other languages represented in the army's other activities—however, this is not different from other armies of multilingual states,{{Sfn | Blum | 2002 | pp = 69–80}} or in other specific institutions, such as international air traffic control where English is used worldwide. All variants of Serbo-Croatian were used in state administration and republican and federal institutions.<ref name=Gak /> Both Serbian and Croatian variants were represented in respectively different grammar books, dictionaries, school textbooks and in books known as pravopis (which detail spelling rules).{{Sfn | Kordić | 2010 | pp = 291–292}} Serbo-Croatian was a kind of soft standardisation.<ref>{{cite book|editor1-last=Busch |editor1-first=Brigitta |editor2-last=Kelly-Holmes |editor2-first=Helen |title=Language, Discourse and Borders in the Yugoslav Successor States |url=https://archive.org/details/languagediscours00busc |url-access=limited |publisher=Multilingual Matters |pages=[https://archive.org/details/languagediscours00busc/page/n56 51], 54 |chapter=Semantics of War in Former Yugoslavia |location=Clevedon |year=2004 |oclc=803615012}}</ref> However, legal equality could not dampen the prestige Serbo-Croatian had: since it was the language of three quarters of the population, it functioned as an unofficial lingua franca.{{Sfn | Kordić | 2010 | pp = 294–295}} And within Serbo-Croatian, the Serbian variant, with twice as many speakers as the Croatian,{{Sfn | Gröschel | 2009 | p = 38}} enjoyed greater prestige, reinforced by the fact that Slovene and Macedonian speakers preferred it to the Croatian variant because their languages are also Ekavian.{{Sfn | Kordić | 2010 | p = 299}} This is a common situation in other pluricentric languages, e.g. the variants of German differ according to their prestige, the variants of Portuguese too.{{Sfn | Ammon | 1995 | pp = 484, 494–497}} Moreover, all languages differ in terms of prestige: "the fact is that languages (in terms of prestige, learnability etc.) are not equal, and the law cannot make them equal".<ref>"die Tatsache, dass Sprachen (in ihrem Prestige, ihrer Erlernbarkeit etc.) nicht gleich sind und auch per Gesetz nicht gleich gemacht werden können" ({{Harvnb | Blum | 2002 | p = 170}})</ref>

=== Modern developments ===
In 2017, the "[[Declaration on the Common Language]]" (''Deklaracija o zajedničkom jeziku'') was signed by a group of NGOs and linguists from [[Yugosphere|former Yugoslavia]]. It states that all standardized variants belong to a common polycentric language with equal status.<ref>{{cite web|title=Post-Yugoslav 'Common Language' Declaration Challenges Nationalism|publisher=Balkan Insight|url=http://www.balkaninsight.com/en/article/post-yugoslav-common-language-declaration-challenges-nationalism-03-29-2017|date=2017-03-30}}</ref><ref>{{cite news|title=Is Serbo-Croatian a language?|newspaper=The Economist|url=https://www.economist.com/blogs/economist-explains/2017/04/economist-explains-4|date=2017-04-10}}</ref>

== Demographics ==
[[File:Map of Serbo-Croatian language.png|thumbnail|300px|{{legend|#004DFF|Countries where a standard form of Serbo-Croatian is an official language}}
{{legend|#88C4FF|Countries where one or more forms are designated as minority languages}}]]
{{More citations needed section|date=January 2010}}
About 16 million people declare their native language as either 'Bosnian', 'Croatian', 'Serbian', 'Montenegrin', or 'Serbo-Croatian'.

Serbian is spoken by {{sigfig|10.300476|2}} million people around the world, mostly in Serbia ({{sigfig|7.760000|2}} million), Bosnia and Herzegovina ({{sigfig|1.170000|2}} million), and Montenegro ({{sigfig|266000|1}}). Serbian minorities are found in [[Kosovo]], [[North Macedonia]] and in [[Romania]].<ref name=e25srp>{{e25|srp|Serbian}}</ref> In Serbia, there are about 760,000 second-language speakers of Serbian, including Hungarians in [[Vojvodina]] and the 400,000 estimated Roma. In [[Kosovo]], Serbian is spoken by the members of the [[Kosovo Serbs|Serbian minority]] which approximates between 70,000 and 100,000.<ref>{{Cite book|last1=Ramet|first1=Sabrina P.|url=https://books.google.com/books?id=FpEwDQAAQBAJ&pg=PA267|title=Ethnic Minorities and Politics in Post-Socialist Southeastern Europe|last2=Valenta|first2=Marko|date=2016-09-22|publisher=Cambridge University Press|isbn=978-1-316-98277-8|language=en}}</ref><ref>{{cite web|date=2019-11-07|title=Kosovo's Demographic Destiny Looks Eerily Familiar|url=https://balkaninsight.com/2019/11/07/kosovos-demographic-destiny-looks-eerily-familiar/|access-date=2021-06-29|website=Balkan Insight|language=en-US}}</ref> Familiarity of [[Kosovo Albanians]] with Serbian varies depending on age and education, and exact numbers are not available.

Croatian is spoken by {{sigfig|6.765010|2}} million people in the world, including {{sigfig|4.100000|2}} million in Croatia and {{sigfig|554000|1}} in Bosnia and Herzegovina.<ref name=e25hrv>{{e25|hrv|Croatian}}</ref> A small Croatian minority that lives in Italy, known as [[Molise Croats]], have somewhat preserved traces of Croatian. In Croatia, 170,000, mostly [[Italians]] and [[Hungarians]], use it as a [[second language]].

Bosnian is spoken by {{sigfig|2.730720|2}} million people worldwide, chiefly [[Bosniaks]], including {{sigfig|2.010000|2}} million in Bosnia and Herzegovina, {{sigfig|172,000|1}} in Serbia and {{sigfig|36,700|1}} in Montenegro.<ref name=e25bos>{{e25|bos|Bosnian}}</ref>

Montenegrin is spoken by {{sigfig|265,660|1}} people globally.<ref name=e25cnr>{{e25|cnr|Montenegrin}}</ref> The notion of Montenegrin as a separate standard from Serbian is relatively recent. In the 2011 census, around 229,251 Montenegrins, of the country's 620,000, declared Montenegrin as their native language. That figure is likely to increase, due to the country's independence and strong institutional backing of the Montenegrin language.

Serbo-Croatian is also a [[second language]] of many [[Slovenians]] and [[Macedonians (ethnic group)|Macedonians]], especially those born during the time of Yugoslavia. According to the 2002 Census, Serbo-Croatian and its variants have the largest number of speakers of the minority languages in Slovenia.<ref>{{cite web|url=http://www.inv.si/DocDir/Publikacije-PDF/Raziskovalna%20porocila/Raziskava_Polozaj_in_status_pripadnikov_narodov_nekdanje_Jugoslavije_v_RS.pdf| title=Raziskava Položaj in status pripadnikov narodov nekdanje Jugoslavije vRS.pdf|language=sl}}</ref>

Outside the Balkans, there are over two million native speakers of the language(s), especially in countries which are frequent targets of immigration, such as Australia, Austria, Brazil, Canada, Chile, Germany, Hungary, Italy, Sweden, and the United States.

== Grammar ==
[[File:Gramatika i stilistika hrvatskoga ili srpskoga knjizevnoga jezika.JPG|thumb|[[Tomislav Maretić]]'s 1899 Grammar of Croatian or Serbian]]
{{Further|Serbo-Croatian grammar}}
Serbo-Croatian is a highly [[inflected language]]. Traditional grammars list seven [[Grammatical case|cases]] for [[noun]]s and [[adjective]]s: [[Nominative case|nominative]], [[Genitive case|genitive]], [[Dative case|dative]], [[Accusative case|accusative]], [[Vocative case|vocative]], [[Locative case|locative]], and [[Instrumental case|instrumental]], reflecting the original seven cases of [[Proto-Slavic language|Proto-Slavic]], and indeed older forms of Serbo-Croatian itself. However, in modern [[Shtokavian dialect|Shtokavian]] the locative has almost merged into dative (the only difference is based on accent in some cases), and the other cases can be shown declining; namely:
* For all nouns and adjectives, the instrumental, dative, and locative forms are identical (at least orthographically) in the plural: ''ženama'', ''ženama'', ''ženama''; ''očima'', ''očima'', ''očima''; ''riječima'', ''riječima'', ''riječima''.
* There is an accentual difference between the genitive [[singular (grammatical number)|singular]] and genitive [[plural]] of masculine and neuter nouns, which are otherwise homonyms (''seljáka'', ''seljaka'') except that on occasion an [[Serbo-Croatian phonology#Fleeting a|"a"]] (which might or might not appear in the singular) is filled between the last letter of the root and the genitive plural ending (''kapitalizma'', ''kapitalizama'').
* The old instrumental ending "ju" of the feminine consonant stems and in some cases the "a" of the genitive plural of certain other sorts of feminine nouns is fast yielding to "i": ''noći'' instead of ''noćju'', ''borbi'' instead of ''boraba'' and so forth.
* Almost every Shtokavian number is indeclinable, and numbers after prepositions have not been declined for a long time.

Like most Slavic languages, there are mostly three [[Grammatical gender|genders]] for nouns: masculine, feminine, and neuter, a distinction which is still present even in the plural (unlike [[Russian language|Russian]] and, in part, the [[Chakavian dialect|Čakavian dialect]]). They also have two [[Grammatical number|numbers]]: singular and plural. However, some consider there to be three numbers ([[paucal]] or ''dual,'' too), since (still preserved in closely related [[Slovene language|Slovene]]) after two (''dva'', ''dvije''/''dve''), three (''tri'') and four (''četiri''), and all numbers ending in them (e.g. twenty-two, ninety-three, one hundred four, but not twelve through fourteen) the genitive singular is used, and after all other numbers five (''pet'') and up, the genitive plural is used. (The number one [''jedan''] is treated as an adjective.) Adjectives are placed in front of the noun they modify and must agree in both case and number with it.

There are seven [[Grammatical tense|tenses]] for verbs: [[past tense|past]], [[present tense|present]], [[future tense|future]], exact future, [[aorist]], [[imperfect]], and [[pluperfect]]; and three [[Grammatical mood|moods]]: [[indicative]], [[Imperative mood|imperative]], and [[conditional mood|conditional]]. However, the latter three tenses are typically used only in Shtokavian writing, and the time sequence of the exact future is more commonly formed through an alternative construction.

In addition, like most Slavic languages, the Shtokavian verb also has one of two [[Grammatical aspect|aspects]]: [[Perfective aspect|perfective]] or [[Imperfective aspect|imperfective]]. Most verbs come in pairs, with the perfective verb being created out of the imperfective by adding a [[Prefix (linguistics)|prefix]] or making a stem change. The imperfective aspect typically indicates that the action is unfinished, in progress, or repetitive; while the perfective aspect typically denotes that the action was completed, instantaneous, or of limited duration. Some Štokavian tenses (namely, aorist and imperfect) favor a particular aspect (but they are rarer or absent in Čakavian and Kajkavian). Actually, aspects "compensate" for the relative lack of tenses, because aspect of the verb determines whether the act is completed or in progress in the referred time.

== Phonology ==
{{Main|Serbo-Croatian phonology}}

=== Vowels ===
The Serbo-Croatian [[vowel]] system is simple, with only five vowels in Shtokavian. All vowels are [[monophthong]]s. The oral vowels are as follows:

{| class="wikitable"
|-
! '''Latin script'''
! '''Cyrillic script'''
! '''[[help:IPA|IPA]]'''
! '''Description'''
! '''English approximation'''
|-
| style="text-align:center;"| '''a'''
| style="text-align:center;"| '''а'''
| style="text-align:center;"| {{IPA|/a/}}
| [[Open central unrounded vowel|open central unrounded]]
| ''f'''a'''ther''
|-
| style="text-align:center;"| '''e'''
| style="text-align:center;"| '''е'''
| style="text-align:center;"| {{IPA|/e/}}
| [[Mid front unrounded vowel|mid front unrounded]]
| ''d'''e'''n''
|-
| style="text-align:center;"| '''i'''
| style="text-align:center;"| '''и'''
| style="text-align:center;"| {{IPA|/i/}}
| [[Close front unrounded vowel|close front unrounded]]
| ''s'''ee'''k''
|-
| style="text-align:center;"| '''o'''
| style="text-align:center;"| '''о'''
| style="text-align:center;"| {{IPA|/o/}}
| [[Mid back rounded vowel|mid back rounded]]
| ''l'''o'''rd''
|-
| style="text-align:center;"| '''u'''
| style="text-align:center;"| '''у'''
| style="text-align:center;"| {{IPA|/u/}}
| [[Close back rounded vowel|close back rounded]]
| ''p'''oo'''l''
|}

The vowels can be short or long, but the phonetic quality does not change depending on the length. In a word, vowels can be long in the stressed syllable and the syllables following it, never in the ones preceding it.

=== Consonants ===
The [[consonant]] system is more complicated, and its characteristic features are series of [[affricate]] and [[Palatal consonant|palatal]] consonants. As in English, [[voice (phonetics)|voice]] is [[phoneme|phonemic]], but [[aspiration (phonetics)|aspiration]] is not.

{| class="wikitable"
|-
! '''Latin script'''
! '''Cyrillic script'''
! '''[[help:IPA|IPA]]'''
! '''Description{{Sfn | Kordić | 2006 | p = 5}}'''
! '''English approximation'''
|-
! colspan="6" | [[Trill consonant|trill]]
|-
| style="text-align:center;"| '''r'''
| style="text-align:center;"| '''р'''
| style="text-align:center;"| {{IPA|/r/}}
| [[alveolar trill]]
| rolled (vibrating) '''r''' as in ''ca'''rr'''amba''
|-
! colspan="6" | [[approximants]]
|-
| style="text-align:center;"| '''v'''
| style="text-align:center;"| '''в'''
| style="text-align:center;"| {{IPA|/ʋ/}}
| [[labiodental approximant]]
| roughly between '''''v'''ortex'' and '''''w'''ar''
|-
| style="text-align:center;"| '''j'''
| style="text-align:center;"| '''ј'''
| style="text-align:center;"| {{IPA|/j/}}
| [[palatal approximant]]
| '''''y'''ear''
|-
! colspan="6" | [[Lateral consonant|laterals]]
|-
| style="text-align:center;"| '''l'''
| style="text-align:center;"| '''л'''
| style="text-align:center;"| {{IPA|/l/}}
| [[alveolar lateral approximant]]
| '''''l'''ight''
|-
| style="text-align:center;"| '''lj'''
| style="text-align:center;"| '''љ'''
| style="text-align:center;"| {{IPA|/ʎ/}}
| [[palatal lateral approximant]]
| roughly ''batta'''li'''on''
|-
! colspan="6" | [[Nasal stop|nasals]]
|-
| style="text-align:center;"| '''m'''
| style="text-align:center;"| '''м'''
| style="text-align:center;"| {{IPA|/m/}}
| [[bilabial nasal]]
| '''''m'''an''
|-
| style="text-align:center;"| '''n'''
| style="text-align:center;"| '''н'''
| style="text-align:center;"| {{IPA|/n/}}
| [[alveolar nasal]]
| '''''n'''ot''
|-
| style="text-align:center;"| '''nj'''
| style="text-align:center;"| '''њ'''
| style="text-align:center;"| {{IPA|/ɲ/}}
| [[palatal nasal]]
| British '''''n'''ews'' or American ''ca'''ny'''on''
|-
! colspan="6" | [[fricatives]]
|-
| style="text-align:center;"| '''f'''
| style="text-align:center;"| '''ф'''
| style="text-align:center;"| {{IPA|/f/}}
| [[voiceless labiodental fricative]]
| '''''f'''ive''
|-
| style="text-align:center;" | '''z'''
| style="text-align:center;" | '''з'''
| style="text-align:center;" | {{IPA|/z/}}
| [[voiced dental sibilant]]
| '''''z'''ero''
|-
| style="text-align:center;"| '''s'''
| style="text-align:center;"| '''с'''
| style="text-align:center;"| {{IPA|/s/}}
| [[voiceless dental sibilant]]
| '''''s'''ome''
|-
| style="text-align:center;"| '''ž'''
| style="text-align:center;"| '''ж'''
| style="text-align:center;"| {{IPA|/ʒ/}}
| [[voiced postalveolar fricative]]
| ''televi'''si'''on''
|-
| style="text-align:center;" | '''š'''
| style="text-align:center;" | '''ш'''
| style="text-align:center;" | {{IPA|/ʃ/}}
| [[voiceless postalveolar fricative]]
| '''''sh'''arp''
|-
| style="text-align:center;"| '''h'''
| style="text-align:center;"| '''х'''
| style="text-align:center;"| {{IPA|/x/}}
| [[voiceless velar fricative]]
| ''lo'''ch'''''
|-
! colspan="6" | [[affricates]]
|-
| style="text-align:center;"| '''c'''
| style="text-align:center;"| '''ц'''
| style="text-align:center;"| {{IPA|/t͡s/}}
| [[voiceless dental affricate]]
| ''po'''ts'''''
|-
| style="text-align:center;"| '''dž'''
| style="text-align:center;"| '''џ'''
| style="text-align:center;"| {{IPA|/d͡ʒ/}}
| [[voiced postalveolar affricate]]
| as English '''j'''am''
|-
| style="text-align:center;"| '''č'''
| style="text-align:center;"| '''ч'''
| style="text-align:center;"| {{IPA|/t͡ʃ/}}
| [[voiceless postalveolar affricate]]
| as English '''''ch'''eck''
|-
| style="text-align:center;"| '''đ'''
| style="text-align:center;"| '''ђ'''
| style="text-align:center;"| {{IPA|/d͡ʑ/}}
| [[voiced alveolo-palatal affricate]]
| roughly '''''j'''eans''
|-
| style="text-align:center;"| '''ć'''
| style="text-align:center;"| '''ћ'''
| style="text-align:center;"| {{IPA|/t͡ɕ/}}
| [[voiceless alveolo-palatal affricate]]
| roughly '''''ch'''eese''
|-
! colspan="6" | [[plosives]]
|-
| style="text-align:center;"| '''b'''
| style="text-align:center;"| '''б'''
| style="text-align:center;"| {{IPA|/b/}}
| [[voiced bilabial plosive]]
| '''''b'''ook''
|-
| style="text-align:center;"| '''p'''
| style="text-align:center;"| '''п'''
| style="text-align:center;"| {{IPA|/p/}}
| [[voiceless bilabial plosive]]
| ''to'''p'''''
|-
| style="text-align:center;"| '''d'''
| style="text-align:center;"| '''д'''
| style="text-align:center;"| {{IPA|/d/}}
| [[voiced dental plosive]]
| '''''d'''og''
|-
| style="text-align:center;"| '''t'''
| style="text-align:center;"| '''т'''
| style="text-align:center;"| {{IPA|/t/}}
| [[voiceless dental plosive]]
| ''s'''t'''op''
|-
| style="text-align:center;"| '''g'''
| style="text-align:center;"| '''г'''
| style="text-align:center;"| {{IPA|/ɡ/}}
| [[voiced velar plosive]]
| '''''g'''ood''
|-
| style="text-align:center;"| '''k'''
| style="text-align:center;"| '''к'''
| style="text-align:center;"| {{IPA|/k/}}
| [[voiceless velar plosive]]
| ''du'''ck'''''
|}

In [[consonant cluster]]s all consonants are either voiced or voiceless. All the consonants are voiced if the last consonant is normally voiced or voiceless if the last consonant is normally voiceless. This rule does not apply to [[approximant]]s{{spaced ndash}}a consonant cluster may contain voiced approximants and voiceless consonants; as well as to foreign words (''Washington'' would be transcribed as ''VašinGton''), personal names and when consonants are not inside of one syllable.

{{IPA|/r/}} can be syllabic, playing the role of the syllable nucleus in certain words (occasionally, it can even have a long accent). For example, the [[tongue-twister]] ''navrh brda vrba mrda'' involves four words with syllabic {{IPA|/r/}}. A similar feature exists in [[Czech language|Czech]], [[Slovak language|Slovak]], and [[Macedonian language|Macedonian]]. Very rarely other sonorants can be syllabic, like {{IPA|/l/}} (in ''bicikl''), {{IPA|/ʎ/}} (surname ''Štarklj''), {{IPA|/n/}} (unit ''njutn''), as well as {{IPA|/m/}} and {{IPA|/ɲ/}} in [[slang]].{{Citation needed|date=April 2010}}

=== Pitch accent ===
{{Further|Pitch accent#Serbo-Croatian|Serbo-Croatian phonology#Pitch accent}}

Apart from [[Slovene language|Slovene]], Serbo-Croatian is the only Slavic language with a [[pitch accent]] (simple [[Tone (linguistics)|tone]]) system. This feature is present in some other [[Indo-European languages]], such as [[Norwegian language|Norwegian]], [[Ancient Greek]], and [[Punjabi language|Punjabi]]. Neo-Shtokavian Serbo-Croatian, which is used as the basis for standard Bosnian, Croatian, Montenegrin, and Serbian, has four "accents", which involve either a [[Tone contour|rising or falling tone]] on either long or short vowels, with optional post-tonic lengths:

{| class="wikitable"
|+Serbo-Croatian accent system
|-
!Slavicist symbol!![[International Phonetic Alphabet|IPA]] symbol!!Description
|- style="text-align:center;"
|'''e'''||{{IPA|[e]}}||align="left"|non-tonic short vowel
|- style="text-align:center;"
|'''ē'''||{{IPA|[eː]}}||align="left"|non-tonic long vowel
|- style="text-align:center;"
|'''è'''||{{IPA|[ě]}}||align="left"|short vowel with rising tone
|- style="text-align:center;"
|'''é'''||{{IPA|[ěː]}}||align="left"|long vowel with rising tone
|- style="text-align:center;"
|'''ȅ'''||{{IPA|[ê]}}||align="left"|short vowel with falling tone
|- style="text-align:center;"
|'''ȇ'''||{{IPA|[êː]}}||align="left"|long vowel with falling tone
|}

The tone stressed vowels can be approximated in English with ''set'' vs. ''setting?'' said in isolation for a short tonic ''e,'' or ''leave'' vs. ''leaving?'' for a long tonic ''i,'' due to the [[prosody (linguistics)|prosody]] of final stressed syllables in English.

General accent rules in the standard language:

# Monosyllabic words may have only a falling tone (or no accent at all – [[enclitic]]s);
# Falling tone may occur only on the first syllable of polysyllabic words;
# Accent can never occur on the last syllable of polysyllabic words.

There are no other rules for accent placement, thus the accent of every word must be learned individually; furthermore, in inflection, accent shifts are common, both in type and position (the so-called "[[mobile paradigm]]s"). The second rule is not strictly obeyed, especially in borrowed words.

Comparative and historical linguistics offers some clues for memorising the accent position: If one compares many standard Serbo-Croatian words to e.g. [[cognate]] Russian words, the accent in the Serbo-Croatian word will be one syllable before the one in the Russian word, with the rising tone. Historically, the rising tone appeared when the place of the accent shifted to the preceding syllable (the so-called "Neo-Shtokavian retraction"), but the quality of this new accent was different – its melody still "gravitated" towards the original syllable. Most Shtokavian (Neo-Shtokavian) dialects underwent this shift, but Chakavian, Kajkavian and the Old-Shtokavian dialects did not.

Accent diacritics are not used in the ordinary orthography, but only in the linguistic or language-learning literature (e.g. dictionaries, orthography and grammar books). However, there are very few [[minimal pair]]s where an error in accent can lead to misunderstanding.

== Orthography ==
{{unreferenced section|date=December 2013}}
Serbo-Croatian orthography is almost entirely phonetic. Thus, most words should be spelled as they are pronounced. In practice, the writing system does not take into account [[allophone]]s which occur as a result of interaction between words:
* bit će{{spaced ndash}}pronounced ''biće'' (and only written separately in Bosnian and Croatian)
* od toga{{spaced ndash}}pronounced ''otoga'' (in many vernaculars)
* iz čega{{spaced ndash}}pronounced ''iščega'' (in many vernaculars)

Also, there are some exceptions, mostly applied to foreign words and compounds, that favor morphological/etymological over phonetic spelling:
* postdiplomski (postgraduate){{spaced ndash}}pronounced ''pozdiplomski''

One systemic exception is that the consonant clusters '''ds''' and '''dš''' are not respelled as '''ts''' and '''tš''' (although ''d'' tends to be unvoiced in normal speech in such clusters):
* predstava (show)
* odšteta (damages)

Only a few words are intentionally "misspelled", mostly in order to resolve ambiguity:
* šeststo {{IPA-sh|ʃêːsto|}} (six hundred){{spaced ndash}}pronounced ''šesto'' (to avoid confusion with "šesto" [sixth], pronounced the same)
* prstni {{IPA-sh|př̩sniː|}} (adj., finger){{spaced ndash}}pronounced ''prsni'' (to avoid confusion with "prsni" {{IPA-sh|pr̩̂sniː|}} [adj., chest]), differentiated by tone in some areas (where the short rising tone contrasts with the short falling tone).

=== Writing systems ===
{{Main|Gaj's Latin alphabet|Serbian Cyrillic alphabet|Yugoslav Braille}}
Through history, this language has been written in a number of writing systems:
* [[Glagolitic alphabet]], chiefly in [[Croatia]].
* [[Bosančica]], [[Arebica]] (mostly in [[Bosnia and Herzegovina]]).
* [[Cyrillic script]].
* various modifications of the [[Latin alphabet|Latin]] and [[Greek alphabet|Greek]] alphabets.

The oldest texts since the 11th century are in [[Glagolitic]], and the oldest preserved text written completely in the Latin alphabet is {{lang|sh-Latn|Red i zakon sestara reda Svetog Dominika}}, from 1345. The Arabic alphabet had been used by [[Bosniaks]]; Greek writing is out of use there, and Arabic and Glagolitic persisted so far partly in religious liturgies.

Today, it is written in both the [[Latin script|Latin]] and [[Cyrillic script|Cyrillic]] scripts. Serbian and [[Bosnian language|Bosnian]] variants use both alphabets, while Croatian uses the Latin only.

Latin script has become more and more popular in Serbia, as it is easy to input on phones and computers.<ref>{{cite news |last1=Crosby |first1=Alan |last2=Martinović |first2=Iva |title=In The Age Of The Internet, Serbia Aims To Keep Its Cyrillic Alive |url=https://www.rferl.org/a/in-the-age-of-the-internet-serbia-aims-to-keep-its-cyrillic-alive/29458055.html |access-date=5 September 2018 |publisher=[[Radio Free Europe/Radio Liberty]] |date=August 28, 2018}}</ref>

The Serbian Cyrillic alphabet was revised by [[Vuk Stefanović Karadžić]] in the 19th century.

The Croatian Latin alphabet ({{lang|sh|[[Gaj's Latin alphabet|Gajica]]}}) followed suit shortly afterwards, when [[Ljudevit Gaj]] defined it as standard [[Latin]] with five extra letters that had [[diacritic]]s, apparently borrowing much from [[Czech language|Czech]], but also from [[Polish language|Polish]], and inventing the unique [[digraph (orthography)|digraphs]] {{angbr|lj}}, {{angbr|nj}} and {{angbr|dž}}. These digraphs are represented as {{angbr|[[cedilla|ļ]]}}, {{angbr|[[ń]]}} and {{angbr|[[ǵ]]}} respectively in the {{lang|sh|Rječnik hrvatskog ili srpskog jezika}}, published by the former [[Yugoslav Academy of Sciences and Arts]] in [[Zagreb]].<ref>{{in lang|sh}} Gramatika hrvatskosrpskoga jezika, Group of Authors (Ivan Brabec, Mate Hraste and Sreten Živković), Zagreb, 1968.</ref> The latter digraphs, however, are unused in the literary standard of the language. All in all, this makes Serbo-Croatian the only Slavic language to officially use both the Latin and Cyrillic scripts, albeit the Latin version is more commonly used.

In both cases, spelling is phonetic and spellings in the two alphabets map to each other one-to-one:

{| class="wikitable"
|+ '''Latin to Cyrillic'''
| A || a || B || b || C || c || Č || č || Ć || ć || D || d || Dž || dž || Đ || đ || E || e || F || f || G || g || H || h || I || i || J || j || K || k
|-
| А || а || Б || б || Ц || ц || Ч || ч || Ћ || ћ || Д || д || Џ || џ || Ђ || ђ || Е || е || Ф || ф || Г || г || Х || х || И || и || Ј || ј || К || к
|-
| colspan="30" style="height: 2px;" |
|-
| L || l || Lj || lj || M || m || N || n || Nj || nj || O || o || P || p || R || r || S || s || Š || š || T || t || U || u || V || v || Z || z || Ž || ž
|-
| Л || л || Љ || љ || М || м || Н || н || Њ || њ || О || о || П || п || Р || р || С || с || Ш || ш || Т || т || У || у || В || в || З || з || Ж || ж
|}

{| class="wikitable"
|+ '''Cyrillic to Latin'''
| А || а || Б || б || В || в || Г || г || Д || д || Ђ || ђ || Е || е || Ж || ж || З || з || И || и || Ј || ј || К || к || Л || л || Љ || љ || М || м
|-
| A || a || B || b || V || v || G || g || D || d || Đ || đ || E || e || Ž || ž || Z || z || I || i || J || j || K || k || L || l || Lj || lj || M || m
|-
| colspan="30" style="height: 2px;" |
|-
| Н || н || Њ || њ || О || о || П || п || Р || р || С || с || Т || т || Ћ || ћ || У || у || Ф || ф || Х || х || Ц || ц || Ч || ч || Џ || џ || Ш || ш
|-
| N || n || Nj || nj || O || o || P || p || R || r || S || s || T || t || Ć || ć || U || u || F || f || H || h || C || c || Č || č || Dž || dž || Š || š
|}

{| class="wikitable" style="float:right; margin-left:1em;"
|+ '''Sample collation'''
! colspan="2" | Latin collation order
! rowspan="2" | Cyrillic collation order
|-
! '''Latin '''
! Cyrillic equivalent
|-
| Ina
| Ина
| Ина
|-
| Injekcija
| И'''нј'''екција
| Инјекција
|-
| Inverzija
| Инверзија
| Инверзија
|-
| Inje
| И'''њ'''е
| Иње
|}

The [[digraph (orthography)|digraphs]] ''Lj'', ''Nj'' and ''Dž'' represent distinct [[phoneme]]s and are considered to be single letters. In crosswords, they are put into a single square, and in [[sorting]], lj follows l and nj follows n, except in a few words where the individual letters are pronounced separately. For instance, {{lang|sh-Latn|nadživ(j)eti}} "to outlive" is composed of the prefix {{lang|sh-Latn|nad-}} "out, over" and the verb {{lang|sh-Latn|živ(j)eti}} "to live". The Cyrillic alphabet avoids such ambiguity by providing a single letter for each phoneme: {{lang|sh-Cyrl|наджив(ј)ети}}.

''Đ'' used to be commonly written as ''Dj'' on typewriters, but that practice led to too many ambiguities. It is also used on car [[license plate]]s. Today ''Dj'' is often used again in place of ''Đ'' on the Internet as a replacement due to the lack of installed Serbo-Croat keyboard layouts.

[[Montenegrin alphabet]], adopted in 2009, provides replacements of {{lang|sh|sj}} and {{lang|sh|zj}} with [[Digraph (orthography)|digraphs]] {{angbr|ś}} and {{angbr|ź}} in both Latin and Cyrillic, but they remain largely unused, even by the [[Parliament of Montenegro]] which introduced them.<ref>{{cite web |url=https://www.slobodnaevropa.org/a/crna-gora-crnogorski-jezik/28275483.html |title=Crnogorski se govori i bez ś |trans-title=Montenegrin is also spoken without ś |quote=Slova ś i ź odnedavno ne koristi ni Skupština Crne Gore, prva i jedina državna institucija koja ih je nakon reforme crnogorskog jezika koristila u zvaničnoj komunikaciji. |trans-quote=The letters ś and ź have recently not been used even by the Parliament of Montenegro, the first and only state institution that used them in official communication after the reform of the Montenegrin language. |date=2 February 2017 |access-date=29 October 2022 |publisher=[[Radio Free Europe/Radio Liberty]] |first=Lela |last=Šćepanović |language=sh}}</ref>

[[Unicode]] has separate characters for the digraphs lj (Ǉ, ǈ, ǉ), nj (Ǌ, ǋ, ǌ) and dž (Ǆ, ǅ, ǆ).

== Dialects ==
{{Main|Dialects of Serbo-Croatian}}
{{See also|Dialect continuum#South Slavic continuum|label1=South Slavic dialect continuum}}
South Slavic historically formed a [[Dialect continuum#South Slavic continuum|dialect continuum]], i.e. each dialect has some similarities with the neighboring one, and differences grow with distance. However, migrations from the 16th to 18th centuries resulting from the spread of [[Ottoman Empire]] on the Balkans have caused large-scale population displacement that broke the dialect continuum into many geographical pockets. Migrations in the 20th century, primarily caused by [[urbanization]] and wars, also contributed to the reduction of dialectal differences.

The primary dialects are named after the most common question word for ''what'': [[Shtokavian dialect|Shtokavian]] uses the pronoun ''što'' or ''šta'', [[Chakavian dialect|Chakavian]] uses ''ča'' or ''ca'', [[Kajkavian dialect|Kajkavian (''kajkavski'')]], ''kaj'' or ''kej''. In native terminology they are referred to as ''nar(j)ečje'', which would be equivalent of "group of dialects", whereas their many subdialects are referred to as ''dijalekti ''"dialects" or ''govori ''"speeches".

The pluricentric Serbo-Croatian standard language and all four contemporary standard variants [[Abstand and ausbau languages#Distance between ausbau languages|are based]] on the [[Eastern Herzegovinian dialect|Eastern Herzegovinian]] subdialect of Neo-Shtokavian. Other dialects are not taught in schools or used by the state media. The [[Torlakian dialect]] is often added to the list, though sources usually note that it is a transitional dialect between Shtokavian and the Bulgaro-Macedonian dialects.

{|
|[[File:Serbo croatian dialects historical distribution 2.png|thumb|Likely distribution of major dialects prior to the 16th-century migrations]]
|[[File:Shtokavian subdialects1988 incl Slovenia.png|thumb|Shtokavian subdialects (Pavle Ivić, 1988). Yellow is the widespread Eastern Herzegovinian subdialect that forms the basis of all national standards, though it is not spoken natively in any of the capital cities.]]
|[[File:Croatian dialects.PNG|thumb|Mid-20th-century distribution of dialects in Croatia]]
|}

The Serbo-Croatian dialects differ not only in the question word they are named after, but also heavily in phonology, accentuation and intonation, case endings and tense system (morphology) and basic vocabulary. In the past, Chakavian and Kajkavian dialects were spoken on a much larger territory, but have been replaced by Štokavian during the period of migrations caused by Ottoman Turkish conquest of the Balkans in the 15th and the 16th centuries. These migrations caused the koinéisation of the Shtokavian dialects, that used to form the West Shtokavian (more closer and transitional towards the neighbouring Chakavian and Kajkavian dialects) and East Shtokavian (transitional towards the Torlakian and the whole Bulgaro-Macedonian area) dialect bundles, and their subsequent spread at the expense of Chakavian and Kajkavian. As a result, Štokavian now covers an area larger than all the other dialects combined, and continues to make its progress in the enclaves where non-literary dialects are still being spoken.<ref>E.g., big coastal Croatian cities [[Rijeka]] and [[Split (city)|Split]] together with their hinterland become basically completely Štokavianised during the 20th century, which had been Čakavian-speaking urban centres.</ref>

The differences among the dialects can be illustrated on the example of [[Schleicher's fable]]. Diacritic signs are used to show the difference in accents and prosody, which are often quite significant, but which are not reflected in the usual orthography.

{{Clear}}
{{col-begin}}
{{col-5}}
:'''Neo-Štokavian Ijekavian/Ekavian'''

: Óvca i kònji

:Óvca koja níje ìmala vȕnē vȉd(j)ela je kònje na br(ij)égu. Jèdan je òd njīh vȗkao téška kȍla, drȕgī je nòsio vèliku vrȅću, a trȅćī je nòsio čòv(j)eka.

:Óvca rȅče kònjima: «Sȑce me bòlī glȅdajūći čòv(j)eka kako jȁšē na kònju».

:A kònji rȅkoše: «Slȕšāj, ȏvco, nȃs sȑca bòlē kada vȉdīmo da čòv(j)ek, gospòdār, rȃdī vȕnu od ovácā i prȁvī òd(j)eću zá se. I ȍndā óvca nȇmā vȉše vȕnē.

:Čȗvši tō, óvca pȍb(j)eže ȕ polje.
{{col-5}}

: '''Old Štokavian ([[Orubica]], [[Posavina]])''':

:Óvca i kònji

:Óvca kòjā nî ìmala vȕnē vȉdla kònje na brîgu. Jèdān od njȉjū vũkō tȇška kȍla, drȕgī nosȉjo vȅlikū vrȅću, a trȅćī nosȉjo čovȉka.

: Óvca kȃza kȍnjima: «Svȅ me bolĩ kad glȅdām kako čòvik na kònju jȁšī».

:A kònji kāzȁše: «Slȕšāj, ȏvco, nãs sȑca bolũ kad vȉdīmo da čòvik, gȁzda, prȁvī vȕnu od ovãc i prȁvī rȍbu zá se od njẽ. I ȍndā ōvcȁ néma vȉšē vȕnē.

:Kad tȏ čȕ ōvcȁ, ȕteče ȕ polje.
{{col-5}}

: '''Čakavian ([[Matulji]] near Rijeka)''':

:Ovcȁ i konjı̏

:Ovcȁ kȃ ni imȅla vȕni vȉdela je konjȉ na brȇge. Jedȃn je vȗkal tȇški vȏz, drȕgi je nosîl vȅlu vrȅt'u, a trȅt'i je nosîl čovȅka.

:Ovcȁ je reklȁ konjȇn: «Sȑce me bolĩ dok glȅdan čovȅka kako jȁše na konjȅ».

:A konjȉ su reklȉ: «Poslȕšaj, ovcȁ, nȃs sȑca bolẽ kad vȉdimo da čovȅk, gospodãr dȅla vȕnu od ovãc i dȅla rȍbu zȃ se. I ȍnda ovcȁ nĩma vȉše vȕni.

:Kad je tȏ čȕla, ovcȁ je pobȅgla va pȍje.
{{col-5}}

: '''Kajkavian ([[Marija Bistrica]])''':

:õfca i kȍjni

:õfca tera nı̃je imȅ̩la vȕne vȉdla je kȍjne na briẽgu. Jȇn od nîh je vlẽ̩ke̩l tẽška kȍla, drȕgi je nȍsil vȅliku vrȅ̩ču, a trẽjti je nȍsil čovȅ̩ka.

:õfca je rȇkla kȍjnem: «Sȑce me bolĩ kad vîdim čovȅka kak jȃše na kȍjnu».

:A kȍjni su rȇkli: «Poslȕhni, õfca, nȃs sȑca bolĩju kad vîdime da čȍve̩k, gospodãr, dȇ̩la vȕnu ot õfci i dȇ̩la oblȅ̩ku zȃ se. I ȏnda õfca nȇma vȉše vȕne.

:Kad je to čȗla, õfca je pobȇ̩gla f pȍlje.
{{col-5}}

: '''English language'''

: The Sheep and the Horses

:[On a hill,] a sheep that had no wool saw horses, one of them pulling a heavy wagon, one carrying a big load, and one carrying a man quickly.

: The sheep said to the horses: "My heart pains me, seeing a man driving horses".

: The horses said: "Listen, sheep, our hearts pain us when we see this: a man, the master, makes the wool of the sheep into a warm garment for himself. And the sheep has no wool".

: Having heard this, the sheep fled into the plain.

{{col-5}}

{{col-end}}

=== Division by ''jat'' reflex ===
{{Main|yat}}

A series of [[isogloss]]es crosscuts the main dialects. The modern reflexes of the long [[Proto-Slavic language|Common Slavic]] vowel ''[[yat|jat]]'', usually transcribed *ě, vary by location as /i/, /e/, and /ije/ or /je/. Local varieties of the dialects are labeled Ikavian, Ekavian, and Ijekavian, respectively, depending on the reflex. The long and short ''jat'' is reflected as long or short */i/ and /e/ in Ikavian and Ekavian, but Ijekavian dialects introduce a ''ije''/''je'' alternation to retain a distinction.

Standard Croatian and Bosnian are based on Ijekavian, whereas Serbian uses both Ekavian and Ijekavian forms (Ijekavian for Bosnian Serbs, Ekavian for most of Serbia). Influence of standard language through state media and education has caused non-standard varieties to lose ground to the literary forms.

The jat-reflex rules are not without exception. For example, when short ''jat'' is preceded by ''r'', in most Ijekavian dialects developed into /re/ or, occasionally, /ri/. The prefix ''prě-'' ("trans-, over-") when long became ''pre-'' in eastern Ijekavian dialects but to ''prije-'' in western dialects; in Ikavian pronunciation, it also evolved into ''pre-'' or ''prije-'' due to potential ambiguity with ''pri-'' ("approach, come close to"). For verbs that had ''-ěti '' in their infinitive, the past participle ending ''-ěl'' evolved into ''-io'' in Ijekavian Neo-Štokavian.

The following are some examples:

{| class="wikitable"
|-
!English
!Predecessor
!Ekavian
!Ikavian
!Ijekavian
!Ijekavian development
|-
|beautiful
|*lěp
|lep
|lip
|lijep
| rowspan="2"| long ''ě'' → ''ije''
|-
|time
|*vrěme
|vreme
|vrime
|vrijeme
|-
|faith
|*věra
|vera
|vira
|vjera
|short ''ě'' → ''je''
|-
|crossing
|*prělaz
|prelaz
|prеlaz ''or'' prijelaz
|prеlaz ''or'' prijelaz
|''pr'' + long ''ě'' → ''prije''
|-
|times
|*vrěmena
|vremena
|vrimena
|vremena
| rowspan="2"| ''r'' + short ''ě'' → ''re''
|-
|need
|*trěbati
|trebati
|tribat(i)
|trebati
|-
|heat
|*grějati
|grejati
|grijati
|grijati
|''r'' + short ''ě'' → ''ri''
|-
|saw
|*viděl
|video
|vidio
|vidio
|''ěl'' → ''io''
|-
|village
|*selo
|selo
|selo
|selo
|''e'' in root, not ''ě''
|}

== Present sociolinguistic situation ==
[[File:Drina Sa Denifine cigar pack wt Serb Cro Bos lg warn label.png|200px|thumb|right|A ''"trilingual"'' warning sign in Latin and Cyrillic script on the pack of Drina cigarettes: all three inscriptions are identical.]]
The nature and classification of Serbo-Croatian has been the subject of long-standing sociolinguistic debate.<ref>{{cite journal|first=Jelena|last=Ćalić|title=Pluricentricity in the classroom: the Serbo-Croatian language issue for foreign language teaching at higher education institutions worldwide|url=https://www.degruyter.com/document/doi/10.1515/soci-2021-0007/html|journal=Sociolinguistica: European Journal of Sociolinguistics|publisher=De Gruyter|issn=0933-1883|doi=10.1515/soci-2021-0007|volume=35|issue=1|pages=113–140|year=2021|s2cid=244134335 |access-date=9 June 2022|quote=The debate about the status of the Serbo-Croatian language and its varieties has recently shifted (again) towards a position which looks at the internal variation within Serbo-Croatian through the prism of linguistic pluricentricity|doi-access=free}}</ref> The question is whether Serbo-Croatian should be called a single language or a cluster of closely related languages.{{sfn|Greenberg|2004|p=13}}{{sfn|Alexander|2006|p=XVII}}{{sfn|Alexander|2013|p=341}}<ref name="britannica.com">{{cite web|url=https://www.britannica.com/topic/Serbo-Croatian-language|title=Serbo-Croatian language|website=Encyclopedia Britannica}}</ref>

=== Comparison with other pluricentric languages ===
{{See also|Declaration on the Common Language}}

Enisa Kafadar argues that there is only one Serbo-Croatian language with several varieties.<ref name="Kafadar">{{cite book |last=Kafadar |first=Enisa |editor1-last=Henn-Memmesheimer |editor1-first=Beate |editor2-last=Franz |editor2-first=Joachim |title=Die Ordnung des Standard und die Differenzierung der Diskurse; Teil 1 |publisher=Peter Lang |page=103 |language=de |chapter=Bosnisch, Kroatisch, Serbisch – Wie spricht man eigentlich in Bosnien-Herzegowina? |trans-chapter=Bosnian, Croatian, Serbian – How do people really speak in Bosnia-Herzegovina? |chapter-url = https://books.google.com/books?id=63hKaFGtTDAC&pg=PA95 |location=Frankfurt am Main |year=2009 |isbn=9783631599174 |oclc=699514676 }}</ref> This has made it possible to include all four varieties in new grammars of the language.<ref name=ThomasOsipov>{{cite book |last1=Thomas |first1=Paul-Louis |last2=Osipov |first2=Vladimir |year=2012 |title=Grammaire du bosniaque, croate, monténégrin, serbe |trans-title=Grammar of Bosnian, Croatian, Montenegrin, and Serbian |language=fr |series = Collection de grammaires de l'Institut d'études slaves |volume = 8 |location=Paris |publisher=Institut d'études slaves |page=624 |isbn=9782720404900 |oclc=805026664}}</ref><ref>Ronelle Alexander, ''Bosnian, Croatian, Serbian: A Grammar with Sociolinguistic Commentary'' (2006, The University of Wisconsin Press)</ref> Daniel Bunčić concludes that it is a pluricentric language, with four standard variants spoken in Serbia, Croatia, Montenegro, and Bosnia-Herzegovina.<ref name="Buncic">{{cite book |last=Bunčić |first=Daniel |editor-last=Kempgen |editor-first=Sebastian |title = Deutsche Beiträge zum 14. Internationalen Slavistenkongress, Ohrid, 2008 |series=Welt der Slaven |publisher=Otto Sagner |page=93 |language=de |chapter=Die (Re-)Nationalisierung der serbokroatischen Standards |trans-chapter=The (Re-)Nationalisation of Serbo-Croatian Standards |location=Munich |year=2008 |oclc=238795822 }}</ref> The mutual intelligibility between their speakers "exceeds that between the standard variants of English, French, German, or Spanish".{{sfn|Thomas|2003|p=325}} "There is no doubt of the near 100% mutual intelligibility of (standard) Croatian and (standard) Serbian, as is obvious from the ability of all groups to enjoy each others' films, TV and sports broadcasts, newspapers, rock lyrics etc."<ref name="Bailyn">{{cite journal|title=To what degree are Croatian and Serbian the same language? Evidence from a Translation Study|last=Bailyn|first=John Frederick|journal=Journal of Slavic Linguistics|year=2010|volume=18|issue=2|pages=181–219|url=https://linguistics.stonybrook.edu/people/_bios/_linguistics-faculty/_faculty-files/bailyn/publications/JSLBCS2.pdf|access-date=9 October 2019|issn=1068-2090|archive-date=9 October 2019|archive-url=https://web.archive.org/web/20191009113158/https://linguistics.stonybrook.edu/people/_bios/_linguistics-faculty/_faculty-files/bailyn/publications/JSLBCS2.pdf|url-status=dead}}</ref> Other linguists have argued that the differences between the variants of Serbo-Croatian are less significant than those between the variants of English,<ref>{{cite journal|author=McLennan, Sean |title=Sociolinguistic Analysis of "Serbo-Croatian" |trans-title=Sociolinguistic Analysis of 'Serbo-Croatian' |url = http://www.shaav.com/professional/linguistics/serbocroation.pdf |journal=Calgary Working Papers in Linguistics |volume=18 |page=107 |year=1996 |issn=0823-0579 |access-date=10 August 2014 }}</ref> German,{{Sfn | Pohl | 1996 | p = 219}} Dutch,{{Sfn | Gröschel | 2003 | pp = 180–181}} and [[Hindustani language|Hindustani]].{{Sfn | Blum | 2002 | pp = 125–126}}

Among pluricentric languages,<ref>{{cite book |last=Brozović |first=Dalibor |author-link=Dalibor Brozović |editor-last=Clyne |editor-first=Michael G. |editor-link=Michael Clyne |title=Pluricentric Languages: Differing Norms in Different Nations |publisher=Mouton de Gruyter |pages=347–380 |chapter=Serbo-Croatian as a pluricentric language |chapter-url = https://books.google.com/books?id=wawGFWNuHiwC&q=serbo-croatian+pluricentric&pg=PA347 |series=Contributions to the sociology of language |volume = 62 |location=Berlin & New York |year=1992 |isbn=9783110128550 |oclc=24668375 }}</ref><ref>{{cite book |last=Kordić |first=Snježana |author-link=Snježana Kordić |editor1-last=Badurina |editor1-first=Lada |editor2-last=Pranjković |editor2-first=Ivo |editor2-link=Ivo Pranjković |editor3-last=Silić |editor3-first=Josip |title=Jezični varijeteti i nacionalni identiteti |publisher=Disput |pages=85–89 |language=sh |chapter=Policentrični standardni jezik |trans-chapter=Polycentric Standard Language |chapter-url = http://bib.irb.hr/datoteka/426269.POLICENTRICNI_STANDARDNI.PDF |location=Zagreb |year=2009 |isbn=978-953-260-054-4 |oclc=437306433 |ssrn=3438216 |id={{CROSBI|426269}} |archive-url = https://web.archive.org/web/20120529002544/http://bib.irb.hr/datoteka/426269.POLICENTRICNI_STANDARDNI.PDF |url-status=live |archive-date = 29 May 2012 |url = http://bib.irb.hr/datoteka/426269.POLICENTRICNI_STANDARDNI.PDF }} [http://data.onb.ac.at/rec/AC07252152 (ÖNB)].</ref> Serbo-Croatian was the only one with a pluricentric standardisation within one state.{{Sfn | Ammon | 1995 | p = 46}}<ref>{{cite book |last=Kordić |first=Snježana |author-link=Snježana Kordić |editor1-last=Krause |editor1-first=Marion |editor2-last=Sappok |editor2-first=Christian |title=Slavistische Linguistik 2002: Referate des XXVIII. Konstanzer Slavistischen Arbeitstreffens, Bochum 10.-12. September 2002 |series=Slavistishe Beiträge |volume = 434 |publisher=Otto Sagner |page=141 |language=de |chapter = Pro und kontra: "Serbokroatisch" heute |trans-chapter = Pro and con: "Serbo-Croatian" nowadays |chapter-url = http://bib.irb.hr/datoteka/430499.PRO_UND_KONTRA_SERBOKROATISCH.PDF |location=Munich |year=2004 |isbn=978-3-87690-885-4 |oclc=56198470 |ssrn=3434516 |id={{CROSBI|430499}} |archive-url = https://web.archive.org/web/20120601174051/http://bib.irb.hr/datoteka/430499.PRO_UND_KONTRA_SERBOKROATISCH.PDF |url-status=live |archive-date=1 June 2012 |url = http://bib.irb.hr/datoteka/430499.PRO_UND_KONTRA_SERBOKROATISCH.PDF }} [http://data.onb.ac.at/rec/AC05094207 (ÖNB)].</ref> The dissolution of Yugoslavia has made Serbo-Croatian even more of a typical pluricentric language, since the variants of other pluricentric languages are also spoken in different states.<ref>{{cite book |last=Kordić |first=Snježana |author-link=Snježana Kordić |editor1-last=Golubović |editor1-first=Biljana |editor2-last=Raecke |editor2-first=Jochen |title = Bosnisch – Kroatisch – Serbisch als Fremdsprachen an den Universitäten der Welt |publisher=Otto Sagner |page=95 |language=de |chapter=Nationale Varietäten der serbokroatischen Sprache |trans-chapter=National Varieties of Serbo-Croatian |chapter-url = http://bib.irb.hr/datoteka/426566.NATIONALE_VARIETATEN_DER.PDF |series=Die Welt der Slaven, Sammelbände – Sborniki ; vol. 31 |location=Munich |year=2008 |isbn=978-3-86688-032-0 |oclc=244788988 |ssrn=3434432 |id={{CROSBI|426566}} |archive-url = https://web.archive.org/web/20110919045407/http://bib.irb.hr/datoteka/426566.NATIONALE_VARIETATEN_DER.PDF|url-status=live |archive-date=19 September 2011|url=http://bib.irb.hr/datoteka/426566.NATIONALE_VARIETATEN_DER.PDF}} [http://data.onb.ac.at/rec/AC07155292 (ÖNB)].</ref><ref>{{cite journal |author=Kordić, Snježana |author-link=Snježana Kordić |title=Plurizentrische Sprachen, Ausbausprachen, Abstandsprachen und die Serbokroatistik |trans-title=Pluricentric languages, Ausbau languages, Abstand languages and Serbo-Croatian studies |url = http://www.zeitschrift-fuer-balkanologie.de/index.php/zfb/article/view/203/203 |language=de |journal=Zeitschrift für Balkanologie |volume=45 |issue=2 |pages=213–214 |year=2009 |issn=0044-2356 |oclc=680567046 |ssrn=3439240 |id={{CROSBI|436361}}. {{ZDB|201058-6}} |archive-date=29 May 2012 |url-status=live |archive-url=https://web.archive.org/web/20120529002037/http://bib.irb.hr/datoteka/436361.AUSBAU-ABSTAND-PLURIZENTRISCH.PDF |access-date=21 January 2019 }}</ref>

As in other pluricentric languages, all Serbo-Croatian standard varieties are based on the same dialect (the [[Eastern Herzegovinian dialect|Eastern Herzegovinian subdialect]] of the [[Shtokavian]] dialect) and consequently, according to the sociolinguistic definitions, constitute a single pluricentric language (and not, for example, several [[Ausbau languages]]<ref>{{cite book|last=Mader Skender|first=Mia|title=Die kroatische Standardsprache auf dem Weg zur Ausbausprache|language=German|trans-title=The Croatian standard language on the way to ausbau language|chapter=Schlussbemerkung|trans-chapter=Summary|url=https://www.zora.uzh.ch/id/eprint/215815/|format=PDF|publisher=University of Zurich, Faculty of Arts, Institute of Slavonic Studies|series=UZH Dissertations|pages=196–197|location=Zurich|year=2022|doi=10.5167/uzh-215815 |access-date=8 June 2022|type=Dissertation |quote=Obwohl das Kroatische sich in den letzten Jahren in einigen Gebieten, vor allem jedoch auf lexikalischer Ebene, verändert hat, sind diese Änderungen noch nicht bedeutend genug, dass der Terminus Ausbausprache gerechtfertigt wäre. Ausserdem können sich Serben, Kroaten, Bosnier und Montenegriner immer noch auf ihren jeweiligen Nationalsprachen unterhalten und problemlos verständigen. Nur schon diese Tatsache zeigt, dass es sich immer noch um eine polyzentrische Sprache mit verschiedenen Varietäten handelt.}}</ref>).<ref>{{cite book |last=Zanelli|first=Aldo|year=2018|title=Eine Analyse der Metaphern in der kroatischen Linguistikfachzeitschrift Jezik von 1991 bis 1997|trans-title=Analysis of Metaphors in Croatian Linguistic Journal ''Language'' from 1991 to 1997|language=de |series=Studien zur Slavistik ; 41|location=Hamburg|publisher=Kovač|pages=21|isbn=978-3-8300-9773-0|oclc=1023608613}} [http://katalog.nsk.hr/F/?func=direct&doc_number=001013945 (NSK)]. [https://koha.ffzg.hr/cgi-bin/koha/opac-detail.pl?biblionumber=385977 (FFZG)]</ref> According to linguist John Bailyn, "An examination of all the major 'levels' of language shows that BCS is clearly a single language with a single grammatical system."<ref name="Bailyn" />

In 2017, numerous prominent writers, scientists, journalists, activists and other public figures from Croatia, Bosnia-Herzegovina, Montenegro and Serbia signed the [[Declaration on the Common Language]], which states that in Croatia, Serbia, Bosnia-Herzegovina and Montenegro a common [[Polycentric language|polycentric standard language]] is used, consisting of several standard varieties, such as German, English or Spanish.<ref>{{cite web|last=Trudgill|first=Peter|author-link=Peter Trudgill|date=30 November 2017|page=[https://archive.org/details/PeterTrudgillTimeToMakeFourIntoOne2017/page/n0 46]|title=Time to Make Four Into One|url=https://archive.org/details/PeterTrudgillTimeToMakeFourIntoOne2017|publisher=[[The New European]]|access-date=7 April 2018}}</ref><ref>{{cite magazine|first=Dan|last=Nosovitz|date=11 February 2019|title=What Language Do People Speak in the Balkans, Anyway?|url=https://www.atlasobscura.com/articles/what-language-is-spoken-in-the-balkans|magazine=[[Atlas Obscura]]|archive-date=11 February 2019|url-status=live|archive-url=https://web.archive.org/web/20190211191959/https://www.atlasobscura.com/articles/what-language-is-spoken-in-the-balkans|access-date=3 March 2019}}</ref><ref>{{cite web|first=Sven|last=Milekić|date=30 March 2017|title=Post-Yugoslav 'Common Language' Declaration Challenges Nationalism|url=http://www.balkaninsight.com/en/article/post-yugoslav-common-language-declaration-challenges-nationalism-03-29-2017|publisher=[[Balkan Insight]]|archive-date=30 March 2017|archive-url=https://web.archive.org/web/20170330075725/http://www.balkaninsight.com/en/article/post-yugoslav-common-language-declaration-challenges-nationalism-03-29-2017|url-status=live|location=London|access-date=1 July 2017}}</ref><ref>{{cite news|last=J.|first=T.|date=10 April 2017|title=Is Serbo-Croatian a Language?|url=http://www.economist.com/blogs/economist-explains/2017/04/economist-explains-4|newspaper=[[The Economist]]|archive-date=10 April 2017|archive-url=https://web.archive.org/web/20170410083158/http://www.economist.com/blogs/economist-explains/2017/04/economist-explains-4|url-status=live|location=London|issn=0013-0613|access-date=9 October 2018}} [http://www.b92.net/info/vesti/index.php?yyyy=2017&mm=04&dd=10&nav_category=12&nav_id=1248942 Alt URL]</ref>

=== Contemporary names ===
[[File:Serbo croatian languages2006 02.png|thumb|Ethno-political variants of Serbo-Croatian as of 2006]]

The use of ''Serbo-Croatian'' as a linguistic label has been the subject of long-standing controversy. [[Wayles Browne]] calls it a "term of convenience" and notes the difference of opinion as to whether it comprises a single language or a cluster of languages.<ref name="britannica.com"/> Ronelle Alexander refers to the national standards as three separate languages, but also notes that the reasons for this are complex and generally non-linguistic. She calls BCS (her term for Serbo-Croatian) a single language for communicative linguistic purposes, but three separate languages for symbolic non-linguistic purposes.{{sfn|Alexander|2006|p=424-426}}{{sfn|Alexander|2013|p=341}}

The current Serbian constitution of 2006 refers to the official language as ''Serbian'',<ref>{{citation|url=http://en.wikisource.org/wiki/Constitution_of_Serbia#Language_and_script |title=2006 Constitution of Serbia |article=10}}</ref> while the Montenegrin constitution of 2007 proclaimed ''Montenegrin'' as the primary official language, but also grants other languages the right of official use.<ref>{{citation|url=http://en.wikisource.org/wiki/Constitution_of_Montenegro#Article_13_.28Language_and_alphabet.29 |title=Constitution of Montenegro|quote=The official language in Montenegro shall be Montenegrin.[…]Serbian, Bosniac, Albanian and Croatian shall also be in the official use.|year=2007}}</ref>
* Most [[Bosniaks]] refer to their language as ''[[Bosnian language|Bosnian]]''.
* Most [[Croats]] refer to their language as ''[[Croatian language|Croatian]]''.
* Most [[Serbs]] refer to their language as ''[[Serbian language|Serbian]]''.
* [[Montenegrins (ethnic group)|Montenegrins]] refer to their language either as ''[[Serbian language|Serbian]]'' or ''[[Montenegrin language|Montenegrin]]''.
* Ethnic [[Bunjevci]] refer to their language as ''[[Croatian language|Croatian]]'' or ''[[Bunjevac dialect|Bunjevac]]''.

The International Organization for Standardization (ISO) has specified different [[Universal Decimal Classification]] (UDC) numbers for Croatian ''(UDC 862,'' abbreviation '''hr''') and Serbian ''(UDC 861'', abbreviation '''sr'''), while the cover term ''Serbo-Croatian'' is used to refer to the combination of original signs (''UDC 861/862,'' abbreviation '''sh'''). Furthermore, the ''[[ISO 639]]'' standard designates the Bosnian language with the abbreviations '''bos''' and '''bs'''.

While it operated, the [[International Criminal Tribunal for the former Yugoslavia]], which had English and French as official languages, translated court proceedings and documents into what it referred to as "Bosnian/Croatian/Serbian", usually abbreviated as BCS. Translators were employed from all regions of the former Yugoslavia and all national and regional variations were accepted, regardless of the nationality of the person on trial (sometimes against a defendant's objections), on the grounds of mutual intelligibility.<ref name=Prosecutor>Decision of 23 June 1997, [https://www.icty.org/x/cases/mucic/tord/en/70623MS2.htm ''Prosecutor v. Delalic and Delic'']</ref>

For utilitarian purposes, Serbo-Croatian is often called "''naš jezik''{{-"}} ("our language") or "''naški''{{-"}} (sic. "ourish" or "ourian") by native speakers. This term is frequently used to describe Serbo-Croatian by those who wish to avoid nationalistic and linguistic discussions.<ref>{{cite book |last=Štiks |first=Igor |title=Brothers United: The Making of Yugoslavs |publisher=Bloomsbury Publishing |pages=27 |language=en |url=http://www.oapen.org/download?type=document&docid=642971 |year=2015 |isbn=9781474221542 |access-date=1 May 2018}}</ref><ref>{{cite book |editor1-last=Roland |editor1-first=Vogt |last=Đorđe |first=Tomić | title=European National Identities: Elements, Transitions, Conflicts | chapter=From "Yugoslavism" to (Post-)Yugoslav Nationalisms: Understanding Yugoslav Identities |publisher=Routledge |pages=287 |language=en |year=2017 |isbn=9781351296465}}</ref> Native speakers traditionally describe their language as "''jedan ali ne jedinstven''{{-"}}—"one but not uniform".{{sfn|Alexander|2006|p=425}}

=== Views of linguists in the former Yugoslavia ===

==== Serbian linguists ====
In 2021, the [[Board for Standardization of the Serbian Language]] issued an opinion that Serbo-Croatian is one language, and that it should be referred to as "Serbian language", while "Croatian", "Bosnian" and "Montenegrin" are to be considered merely local names for Serbian language. This opinion was widely criticized by [[Croatian government]] and representatives of the [[Croats of Serbia|Croatian minority in Serbia]].<ref>{{cite web | url=https://www.danas.rs/vesti/drustvo/bura-u-javnosti-zbog-sadrzaja-u-udzbenicima-za-srpski-hrvatski-nije-juznoslovenski-jezik/ | title=Bura u javnosti zbog sadržaja u udžbenicima za srpski: Hrvatski (ni)je južnoslovenski jezik | publisher=Danas | date=7 October 2021 | access-date=30 October 2021}}</ref> Serbian linguist [[Ranko Bugarski]] called this opinion "absurd" and "legacy of the 19th century linguistics". He said that Serbo-Croatian should be considered one language in a scientific sense under the "Serbo-Croatian" label, but four different languages in an administrative sense.<ref name="Bugarski o jezicima">{{cite web | url=https://www.danas.rs/nedelja/o-juznoslovenskim-jezicima/ | title=O južnoslovenskim jezicima | publisher=Danas | date=17 October 2021 | access-date=30 October 2021 | author=Bugarski, Ranko}}</ref> Legally, Croatian, Bosnian and Montenegrin are all officially recognized minority languages in Serbia.<ref name="Bugarski o jezicima"/> the [[Serbian Government]] also officially recognized [[Bunjevac speech|Bunjevac language]] as a standard minority language in 2018<ref>{{Cite web |title=Odluka o utvrđivanju standarda bunjevačkog jezika: 18/2018-192 |script-title=sr:Одлука о утврђивању стандарда буњевачког језика: 18/2018-192 |trans-title=Decision of the National Council of Bunjevci no. 18/2018-192 |url=http://www.pravno-informacioni-sistem.rs/SlGlasnikPortal/eli/rep/sgrs/drugeorganizacije/odluka/2018/18/1/reg |url-status=live |archive-url=https://web.archive.org/web/20210902180124/https://fonts.googleapis.com/css?family=Open+Sans:300,400,600,700,800&display=swap&subset=cyrillic,cyrillic-ext,latin-ext |archive-date=2021-09-02 |access-date=2020-07-30 |language=sr |via=Pravno-informacioni sistem RS}}</ref> and was approved by the [[Ministry of Education (Serbia)|Serbian Ministry of Education]] for learning in schools.<ref>{{Cite news |last=Šolaja |first=Dragan |date=2007-10-25 |title=Bunjevački jezik u školskom programu |language=sr |work=Blic |url=http://www.blic.rs/Vesti/Vojvodina/17383/Bunjevacki-jezik-u-skolskom-programu |url-status=live |access-date=2011-05-25 |archive-url=https://web.archive.org/web/20121008015751/http://www.blic.rs/Vesti/Vojvodina/17383/Bunjevacki-jezik-u-skolskom-programu |archive-date=2012-10-08}}</ref>

==== Croatian linguists ====
The opinion of the majority of Croatian linguists{{Citation needed|date=April 2015}} is that there has never been a Serbo-Croatian language, but two different standard languages that overlapped sometime in the course of history. However, Croatian linguist [[Snježana Kordić]] has been leading an academic discussion on this issue in the Croatian journal ''Književna republika''<ref>{{cite web|url=http://bib.irb.hr/lista-radova?autor=173535#zncasopis |title=Kordić's publications in ''Književna republika'' |publisher=Bib.irb.hr |access-date=2013-09-01}} {{ZDB|2122129-7}}.</ref> from 2001 to 2010.<ref>{{cite news |first=Nikola |last=Petković |title=Mrsko zrcalo pred licima jezikoslovaca |trans-title=A nasty mirror reflects back at linguists |url=http://www.snjezana-kordic.de/Prikaz_Petkovic_tekst.doc |publisher=[[Novi list]] |location=Rijeka |issn=1334-1545 |date=5 September 2010 |url-status=dead |page = 7 in the arts section ''Mediteran'' |language=sh |archive-date=15 March 2012 |archive-url=https://web.archive.org/web/20120315175329/http://www.snjezana-kordic.de/Prikaz_Petkovic_tekst.doc |access-date=18 July 2012 }}</ref><ref>{{cite news |first=Slobodan |last=Šnajder |author-link=Slobodan Šnajder |title=Lingvistička bojna |trans-title=Linguistic battle |url=http://www.snjezana-kordic.de/Prikaz_Snajder.doc |publisher=[[Novi list]] |location=Rijeka |issn=1334-1545 |date=10 October 2010 |url-status=dead |page=6 in the arts section ''Mediteran'' |language=sh |archive-date=13 March 2012 |archive-url = https://web.archive.org/web/20120313145554/http://www.snjezana-kordic.de/Prikaz_Snajder.doc |access-date=6 July 2012 }}</ref> In the discussion, she shows that linguistic criteria such as mutual intelligibility, the huge overlap in the linguistic system, and the same dialect basis of the standard language are evidence that Croatian, Serbian, Bosnian and Montenegrin are four national variants of the pluricentric Serbo-Croatian language.<ref>{{cite journal |last=Kordić |first = Snježana |author-link=Snježana Kordić |title=Demagogija umjesto znanosti (odgovor Daliboru Brozoviću) |trans-title=Demagogy instead of science (response to Dalibor Brozović) |url = http://bib.irb.hr/datoteka/430252.DEMAGOGIJA_UMJESTO_ZNANOSTI.PDF |language=sh |journal=Književna Republika |volume=1 |issue=7–8 |pages=176–202 |year=2003 |issn=1334-1057 |s2cid=171739712 |ssrn=3433060 |id={{CROSBI|430252}}. {{ZDB|2122129-7}} |url-status=live |archive-date=1 June 2012 |archive-url = https://web.archive.org/web/20120601173923/http://bib.irb.hr/datoteka/430252.DEMAGOGIJA_UMJESTO_ZNANOSTI.PDF |access-date=8 April 2022}} [http://opak.crolib.hr/cgi-bin/unicat.cgi?form=D1440910057 (CROLIB)].</ref><ref>{{cite journal |last=Kordić |first = Snježana |author-link=Snježana Kordić |title=Autizam hrvatske filologije (odgovor Ivi Pranjkoviću) |trans-title=The autism of Croatian philology (response to Ivo Pranjković) |url = http://bib.irb.hr/datoteka/430121.AUTIZAM_HRVATSKE_FILOLOGIJE.PDF |language=sh |journal=Književna Republika |volume=2 |issue=7–8 |pages=254–280 |year=2004 |issn=1334-1057 |ssrn=3433015 |id={{CROSBI|430121}}. {{ZDB|2122129-7}} |url-status=live |archive-date=29 May 2012 |archive-url = https://web.archive.org/web/20120529002217/http://bib.irb.hr/datoteka/430121.AUTIZAM_HRVATSKE_FILOLOGIJE.PDF |access-date=1 March 2015 }} [http://katalog.nsk.hr/F/?func=direct&doc_number=000572375 (NSK)].</ref> Igor Mandić states: "During the last ten years, it has been the longest, the most serious and most acrid discussion (…) in 21st-century Croatian culture".<ref>{{cite news |first=Igor |last=Mandić |author-link=Igor Mandić |title = Svojom polemikom možda pokušava izbrisati naš identitet... Što, zapravo, hoće ta žena? |trans-title = She is perhaps trying to destroy our identity by polemicising... What does that woman really want? |url = http://www.jutarnji.hr/igor-mandic--svojom-polemikom-mozda-pokusava-izbrisati-nas-identitet---sto--zapravo--hoce-ta-zena-/905607/ |newspaper=[[Jutarnji list]] |location=Zagreb |issn=1331-5692 |date=21 November 2010 |page=19 |language=sh |archive-date=29 September 2012 |url-status=live |archive-url = https://web.archive.org/web/20120929042255/http://www.jutarnji.hr/igor-mandic--svojom-polemikom-mozda-pokusava-izbrisati-nas-identitet---sto--zapravo--hoce-ta-zena-/905607/ |access-date=12 August 2013 }}</ref> Inspired by that discussion, a [[Croatian language and nationalism|monograph on language and nationalism]] has been published.{{sfn|Kordić|2010}}

The view of the majority of Croatian linguists that there is no single Serbo-Croatian language but several different standard languages has been sharply criticized by German linguist [[Bernhard Gröschel]] in his monograph{{sfn|Gröschel|2009}} ''Serbo-Croatian Between Linguistics and Politics''.<ref>{{cite journal |last = Kordić |first = Snježana |author-link = Snježana Kordić |title = Svijet o nama: Bernhard Gröschel, ''Das Serbokroatische zwischen Linguistik und Politik'' |trans-title = About us – World point of view: Bernhard Gröschel, ''Serbo-Croatian Between Linguistics and Politics'' |url = http://bib.irb.hr/datoteka/445818.rec_GROSCHEL_u_KR.PDF |language=sh |journal=Književna Republika |volume=7 |issue=10–12 |issn=1334-1057 |ssrn=3441854 |id={{CROSBI|445818}}. {{CEEOL|29944}}. {{ZDB|2122129-7}} |pages=316–330 |year=2009 |url-status=live |archive-date=1 June 2012 |archive-url = https://web.archive.org/web/20120601175459/http://bib.irb.hr/datoteka/445818.rec_GROSCHEL_u_KR.PDF |access-date=6 October 2013 }} [http://katalog.nsk.hr/F/?func=direct&doc_number=000742298 (NSK)].</ref>

A more detailed overview, incorporating arguments from Croatian philology and contemporary linguistics, would be as follows:

: ''Serbo-Croatian is a language''
: One still finds many references to Serbo-Croatian, and proponents of Serbo-Croatian who deny that Croats, Serbs, Bosniaks and Montenegrins speak different languages. The usual argument generally goes along the following lines:
:* Standard Croatian, Serbian, Bosnian, and Montenegrin are completely mutually intelligible.<ref>{{cite book |last=Trudgill |first=Peter |year=2003 |title = A glossary of sociolinguistics |url = https://archive.org/details/glossarysociolin00trud |url-access=limited |location=Oxford & New York |publisher=Oxford University Press |page=[https://archive.org/details/glossarysociolin00trud/page/n125 119] |isbn=9780748616237 |oclc=50768041 }}</ref><ref>{{cite book |last=Kordić |first=Snježana |title=Les langues des Balkans |author-link=Snježana Kordić |editor-last=Madelain |editor-first=Anne |series = Au sud de l'Est |volume=3 |publisher=Non Lieu |page=74 |language=fr |chapter=La langue croate, serbe, bosniaque et monténégrine |trans-chapter=The Croatian, Serbian, Bosnian, and Montenegrin Language |chapter-url = http://bib.irb.hr/datoteka/429734.LA_LANGUE_CROATE_SERBE.PDF |location=Paris |year=2007 |isbn=978-2-35270-036-4 |oclc=182916790 |ssrn=3439662 |id={{CROSBI|429734}} |archive-url = https://www.webcitation.org/69f5WqGAx?url=http://bib.irb.hr/datoteka/429734.LA_LANGUE_CROATE_SERBE.PDF |url-status=live |archive-date = 4 August 2012 }}</ref> In addition, they use two alphabets that perfectly match each other ([[Gaj's Latin alphabet|Latin]] and [[Serbian Cyrillic alphabet|Cyrillic]]), thanks to Ljudevit Gaj and Vuk Karadžić. Croats exclusively use Latin script and Serbs equally use both Cyrillic and Latin. Although Cyrillic is taught in Bosnia, most [[Bosnians]], especially non-[[Serbs of Bosnia and Herzegovina|Serbs]] ([[Bosniaks]] and [[Croats of Bosnia and Herzegovina|Croats]]), favor Latin.
:*The list of 100 words of the basic Croatian, Serbian, Bosnian, and Montenegrin vocabulary, as set out by Morris Swadesh, shows that all 100 words are identical.<ref>{{cite journal |last=Brozović |first = Dalibor |author-link=Dalibor Brozović |title=Europske integracije i hrvatski jezik |trans-title=European integration and the Croatian language |journal=Jezik |volume=49 |issue=4 |page=124 |year=2002 |language=sh |issn=0021-6925 }}</ref> According to Swadesh, 81 per cent are sufficient to be considered as a single language.<ref>{{cite book |last=Kloss |first=Heinz |author-link=Heinz Kloss |editor1-last=Göschel |editor1-first=Joachim |editor2-last=Nail |editor2-first=Norbert |editor3-last=van der Els |editor3-first=Gaston |title=Zur Theorie des Dialekts: Aufsätze aus 100 Jahren Forschung |publisher=F. Steiner |page=303 |chapter=Abstandsprachen und Ausbausprachen |trans-chapter=Abstand-languages and Ausbau-languages |series=Zeitschrift für Dialektologie and Linguistik, Beihefte, n.F., Heft 16 |location=Wiesbaden |year=1976 |oclc=2598722 }}</ref>
:* Typologically and structurally, these standard variants have virtually the same grammar, i.e. morphology and syntax.{{sfn|Pohl|1996|p=214}}<ref>{{cite journal |last = Kordić |first = Snježana |author-link = Snježana Kordić |title = Le serbo-croate aujourd'hui: entre aspirations politiques et faits linguistiques |trans-title=Serbo-Croatian today: Between political aspirations and linguistic facts |language = fr |journal=Revue des études slaves |volume=75 |issue=1 |pages=34–36 |year=2004 |issn=0080-2557 |oclc=754207802 |s2cid=228222009 |ssrn=3433041 |id={{CROSBI|430127}}. {{ZDB|208723-6}} |doi=10.3406/slave.2004.6860}} [http://data.onb.ac.at/rec/AC07248653 (ÖNB)].</ref>
:* Serbo-Croatian was standardised in the mid-19th century, and all subsequent attempts to dissolve its basic unity have not succeeded.
:* The affirmation of distinct [[Croatian language|Croatian]], [[Serbian language|Serbian]], [[Bosnian language|Bosnian]], and [[Montenegrin language|Montenegrin]] languages is ''politically'' motivated.
:* According to [[phonology]], [[morphology (linguistics)|morphology]] and [[syntax]], these standard variants are essentially one language because they are based on the same, [[Shtokavian dialect|Štokavian dialect]].{{Sfn | Blum | 2002 | p = 134}}

: ''Serbo-Croatian is not a language''
: Similar arguments are made for other official standards which are drawn from identical or nearly identical material bases and which therefore constitute pluricentric languages, such as [[Malaysian language|Malaysian]] (Malaysian Malay), and [[Indonesian language|Indonesian]] (together called [[Malay language|Malay]]),<ref>{{cite book |last=Haji Omar |first=Asmah |editor-last=Clyne |editor-first=Michael G. |editor-link=Michael Clyne |title=Pluricentric Languages: Differing Norms in Different Nations |publisher=Mouton de Gruyter |pages=401–419 |chapter=Malay as a pluricentric language |chapter-url = http://www.google.hr/books?hl=hr&lr=&id=wawGFWNuHiwC&oi=fnd&pg=PA401&dq=#v=onepage&q&f=false |series=Contributions to the sociology of language 62 |location=Berlin & New York |year=1992 |isbn=978-3-11-012855-0 |oclc=24668375 }}</ref> or [[Standard Hindi]] and [[Urdu]] (together called [[Hindustani language|Hindustani or Hindi-Urdu]]).<ref>{{cite book |last= Dua |first=Hans Raj |editor-last=Clyne |editor-first=Michael G. |editor-link=Michael Clyne |title= Pluricentric Languages: Differing Norms in Different Nations |publisher=Mouton de Gruyter |pages=381–400 |chapter=Hindi-Urdu as a pluricentric language |chapter-url = https://books.google.com/books?id=wawGFWNuHiwC&q=hindi+urdu+pluricentric&pg=PA381 |series=Contributions to the sociology of language 62 |location=Berlin & New York |year=1992 |isbn=978-3-11-012855-0 |oclc=24668375 }}</ref> However, some argue that these arguments have flaws:

:* Phonology, morphology, and syntax are not the only dimensions of a language: other fields (semantics, pragmatics, stylistics, [[lexicology]], etc.) also differ slightly. However, it is the case with other pluricentric languages.{{Sfn | Ammon | 1995 | pp = 154–174}} A comparison is made to the closely related [[North Germanic languages]] (or dialects, if one prefers), though these are not fully mutually intelligible as the Serbo-Croatian standards are. A closer comparison may be [[General American]] and [[Received Pronunciation]] in English, which are closer to each other than the latter is to other dialects which are subsumed under "[[British English]]".
:* Since the Croatian as recorded in [[Marin Držić|Držić]] and [[Ivan Gundulić|Gundulić]]'s works (16th and 17th centuries) is virtually the same as the contemporary standard Croatian (understandable archaisms apart), it is evident that the 19th-century formal standardization was just the final touch in the process that, as far as Croatian is concerned, had lasted more than three centuries. The radical break with the past, characteristic of modern Serbian (whose vernacular was likely not as similar to Croatian as it is today), is a trait completely at variance with Croatian linguistic history. In short, formal standardization processes for Croatian and Serbian had coincided chronologically (and, one could add, ideologically), but they have not produced a unified standard language. Gundulić did not write in "Serbo-Croatian", nor did [[August Šenoa]]. [[Marko Marulić]] and [[Marin Držić]] wrote in a sophisticated idiom of Croatian some 300–350 years before "Serbo-Croatian ideology" appeared. Marulić explicitly called his Čakavian-written ''[[Judita]]'' as ''u uerish haruacchi slosena'' ("arranged in Croatian stanzas") in 1501, and the Štokavian grammar and dictionary of [[Bartol Kašić]] written in 1604 unambiguously identifies the ethnonyms ''Slavic'' and ''Illyrian'' with ''Croatian''.

The linguistic debate in this region is more about politics than about linguistics per se.

The topic of language for writers from [[Dalmatia]] and [[Dubrovnik]] prior to the 19th century made a distinction only between speakers of [[Italian language|Italian]] or [[Illyrian (South Slavic)|Slavic]], since those were the two main groups that inhabited Dalmatian city-states at that time. Whether someone spoke Croatian or Serbian was not an important distinction then, as the two languages were not distinguished by most speakers.

However, most intellectuals and writers from Dalmatia who used the Štokavian dialect and practiced the Catholic faith saw themselves as part of a Croatian nation as far back as the mid-16th to 17th centuries, some 300 years before Serbo-Croatian ideology appeared. Their loyalty was first and foremost to Catholic Christendom, but when they professed an ethnic identity, they referred to themselves as "Slovin" and "Illyrian" (a sort of forerunner of Catholic baroque [[pan-Slavism]]) '''and''' [[Croats|Croat]]{{spaced ndash}}these 30-odd writers over the span of c. 350 years always saw themselves as Croats first and never as part of a Serbian nation. It should also be noted that, in the pre-national era, Catholic religious orientation did not necessarily equate with Croat ethnic identity in Dalmatia. A Croatian follower of Vuk Karadžić, [[Ivan Broz]], noted that for a Dalmatian to identify oneself as a Serb was seen as foreign as identifying oneself as Macedonian or Greek. [[Vatroslav Jagić]] pointed out in 1864:

{{poemquote|As I have mentioned in the preface, history knows only two national names in these parts—Croatian and Serbian. As far as Dubrovnik is concerned, the Serbian name was never in use; on the contrary, the Croatian name was frequently used and gladly referred to ...

At the end of the 15th century [in Dubrovnik and Dalmatia], sermons and poems were exquisitely crafted in Croatian by those men whose names are widely renowned by deep learning and piety.|''The History of the Croatian Language'', [[Zagreb]], 1864.}}

On the other hand, the opinion of Jagić from 1864 is argued not to have firm grounds. When Jagić says "Croatian", he refers to a few cases referring to the Dubrovnik vernacular as ''ilirski'' (Illyrian). This was a common name for all Slavic vernaculars in Dalmatian cities among the Roman inhabitants. In the meantime, other written monuments are found that mention ''srpski'', ''lingua serviana'' (= Serbian), and some that mention Croatian.<ref name="Mladenovic 2004">Mladenovic. Kratka istorija srpskog književnog jezika. Beograd 2004, 67</ref> By far the most competent Serbian scientist{{editorializing|date=January 2023}} on the Dubrovnik language issue, [[Milan Rešetar]], who was born in Dubrovnik himself, wrote behalf of language characteristics: "The one who thinks that Croatian and Serbian are two separate languages must confess that Dubrovnik always (linguistically) used to be Serbian."<ref name="Mladenovic 2004" />

Finally, the former ''medieval'' texts from Dubrovnik and Montenegro dating before the 16th century were neither true Štokavian nor Serbian, but mostly specific a Jekavian-[[Chakavian dialect|Čakavian]] that was nearer to actual [[Adriatic Sea|Adriatic]] islanders in Croatia.<ref>S. Zekovic & B. Cimeša: Elementa montenegrina, Chrestomatia 1/90. CIP, Zagreb 1991</ref>

=== Political connotations ===
Nationalists have conflicting views about the language(s). The nationalists among the Croats conflictingly claim either that they speak an entirely separate language from Serbs and Bosniaks or that these two peoples have, due to the longer lexicographic tradition among Croats, somehow "borrowed" their standard languages from them.{{Citation needed|date=July 2010}} Bosniak nationalists claim that both Croats and Serbs have "appropriated" the [[Bosnian language]], since [[Ljudevit Gaj]] and [[Vuk Karadžić]] preferred the Neo-Štokavian Ijekavian dialect, widely spoken in [[Bosnia and Herzegovina]], as the basis for language standardization, whereas the nationalists among the Serbs claim either that any divergence in the language is artificial, or claim that the [[Shtokavian dialect|Štokavian dialect]] is theirs and the [[Chakavian dialect|Čakavian]] Croats'— in more extreme formulations Croats have "taken" or "stolen" their language from the Serbs. {{Citation needed|date=July 2010}}

Proponents of unity among Southern Slavs claim that there is a single language with normal dialectal variations. The term "Serbo-Croatian" (or synonyms) is not officially used in any of the successor countries of former Yugoslavia.

In Serbia, the Serbian standard has an official status countrywide, while both Serbian and Croatian are official in the province of [[Vojvodina]]. A large Bosniak minority is present in the southwest region of [[Sandžak]], but the "official recognition" of Bosnian is moot.<ref>Official communique, 27 December 2004, Serbian Ministry of Education {{in lang|sr}}</ref> Bosnian is an optional course in first and second grade of the elementary school, while it is also in official use in the municipality of [[Novi Pazar]].<ref>{{cite web |url= http://www.novipazar.org.rs/sl/gl_06_2002.pdf |title= Opštinski službeni glasnik opštine Novi Pazar }}{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }} {{small|(65.8 KB)}}, 30 April 2002, page 1</ref> However, its nomenclature is controversial, as there is incentive that it is referred to as "Bosniak" (''bošnjački'') rather than "Bosnian" (''bosanski'') (see [[Bosnian language#Controversy and recognition]] for details).

Croatian is the official language of Croatia, while Serbian is also official in municipalities with significant Serb population.

In Bosnia and Herzegovina, all three standard languages are recorded as official. Confrontations have on occasion been absurd. The academic [[Muhamed Filipović]], in an interview to Slovenian television, told of a local court in a Croatian district requesting a paid translator to translate from Bosnian to Croatian before the trial could proceed.{{Citation needed|date=December 2007}}

The [[International Criminal Tribunal for the former Yugoslavia]] referred to the language as "Bosnian/Croatian/Serbian", usually abbreviated as BCS. Translators were employed from all regions of the former Yugoslavia and all national and regional variations were accepted, regardless of the nationality of the person on trial (sometimes against a defendant's objections), on the grounds of mutual intelligibility.<ref name=Prosecutor/>

=== ISO classification ===
Since the year 2000, [[ISO 639]] classification recognizes ''Serbo-Croatian'' only as a '[[macrolanguage]]', having removed its original codes from [[ISO 639-1]] and [[ISO 639-2]] standards.<ref>{{cite web|url=https://www.loc.gov/standards/iso639-2/php/code_changes_bycode.php?code_ID=513|title=Codes for the representation of names of languages (Library of Congress)|website=www.loc.gov}}</ref> That left the [[ISO 639-3]] 'macrolanguage' (a book-keeping device in the ISO 639-3 standard to keep track of which ISO 639-3 codes correspond with which ISO 639-2 codes)<ref>{{cite web|url=https://iso639-3.sil.org/code/hbs|title=hbs - ISO 639-3|website=iso639-3.sil.org}}</ref> stranded without a corresponding ISO 639-2 code.

== Words of Serbo-Croatian origin ==
{{wtc|English terms derived from Serbo-Croatian}}
*''[[Cravat (early)|Cravat]]'', from French ''cravate'' "Croat", by analogy with Flemish ''Krawaat'' and German ''Krabate'', from Serbo-Croatian ''Hrvat'',<ref>{{OED|cravat}}</ref> as cravats were characteristic of Croatian dress
*''[[Polje]]'', from Serbo-Croatian ''polje'' "field"<ref>{{OED|polje}}</ref>
*''[[Slivovitz]]'', from German ''Slibowitz'', from Bulgarian ''slivovitza'' or Serbo-Croatian ''šljivovica'' "plum brandy", from Old Slavic *sliva "plum" (cognate with English [[sloe]])<ref>{{OED|slovovitz}}</ref>
*''[[Tamburitza]]'', Serbo-Croatian diminutive of ''tambura'', from Turkish, from Persian ''ṭambūr'' "[[tanbur]]"<ref>{{OED|tamburitza}}</ref>
*''[[Uvala (landform)|Uvala]]'', from Serbo-Croatian ''uvala'' "hollow"<ref>{{OED|uvala}}</ref>
*''[[Vampire]]'', from Serbo-Croatian ''vampir'' via German ''Vampir'' or French ''Vampire''<ref>{{Dictionary.com|vampire|access-date=2022-11-01}}</ref>

== Sample text ==
Article 1 of the ''[[Universal Declaration of Human Rights]]'' in Serbo-Croatian, written in the [[Latin alphabet]]:<ref>{{cite web|url=https://unicode.org/udhr/d/udhr_srp_latn.html|title=Universal Declaration of Human Rights - Serbian (Latin)|website=unicode.org}}</ref><ref>{{cite web|url=https://unicode.org/udhr/d/udhr_hrv.html|title=Universal Declaration of Human Rights - Croatian|website=unicode.org}}</ref>
:''Sva ljudska bića rađaju se slobodna i jednaka u dostojanstvu i pravima. Ona su obdarena razumom i sv(ij)ešću i treba jedni prema drugima da postupaju u duhu bratstva.''

Article 1 of the ''Universal Declaration of Human Rights'' in Serbo-Croatian, written in the [[Cyrillic script]]:<ref>{{cite web|title=Universal Declaration of Human Rights - Serbian (Cyrillic)|website=unicode.org|url=https://unicode.org/udhr/d/udhr_srp_cyrl.html}}</ref>
:''Сва људска бића рађају се слободна и једнака у достојанству и правима. Она су обдарена разумом и св(иј)ешћу и треба једни према другима да поступају у духу братства.''

Article 1 of the ''Universal Declaration of Human Rights'' in English:<ref>{{cite web|url=https://www.un.org/en/about-us/universal-declaration-of-human-rights|title=Universal Declaration of Human Rights|website=un.org}}</ref>
:''All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.''

== See also ==
{{Portal|Language|Linguistics|Bosnia and Herzegovina|Croatia|Serbia}}
* [[Ausbau languages]]
* [[Comparison of standard Bosnian, Croatian, Montenegrin and Serbian]]
* [[Declaration on the Common Language]] 2017
* [[Dialects of Serbo-Croatian]]
* [[Language secessionism#In Serbo-Croatian|Language secessionism in Serbo-Croatian]]
* [[Pluricentric language#Serbo-Croatian|Pluricentric Serbo-Croatian language]]
* [[Relative clause#Serbo-Croatian|Serbo-Croatian relative clauses]]
* [[Serbo-Croatian kinship]]

== Notes ==
{{Notelist
|notes = {{efn|name=status|{{Kosovo-note}}}}
}}

== References ==
=== Citations ===
{{Reflist}}

=== Sources ===
{{refbegin|40em}}
* {{cite book |last=Alexander |first=Ronelle |title = Bosnian, Croatian, Serbian, a Grammar: With Sociolinguistic Commentary |year=2006 |location=Madison |publisher=University of Wisconsin Press |url = https://books.google.com/books?id=6HTdZ5rxJ-cC |isbn=9780299211936 }}
* {{cite book |last=Alexander |first=Ronelle |chapter=Language and Identity: The Fate of Serbo-Croatian |title = Entangled Histories of the Balkans |year=2013 |volume=1 |location = Leiden, South Holland; Boston, MA |publisher=Brill |pages=341–417 |url = https://books.google.com/books?id=FGmJqMflYgoC |isbn=9789004250765 }}
* {{cite book |last=Ammon |first=Ulrich |year=1995 |language = de |title = Die deutsche Sprache in Deutschland, Österreich und der Schweiz: das Problem der nationalen Varietäten |trans-title=German Language in Germany, Austria and Switzerland: The Problem of National Varieties |location=Berlin & New York |publisher=Walter de Gruyter |page=575 |oclc=33981055 }}
* {{cite book |last=Blum |first=Daniel |year=2002 |language = de |title = Sprache und Politik : Sprachpolitik und Sprachnationalismus in der Republik Indien und dem sozialistischen Jugoslawien (1945–1991) |trans-title = Language and Policy: Language Policy and Linguistic Nationalism in the Republic of India and the Socialist Yugoslavia (1945–1991) |series = Beiträge zur Südasienforschung |volume =192 |location=Würzburg |publisher=Ergon |page=200 |isbn=978-3-89913-253-3 |oclc=51961066 }}
* {{cite book |editor1-last=Brown |editor1-first=Edward Keith |editor2-last=Anderson |editor2-first=Anne |title = Encyclopedia of Language and Linguistics |publisher=Elsevier |location=Amsterdam |year=2006 |isbn=978-0-08-044299-0 |oclc=3945869 }}
* {{cite book |editor1-last=Bugarski |editor1-first=Ranko |editor1-link=Ranko Bugarski |editor2-last=Hawkesworth |editor2-first=Celia |title = Language in the Former Yugoslav Lands |publisher=Slavica Publishers |page=325 |location=Bloomington |year=2006 |isbn=978-0-89357-298-3 |oclc=52858529 }}
* {{cite book |last=Greenberg |first=Robert D. |title=Language and Identity in the Balkans: Serbo-Croatian and its Disintegration |year=2004 |edition=1st |location=New York, NY |publisher=Oxford University Press |url = https://books.google.com/books?id=_lNjHgr3QioC |isbn=9780191514555 }}
* {{cite book |last=Greenberg |first=Robert D. |title=Language and Identity in the Balkans: Serbo-Croatian and its Disintegration |year=2008 |edition=2nd updated |location=New York, NY |publisher=Oxford University Press |url = https://books.google.com/books?id=31ELAQAAMAAJ |isbn=9780199208753 }}
* {{cite journal |last=Gröschel |first=Bernhard |author-link=Bernhard Gröschel |title=Postjugoslavische Amtssprachenregelungen – Soziolinguistische Argumente gegen die Einheitlichkeit des Serbokroatischen? |trans-title = Post-Yugoslav Official Languages Regulations – Sociolinguistic Arguments Against Consistency of Serbo-Croatian? |url = https://archive.org/details/Postjugoslavische_Amtssprachenregelungen_Bernhard_Groeschel_2003 |language = de |journal=Srpski Jezik |volume=8 |issue=1–2 |pages=135–196 |year=2003 |issn=0354-9259 |access-date=18 May 2015 }} [http://www.vbs.rs/scripts/cobiss?command=DISPLAY&base=99999&rid=121971724&fmt=11&lani=sr (COBISS-Sr)].
* {{cite book |last=Gröschel |first=Bernhard |year=2009 |language = de |title = Das Serbokroatische zwischen Linguistik und Politik: mit einer Bibliographie zum postjugoslavischen Sprachenstreit |trans-title=Serbo-Croatian Between Linguistics and Politics: With a Bibliography of the Post-Yugoslav Language Dispute |series = Lincom Studies in Slavic Linguistics |volume = 34 |location=Munich |publisher=Lincom Europa |page=451 |isbn=978-3-929075-79-3 |oclc=428012015 |lccn=2009473660 |ol=15295665W |id ={{COBISS|43144034}}}} [http://d-nb.info/994941226/04 Contents].
* {{citation |last=Kordić |first=Snježana |author-link=Snježana Kordić |title=Serbo-Croatian |year=2006 |series = Languages of the World/Materials |volume = 148 |location=Munich & Newcastle |publisher=Lincom Europa |isbn=978-3-89586-161-1 |oclc=37959860 |ol=2863538W |id={{CROSBI|426503}}}}
* {{cite book |last=Kordić |first=Snježana |year=2010 |language=sh |title=Jezik i nacionalizam |trans-title=Language and Nationalism |url = http://bib.irb.hr/datoteka/475567.Jezik_i_nacionalizam.pdf |series=Rotulus Universitas |url-status=live |location=Zagreb |publisher=Durieux |page=430 |doi=10.2139/ssrn.3467646 |isbn=978-953-188-311-5 |lccn=2011520778 |oclc=729837512 |s2cid=220918333 |ol=15270636W |id={{CROSBI|475567}} |archive-date=1 June 2012 |archive-url = https://web.archive.org/web/20120601175359/http://bib.irb.hr/datoteka/475567.Jezik_i_nacionalizam.pdf |access-date=21 April 2022}}
* {{cite journal |last=Lencek |first=Rado |title = A few remarks for the history of the term 'Serbocroatian' language |journal=Zbornik Za Filologiju I Lingvistiku |volume=19 |issue=1 |pages=45–53 |year=1976 |issn=0514-6143 }}
* {{cite book |last=Mappes-Niediek |first=Norbert |year=2005 |language = de |title = Die Ethno-Falle: der Balkan-Konflikt und was Europa daraus lernen kann |trans-title=The Ethnic Trap: the Balkan conflict and what Europe can learn from it |location=Berlin |publisher=Christoph Links Verlag |page=224 |isbn=978-3-86153-367-2 |oclc=61665869 }}
* {{cite book |last=Pohl |first=Hans-Dieter |editor-last=Ohnheiser |editor-first=Ingeborg |title = Wechselbeziehungen zwischen slawischen Sprachen, Literaturen und Kulturen in Vergangenheit und Gegenwart : Akten der Tagung aus Anlaß des 25jährigen Bestehens des Instituts für Slawistik an der Universität Innsbruck, Innsbruck, 25. – 27. Mai 1995 |series = Innsbrucker Beiträge zur Kulturwissenschaft, Slavica aenipontan |volume = 4 |publisher = Non Lieu |pages=205–219 |language = de |chapter = Serbokroatisch – Rückblick und Ausblick |trans-chapter = Serbo-Croatian – Looking backward and forward |location=Innsbruck |year=1996 |oclc=243829127 }}
* {{cite journal |last=Thomas |first=Paul-Louis |title=Le serbo-croate (bosniaque, croate, monténégrin, serbe): de l'étude d'une langue à l'identité des langues |trans-title = Serbo-Croatian (Bosnian, Croatian, Montenegrin, Serbian): from the study of a language to the identity of languages |language=fr |journal=Revue des études slaves |volume=74 |issue=2–3 |pages=311–325 |year=2003 |issn=0080-2557 |oclc=754204160 |id = {{ZDB|208723-6}} |doi=10.3406/slave.2002.6801 }}
{{refend}}

== Further reading ==
{{refbegin|40em}}
* Banac, Ivo: ''Main Trends in the Croatian Language Question''. Yale University Press, 1984.
* Bunčić, D., 2016. Serbo-Croatian/Serbian: Cyrillic and Latin. Biscriptality: A Sociolinguistic Typology, pp. 231–246.
* Franolić, Branko: ''A Historical Survey of Literary Croatian''. Nouvelles éditions Latines, Paris, 1984.
* Franolić, B., 1983. The development of literary Croatian and Serbian. Buske Verlag.
* {{cite book |last=Franolić |first=Branko |year=1988 |title = Language Policy in Yugoslavia with special reference to Croatian |publisher=Nouvelles Editions Latines |location=Paris }}
* {{cite book |last1=Franolić |first1=Branko |last2=Žagar |first2=Mateo |year=2008 |title = A Historical Outline of Literary Croatian & The Glagolitic Heritage of Croatian Culture |publisher=Erasmus & CSYPN |location=London & Zagreb |isbn=978-953-6132-80-5 }}
* {{cite journal |last=Greenberg|first=Robert D. |title=In the Aftermath of Yugoslavia's Collapse: The Politics of Language Death and Language Birth |journal=International Politics|year=1999|volume=36|issue=2|pages=141–158 }}
* {{cite book |last=Greenberg |first=Robert D. |chapter=Language, Religion, and Nationalism: The Case of the Former Serbo-Croatian |title=Typen slavischer Standardsprachen: Theoretische, methodische und empirische Zugaenge |year=2013 |location=Wiesbaden |publisher=Harrassowitz Verlag |pages=217–231 |url=https://books.google.com/books?id=XGUFngEACAAJ |isbn=9783447100281 }}
* Ivić, Pavle: ''Die serbokroatischen Dialekte''. the Hague, 1958.
* {{cite book |last=Jakobsen |first=Per |editor-last=Ostojić |editor-first=Branislav |title = Jezička situacija u Crnoj Gori – norma i standardizacija |publisher=Crnogorska akademija nauka i umjetnosti |pages=25–34 |language=sh |chapter=O strukturalno-lingvističkim konstantama srpskohrvatskog jezika (inventar fonema i fonotaktička struktura) |trans-chapter=Serbocroatian structural-linguistic constants (inventory of phonemes and phonotactic structure) |location=Podgorica |year=2008 |isbn=978-86-7215-207-4}} [http://vbcg.vbcg.me/scripts/cobiss?ukaz=DISP&id=0446469545391868&rec=8&sid=9 (COBISS-CG)] {{Webarchive|url=https://web.archive.org/web/20181005181043/http://vbcg.vbcg.me/scripts/cobiss?ukaz=DISP&id=0446469545391868&rec=8&sid=9 |date=2018-10-05 }}.
* {{cite journal |last=Kristophson |first = Jürgen |title=Vom Widersinn der Dialektologie: Gedanken zum Štokavischen |trans-title=Dialectological Nonsense: Thoughts on Shtokavian |language=de |journal=Zeitschrift für Balkanologie |volume=36 |issue=2 |pages=178–186 |year=2000 |issn=0044-2356 }} {{ZDB|201058-6}}.
* Magner, Thomas F.: ''Zagreb Kajkavian dialect''. Pennsylvania State University, 1966.
* {{cite book |last=Magner |first=Thomas F. |year=1991 |title=Introduction to the Croatian and Serbian Language |edition = Revised |publisher=Pennsylvania State University }}
* {{cite book |last=Merk |first=Hening |editor-last=Ostojić |editor-first=Branislav |title = Jezička situacija u Crnoj Gori – norma i standardizacija |publisher=Crnogorska akademija nauka i umjetnosti |pages=295–299 |language=sh |chapter=Neka pragmatična zapažanja o postojanju srpskohrvatskog jezika |location=Podgorica |year=2008 |isbn=978-86-7215-207-4 }} [http://vbcg.vbcg.me/scripts/cobiss?ukaz=DISP&id=0446469545391868&rec=2&sid=8 (COBISS-CG)] {{Webarchive|url=https://web.archive.org/web/20181005181049/http://vbcg.vbcg.me/scripts/cobiss?ukaz=DISP&id=0446469545391868&rec=2&sid=8 |date=2018-10-05 }}.
* Murray Despalatović, Elinor: ''Ljudevit Gaj and the Illyrian Movement''. Columbia University Press, 1975.
* Spalatin, C., 1966. Serbo-Croatian or Serbian and Croatian?: Considerations on the Croatian Declaration and Serbian Proposal of March 1967. Journal of Croatian Studies, 7, pp. 3–13.
* Zekovic, Sreten & Cimeša, Boro: ''Elementa montenegrina'', Chrestomatia 1/90. CIP, Zagreb 1991.
{{refend}}

== External links ==
{{interWiki|code=sh}}
{{Wikiquote}}
{{Commons category|Serbo-Croatian language}}
* ''[[Ethnologue]]''{{spaced ndash}}the 15th edition of ''Ethnologue'' (released 2005) shows changes in this area:
** [https://web.archive.org/web/20131005004814/http://archive.ethnologue.com/14/show_language.asp?code=SRC Previous ''Ethnologue'' entry for Serbo-Croatian]
** [https://web.archive.org/web/20131005010950/http://archive.ethnologue.com/15/show_family.asp?subid=90675 ''Ethnologue'' 15th Edition report on western South Slavic languages]
* [http://www.omniglot.com/writing/serbo-croat.htm Serbian and Croatian alphabets] at Omniglot.
* [https://www.rferl.org/a/Serbian_Croatian_Bosnian_or_Montenegrin_Many_In_Balkans_Just_Call_It_Our_Language_/1497105.html "Serbian, Croatian, Bosnian, Or Montenegrin? Or Just 'Our Language'?"], [[Radio Free Europe]], February 21, 2009
* {{Citation |last1=Browne |first1=Wayles |author1-link=Wayles Browne |last2=Alt |first2=Theresa |year=2004 |url=http://www.seelrc.org:8080/grammar/pdf/compgrammar_bcs.pdf |title=A Handbook of Bosnian, Serbian, and Croatian |publisher=SEELRC}}

{{navboxes|
|list =
{{Languages of Bosnia and Herzegovina}}
{{Languages of Croatia}}
{{Languages of Montenegro}}
{{Languages of Serbia}}
{{Slavic languages}}
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}}
{{Authority control}}

{{DEFAULTSORT:Serbo-Croatian Language}}
[[Category:Serbo-Croatian language| ]]
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[[Category:Slavic languages written in Latin script]]

Gimme Dat Ding

2022-12-13T18:30:16Z

MonkeyPython: /* Cover versions */

{{for|the compilation album|Gimme Dat Ding (album)}}
{{Infobox song
| name = Gimme Dat Ding
| cover = Gimme_Dat_Ding_-_The_Pipkins.jpg
| alt =
| type = single
| artist = [[The Pipkins]]
| album = [[Gimme Dat Ding (album)|Gimme Dat Ding]]
| B-side = To Love You
| released = May 1970
| format =
| recorded =
| studio =
| venue =
| genre = [[Novelty song|Novelty]], [[music hall]]
| length = 2:10
| label = [[EMI Records|EMI]]
| writer = [[Albert Hammond]] and [[Mike Hazlewood]]
| producer = John Burgess
| prev_title =
| prev_year =
| next_title =
| next_year =
| misc = {{External music video|header=Official Audio|{{YouTube|MeIb7Ms4xHc|"Gimme Dat Ding"}}}}
}}
"'''Gimme Dat Ding'''" is a 1970 popular UK song, of the [[Novelty song|novelty]] type, sung by "[[one-hit wonder]]" [[The Pipkins]], and written and composed by [[Albert Hammond]] and [[Mike Hazlewood]]. Released as a single, it is the title selection of an album which The Pipkins recorded and released on the [[Columbia Graphophone Company|EMI Columbia]] Records label. It also appeared on a compilation album [[Gimme Dat Ding (album)|of the same name]], which The Pipkins shared with another up-and-coming UK group, [[The Sweet]]. It has also been included on many other compilation albums. "Gimme Dat Ding" was arranged by [[Big Jim Sullivan]].

==Chart history==
The song peaked at number 6 on the UK Chart in March/April 1970. It reached number 7 in [[Canada]], number 9 on the US [[Billboard_Hot_100|Hot 100]] and number 20 in US Easy Listening.<ref>{{cite book|first= Joel |last= Whitburn |author-link= Joel Whitburn |year= 1993 |title= Top Adult Contemporary: 1961–1993 |publisher=Record Research |page=188}}</ref> It did best in New Zealand, where it reached number 1.<ref>[http://www.flavourofnz.co.nz/index.php?qpageID=search%20listener&qartistid=796#n_view_location Flavour of New Zealand, 13 July 1970]</ref>

{{col-begin|width=67%}}
{{col-2}}

===Weekly charts===
{| class="wikitable sortable plainrowheaders" style="text-align:center;"
|-
!scope="col"| Chart (1970)
!scope="col"| Peak position
|-
!scope="row"| Australia ([[Kent Music Report]])<ref name=aus>{{cite book|last=Kent|first=David|author-link=David Kent (historian)|title=Australian Chart Book 1970–1992|edition=illustrated|publisher=Australian Chart Book |location=St Ives, N.S.W.|year=1993|isbn=0-646-11917-6|page=233}}</ref>
| 61
|-
!scope="row"| Canada ''[[RPM (magazine)|RPM]]'' Top Singles{{citation needed|date=August 2021}}
| 7
|-
{{single chart|Ireland2|7|song=Gimme Dat Ding|access-date=June 26, 2018|rowheader=true}}
|-
!scope="row"| Netherlands ([[Single Top 100]])<ref>{{cite web|title= Jaaroverzichten – Single 1970 |publisher= [[Single Top 100]]. Hung Medien |access-date= November 6, 2018 |url= http://dutchcharts.nl/jaaroverzichten.asp?year=1970&cat=s |language= nl}}</ref>
| 8
|-
!scope="row"| New Zealand (''[[New Zealand Listener|Listener]]'')<ref>[http://www.flavourofnz.co.nz/index.php?qpageID=search%20listener&qartistid=796#n_view_location Flavour of New Zealand, 13 July 1970]</ref>
| 1
|-
!scope="row"| South Africa ([[Springbok Radio|Springbok]])<ref>{{cite web|title=SA Charts 1965–March 1989|url=http://www.rock.co.za/files/springbok_top_20_(P).html|access-date=5 September 2018}}</ref>
| 15
|-
!scope="row"| [[UK Singles Chart|UK]] ([[The Official Charts Company]])<ref>{{cite web|title=Official Charts Company |url=http://Officialcharts.com |access-date=2018-11-05}}</ref>
| 6
|-
!scope="row"| US ''[[Billboard (magazine)|Billboard]]'' [[Billboard Hot 100|Hot 100]]<ref>''Joel Whitburn's Top Pop Singles 1955–1990'' - {{ISBN|0-89820-089-X}}</ref>
| 9
|-
!scope="row"| US ''Billboard'' [[Easy Listening]]<ref>{{cite book|first= Joel |last= Whitburn |author-link= Joel Whitburn |year= 1993 |title= Top Adult Contemporary: 1961–1993 |publisher= Record Research |page=188}}</ref>
| 20
|-
!scope="row"| US ''[[Cashbox (magazine)|Cash Box]]'' Top 100<ref>[http://tropicalglen.com/Archives/70s_files/19700718.html Cash Box Top 100 Singles, July 18, 1970]</ref>
| 7
|}
{{col-2}}

===Year-end charts===
{| class="wikitable sortable plainrowheaders" style="text-align:center;"
|-
!scope="col"| Chart (1970)
!scope="col"| Rank
|-
!scope="row"| Canada<ref>{{cite web|url=http://www.bac-lac.gc.ca/eng/discover/films-videos-sound-recordings/rpm/Pages/image.aspx?Image=nlc008388.3740&URLjpg=http%3a%2f%2fwww.collectionscanada.gc.ca%2fobj%2f028020%2ff4%2fnlc008388.3740.gif&Ecopy=nlc008388.3740|title=Item Display - RPM - Library and Archives Canada|work=collectionscanada.gc.ca}}</ref>
| 94
|-
!scope="row"| Netherlands (Single Top 100)<ref>{{Cite web|url=https://translate.google.com/translate?hl=en&sl=nl&u=http://www.dutchcharts.nl/weekchart.asp%3Fcat%3Ds&prev=search|title=Google Translate}}</ref>
| 96
|-
!scope="row"| UK{{citation needed|date=August 2021}}
| 87
|-
!scope="row"| US ''[[Billboard (magazine)|Billboard]]'' [[Billboard Hot 100|Hot 100]]<ref>{{cite web|url=http://www.musicoutfitters.com/topsongs/1970.htm |title=Top 100 Hits of 1970/Top 100 Songs of 1970|publisher=musicoutfitters.com |access-date=1 December 2017}}</ref>
| 86
|-
!scope="row"| US ''Cash Box''<ref>http://tropicalglen.com/Archives/70s_files/1970YESP.html {{Webarchive|url=https://web.archive.org/web/20190722145703/https://tropicalglen.com/Archives/70s_files/1970YESP.html |date=2019-07-22 }} Cash Box Year-End Charts: Top 100 Pop Singles, December 26, 1970</ref>
| 73
|}
{{col-end}}

==Song profile==
"Gimme Dat Ding" is a [[call-and-response]] duet between a deep, gravelly voice, that of [[Tony Burrows]], and a high tenor, that of [[Roger Greenaway]]. The voices are said to represent a [[piano]] and a [[metronome]].

When Hammond and Hazlewood wrote and composed "Gimme Dat Ding," it was one selection from their musical sequence "Oliver in the Overworld," which formed part of the British children's show ''Little Big Time,'' hosted by [[Freddie and the Dreamers]]; this narrated a surreal story of a little boy seeking the parts to mend his grandfather clock. The lyrics relate to this story, the song being sung by a metronome who has been expelled by the Clockwork King. The "ding" has been stolen from the metronome by the "Undercog". The original version, as performed by [[Freddie Garrity]], was released on the album ''Oliver in the Overworld'' in 1970.

==Cover versions==
[[Frankie Davidson]] released a cover version in Australia in 1970, reaching 21 on the local charts.<ref name=aus2>{{cite book|last=Kent|first=David|authorlink=David Kent (historian)|title=Australian Chart Book 1970–1992|edition=illustrated|publisher=Australian Chart Book|location=St Ives, N.S.W.|year=1993|isbn=0-646-11917-6|page=83}}</ref> A [[Czech language|Czech]] version "Gimi Det Ding" was also released in 1970 as a vinyl single with alternate Czech lyrics (a silence-loving man complaining about his noisy female neighbour singing).<ref>{{cite web| url-status = live| archive-url = https://ghostarchive.org/varchive/youtube/20211205/WWFnN_xpwZ4| archive-date = 2021-12-05| url = https://www.youtube.com/watch?v=WWFnN_xpwZ4| title = Miluše Voborníková & Jiří Grossmann - Gimi Det Ding [1970 Vinyl Records 45rpm] | website=[[YouTube]]}}{{cbignore}}</ref> The [[Norwegians|Norwegian]] vocal group [[Bjelleklang]] covered the song on their album ''YppeRu’ dOnK'' in 1994. The song was called Gummihatt (Swing) which is Rubberhat (Swing) in English.<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211205/O3bf6xl66Xc Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20190831142423/https://www.youtube.com/watch?v=O3bf6xl66Xc Wayback Machine]{{cbignore}}: {{cite web| url = https://www.youtube.com/watch?v=O3bf6xl66Xc| title = Bjelleklang - Gummihatt (Swing) | website=[[YouTube]]}}{{cbignore}}</ref>

In the UK, interest in the song resurfaced in the 1990s when the [[Maynards]] confectionery company used it in a popular television commercial for their Just Fruits fruit pastille and fruit gum range between 1992 and 1994; the song began reappearing on radio playlists during that era. In 1997, [[Dairylea (cheese)|Dairylea]] also used the song in two advertisements in the UK.{{citation needed|date=April 2021}}

An instrumental version arranged by [[Ronnie Aldrich]] was frequently used as background music during comedy sketches in ''[[The Benny Hill Show]].''{{citation needed|date=April 2021}}

==References==
{{Reflist}}

{{Albert Hammond}}

{{Authority control}}

[[Category:1970 songs]]
[[Category:1970 debut singles]]
[[Category:The Pipkins songs]]
[[Category:Songs written by Albert Hammond]]
[[Category:Songs written by Mike Hazlewood]]
[[Category:Novelty songs]]
[[Category:EMI Records singles]]
[[Category:Tony Burrows songs]]
[[Category:Number-one singles in New Zealand]]
[[Category:Music hall songs]]

User talk:MonkeyPython

2022-11-29T09:32:30Z

MonkeyPython:

Lituus

2022-10-07T12:03:04Z

MonkeyPython: /* Medieval period */

{{For|a mathematical spiral curve|Lituus (mathematics)}}
[[Image:Sestertius Herennius Etruscus-s2749.jpg|thumb|300px|A ''lituus'' (reverse, right, over the [[patera]]) as cult instrument, in this coin celebrating the [[pietas (virtue)|pietas]] of the [[Roman Emperor]] [[Herennius Etruscus]].]]
[[File:Gaius Cassius Longinus and Lentulus Spinther. 42 BC. AR Denarius.jpg|thumb|300px]]
The word '''''lituus''''' originally meant a curved augural staff, or a curved war-trumpet in the ancient [[Latin]] language. This Latin word continued in use through the 18th century as an alternative to the vernacular names of various musical instruments.

==Roman ritual wand==
The ''lituus'' was a crooked [[wand]] (similar in shape to the top part of some Western European [[crosier]]s) used as a cult instrument in [[ancient Roman religion]] by [[augur]]s<ref>{{Cite OED | lituus }}</ref> to mark out a ritual space in the sky (a [[templum]]). The passage of birds through this ''templum'' indicated divine favor or disfavor for a given undertaking.

The ''lituus'' was also used as a symbol of office for the college of the augurs to mark them out as a priestly group.

==Music instrument==
[[File:Lituus instrument 001.png|thumb|75px|Etrusco-Roman lituus (instrument)]]

===Antiquity===
The ancient ''lituus'' was an [[Etruscan civilization|Etruscan]] [[Pitch (music)|high-pitched]] [[brass instrument]], which was straight but bent at the end, in the shape of a letter J, similar to the Gallic [[carnyx]]. It was later used by the Romans, especially for processional music and as a signalling horn in the army. For the Roman military it may have been particular to the cavalry, and both the Etruscan and Roman versions were always used in pairs, like the prehistoric [[lur]]er. Unlike the Roman litui, the Etruscan instruments had detachable mouthpieces and in general appear to have been longer.<ref>Sibyl Marcuse, "Lituus", ''Musical Instruments: A Comprehensive Dictionary'', corrected edition, The Norton Library N758 (New York: W. W. Norton & Company, Inc., 1975): 312 {{ISBN|0-393-00758-8}}; Anthony Baines, ''Brass Instruments: Their History and Development'' (London: Faber and Faber; New York: Charles Scribner's Sons, 1976): 58, 60, 65. {{ISBN|0-684-15229-0}}.</ref> The name ''lituus'' is Latin, thought to have been derived from an Etruscan cultic word describing a soothsayer's wand modelled on a shepherd's crook and associated with sacrifice and favourable omens. Earlier Roman and Etruscan depictions show the instrument used in processions, especially funeral processions. Players of the lituus were called ''liticines'', though the name of the instrument appears to have been loosely used (by poets, not likely by soldiers) to describe other military brass instruments, such as the ''[[Roman tuba|tuba]]'' or the ''[[buccina]]''.<ref>James W. McKinnon, "Lituus", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]] (London: Macmillan Publishers, 2001); Anthony Baines, ''Brass Instruments: Their History and Development'' (London: Faber and Faber; New York: Charles Scribner's Sons, 1976): 65–66. {{ISBN|0-684-15229-0}}.</ref> In 17th-century Germany a variant of the bent ancient ''lituus'' was still used as a signalling horn by [[Watchman (law enforcement)|nightwatchmen]].{{Citation needed|date=June 2015}}

===Medieval period===
{{main article|Medieval lituus}}
From the end of the 10th through the 13th centuries, chroniclers of the [[Crusades]] used the word ''lituus'' vaguely—along with the Classical Latin names for other Roman military Trumpets and horns, such as the ''[[Roman tuba|tuba]]'', ''[[Cornu (horn)|cornu]]'', and ''[[buccina]]'' and the more up-to-date French term ''trompe''—to describe various instruments employed in the Christian armies. However, it is impossible to determine just what sort of instrument might have been meant, and it is unlikely their litui were the same as the Etrusco-Roman instrument.<ref>John Wallace and Alexander McGrattan, ''The Trumpet'' (New Haven and London: Yale University Press, 2012): 73.</ref>

In the early 15th century, [[Jean de Gerson]] listed the lituus among those [[string instrument]]s that were sounded by beating or striking, either with the fingernails, a plectrum, or a stick. Other instruments Gerson names in this category are the ''[[Harp|cythara]]'', ''[[gittern|guiterna]]'', ''[[Psalterium (instrument)|psalterium]]'', ''timpanum'', and ''campanula''.<ref>Christopher Page, "Early 15th-Century Instruments in Jean de Gerson's 'Tractatus de Canticis'", ''Early Music'' 6, no. 3 (July 1978): 339–49. Citation on 344.</ref>

===Modern era===
Throughout the postclassical era the name ''lituus'' continued to be used when discussing ancient and Biblical instruments, but with reference to contemporary musical practice in the Renaissance it usually referred to "bent horns" made of wood, particularly the [[crumhorn]] and the [[cornett]].<ref>Don Michael Randel, "Lituus", ''The Harvard Dictionary of Music'', fourth edition (Cambridge: Harvard University Press, 2003). {{ISBN|978-0674011632}}</ref> The crumhorn was especially associated with the lituus because of the similarity of its shape. The equation of the crumhorn with the lituus was especially strong among German writers.<ref>Kenton Terry Meyer, "The Crumhorn", PhD thesis (Iowa City: University of Iowa, 1981): 10, 20.</ref> A 1585 English translation of [[Hadrianus Junius]]'s ''Nomenclator'' defines ''lituus'' as "a writhen or crooked trumpet winding in and out; a shaulme" (i.e., [[shawm]]), but a polyglot edition of the same book published in 1606 demonstrates how differently the term might have been understood in various languages at that time: German ''Schalmey'', ''Krumme Trommeten'', ''Krumhorn''; Dutch ''Schalmeye''; French ''Claron, ou cleron''; Italian ''Trombetta bastarda''; Spanish ''Trompeta curua, ò bastarda''.<ref>Kenton Terry Meyer, "The Crumhorn", PhD thesis (Iowa City: University of Iowa, 1981): 21–22.</ref> The early Baroque composer and author [[Michael Praetorius]] used the word as a Latin equivalent of the German "Schallmeye" (shawm) or for the "Krumbhoerner" ([[crumhorn]]s)—in the latter case also offering the Italian translations ''storti'', and ''cornamuti torti''.<ref>Michael Praetorius, ''Syntagmatis Musici, Tomus Secundus: De Organographia'' (Wolffenbüttel: Elias Holwein, 1619): 3, 40.</ref>

A more particular term, ''lituus alpinus'', was used in 1555 by the Swiss naturalist [[Conrad Gessner]] when he published the earliest detailed description of the [[Alphorn]]: "nearly eleven feet long, made from two pieces of wood slightly curved and hollowed out, fitted together and skillfully bound with [[Salix viminalis|osiers]]".<ref>"longum ferè ad pedes undecim, duobus lignis modicè incuruis & excauatis compactum, & uiminibus scitè obligatum" ([[Conrad Gessner]], ''[http://reader.digitale-sammlungen.de/de/fs1/object/display/bsb11067616_00002.html De raris et admirandis herbis qvae sive qvod noctv luceant, siue alias ob causas, lunariae nominantur, commentariolus : & obiter de alijs etiam rebus quæ in tenebris lucent : inferunter & icones quedam herbarum nove : eivsdem descriptio Montis Fracti, siue Montis Pilati, iuxta Lucernam in Heluetia : his accedvnt Io. Dv Chovl G.F. Lugdunensis, Pilati Montis in Gallia descriptio : Io Rhellicani Stockhornias, qua Stockhornus mons altissimus in Bernensium Heluetiorum agro, versibus heroicis describitur]''. Tigvri [Zurich]: Apud Andream Gesnerum F. & Iacobvm Gesnerum, frates, 1555): 52.</ref>

A study made of Swedish dictionaries found that during the seventeenth century ''lituus'' was variously translated as ''sinka'' (= German ''Zink'', cornett), ''krumhorn'', ''krum trometa'' (curved trumpet), ''[[Clarion (instrument)|claret]]'', or ''horn''.<ref>Kenton Terry Meyer, "The Crumhorn", PhD thesis (Iowa City: University of Iowa, 1981): 20–21, citing Stig Walin, "Musikinstrumenttermer i äldre svenska lexikon", ''Svensk tidskrift för musikforskning'' 30 (1948): 5–40; 31 (1949), 5–82.</ref>

In the eighteenth century the word once again came to describe contemporary brass instruments, such as in a 1706 inventory from the [[Osek (Teplice District)|Ossegg]] monastery in Bohemia, which equates it with the hunting horn: "litui vulgo Waldhörner duo ex tono G".<ref>James W. McKinnon, "Lituus", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]] (London: Macmillan Publishers, 2001); Sibyl Marcuse, "Lituus", ''Musical Instruments: A Comprehensive Dictionary'', corrected edition, The Norton Library N758 (New York: W. W. Norton & Company Inc., 1975. {{ISBN|0-393-00758-8}}.</ref> Nevertheless, in 1732 [[Johann Gottfried Walther]] referred back to Renaissance and Medieval definitions, defining ''lituus'' as "a cornett, formerly it also signified a shawm or, in Italian ''tubam curvam'', a HeerHorn".<ref>Johann Gottfried Walther, ''Musicalisches Lexicon Oder Musicalische Bibliothec: Darinnen nicht allein Die Musici, welche so wol in alten als neuern Zeiten, ... durch Theorie und Praxis sich hervor gethan, ... angeführet, Sondern auch Die in Griechischer, Lateinischer, Italiänischer und Frantzösischer Sprache gebräuchliche Musicalische Kunst- oder sonst dahin gehörige Wörter, ... vorgetragen und erkläret'' (Leipzig: Wolffgang Deer, 1732): 367.</ref> (''Heerhorn'' or ''Herhorn'' was a Middle High German name for a metal, slightly curved military signal horn, approximately five feet long, played with the bell turned upward.)<ref>Sibyl Marcuse, "Heerhorn", "Herhorn", ''Musical Instruments: A Comprehensive Dictionary'', corrected edition, The Norton Library N758 (New York: W. W. Norton & Company Inc., 1975. {{ISBN|0-393-00758-8}}.</ref> In 1738, the well-known horn player [[Anton Joseph Hampel]] served as a godfather at the baptism of a daughter of the renowned Dresden lutenist [[Silvius Leopold Weiss]]. In the baptismal register he was described as "Lituista Regius"—"royal lituus player".<ref>[[Hans-Joachim Schulze]], "''O Jesu Christ, meins Lebens Licht'': On the Transmission of a Bach Source and the Riddle of Its Origin", in ''A Bach Tribute: Essays in Honor of William H. Scheide'', edited by Paul Brainard and Ray Robinson, 209–20 (Kassel and New York: Bärenreiter; Chapel Hill: Hinshaw Music, 1993): 214. {{ISBN|978-0-937276-12-9}}.</ref> In the second half of the 18th century the lituus was described in one source as a Latin name for the [[trumpet]] or [[Natural horn|horn]].<ref>Ignaz Franz Xaver Kürzinger, ''Getreuer Unterricht zum Singen mit Manieren, und die Violin zu spielen'' (Augsburg: Johann Jacob Lotter, 1763): 84.</ref>

A number of musical compositions from the Baroque era specify an instrument by the Latin name ''lituus'', including [[Johann Sebastian Bach|Bach's]] [[motet]] [[O Jesu Christ, meins Lebens Licht, BWV 118|''O Jesu Christ, meins Lebens Licht'' (BWV 118)]], a partita attributed to [[Jan Josef Ignác Brentner]], as well as several masses and concertos by [[Johann Valentin Rathgeber]]. Scientists from [[Edinburgh University]] tried to recreate the lituus used by Bach in May 2009, in the form of a long wooden trumpet, assuming the word does not refer to the horn and the instrument had been out of use for 300 years.<ref>Pallab Ghosh, "[http://news.bbc.co.uk/1/hi/sci/tech/8075223.stm 'Lost' Music Instrument Recreated]", BBC News (30 May 2009; accessed 30 May 2009).</ref><ref>Archived at [https://ghostarchive.org/varchive/youtube/20211211/I5aHfVk_71c Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20120430162724/http://www.youtube.com/watch?v=I5aHfVk_71c Wayback Machine]{{cbignore}}: {{cite web |author=Engineering and Physical Sciences Research Council (EPSRC) |url=https://www.youtube.com/watch?v=I5aHfVk_71c |title=Scientists Recreate Bachs Forgotten Horn |accessdate=1 June 2009 |date=1 June 2009 |publisher=YouTube |work=EPSRCvideo}}{{cbignore}}</ref>

==References==
{{Reflist}}

==Further reading==
{{commons|Lituus}}
*{{cite EB1911|wstitle=Lituus |volume=16 |short=x}}
* [[Conrad Gessner|Gessner, Conrad]]. 1555. "Descriptio Montis Fracti iuxta Lvcernam, et primum Chorographica, praefertim quod ad paludem Pilati in eo memorabilem". In his ''[http://reader.digitale-sammlungen.de/en/fs1/object/display/bsb11067616_00001.html De raris et admirandis herbis qvae sive qvod noctv luceant, siue alias ob causas, lunariae nominantur, commentariolus : & obiter de alijs etiam rebus quæ in tenebris lucent : inferunter & icones quedam herbarum nove: eivsdem descriptio Montis Fracti, siue Montis Pilati, iuxta Lucernam in Heluetia: his accedvnt Io. Dv Chovl G.F. Lugdunensis, Pilati Montis in Gallia descriptio: Io Rhellicani Stockhornias, qua Stockhornus mons altissimus in Bernensium Heluetiorum agro, versibus heroicis describitur]'', 45–67. Tigvri [Zurich]: Apud Andream Gesnerum F. & Iacobvm Gesnerum, frates.
* Meucci, Renato. 1989. "Roman Military Instruments and the Lituus". ''The Galpin Society Journal'' 42 (August): 85–97.
* Szadrowsky, H. 1867–68. "[https://books.google.com/books?id=MeVAAQAAMAAJ&pg=PA288&dq=alphorn+liti&hl=en&sa=X&ved=0CDQQ6AEwA2oVChMIyJyurKeGxgIVhCyICh2zcA1a#v=onepage&q=skizze&f=false Die Musik und die tonerzeugende Instrumente der Alpenbewohner: Eine kulturhistorische Skizze]". ''Jahrbuch des schweizer Alpenclubs'' 4:275–352.

{{Natural horns}}

[[Category:Ancient Roman religion]]
[[Category:Ancient Roman musical instruments]]
[[Category:Natural horns and trumpets]]

[[hu:Lituus (egyértelműsítő lap)]]

Dankiyo

2022-10-05T09:51:21Z

MonkeyPython: can find no discussion or reason for merge suggestion anywhere. one is greek the other is turk

[[File:Touloum.JPG|right|300px|thumb|Pontic bagpipe/dankiyo/tulum]]
'''Dankiyo''' (from [[ancient Greek]]: To angeion (Τὸ ἀγγεῖον)), is an ancient word from the text of [[Evliya Çelebi]] (17th century, [[Ottoman Empire|Ottoman]] Era "The [[Laz people|Laz]]'s of [[Trabzon|Trebizond]] invented a bagpipe called a dankiyo..."<ref> [http://www.karalahana.com/muzik/tulum.html Tulum and Dankiyo] {{webarchive|url=https://web.archive.org/web/20080720001006/http://www.karalahana.com/muzik/tulum.html |date=2008-07-20 }} </ref> describing the [[Pontian Greeks|Pontian]] [[tulum (bagpipe)|tulum]], a type of [[bagpipe]] which the ancient Greeks called an ''askaulos'' (ἀσκός ''askos'' – wine-skin, αὐλός ''aulos'' – flute). It consists of a lamb skin, a blow pipe, and the double reed [[chanter]].

The dankiyo is played in small villages near [[Trabzon]] and [[Rize]]. A similar type of bagpipe possessing fewer holes can be found on the islands of Greece. Its use is also widespread in the region of Macedonia in Northern Greece amongst [[Pontian Greeks|Pontian Greek]] populations. What differentiates the dankiyo from other bagpipes is that the dankiyo does not use a separate pipe for the drone. Instead, the sound is created by two reeds in the chanter.

==Etymology==
[[Ancient Greek]]: To angeion (Τὸ ἀγγεῖον) "the vessel". Can also be interpreted as "the container".{{fact|date=July 2011}}

== Parts of the instrument ==
The Pontian Touloum is made up of these parts:
#[[Aulos]] - flute : Wood & Reeds (ancient Greek instrument}
#Post - Skin (bag) : Animal Skin
#Fisaktir - blowpipe : Wood or Bone
#Kalame - Reeds: Reeds

== Notes ==
<references/>

==References==
*[[Özhan Öztürk]] (2005). Karadeniz: Ansiklopedik Sözlük. 2 Cilt. Heyamola Yayıncılık. İstanbul. {{ISBN|975-6121-00-9}}

[[Category:Bagpipes]]
[[Category:Musical instruments of Georgia (country)]]
[[Category:Pontus (region)]]
[[Category:Trabzon]]
[[Category:Turkish musical instruments]]

{{Greek musical instruments}}
{{Turkish musical instruments}}
[[Category:Laz musical instruments]]
[[Category:Pontic Greek musical instruments]]

Tulum (bagpipe)

2022-10-05T09:51:08Z

MonkeyPython: can find no discussion or reason for merge suggestion anywhere. one is greek the other is turk

{{other uses|Tulum (disambiguation)}}
{{Infobox Instrument
|name=Tulum
|names=
|image=Tulumcu.jpg
|classification=
*[[Bagpiping]]
|range=
|related=
*[[Bock (bagpipe)|Bock]] (Czech)
*[[Gaida|Gajda]] (Macedonian)
*[[Cimpoi]] (Romanian)
*[[Duda]] (Hungarian/Polish)
*[[Koza (bagpipe)|Koza]] (Polish)
*[[Diple]] ([[Dalmatia]])
*[[Istarski mih|Mih]] ([[Istria]]n)
*Tulum ([[Azerbaijan]],Turkish and Pontic)
*Tsambouna (Dodecanese and Cyclades)
*[[Askomandoura]] (Crete)
*Gajdy (Polish/Czech/Slovak)
*Gaita ([[Galicia (Spain)|Galician]])([[Asturias|Asturian]])
*[[Gaida]] (Bulgarian)
*Surle (Serbian/Croatian)
*Mezoued/Zukra (Northern Africa)
*Guda, tulum ([[Laz people]])
*Angeion, zimpona ([[Pontic Greeks|Pontic]])
*[[Parkapzuk]] ([[Armenia]])
*[[Gudastviri]] ([[Georgia (country)|Georgia]])
*Tsimboni ([[Georgia (country)|Georgia]])([[Adjara]])
*Shuvyr ([[Circassians]] )
*Sahbr, Shapar ([[Chuvashia]])
*[[Volynka]] ({{lang-uk|Волинка}}), ({{lang-ru|Волынка}}) ([[Ukraine]], [[Russia]])
*[[Swedish bagpipes]] ([[Sweden]])
*[[Ney-anbān]] ([[Iran]])
}}
[[File:Birol-topaloglu-tulum.jpg|thumb|right|190px|[[Laz people|Laz]] musician Birol Topaloglu plays the tulum]]
[[File:Hemshin flag.jpg|thumb|right|190px|Hemshin flag]]
[[File:Behçet gülas.jpg|thumb|right|190px|[[Hemshin peoples|Hemshin]] musician Behçet Gülas plays the tulum]]

The '''''tulum''''' ({{lang-lzz|გუდა|translit=guda}}) is a [[musical instrument]], a form of [[bagpipe]] from the Black Sea region of [[Turkey]]. It is droneless with two parallel chanters, and is usually played by the [[Laz people|Laz]], Black sea Turks, [[Hemshin peoples]] and by [[Pontic Greeks]], particularly Chaldians. It is a prominent instrument in the music of [[Pazar, Rize|Pazar]], [[Hemşin]], [[Çamlıhemşin]], [[Ardeşen]], [[Fındıklı, Rize|Fındıklı]], [[Arhavi]], [[Hopa]], some other districts of [[Artvin]] and in the villages of the Tatos range (the watershed between the provinces of [[Rize Province|Rize]] and [[Trabzon Province|Trabzon]]) of [[İspir]]. It is the characteristic instrument of the [[transhumant]] population of the northeastern provinces of [[Anatolia]] and, like the [[Kemençe of the Black Sea|kemençe]] in its area, the ''tulum'' imposes its style on all the dance and entertainment music of those for whom it is "our music".<ref>Picken, Laurence. Folk Music Instruments of [[Turkey]]. [[Oxford University]] Press. London. p. 547</ref>

==Terminology==
Some of the names of bagpipes from the Near East include:
*Guda ([[Laz language|Laz]])
*Gudast'vri, გუდასტვირი ([[Georgian language|Georgian]])
*Ç'ip'oni ([[Artvin]], [[Adjara]], [[Lazistan|Lazona]])
*Dankio ([[Pontic Greek]], Romeika)
*Parkapzuk, Պարկապզուկ ([[Armenian language|Armenian]])
*Shuvyr ([[Mari people]]), North Circassians)
*Sahbr, Shapar ([[Chuvash language|Chuvash]])
*Tulum ([[Azerbaijani language|Azerbaijani]], [[Turkish language|Turkish]]).<ref>[[Özhan Öztürk]]. Karadeniz Ansiklopedik Sözlük. Istanbul. 2005 pp.1119-1122</ref>

==Etymology==
[[Turkish language|Turkish]] ''tulum'' is "a skin container".<ref>An Etymological Dictionary of Pre-Thirteenth Century Turkish. Oxford University Press. 1972. p. 500</ref>

==See also==
*[[Dankiyo]]
*[[Tulum-zurna]]
*[[Hemshin peoples]]
*[[List of bagpipes]]

==Notes==
{{reflist}}

==External links==
*[http://pontian.info/MUSIC/touloum.htm Tulum of Pontic People] at Pontian.info
*[https://web.archive.org/web/20100101220719/http://karalahana.com/english.html Pontic music and dance samples] at Karalahana.com
*[https://web.archive.org/web/20071218145337/http://www.discoverturkey.com/muzik-ornek/02-tulum.mp3 Short recording of tulum] at Discover Turkey
*[https://web.archive.org/web/20080513071300/http://www.discoverturkey.com/english/kultursanat/b-h-tulum.html Tulum] at Discover Turkey
*[https://web.archive.org/web/20110721025952/http://www.hangebi.ge/gudachiben.htm Gudachiben] at Hangebi.ge
*[http://pontosworld.com/index.php?option=com_content&task=view&id=1598&Itemid=78 Pontic Angeion (Touloum)]

{{Armenian musical instruments}}
{{Turkish musical instruments}}
{{Azerbaijani musical instruments}}
{{commonscat|Tulum (bagpipe)}}
{{DEFAULTSORT:Tulum (Bagpipe)}}
[[Category:Bagpipes]]
[[Category:Azerbaijani musical instruments]]
[[Category:Turkish folk music instruments]]
[[Category:Musical instruments of Georgia (country)]]
[[Category:Turkish words and phrases]]
[[Category:Laz musical instruments]]
[[Category:Pontic Greek musical instruments]]