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Jump to navigationJump to searchFor other uses, see A cappella (disambiguation).A cappellaStylistic originsChurch musicGregorian chantingmadrigalsCultural originsJewish and Christian worshipTypical instrumentsVocalsvocal percussionbeatboxingbody percussionlive loopinginstrument mimicrySubgenresBarbershop musiccollegiate a cappellapuirt à beulA cappella (/ˌækəˈpɛlə/ US: /ˌɑːkə-/,Italian:[a kapˈpɛlla]; Italian for "in the manner of the chapel")[1]music is specifically group or solo singing without instrumental accompaniment, or a piece intended to be performed in this way. It contrasts with cantata, which is usually accompanied singing. The term "a cappella" was originally intended to differentiate between Renaissance polyphony and Baroque concertato style. In the 19th century, a renewed interest in Renaissance polyphony coupled with an ignorance of the fact that vocal parts were often doubled by instrumentalists led to the term coming to mean unaccompanied vocal music.[1]The term is also used, albeit rarely, as a synonym for alla breve.[2]Contents1Religious origins1.1Christian1.1.1Byzantine Rite1.1.2Opposition to instruments in worship1.1.3Acceptance of instruments in worship1.2Jewish2In the United States2.1Recording artists2.2Musical theatre2.3Barbershop style2.4Amateur and high school3In other countries3.1Pakistan3.2Sri Lanka3.3Sweden3.4United Kingdom4Collegiate5Emulating instruments6See also7Notes8Footnotes9References10External linksReligious origins[edit]A cappella music was originally used in religious music, especially church music as well as anasheed and zemirot. Gregorian chant is an example of a cappella singing, as is the majority of secular vocal music from the Renaissance. The madrigal, up until its development in the early Baroque into an instrumentally-accompanied form, is also usually in a cappella form. Jewish and Early Christian music was largely a cappella,[3]although as noted by the Psalms some songs were accompanied by string instruments[4][citation needed]and this practice has continued in both of these religions as well as in Islam.Christian[edit]The polyphony of Christian a cappella music began to develop in Europe around the late 15th century AD, with compositions by Josquin des Prez.[5]The early a cappella polyphonies may have had an accompanying instrument, although this instrument would merely double the singers' parts and was not independent. By the 16th century, a cappella polyphony had further developed, but gradually, the cantata began to take the place of a cappella forms.[5]16th century a cappella polyphony, nonetheless, continued to influence church composers throughout this period and to the present day. Recent evidence has shown that some of the early pieces by Palestrina, such as what was written for the Sistine Chapel was intended to be accompanied by an organ "doubling" some or all of the voices.[5]Such is seen in the life of Palestrina becoming a major influence on Bach, most notably in the Mass in B Minor.Other composers that utilized the a cappella style, if only for the occasional piece, were Claudio Monteverdi and his masterpiece, Lagrime d'amante al sepolcro dell'amata (A lover's tears at his beloved's grave), which was composed in 1610,[6]and Andrea Gabrieli when upon his death it was discovered many choral pieces, one of which was in the unaccompanied style.[7]Learning from the preceding two composeres, Heinrich Schütz utilized the a cappella style in numerous pieces, chief among these were the pieces in the oratorio style, which were traditionally performed during the Easter week and dealt with the religious subject matter of that week, such as Christ's suffering and the Passion. Five of Schutz's Historien were Easter pieces, and of these the latter three, which dealt with the passion from three different viewpoints, those of Matthew, Luke and John, were all done a cappella style. This was a near requirement for this type of piece, and the parts of the crowd were sung while the solo parts which were the quoted parts from either Christ or the authors were performed in a plainchant.[8]Byzantine Rite[edit]In the Byzantine Rite of the Eastern Orthodox Church and the Eastern Catholic Churches, the music performed in the liturgies is exclusively sung without instrumental accompaniment. Bishop Kallistos Ware says, "The service is sung, even though there may be no choir... In the Orthodox Church today, as in the early Church, singing is unaccompanied and instrumental music is not found."[9]This a cappella behavior arises from strict interpretation of Psalms 150, which states, Let every thing that hath breath praise the Lord. Praise ye the Lord.[10]In keeping with this philosophy, early Russian musika which started appearing in the late 17th century, in what was known as khorovïye kontsertï (choral concertos) made a cappella adaptations of Venetian-styled pieces, such as the treatise, Grammatika musikiyskaya (1675), by Nikolai Diletsky.[11]Divine Liturgies and Western Rite masses composed by famous composers such as Peter Tchaikovsky, Sergei Rachmaninoff, Alexander Arkhangelsky, and Mykola Leontovych are fine examples of this.Opposition to instruments in worship[edit]Present-day Christian religious bodies known for conducting their worship services without musical accompaniment include some Presbyterian churches devoted to the regulative principle of worship, Old Regular Baptists, Primitive Baptists, Plymouth Brethren, Churches of Christ, Church of God (Guthrie, Oklahoma), the Old German Baptist Brethren, Doukhobors the Byzantine Rite and the Amish, Old Order Mennonites and Conservative Mennonites. Certain high church services and other musical events in liturgical churches (such as the Roman Catholic Mass and the Lutheran Divine Service) may be a cappella, a practice remaining from apostolic times. Many Mennonites also conduct some or all of their services without instruments. Sacred Harp, a type of folk music, is an a cappella style of religious singing with shape notes, usually sung at singing conventions.Opponents of musical instruments in the Christian worship believe that such opposition is supported by the Christian scriptures and Church history. The scriptures typically referenced are Matthew 26:30; Acts 16:25; Romans 15:9; 1 Corinthians 14:15; Ephesians 5:19; Colossians 3:16; Hebrews 2:12, 13:15; James 5:13, which show examples and exhortations for Christians to sing.[12]There is no reference to instrumental music in early church worship in the New Testament, or in the worship of churches for the first six centuries.[13][14]Several reasons have been posited throughout church history for the absence of instrumental music in church worship.[nb 1]Christians who believe in a cappella music today believe that in the Israelite worship assembly during Temple worship only the Priests of Levi sang, played, and offered animal sacrifices, whereas in the church era, all Christians are commanded to sing praises to God. They believe that if God wanted instrumental music in New Testament worship, He would have commanded not just singing, but singing and playing like he did in the Hebrew scriptures.The first recorded example of a musical instrument in Roman Catholic worship was a pipe organ introduced by Pope Vitalian into a cathedral in Rome around 670.[16][nb 2]Instruments have divided Christendom since their introduction into worship. They were considered a Catholic innovation, not widely practiced until the 18th century, and were opposed vigorously in worship by a number of Protestant Reformers, including Martin Luther (1483–1546),[18]Ulrich Zwingli, John Calvin (1509–1564)[19]and John Wesley (1703–1791).[20]Alexander Campbell referred to the use of an instrument in worship as "a cow bell in a concert".[21]In Sir Walter Scott's The Heart of Midlothian, the heroine, Jeanie Deans, a Scottish Presbyterian, writes to her father about the church situation she has found in England (bold added):The folk here are civil, and, like the barbarians unto the holy apostle, have shown me much kindness; and there are a sort of chosen people in the land, for they have some kirks without organs that are like ours, and are called meeting-houses, where the minister preaches without a gown.[22]Acceptance of instruments in worship[edit]Those who do not adhere to the regulative principle of interpreting Christian scripture, believe that limiting praise to the unaccompanied chant of the early church is not commanded in scripture, and that churches in any age are free to offer their songs with or without musical instruments.Those who subscribe to this interpretation believe that since the Christian scriptures never counter instrumental language with any negative judgment on instruments, opposition to instruments instead comes from an interpretation of history. There is no written opposition to musical instruments in any setting in the first century and a half of Christian churches (AD 33 to 180).[23]The use of instruments for Christian worship during this period is also undocumented. Toward the end of the 2nd century, Christians began condemning the instruments themselves.[24]Those who oppose instruments today believe these Church Fathers had a better understanding of God's desire for the church,[citation needed]but there are significant differences between the teachings of these Church Fathers and Christian opposition to instruments today.Modern Christians typically believe it is acceptable to play instruments or to attend weddings, funerals, banquets, etc., where instruments are heard playing religious music. The Church Fathers made no exceptions.[24] Since the New Testament never condemns instruments themselves, much less in any of these settings, it is believed that "the church Fathers go beyond the New Testament in pronouncing a negative judgment on musical instruments."[25]Written opposition to instruments in worship began near the turn of the 5th century.[26] Modern opponents of instruments typically do not make the same assessment of instruments as these writers,[nb 3] who argued that God had allowed David the "evil" of using musical instruments in praise.[29] While the Old Testament teaches that God specifically asked for musical instruments,[30] modern concern is for worship based on the New Testament.Since "a cappella" singing brought a new polyphony (more than one note at a time) with instrumental accompaniment, it is not surprising that Protestant reformers who opposed the instruments (such as Calvin and Zwingli) also opposed the polyphony.[31]While Zwingli was destroying organs in Switzerland – Luther called him a fanatic – the Church of England was burning books of polyphony.[32]Some Holiness Churches such as the Free Methodist Church opposed the use of musical instruments in church worship until the mid-20th century. The Free Methodist Church allowed for local church decision on the use of either an organ or piano in the 1943 Conference before lifting the ban entirely in 1955.Jewish[edit]While worship in the Temple in Jerusalem included musical instruments (2 Chronicles 29:25–29:27), traditional Jewish religious services in the Synagogue, both before and after the last destruction of the Temple, did not include musical instruments[33]given the practice of scriptural cantillation.[34]The use of musical instruments is traditionally forbidden on the Sabbath out of concern that players would be tempted to repair (or tune) their instruments, which is forbidden on those days. (This prohibition has been relaxed in many Reform and some Conservative congregations.) Similarly, when Jewish families and larger groups sing traditional Sabbath songs known as zemirot outside the context of formal religious services, they usually do so a cappella, and Bar and Bat Mitzvah celebrations on the Sabbath sometimes feature entertainment by a cappella ensembles. During the Three Weeks musical instruments are prohibited. Many Jews consider a portion of the 49-day period of the counting of the omer between Passover and Shavuot to be a time of semi-mourning and instrumental music is not allowed during that time.[35]This has led to a tradition of a cappella singing sometimes known as sefirah music.[36]The popularization of the Jewish chant may be found in the writings of the Jewish philosopher Philo, born 20 BC. Weaving together Jewish and Greek thought, Philo promoted praise without instruments, and taught that "silent singing" (without even vocal chords) was better still.[37]This view parted with the Jewish scriptures, where Israel offered praise with instruments by God's own command (2 Chronicles 29:25). The shofar is the only temple instrument still being used today in the synagogue,[38]and it is only used from Rosh Chodesh Elul through the end of Yom Kippur. The shofar is used by itself, without any vocal accompaniment, and is limited to a very strictly defined set of sounds and specific places in the synagogue service.[39]However, silver trumpets, as described in Numbers 10:1-10, have been made in recent years and used in prayer services at the Western Wall.[40]In the United States[edit]This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.Find sources: "A cappella" – news · newspapers · books · scholar · JSTOR(May 2013)(Learn how and when to remove this template message)The Hullabahoos, an a cappella group at the University of Virginia, were featured in the movie Pitch PerfectPeter Christian Lutkin, dean of the Northwestern University School of Music, helped popularize a cappella music in the United States by founding the Northwestern A Cappella Choir in 1906. The A Cappella Choir was "the first permanent organization of its kind in America."[41][42]An a cappella tradition was begun in 1911 by F. Melius Christiansen, a music faculty member at St. Olaf College in Northfield, Minnesota.[43]The St. Olaf College Choir was established as an outgrowth of the local St. John's Lutheran Church, where Christiansen was organist and the choir was composed, at least partially, of students from the nearby St. Olaf campus. The success of the ensemble was emulated by other regional conductors, and a tradition of a cappella choral music was born in the region at colleges like Concordia College (Moorhead, Minnesota), Augustana College (Rock Island, Illinois), Wartburg College(Waverly, Iowa), Luther College (Decorah, Iowa), Gustavus Adolphus College (St. Peter, Minnesota), Augustana College (Sioux Falls, South Dakota), and Augsburg University (Minneapolis, Minnesota). The choirs typically range from 40 to 80 singers and are recognized for their efforts to perfect blend, intonation, phrasing and pitch in a large choral setting.[44][45]Movements in modern a cappella over the past century include barbershop and doo wop. The Barbershop Harmony Society, Sweet Adelines International, and Harmony Inc. host educational events including Harmony University, Directors University, and the International Educational Symposium, and international contests and conventions, recognizing international champion choruses and quartets.Many a cappella groups can be found in high schools and colleges. There are amateur Barbershop Harmony Society and professional groups that sing a cappella exclusively. Although a cappella is technically defined as singing without instrumental accompaniment, some groups use their voices to emulate instruments; others are more traditional and focus on harmonizing. A cappella styles range from gospel music to contemporary to barbershop quartets and choruses.The Contemporary A Cappella Society (CASA) is a membership option for former students, whose funds support hosted competitions and events.[46][47]A cappella music was popularized between the late 2000s and the early to mid-2010s with media hits such as the 2009–2014 TV show The Sing-Off and the musical comedy film series Pitch Perfect.Recording artists[edit]This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.Find sources: "A cappella" – news · newspapers · books · scholar · JSTOR(May 2014)(Learn how and when to remove this template message)In July 1943, as a result of the American Federation of Musicians boycott of US recording studios, the a cappella vocal group The Song Spinners had a best-seller with "Comin' In On A Wing And A Prayer". In the 1950s, several recording groups, notably The Hi-Los and the Four Freshmen, introduced complex jazz harmonies to a cappella performances. The King's Singers are credited with promoting interest in small-group a cappella performances in the 1960s. Frank Zappa loves Doo wop and A cappella, so Zappa released The Persuasions' first album from his label in 1970.[48]In 1983, an a cappella group known as The Flying Pickets had a Christmas 'number one' in the UK with a cover of Yazoo's (known in the US as Yaz) "Only You". A cappella music attained renewed prominence from the late 1980s onward, spurred by the success of Top 40 recordings by artists such as The Manhattan Transfer, Bobby McFerrin, Huey Lewis and the News, All-4-One, The Nylons, Backstreet Boys, Boyz II Men, and *NSYNC.[citation needed]Contemporary a cappella includes many vocal groups and bands who add vocal percussion or beatboxing to create a pop/rock/gospel sound, in some cases very similar to bands with instruments. Examples of such professional groups include Straight No Chaser, Pentatonix, The House Jacks, Rockapella, Mosaic, Home Freeand M-pact. There also remains a strong a cappella presence within Christian music, as some denominations purposefully do not use instruments during worship. Examples of such groups are Take 6, Glad and Acappella. Arrangements of popular music for small a cappella ensembles typically include one voice singing the lead melody, one singing a rhythmic bass line, and the remaining voices contributing chordal or polyphonic accompaniment.A cappella can also describe the isolated vocal track(s) from a multitrack recording that originally included instrumentation.[citation needed]These vocal tracks may be remixed or put onto vinyl records for DJs, or released to the public so that fans can remix them. One such example is the a cappella release of Jay-Z's Black Album, which Danger Mouse mixed with The Beatles' White Album to create The Grey Album.On their 1966 album titled Album, Peter, Paul and Mary included the song "Norman Normal." All the sounds on that song, both vocals and instruments, were created by Paul's voice, with no actual instruments used.[49]In 2013, an artist by the name Smooth McGroove rose to prominence with his style of a cappella music.[50]He is best known for his a cappella covers of video gamemusic tracks on YouTube.[51]in 2015, an a cappella version of Jerusalem by multi-instrumentalist Jacob Collier was selected for Beats by Dre "The Game Starts Here" for the England Rugby World Cup campaign.[52][53]Musical theatre[edit]A cappella has been used as the sole orchestration for original works of musical theatre that have had commercial runs Off-Broadway (theatres in New York City with 99 to 500 seats) only four times. The first was Avenue X which opened on 28 January 1994 and ran for 77 performances. It was produced by Playwrights Horizons with book by John Jiler, music and lyrics by Ray Leslee. The musical style of the show's score was primarily Doo-Wop as the plot revolved around Doo-Wop group singers of the 1960s.[54][55]In 2001, The Kinsey Sicks, produced and starred in the critically acclaimed off-Broadway hit, "DRAGAPELLA! Starring the Kinsey Sicks" at New York's legendary Studio 54. That production received a nomination for a Lucille Lortel award as Best Musical and a Drama Desk nomination for Best Lyrics. It was directed by Glenn Casale with original music and lyrics by Ben Schatz.[56]The a cappella musical Perfect Harmony, a comedy about two high school a cappella groups vying to win the National championship, made its Off Broadway debut at Theatre Row's Acorn Theatre on 42nd Street in New York City in October, 2010 after a successful out-of-town run at the Stoneham Theatre, in Stoneham, Massachusetts. Perfect Harmony features the hit music of The Jackson 5, Pat Benatar, Billy Idol, Marvin Gaye, Scandal, Tiffany, The Romantics, The Pretenders, The Temptations, The Contours, The Commodores, Tommy James & the Shondells and The Partridge Family, and has been compared to a cross between Altar Boyz and The 25th Annual Putnam County Spelling Bee.[57][58]The fourth a cappella musical to appear Off-Broadway, In Transit, premiered 5 October 2010 and was produced by Primary Stages with book, music, and lyrics by Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan, and Sara Wordsworth. Set primarily in the New York City subway system its score features an eclectic mix of musical genres (including jazz, hip hop, Latin, rock, and country). In Transit incorporates vocal beat boxing into its contemporary a cappella arrangements through the use of a subway beat boxer character. Beat boxer and actor Chesney Snow performed this role for the 2010 Primary Stages production.[59]According to the show's website, it is scheduled to reopen for an open-ended commercial run in the Fall of 2011. In 2011, the production received four Lucille Lortel Award nominations including Outstanding Musical, Outer Critics Circle and Drama League nominations, as well as five Drama Desk nominations including Outstanding Musical and won for Outstanding Ensemble Performance.In December 2016, In Transit became the first a cappella musical on Broadway.[60]Barbershop style[edit]Main article: Barbershop musicThis section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.Find sources: "A cappella" – news · newspapers · books · scholar · JSTOR(May 2018)(Learn how and when to remove this template message)Barbershop music is one of several uniquely American art forms. The earliest reports of this style of a cappella music involved African Americans. The earliest documented quartets all began in barber shops. In 1938, the first formal men's barbershop organization was formed, known as the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America (S.P.E.B.S.Q.S.A), and in 2004 rebranded itself and officially changed its public name to the Barbershop Harmony Society (BHS). Today the BHS has about 22,000 members in approximately 800 chapters across the United States and Canada,[61][62]and the barbershop style has spread around the world with organizations in many other countries.[63]The Barbershop Harmony Society provides a highly organized competition structure for a cappella quartets and choruses singing in the barbershop style.In 1945, the first formal women's barbershop organization, Sweet Adelines, was formed. In 1953, Sweet Adelines became an international organization, although it didn't change its name to Sweet Adelines International until 1991. The membership of nearly 25,000 women, all singing in English, includes choruses in most of the fifty United States as well as in Australia, Canada, Finland, Germany, Ireland, Japan, New Zealand, Spain, Sweden, the United Kingdom, and the Netherlands. Headquartered in Tulsa, Oklahoma, the organization encompasses more than 1,200 registered quartets and 600 choruses.In 1959, a second women's barbershop organization started as a break off from Sweet Adelines due to ideological differences. Based on democratic principles which continue to this day, Harmony, Inc. is smaller than its counterpart, but has an atmosphere of friendship and competition. With about 2,500 members in the United States and Canada, Harmony, Inc. uses the same rules in contest that the Barbershop Harmony Society uses. Harmony, Inc. is registered in Providence, Rhode Island.Amateur and high school[edit]The popularity of a cappella among high schools and amateurs was revived by television shows and movies such as Glee and Pitch Perfect. High school groups have conductors or student leaders who keep the tempo for the group.In other countries[edit]This section needs expansion.You can help by adding to it.(May 2013)Pakistan[edit]The musical show Strepsils Stereo is credited for introducing the art of a cappella in Pakistan.[64]Sri Lanka[edit]Composer Dinesh Subasinghe became the first Sri Lankan to write a cappella pieces for SATB choirs. He wrote "The Princes of the Lost Tribe" and "Ancient Queen of Somawathee" for Menaka De Shabandu and Bridget Halpe's choirs, respectively, based on historical incidents in ancient Sri Lanka.[65][66][67]Voice Print is also a professional a cappella music group in Sri Lanka.[68]Sweden[edit]This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.Find sources: "A cappella" – news · newspapers · books · scholar · JSTOR(May 2014)(Learn how and when to remove this template message)The European a cappella tradition is especially strong in the countries around the Baltic and perhaps most so in Sweden as described by Richard Sparks in his doctoral thesis The Swedish Choral Miracle in 2000.[69]Swedish a cappella choirs have over the last 25 years won around 25% of the annual prestigious European Grand Prix for Choral Singing (EGP) that despite its name is open to choirs from all over the world (see list of laureates in the Wikipedia article on the EGP competition).The reasons for the strong Swedish dominance are as explained by Richard Sparks manifold; suffice to say here that there is a long-standing tradition, an unsusually large proportion of the populations (5% is often cited) regularly sing in choirs, the Swedish choral director Eric Ericson had an enormous impact on a cappella choral development not only in Sweden but around the world, and finally there are a large number of very popular primary and secondary schools ('music schools') with high admission standards based on auditions that combine a rigid academic regimen with high level choral singing on every school day, a system that started with Adolf Fredrik's Music School in Stockholm in 1939 but has spread over the country.United Kingdom[edit]The Oxford Alternotives, the oldest a cappella group at the University of Oxford in the UKThis section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.(May 2014)(Learn how and when to remove this template message)The Sweet Nothings are one of the University of Exeter's eight a cappella groups. They are one of the oldest and most successful girl groups in the UKA cappella has gained attention in the UK in recent years, with many groups forming at British universities by students seeking an alternative singing pursuit to traditional choral and chapel singing. This movement has been bolstered by organisations such as The Voice Festival UK.Collegiate[edit]Main articles: Collegiate a cappella, List of collegiate a cappella groups, and List of collegiate a cappella groups in the UKThis section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.Find sources: "A cappella" – news · newspapers · books · scholar · JSTOR(May 2014)(Learn how and when to remove this template message)It is not clear exactly where collegiate a cappella began. The Rensselyrics of Rensselaer Polytechnic Institute (formerly known as the RPI Glee Club), established in 1873 is perhaps the oldest known collegiate a cappella group.[70][additional citation(s) needed]However the longest continuously-singing group is probably The Whiffenpoofs of Yale University,[71]which was formed in 1909 and once included Cole Porter as a member.[71]Collegiate a cappella groups grew throughout the 20th century. Some notable historical groups formed along the way include Colgate University's The Colgate 13 (1942), Dartmouth College's Aires (1946), Cornell University's Cayuga's Waiters (1949) and The Hangovers (1968), the University of Maine Maine Steiners (1958), the Columbia University Kingsmen (1949), the Jabberwocks of Brown University (1949), and the University of RochesterYellowJackets (1956).All-women a cappella groups followed shortly, frequently as a parody of the men's groups: the Smiffenpoofs of Smith College(1936), The Shwiffs of Connecticut College (The She-Whiffenpoofs, 1944), and The Chattertocks of Brown University (1951). A cappella groups exploded in popularity beginning in the 1990s, fueled in part by a change in style popularized by the Tufts University Beelzebubs and the Boston University Dear Abbeys. The new style used voices to emulate modern rock instruments, including vocal percussion/"beatboxing". Some larger universities now have multiple groups. Groups often join one another in on-campus concerts, such as the Georgetown Chimes' Cherry Tree Massacre, a 3-weekend a cappella festival held each February since 1975, where over a hundred collegiate groups have appeared, as well as International Quartet Champions The Boston Common and the contemporary commercial a cappella group Rockapella. Co-ed groups have produced many up-and-coming and major artists, including John Legend, an alumnus of the Counterparts at the University of Pennsylvania, and Sara Bareilles, an alumna of Awaken A Cappella at University of California, Los Angeles. Mira Sorvino is an alumna of the Harvard-Radcliffe Veritones of Harvard College, where she had the solo on Only You by Yaz.A cappella is gaining popularity among South Asians with the emergence of primarily Hindi-English College groups. The first South Asian a cappella group was Penn Masala, founded in 1996 at the University of Pennsylvania. Co-ed South Asian a cappella groups are also gaining in popularity. The first co-ed south Asian a cappella was Anokha, from the University of Maryland, formed in 2001. Also, Dil se, another co-ed a cappella from UC Berkeley, hosts the "Anahat" competition at the University of California, Berkeley annually. Maize Mirchi, the co-ed a cappella group from the University of Michigan hosts "Sa Re Ga Ma Pella", an annual South Asian a cappella invitational with various groups from the Midwest. Another South Asian group from the Midwest is Chai Town who is based in the University of Illinois at Urbana- Champaign.Jewish-interest groups such as Queens College's Tizmoret, Tufts University's Shir Appeal, University of Chicago's Rhythm and Jews, Binghamton University's Kaskeset, Ohio State University's Meshuganotes, Rutgers University's Kol Halayla, New York University's Ani V'Ata and Yale University's Magevet are also gaining popularity across the U.S.[72][73][74]Increased interest in modern a cappella (particularly collegiate a cappella) can be seen in the growth of awards such as the Contemporary A Cappella Recording Awards (overseen by the Contemporary A Cappella Society) and competitions such as the International Championship of Collegiate A Cappella for college groups and the Harmony Sweepstakes for all groups. In December 2009, a new television competition series called The Sing-Off aired on NBC. The show featured eight a cappella groups from the United States and Puerto Rico vying for the prize of $100,000 and a recording contract with Epic Records/Sony Music. The show was judged by Ben Folds, Shawn Stockman, and Nicole Scherzinger and was won by an all-male group from Puerto Rico called Nota. The show returned for a second, third and fourth season, won by Committed, Pentatonix and Home Free respectively.Each year, hundreds of Collegiate a cappella groups submit their strongest songs in a competition to be on The Best of College A Cappella (BOCA), an album compilation of tracks from the best college a cappella groups around the world. The album is produced by Varsity Vocals – which also produces the International Championship of Collegiate A Cappella – and Deke Sharon. ). According to ethnomusicologist Joshua S. Dunchan, "BOCA carries considerable cache and respect within the field despite the appearance of other compilations in part, perhaps, because of its longevity and the prestige of the individuals behind it."[75]Collegiate a cappella groups may also submit their tracks to Voices Only, a two-disc series released at the beginning of each school year. A Voices Only album has been released every year since 2005.[76]In addition, all women's a cappella groups can send their strongest song tracks to the Women's A Cappella Association (WACA) for its annual best of women's a cappella album. WACA offers another medium for women's voices to receive recognition and has released an album every year since 2014, featuring women's groups from across the United States.[77]Emulating instruments[edit]This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.(May 2014)(Learn how and when to remove this template message)In addition to singing words, some a cappella singers also emulate instrumentation by reproducing instrumental sounds with their vocal cords and mouth, often pitched using specialised pitch pipes. One of the earliest 20th century practitioners of this method were The Mills Brothers whose early recordings of the 1930s clearly stated on the label that all instrumentation was done vocally. More recently, "Twilight Zone" by 2 Unlimited was sung a cappella to the instrumentation on the comedy television series Tompkins Square. Another famous example of emulating instrumentation instead of singing the words is the theme song for The New Addams Familyseries on Fox Family Channel (now ABC Family). Groups such as Vocal Sampling and Undivided emulate Latin rhythms a cappella. In the 1960s, the Swingle Singers used their voices to emulate musical instruments to Baroque and Classical music. Vocal artist Bobby McFerrin is famous for his instrumental emulation. A cappella group Naturally Seven recreates entire songs using vocal tones for every instrument.The Swingle Singers used nonsense words to sound like instruments, but have been known to produce non-verbal versions of musical instruments. Beatboxing, more accurately known as vocal percussion, is a technique used in a cappella music popularized by the hip-hop community, where rap is often performed a cappella also. The advent of vocal percussion added new dimensions to the a cappella genre and has become very prevalent in modern arrangements.[78]Jazz vocalist Petra Hadenused a four-track recorder to produce an a cappella version of The Who Sell Out including the instruments and fake advertisements on her album Petra Haden Sings: The Who Sell Out in 2005. Haden has also released a cappella versions of Journey's "Don't Stop Believin'", The Beach Boys' "God Only Knows" and Michael Jackson's "Thriller".Christian rock group Relient K recorded the song "Plead the Fifth" a cappella on its album Five Score and Seven Years Ago. The group recorded lead singer Matt Thiessen making drum noises and played them with an electronic drum machine to record the song.See also[edit]Look up a cappella in Wiktionary, the free dictionary.Barbershop music – four-part a cappella (in close harmony)Collegiate a cappellaThe Contemporary A Cappella SocietyHarmony Sweepstakes A Cappella FestivalHome Free – quintet, winners of NBC's Sing-Off Season 4List of collegiate a cappella groupsList of professional a cappella groupsList of university a cappella groups in the United KingdomStraight No Chaser – 10 man a cappella ground founded at Indiana UniversitySweet Adelines InternationalNotes[edit]^ The absence of instrumental music is rooted in various hermeneutic principles (ways of interpreting the Bible) which determine what is appropriate for worship. Among such principles are the regulative principle of worship (Ulrich Zwingli), Sola scriptura (Martin Luther and Ulrich Zwingli), and the history of hymn in "Christianity". Dispensationalism emphasizes the differences between the old (Law of Moses) and the new (Jesus and the Apostles) covenants, emphasizing that the majority of the practices from the Law of Moses were replaced by the teachings of Jesus and the Apostles. The absence of instrumental music in early church worship is significant given the abundance of Hebrew Bible references and commands to worship God with harp, lyre and cymbal. After several hundred years of Tabernacle worship without references to instrumental music, King David (ca 1500 BC) introduced musical instruments into Temple worship reportedly because of a commandment from God, complete with who was to sing, who was to play, and what instruments were to be used.[15]^ McKinnon maintained that the organ was the first instrument to be introduced into worship and the next was the trumpet. He noted accounts of an organ being sent from Byzantium to Pippin in 757, and another to Charlemagne in 812.[17]^ Rather than calling the use of instruments "evil", modern opposition typically uses terms like "unspiritual"[27] or an Old Testament "shadow".[28]

Marvellous question! They are opposites, both talented, but oppositesCHESTERTONG.K. Chesterton seems to have been a genius in several fields. Not only could he be blindingly straight to the point, but he could do it in such a way that even his adversaries liked him! His main areas of activity seem to have been in the published word, and in art.“Born: Gilbert Keith Chesterton, 29 May 1874, Kensington, London, EnglandDied: 14 June 1936 (aged 62), Beaconsfield, Buckinghamshire, EnglandGilbert Keith Chesterton, was an English writer, philosopher, lay theologian, and literary and art critic. He has been referred to as the "prince of paradox". Time magazine observed of his writing style: "Whenever possible Chesterton made his points with popular sayings, proverbs, allegories—first carefully turning them inside out." Chesterton created the fictional priest-detective Father Brown, and wrote on apologetics. Even some of those who disagree with him have recognised the wide appeal of such works as Orthodoxy and The Everlasting Man. Chesterton routinely referred to himself as an "orthodox" Christian, and came to identify this position more and more with Catholicism, eventually converting to Catholicism from High Church Anglicanism. Biographers have identified him as a successor to such Victorian authors as Matthew Arnold, Thomas Carlyle, Cardinal John Henry Newman, and John Ruskin.On his contributions, T. S. Eliot wrote,He was importantly and consistently on the side of the angels. Behind the Johnsonian fancy-dress, so reassuring to the British public, he concealed the most serious and revolutionary designs—concealing them by exposure ... Chesterton's social and economic ideas...were fundamentally Christian and Catholic. He did more, I think, than any man of his time—and was able to do more than anyone else, because of his particular background, development and abilities as a public performer—to maintain the existence of the important minority in the modern world. He leaves behind a permanent claim upon our loyalty, to see that the work that he did in his time is continued in ours.VOLTAIREVoltaire, baptized François-Marie Arouet, 21 November 1694 – 30 May 1778, “was a French Enlightenment writer, historian, and philosopher famous for his wit, his criticism of Christianity—especially the Roman Catholic Church—as well as his advocacy of freedom of speech, freedom of religion, and separation of church and state.Voltaire was a versatile and prolific writer, producing works in almost every literary form, including plays, poems, novels, essays, histories, and scientific expositions. He wrote more than 20,000 letters and 2,000 books and pamphlets. He was one of the first authors to become renowned and commercially successful internationally. He was an outspoken advocate of civil liberties, and was at constant risk from the strict censorship laws of the Catholic French monarchy. His polemics witheringly satirized intolerance, religious dogma, and the French institutions of his day.The author adopted the name Voltaire in 1718, following his incarceration at the Bastille. Its origin is unclear. It is an anagram of AROVET LI, the Latinized spelling of his surname, Arouet, and the initial letters of le jeune ("the young"). According to a family tradition among the descendants of his sister, he was known as le petit volontaire ("determined little thing") as a child, and he resurrected a variant of the name in his adult life. The name also reverses the syllables of Airvault, his family's home town in the Poitou region.Richard Holmes supports the anagrammatic derivation of the name, but adds that a writer such as Voltaire would have intended it to also convey connotations of speed and daring. These come from associations with words such as voltige (acrobatics on a trapeze or horse), volte-face (a spinning about to face one's enemies), and volatile (originally, any winged creature). "Arouet" was not a noble name fit for his growing reputation, especially given that name's resonance with à rouer ("to be beaten up") and roué (a débauché).In a letter to Jean-Baptiste Rousseau in March 1719, Voltaire concludes by asking that, if Rousseau wishes to send him a return letter, he do so by addressing it to Monsieur de Voltaire. A postscript explains: "J'ai été si malheureux sous le nom d'Arouet que j'en ai pris un autre surtout pour n'être plus confondu avec le poète Roi", ("I was so unhappy under the name of Arouet that I have taken another, primarily so as to cease to be confused with the poet Roi."). This probably refers to Adenes le Roi, and the 'oi' diphthong was then pronounced like modern 'ouai', so the similarity to 'Arouet' is clear, and thus, it could well have been part of his rationale. Voltaire is known also to have used at least 178 separate pen names during his lifetime.Voltaire - WikipediaCOMPARING THEM, CHESTERTON WAS THE JOLLY GIANT, WHILE VOLTAIRE WAS THE STINGING WASP! MORE TO THE POINT, CHESTERTON WAS ALWAYS SEEKING THE TRUTH, AND CORRESPONDING WITH IT, EVEN TO THE POINT OF BECOMING A CATHOLIC.G.K. CHESTERTON:Early lifeChesterton was born in Campden Hill in Kensington, London, the son of Marie Louise, née Grosjean, and Edward Chesterton (1841–1922). G. K. Chesterton was baptised at the age of one month into the Church of England, though his family themselves were irregularly practising Unitarians. According to his autobiography, as a young man he became fascinated with the occult and, along with his brother Cecil, experimented with Ouija boards.Chesterton was educated at St Paul's School, then attended the Slade School of Art to become an illustrator. The Slade is a department of University College London, where Chesterton also took classes in literature, but did not complete a degree in either subject.Family lifeChesterton married Frances Blogg in 1901; the marriage lasted the rest of his life. Chesterton credited Frances with leading him back to Anglicanism, though he later considered Anglicanism to be a "pale imitation". He entered full communion with the Catholic Church in 1922. The couple were unable to have children.CareerIn September 1895 Chesterton began working for the London publisher Redway, where he remained for just over a year. In October 1896 he moved to the publishing house T. Fisher Unwin, where he remained until 1902. During this period he also undertook his first journalistic work, as a freelance art and literary critic. In 1902 the Daily News gave him a weekly opinion column, followed in 1905 by a weekly column in The Illustrated London News, for which he continued to write for the next thirty years.Early on Chesterton showed a great interest in and talent for art. He had planned to become an artist, and his writing shows a vision that clothed abstract ideas in concrete and memorable images. Even his fiction contained carefully concealed parables. Father Brown is perpetually correcting the incorrect vision of the bewildered folks at the scene of the crime and wandering off at the end with the criminal to exercise his priestly role of recognition and repentance. For example, in the story "The Flying Stars", Father Brown entreats the character Flambeau to give up his life of crime: "There is still youth and honour and humour in you; don't fancy they will last in that trade. Men may keep a sort of level of good, but no man has ever been able to keep on one level of evil. That road goes down and down. The kind man drinks and turns cruel; the frank man kills and lies about it. Many a man I've known started like you to be an honest outlaw, a merry robber of the rich, and ended stamped into slime."Chesterton loved to debate, often engaging in friendly public disputes with such men as George Bernard Shaw, H. G. Wells, Bertrand Russell and Clarence Darrow. According to his autobiography, he and Shaw played cowboys in a silent film that was never released.Visual witChesterton was a large man, standing 6 feet 4 inches (1.93 m) and weighing around 20 stone 6 pounds (130 kg; 286 lb). His girth gave rise to an anecdote during the First World War, when a lady in London asked why he was not "out at the Front"; he replied, "If you go round to the side, you will see that I am."On another occasion he remarked to his friend George Bernard Shaw, "To look at you, anyone would think a famine had struck England." Shaw retorted, "To look at you, anyone would think you had caused it."P. G. Wodehouse once described a very loud crash as "a sound like G. K. Chesterton falling onto a sheet of tin". Chesterton usually wore a cape and a crumpled hat, with a swordstick in hand, and a cigar hanging out of his mouth. He had a tendency to forget where he was supposed to be going and miss the train that was supposed to take him there. It is reported that on several occasions he sent a telegram to his wife Frances from an incorrect location, writing such things as "Am in Market Harborough. Where ought I to be?" to which she would reply, "Home". Chesterton himself told this story, omitting, however, his wife's alleged reply, in his autobiography.RadioIn 1931, the BBC invited Chesterton to give a series of radio talks. He accepted, tentatively at first. However, from 1932 until his death, Chesterton delivered over 40 talks per year. He was allowed (and encouraged) to improvise on the scripts. This allowed his talks to maintain an intimate character, as did the decision to allow his wife and secretary to sit with him during his broadcasts.The talks were very popular. A BBC official remarked, after Chesterton's death, that "in another year or so, he would have become the dominating voice from Broadcasting House."Death and venerationChesterton died of congestive heart failure on the morning of 14 June 1936, at his home in Beaconsfield, Buckinghamshire. His last known words were a greeting spoken to his wife. The sermon at Chesterton's Requiem Mass in Westminster Cathedral, London, was delivered by Ronald Knox on 27 June 1936. Knox said, "All of this generation has grown up under Chesterton's influence so completely that we do not even know when we are thinking Chesterton. He is buried in Beaconsfield in the Catholic Cemetery. Chesterton's estate was probated at £28,389, equivalent to £1,943,135 in 2019.Near the end of Chesterton's life, Pope Pius XI invested him as Knight Commander with Star of the Papal Order of St. Gregory the Great (KC*SG). The Chesterton Society has proposed that he be beatified. He is remembered liturgically on 13 June by the Episcopal Church, with a provisional feast day as adopted at the 2009 General Convention.WritingChesterton wrote around 80 books, several hundred poems, some 200 short stories, 4,000 essays (mostly newspaper columns), and several plays. He was a literary and social critic, historian, playwright, novelist, Catholic theologian and apologist, debater, and mystery writer. He was a columnist for the Daily News, The Illustrated London News, and his own paper, G. K.'s Weekly; he also wrote articles for the Encyclopædia Britannica, including the entry on Charles Dickens and part of the entry on Humour in the 14th edition (1929). His best-known character is the priest-detective Father Brown, who appeared only in short stories, while The Man Who Was Thursday is arguably his best-known novel. He was a convinced Christian long before he was received into the Catholic Church, and Christian themes and symbolism appear in much of his writing. In the United States, his writings on distributism were popularised through The American Review, published by Seward Collins in New York.Of his nonfiction, Charles Dickens: A Critical Study (1906) has received some of the broadest-based praise. According to Ian Ker (The Catholic Revival in English Literature, 1845–1961, 2003), "In Chesterton's eyes Dickens belongs to Merry, not Puritan, England"; Ker treats Chesterton's thought in Chapter 4 of that book as largely growing out of his true appreciation of Dickens, a somewhat shop-soiled property in the view of other literary opinions of the time.Chesterton's writings consistently displayed wit and a sense of humour. He employed paradox, while making serious comments on the world, government, politics, economics, philosophy, theology and many other topics.\Views and contemporariesChesterton's writing has been seen by some analysts as combining two earlier strands in English literature. Dickens' approach is one of these. Another is represented by Oscar Wilde and George Bernard Shaw, whom Chesterton knew well: satirists and social commentators following in the tradition of Samuel Butler, vigorously wielding paradox as a weapon against complacent acceptance of the conventional view of things.Chesterton's style and thinking were all his own, however, and his conclusions were often opposed to those of Oscar Wilde and George Bernard Shaw. In his book Heretics, Chesterton has this to say of Wilde: "The same lesson [of the pessimistic pleasure-seeker] was taught by the very powerful and very desolate philosophy of Oscar Wilde. It is the carpe diem religion; but the carpe diem religion is not the religion of happy people, but of very unhappy people. Great joy does not gather the rosebuds while it may; its eyes are fixed on the immortal rose which Dante saw."More briefly, and with a closer approximation of Wilde's own style, he writes in Orthodoxy concerning the necessity of making symbolic sacrifices for the gift of creation: "Oscar Wilde said that sunsets were not valued because we could not pay for sunsets. But Oscar Wilde was wrong; we can pay for sunsets. We can pay for them by not being Oscar Wilde."Chesterton and Shaw were famous friends and enjoyed their arguments and discussions. Although rarely in agreement, they both maintained good will toward, and respect for, each other. However, in his writing, Chesterton expressed himself very plainly on where they differed and why. In Heretics he writes of Shaw:“After belabouring a great many people for a great many years for being unprogressive, Mr. Shaw has discovered, with characteristic sense, that it is very doubtful whether any existing human being with two legs can be progressive at all. Having come to doubt whether humanity can be combined with progress, most people, easily pleased, would have elected to abandon progress and remain with humanity. Mr. Shaw, not being easily pleased, decides to throw over humanity with all its limitations and go in for progress for its own sake. If man, as we know him, is incapable of the philosophy of progress, Mr. Shaw asks, not for a new kind of philosophy, but for a new kind of man. It is rather as if a nurse had tried a rather bitter food for some years on a baby, and on discovering that it was not suitable, should not throw away the food and ask for a new food, but throw the baby out of window, and ask for a new baby.” [Chesterton 1905, chapter 4.] …Opposition to eugenicsIn Eugenics and Other Evils Chesterton attacked eugenics as Parliament was moving towards passage of the Mental Deficiency Act 1913. Some backing the ideas of eugenics called for the government to sterilise people deemed "mentally defective"; this view did not gain popularity but the idea of segregating them from the rest of society and thereby preventing them from reproducing did gain traction. These ideas disgusted Chesterton who wrote, "It is not only openly said, it is eagerly urged that the aim of the measure is to prevent any person whom these propagandists do not happen to think intelligent from having any wife or children."He blasted the proposed wording for such measures as being so vague as to apply to anyone, including "Every tramp who is sulk, every labourer who is shy, every rustic who is eccentric, can quite easily be brought under such conditions as were designed for homicidal maniacs. That is the situation; and that is the point … we are already under the Eugenist State; and nothing remains to us but rebellion."He derided such ideas as founded on nonsense, "as if one had a right to dragoon and enslave one's fellow citizens as a kind of chemical experiment". Chesterton also mocked the idea that poverty was a result of bad breeding: "[it is a] strange new disposition to regard the poor as a race; as if they were a colony of Japs or Chinese coolies … The poor are not a race or even a type. It is senseless to talk about breeding them; for they are not a breed. They are, in cold fact, what Dickens describes: 'a dustbin of individual accidents,' of damaged dignity, and often of damaged gentility.""Chesterbelloc"Chesterton is often associated with his close friend, the poet and essayist Hilaire Belloc. George Bernard Shaw coined the name "Chesterbelloc" for their partnership, and this stuck. Though they were very different men, they shared many beliefs; Chesterton eventually joined Belloc in the Catholic faith, and both voiced criticisms of capitalism and socialism. They instead espoused a third way: distributism. G. K.'s Weekly, which occupied much of Chesterton's energy in the last 15 years of his life, was the successor to Belloc's New Witness, taken over from Cecil Chesterton, Gilbert's brother, who died in World War I.Legacy: LiteraryIn his book On the Place of Gilbert Chesterton in English Letters, Hilaire Belloc writes: "Everything he wrote upon any one of the great English literary names was of the first quality. He summed up any one pen (that of Jane Austen, for instance) in exact sentences; sometimes in a single sentence, after a fashion which no one else has approached. He stood quite by himself in this department. He understood the very minds (to take the two most famous names) of Thackeray and of Dickens. He understood and presented Meredith. He understood the supremacy in Milton. He understood Pope. He understood the great Dryden. He was not swamped as nearly all his contemporaries were by Shakespeare, wherein they drown as in a vast sea – for that is what Shakespeare is. Gilbert Chesterton continued to understand the youngest and latest comers as he understood the forefathers in our great corpus of English verse and prose."[69]On the literary contributions of Chesterton, T. S. Eliot summarizes, "His poetry was first-rate journalistic balladry, and I do not suppose that he took it more seriously than it deserved. He reached a high imaginative level with The Napoleon of Notting Hill, and higher with The Man Who Was Thursday, romances in which he turned the Stevensonian fantasy to more serious purpose. His book on Dickens seems to me the best essay on that author that has ever been written. Some of his essays can be read again and again; though of his essay-writing as a whole, one can only say that it is remarkable to have maintained such a high average with so large an output."Chesterton's The Everlasting Man contributed to C. S. Lewis's conversion to Christianity. In a letter to Sheldon Vanauken (14 December 1950)[70][page needed] Lewis calls the book "the best popular apologetic I know",[71] and to Rhonda Bodle he wrote (31 December 1947) "the [very] best popular defence of the full Christian position I know is G. K. Chesterton's The Everlasting Man". The book was also cited in a list of 10 books that "most shaped his vocational attitude and philosophy of life."Chesterton's socio-economic system of Distributism greatly influenced the sculptor Eric Gill. In the late-1900s, Gill moved to Ditchling and established a commune of Catholic artists, which included the likes of Hilary Pepler and David Jones. The Ditchling group developed a journal called The Game, in which they expressed many Chestertonian principles, particularly anti-industrialism and an advocacy of religious family life.Chesterton was a very early and outspoken critic of eugenics. Eugenics and Other Evils represents one of the first book-length oppositions to the eugenics movement that began to gain momentum in England during the early 1900s.Chesterton's 1906 biography of Charles Dickens was largely responsible for creating a popular revival for Dickens's work as well as a serious reconsideration of Dickens by scholars.Chesterton's novel The Man Who Was Thursday inspired the Irish Republican leader Michael Collins with the idea: "If you didn't seem to be hiding nobody hunted you out."[76] Collins's favourite work of Chesterton was The Napoleon of Notting Hill, and he was "almost fanatically attached to it", according to his friend Sir William Darling who cemented their friendship in their shared appreciation of Chesterton's work.Étienne Gilson praised Chesterton's Aquinas volume as follows: "I consider it as being, without possible comparison, the best book ever written on Saint Thomas … the few readers who have spent twenty or thirty years in studying St. Thomas Aquinas, and who, perhaps, have themselves published two or three volumes on the subject, cannot fail to perceive that the so-called 'wit' of Chesterton has put their scholarship to shame."Chesterton's column in the Illustrated London News on 18 September 1909 had a profound effect on Mahatma Gandhi.[79] P. N. Furbank asserts that Gandhi was "thunderstruck" when he read it,[80] while Martin Green notes that "Gandhi was so delighted with this that he told Indian Opinion to reprint it."Archbishop Fulton J. Sheen, author of seventy books, identified Chesterton as the stylist who had the greatest impact on his own writing, stating in his autobiography Treasure in Clay, "the greatest influence in writing was G. K. Chesterton who never used a useless word, who saw the value of a paradox, and avoided what was trite." Chesterton wrote the introduction for Sheen's book God and Intelligence in Modern Philosophy; A Critical Study in the Light of the Philosophy of Saint Thomas.Canadian media theorist Marshall McLuhan was heavily influenced by Chesterton; McLuhan said the book What's Wrong with the World changed his life in terms of ideas and religion.Neil Gaiman has stated that he grew up reading Chesterton in his school's library, and that The Napoleon of Notting Hill was an important influence on his own book Neverwhere, which used a quote from it as an epigraph. Gaiman also based the character Gilbert, from the comic book The Sandman, on Chesterton,[85] and the novel he co-wrote with Terry Pratchett is dedicated to him.Argentine author and essayist Jorge Luis Borges cited Chesterton as a major influence on his own fiction. In an interview with Richard Burgin during the late 1960s, Borges said, "Chesterton knew how to make the most of a detective story."Author James Parker in The Atlantic gives a modern appraisal:In his vastness and mobility, Chesterton continues to elude definition: He was a Catholic convert and an oracular man of letters, a pneumatic cultural presence, an aphorist with the production rate of a pulp novelist. Poetry, criticism, fiction, biography, columns, public debate...Chesterton was a journalist; he was a metaphysician. He was a reactionary; he was a radical. He was a modernist, acutely alive to the rupture in consciousness that produced Eliot’s “The Hollow Men”; he was an anti-modernist...a parochial Englishman and a post-Victorian gasbag; he was a mystic wedded to eternity. All of these cheerfully contradictory things are true...for the final, resolving fact that he was a genius. Touched once by the live wire of his thought, you don’t forget it ... His prose...[is] supremely entertaining, the stately outlines of an older, heavier rhetoric punctually convulsed by what he once called (in reference to the Book of Job) "earthquake irony." He fulminates wittily; he cracks jokes like thunder. His message, a steady illumination beaming and clanging through every lens and facet of his creativity, was really very straightforward: get on your knees, modern man, and praise God.Chesterton's fenceChesterton's fence is the principle that reforms should not be made until the reasoning behind the existing state of affairs is understood (compare to the Precautionary principle). The quotation is from Chesterton's 1929 book, The Thing: Why I am a Catholic, in the chapter, "The Drift from Domesticity":In the matter of reforming things, as distinct from deforming them, there is one plain and simple principle; a principle which will probably be called a paradox. There exists in such a case a certain institution or law; let us say, for the sake of simplicity, a fence or gate erected across a road. The more modern type of reformer goes gaily up to it and says, 'I don't see the use of this; let us clear it away.' To which the more intelligent type of reformer will do well to answer: 'If you don't see the use of it, I certainly won't let you clear it away. Go away and think. Then, when you can come back and tell me that you do see the use of it, I may allow you to destroy it.'OtherFather Ian Boyd, C.S.B, founded The Chesterton Review in 1974, a scholarly journal devoted to Chesterton and his circle. The journal is published by the G.K. Chesterton Institute for Faith and Culture based in Seton Hall University, South Orange, New Jersey, USDale Ahlquist founded the American Chesterton Society in 1996 to explore and promote his writings.In 2008, a Catholic high school, Chesterton Academy, opened in the Minneapolis area. In the same year Scuola Libera Chesterton opened in San Benedetto del Tronto, Italy.In 2012, a crater on the planet Mercury was named Chesterton after the author.In the Fall of 2014, a Catholic high school, G.K. Chesterton Academy of Chicago, opened in Highland Park, Illinois, a suburb of Chicago.A fictionalised GK Chesterton is the central character in the Young Chesterton Chronicles, a series of young adult adventure novels written by John McNichol, and published by Sophia Institute Press and Bezalel Books.A fictionalised GK Chesterton is the central character in the G K Chesterton Mystery series, a series of detective novels written by Australian Kel Richards, and published by Riveroak Publishing.Chesterton wrote the hymn "O God of Earth and Altar" which was printed in The Commonwealth and then included in the English Hymnal in 1906. Several lines of the hymn are sung in the beginning of the song "Revelations" by the British heavy metal band Iron Maiden on their 1983 album Piece of Mind.[94] Lead singer Bruce Dickinson in an interview stated "I have a fondness for hymns. I love some of the ritual, the beautiful words, Jerusalem and there was another one, with words by G.K. Chesterton O God of Earth and Altar – very fire and brimstone: 'Bow down and hear our cry'. I used that for an Iron Maiden song, "Revelations". In my strange and clumsy way I was trying to say look it's all the same stuff.”The American Celtic punk band Dropkick Murphys used to have a picture of Chesterton on their drums. Their drummer, Matt Kelly, explained that "Chesterton is his hero for his contributions to Theology, Economics and Literature. A great intellectual who had always respect for his adversaries". …G. K. Chesterton - Wikipedia[httpwwwcsedmuacuk~mwardgkcbookshereticsch4html_chapter_4]_39-0VOLTAIRE, ON THE OTHER HAND, WROTE AGAINST HIS UNDERSTANDING OF THE CATHOLIC CHURCH, DEFENDING FREEDOM OF SPEECH, CRITICIZING AND SATIRIZING THE CHURCHES DOGMAS AND APPARENT INTOLERANCE, WHILE ADVOCATING FREEDOM OF SPEECH, FREEDOM OF RELIGION, AND THE SEPARATION OF CHURCH AND STATE.Voltaire had many friends in freemasonry, and finally joined in 1778, just a month before dying!“On 4 April 1778, he attended la Loge des Neuf Sœurs in Paris, and became an Entered Apprentice Freemason. According to some sources, "Benjamin Franklin ... urged Voltaire to become a freemason; and Voltaire agreed, perhaps only to please Franklin." However, Franklin was merely a visitor at the time Voltaire was initiated, the two only met a month before Voltaire's death, and their interactions with each other were brief.In February 1778, Voltaire returned for the first time in over 25 years to Paris, among other reasons to see the opening of his latest tragedy, Irene. The five-day journey was too much for the 83-year-old, and he believed he was about to die on 28 February, writing "I die adoring God, loving my friends, not hating my enemies, and detesting superstition." However, he recovered, and in March he saw a performance of Irene, where he was treated by the audience as a returning hero.He soon became ill again and died on 30 May 1778. The accounts of his deathbed have been numerous and varying, and it has not been possible to establish the details of what precisely occurred. His enemies related that he repented and accepted the last rites from a Catholic priest, or that he died in agony of body and soul, while his adherents told of his defiance to his last breath. According to one story of his last words, when the priest urged him to renounce Satan, he replied, "This is no time to make new enemies." However, this appears to have originated from a joke in a Massachusetts newspaper in 1856, and was only attributed to Voltaire in the 1970s.Because of his well-known criticism of the Church, which he had refused to retract before his death, Voltaire was denied a Christian burial in Paris, but friends and relations managed to bury his body secretly at the Abbey of Scellières in Champagne, where Marie Louise's brother was abbé. His heart and brain were embalmed separately.On 11 July 1791, the National Assembly of France, regarding Voltaire as a forerunner of the French Revolution, had his remains brought back to Paris and enshrined in the Panthéon. An estimated million people attended the procession, which stretched throughout Paris. There was an elaborate ceremony, including music composed for the event by André Grétry.

Q : How many Grammy nominations does Beyonce have?Throughout her career, Beyoncé has won a total of 23 Grammy Awards. *Mic drop*Although Beyoncé is the proud owner of 23 Grammy Awards, only three statuettes stem from Destiny’s Child, a musical trio that included Kelly Rowland and Michelle Williams.In 2001, Destiny’s Child received two Grammys for their hit single “Say My Name”: Best R&B Performance by a Duo or Group with Vocals and Best R&B Song. The group won again in 2002 for Best R&B Performance by a Duo or Group with Vocals for “Survivor.”HOW MANY GRAMMYS DID BEYONCÉ WIN AS A SOLO ARTIST?So far, Beyoncé has accumulated 20 Grammys throughout her solo career. Not only has she won Best Contemporary R&B Album three times (Dangerously in Love, B’Day and I Am…Sasha Fierce), but she’s also been honored for Best R&B Song on multiple occasions, including “Crazy in Love” (featuring Jay-Z), “Single Ladies (Put a Ring on It)” and “Drunk in Love” (featuring Jay-Z).Beyoncé was also recognized for her Vocal Performances for “At Last,” “Love on Top,” “Dangerously in Love 2” and “Single Ladies (Put a Ring on It),” which also won Song of the Year in 2010.Additional Grammy Awards include Best Surround Sound Album for Beyoncé, Best Female Pop Vocal Performance for “Halo,” Best Rap/Sung Collaboration for “Crazy in Love” (featuring Jay-Z), Best R&B Performance for “Drunk in Love” (featuring Jay-Z), Best Music Video for “Formation,” Best Urban Contemporary Album for Lemonade and Everything Is Love and Best R&B Performance by a Duo or Group with Vocals for “The Closer I Get to You” (with Luther Vandross) and “So Amazing” (with Stevie Wonder).WHO HAS THE MOST GRAMMYS OF ALL TIME?Despite Beyoncé’s massive Grammy Award collection, she still has a long way to go to become the most decorated artist of all time. Georg Solti currently holds the record for the most wins, with a total of 31. He’s followed by Quincy Jones (28), Alison Krauss (27) and Pierre Boulez (26).The singer is nominated for two Grammy Awards, including Best Pop Solo Performance for “Spirit” and Best Pop Vocal Album for The Lion King: The Gift.Beyoncé Leads the 2021 Grammy NominationsThe Recording Academy announced its nominations for the 2021 Grammy Awards this morning, on schedule as ever even during a global pandemic. A stacked cast including musicians Dua Lipa, Mickey Guyton, Imogen Heap, Lauren Daigle, Pepe Aguilar, Yemi Alade, and Nicola Benedetti, along with TV hosts Gayle King and Sharon Osborne, joined the Recording Academy’s interim president and CEO, Harvey Mason Jr., to reveal the nominations on a livestream on November 24. See how the nominees fare during the 2021 ceremony (which may or may not also be a livestream, COVID willing) on January 31.Album of the YearChilombo, Jhene AikoBlack Pumas (Deluxe), Black PumasEveryday Life, ColdplayDjesse Vol. 3, Jacob CollierWomen in Music Pt. III, HaimFuture Nostalgia, Dua LipaHollywood’s Bleeding, Post MaloneFolklore, Taylor SwiftRecord of the Year“Black Parade,” Beyoncé“Colors,” Black Pumas“Rockstar,” DaBaby and Roddy Ricch“Say So,” Doja Cat“Everything I Wanted,” Billie Eilish“Don’t Start Now,” Dua Lipa“Circles,” Post Malone“Savage,” Megan Thee Stallion feat. BeyoncéSong of the Year“Black Parade,” Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice (Beyoncé)“The Box,” Samuel Gloade & Rodrick Moore (Roddy Ricch)“Cardigan,” Aaron Dessner & Taylor Swift (Taylor Swift)“Circles,” Louis Bell, Adam Feeney, Kaan Gunesberk, Austin Post & Billy Walsh (Post Malone)“Don’t Start Now,” Caroline Ailin, Ian Kirkpatrick, Dua Lipa & Emily Warren (Dua Lipa)“Everything I Wanted,” Billie Eilish O’Connell & Finneas O’Connell (Billie Eilish)“I Can’t Breathe,” Dernst Emile II, H.E.R. & Tiara Thomas (H.E.R.)“If the World Was Ending,” Julia Michaels & JP Saxe (JP Saxe & Julia Michaels)Best New ArtistIngrid AndressPhoebe BridgersChikaNoah CyrusD SmokeDoja CatKaytranadaMegan Thee StallionBest R&B Performance“Lightning and Thunder,” Jhené Aiko Featuring John Legend“Black Parade,” Beyoncé“All I Need,” Jacob Collier Feat. Mahalia & Ty Dolla $ign“Goat Head,” Brittany Howard“See Me,” Emily KingBest Traditional R&B Performance“Sit On Down,” The Baylor Project Featuring Jean Baylor & Marcus Baylor“Wonder What She Thinks of Me,” Chloe X Halle“Let Me Go,” Mykal Kilgore“Anything For You,” Ledisi“Distance,” YebbaBest R&B Song“Better Than I Imagine,” Robert Glasper, Meshell Ndegeocello & Gabriella Wilson (Robert Glasper Feat. H.E.R and Meshell Ndegeocello)“Black Parade,” Denisia Andrews, Beyoncé, Stephen Bray, Shawn Carter, Brittany Coney, Derek James Dixie, Akil King, Kim “Kaydence” Krysiuk & Rickie “Caso” Tice (Beyoncé)“Collide,” Sam Barsh, Stacey Barthe, Sonyae Elise, Olu Fann, Akil King, Josh Lopez, Kaveh Rastegar & Benedetto Rotondi (Tiana & EARTHGANG)“Do It,” Chloe Bailey, Halle Bailey, Anton Kuhl, Victoria Monét, Scott Storch & Vincent Van Den Ende (Chloe X Halle)“Slow Down,” Nasri Atweh, Badriia Bourelly, Skip Marley, Ryan Williamson & Gabriella Wilson (Skip Marley & H.E.R.)Best Progressive R&B AlbumChilombo, Jhene AikoUngodly Hour, Chloe X HalleFree Nationals, Free NationalsF*** Yo Feelings, Robert GlasperIt Is What It Is, ThundercatBest R&B AlbumHappy 2 Be Here, Any ClemonsTake Time, GiveonTo Feel Loved, Luke JamesBigger Love, John LegendAll Rise, Gregory PorterBest Rap Performance“Deep Reverence,” Big Sean feat. Nipsey Hustle“Bop,” DaBaby“What’s Poppin,” Jack Harlow“The Bigger Picture,” Lil Baby“Savage,” Megan Thee Stallion feat. Beyoncé“Dior,” Pop SmokeBest Melodic Rap Performance“Rockstar,” DaBaby feat. Roddy Ricch“Laugh Now, Cry Later,” Drake feat. Lil Durk“Lockdown,” Anderson .Paak“The Box,” Roddy Ricch“HIGHEST IN THE ROOM,” Travis ScottBest Rap AlbumBlack Habits, D SmokeAlfredo, Freddie Gibbs & The AlchemistA Written Testimony, Jay ElectronicaKing’s Disease, NasThe Allegory, Royce Da 5’9”Best Rap Song“The Bigger Picture,” Dominique Jones, Noah Pettigrew & Rai’shaun Williams (Lil Baby)“The Box,” Samuel Gloade & Rodrick Moore (Roddy Ricch)“Laugh Now, Cry Later,” Durk Banks, Rogét Chahayed, Aubrey Graham, Daveon Jackson, Ron LaTour & Ryan Martinez (Drake feat. Lil Durk)“Rockstar,” Jonathan Lyndale Kirk, Ross Joseph Portaro IV & Rodrick Moore (DaBaby feat. Roddy Ricch)“Savage,” Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White (Megan Thee Stallion feat. Beyoncé)Best Music Video“Brown Skin Girl,” Beyoncé“Life Is Good,” Future Feat. Drake“Lockdown,” Anderson .Paak“Adore You,” Harry Styles“Goliath,” WoodkidBest Pop Solo Performance“Yummy,” Justin Bieber“Say So,” Doja Cat“Everything I Wanted,” Billie Eilish“Don’t Start Now,” Dua Lipa“Watermelon Sugar,” Harry Styles“Cardigan,” Taylor SwiftBest Pop Duo/Group Performance“Un Día (One Day),” J. Balvin, Dua Lipa, Bad Bunny, Tainy“Intentions,” Justin Bieber and Quavo“Dynamite,” BTS“Rain on me,” Lady Gaga and Ariana Grande“Exile,” Taylor Swift and Bon IverBest Pop Vocal AlbumChanges, Justin BieberChromatica, Lady GagaFuture Nostalgia, Dua LipaFine Line, Harry StylesFolklore, Taylor SwiftBest Traditional Pop Vocal AlbumBlue Umbrella, Burt Bacharach and Daniel TashainTrue Love: A Celebration of Cole Porter, Harry Connick Jr.American Standard, James TaylorUnfollow the Rules, Rufus WainwrightJudy, Renee ZellwegerBest Rock Performance“Shameika,” Fiona Apple“Not,” Big Thief“Kyoto,” Phoebe Bridgers“The Steps,” Haim“Stay High,” Brittany Howard“Daylight,” Grace PotterBest Metal Performance“Bum-Rush,” Body Count“Underneath,” Code Orange“The In-Between,” In This Moment“Bloodmoney,” Poppy“Executioner’s Tax (Swing of the Axe) — Live,” Power TripBest Rock Song“Kyoto,” Phoebe Bridgers, Morgan Nagler, and Mashall Vore (Phoebe Bridgers)“Lost In Yesterday,” Kevin Parker (Tame Impala)“Not,” Adrianne Lenker (Big Thief)“Shameika,” Fiona Apple (Fiona Apple)“Stay High, Brittany Howard (Brittany Howard)Best Rock AlbumA Hero’s Death, Fontaines D.C.Kiwanuka, Michael KiwanukaDaylight, Grace PotterSound & Fury, Sturgill SimpsonThe New Abnormal, The StrokesBest Alternative AlbumHyperspace, BeckFetch the Bolt Cutters, Fiona ApplePunisher, Phoebe BridgersJaime, Brittany HowardThe Slow Rush, Tame ImpalaBest Dance Recording“On My Mind,” Diplo & Sidepiece“My High,” Disclosure Feat. Aminé & Slowthai“The Difference,” Flume feat. Toro y Moi“Both Of Us,” Jayda D“10%,” Kaytranada feat. Kali UchisBest Dance/Electronic AlbumKick I, ArcaPlanet’s Mad, BaauerEnergy, DisclosureBubba, KaytranadaGood Faith, MadeonBest Country Solo Performance“Stick That In Your Country Song,” Eric Church“Who You Thought I Was,” Brandy Clark“When My Amy Prays,” Vince Gill“Black Like Me,” Mickey Guyton“Bluebird,” Miranda LambertBest Country Duo/Group Performance“All Night,” Brothers Osbourne“10,000 Hours,” Dan + Shay & Justin Bieber“Ocean,” Lady A“Sugar Coat,” Little Big Town“Some People Do,” Old DominionBest Country Song“Bluebird,” Luke Dick, Natalie Hemby & Miranda Lambert (Miranda Lambert)“The Bones,” Maren Morris, Jimmy Robbins & Laura Veltz (Maren Morris)“Crowded Table,” Brandi Carlile, Natalie Hemby & Lori McKenna (The Highwomen)“More Hearts Than Mine,” Ingrid Andress, Sam Ellis & Derrick Southerland (Ingrid Andress)“Some People Do,” Jesse Frasure, Shane McAnally, Matthew Ramsey & Thomas Rhett, songwriters (Old Dominion)Best Country AlbumLady Like, Ingrid AndressYour Life is a Record, Brandy ClarkWildcard, Miranda LambertNightfall, Little Big TownNever Will, Ashley McBrydeBest New Age AlbumSongs from the Bardo, Laurie Anderson, Tenzin Choegyal & Jesse Paris SmithPeriphery, Priya DarshiniFORM//LESS, SuperpositionMore Guitar Stories, Jim “Kimo” WestMeditations, Cory Wong & Jon BatisteBest Contemporary Instrumental AlbumAxiom, Christian Scott Atunde AdjuahChronology Of A Dream: Live at Village Vanguard, Jon BaptisteTake The Stars, Black ViolinAmericana, Grégoire Maret, Romain Collin & Bill FrisellLive At The Royal Albert Hall, Snarky PuppyBest Remixed Recording“Do You Ever (RAC Mix),” RAC (Phil Good)“Imaginary Friends (Morgan Page Remix),” Deadmau5 (Morgan Page)“Praying for You (Louie Vega Main Remix),” Jasper Street Co. (Louie Vega)“Roses (Imanbek Remix),” Saint JHN (Imanbek Zeikenov)“Young & Alive (Bazzi vs. Haywire Remix),” Bazzi (Haywyre)Best Engineered Album, Non-ClassicalBlack Hole Rainbow (Devon Gilfillian)Expectations (Katie Pruitt)Hyperspace (Beck)Jaime (Brittany Howard)25 Trips (Sierra Hull)Best Engineered Album, ClassicalDanielpour: The Passion of YeshuaGershwin: Porgy and BessHynes: FieldsIves: Complete SymphoniesShostakovich: Symphony No. 13, ‘Babi Yar’Producer of the Year, Non-ClassicalJack AntonoffDan AuerbachDave CobbFlying LotusAndrew WattProducer of the Year, ClassicalBlanton AlspaughDavid FrostJesse LewisDmitriy LipayElaine MartoneBest Music FilmBeastie Boys Story, Beastie Boys, Spike JonzeBlack Is King, BeyoncéWe Are Freestyle Love Supreme, Freestyle Love SupremeLinda Ronstadt: The Sound of My Voice, Linda RonstadtThat Lil Ol’ Band From Texas, ZZ TopBest Improvised Jazz Solo“Guinevere,” Christian Scott Atunde Adjuah, track from: Axiom“Pachamama,” Regina Carter, track from: Ona (Thana Alexa)“Celia,” Gerald Clayton“All Blues” Chick Corea, track from: Trilogy 2 (Chick Corea, Christian McBride & Brian Blade)“Moe Honk,” Joshua Redman, track from: RoundAgain (Redman Mehldau McBride Blade)Best Jazz Vocal AlbumOna, Thana AlexaSecrets Are The Best Stories, Kurt Elling Feat. Danilo PérezModern Ancestors, Carmen LundyHoly Room: Live at Alte Oper, Somi With Frankfurt Radio Big BandWhat’s The Hurry, Kenny WahsingtonBest Jazz Instrumental Albumon the tender spot of every calloused moment, Ambrose AkinmusireWaiting Game, Terri Lyne Carrington And Social ScienceHappening: Live at the Village Vanguard, Gerald ClaytonTrilogy 2, Chick Corea, Christian McBride & Brian BladeRoundagain, Redman Mehldau McBride BladeBest Large Jazz Ensemble AlbumDialogues on Race, Gregg AugustMONK’estra Plays John Beasley, John BeasleyThe Intangible Between, Orrin Evans And The Captain Black Big BandSongs You Like A Lot, John Hollenbeck With Theo Bleckmann, Kate McGarry, Gary Versace And The Frankfurt Radio Big BandData Lords, Maria Schneider OrchestraBest Latin Jazz AlbumTradiciones, Afro-Peruvian Jazz OrchestraFour Questions, Arturo O’Farrill & The Afro Latin Jazz OrchestraCity of Dreams, Chico PinheiroViento y Tiempo: Live at Blue Note Tokyo, Gonzalo Rubalcaba & Aymée NuviolaTrane’s Delight, Poncho SanchezBest Gospel Performance/Song“Wonderful Is Your Name,” Melvin Crispell III“Release (Live),” David Frazier (Ricky Dillard Featuring Tiff Joy)“Come Together,” Rodney “Darkchild” Lashawn Daniels, Rodney Jerkins, Lecrae Moore & Jazz Nixon (Jerkins Presents: The Good News)“Won’t Let Go,” Travis Greene“Movin’ On,” Darryl L. Howell, Jonathan Caleb McReynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson (Jonathan McReynolds & Mali Music)“Holy Water,” Andrew Bergthold, Ed Cash, Franni Cash, Martin Cash & Scott Cash (We The Kingdom)“Famous For (I Believe),” Chuck Butler, Krissy Nordhoff, Jordan Sapp, Alexis Slifer & Tauren Wells (Tauren Wells Featuring Jenn Johnson)“There Was Jesus,” Casey Beathard, Jonathan Smith & Zach Williams (Zach Williams & Dolly Parton)Best Contemporary Christian Music Performance/Song“The Blessing (Live),” Chris Brown, Cody Carnes, Kari Jobe Carnes & Steven Furtick (Kari Jobe, Cody Carnes & Elevation Worship)“Sunday Morning,” Denisia Andrews, Jones Terrence Antonio, Saint Bodhi, Brittany Coney, Kirk Franklin, Lasanna Harris, Shama Joseph, Stuart Lowery, Lecrae Moore & Nathanael Saint-Fleur (Lecrae Featuring Kirk Franklin)Best Gospel Album2econd Wind: Ready, Anthony Brown & group therAPyMy Tribute, Myron ButlerChoirmaster, Ricky DillardGospel According To PJ, PJ MortonKierra, Kierra SheardBest Contemporary Christian Music AlbumRun To The Water, Cody CarnesAll Of My Best Friends, Hillsong Young & FreeHoly Water, We The KingdomCitizen Of Heaven, Tauren WellsJesus Is King, Kanye WestBest Roots Gospel AlbumBeautiful Day, Mark Bishop20/20, The Crabb FamilyWhat Christmas Really Means, The ErwinsCelebrating Fisk! (The 150th Anniversary Album), Fisk Jubilee SingersSomething Beautiful, Ernie Haase & Signature SoundBest Latin Pop or Urban AlbumYHLQMDLG, Bad BunnyPor Primera Vez, CamiloMesa Para Dos, Kany GarcíaPausa, Ricky Martin3:33, Debi NovaBest Latin Rock or Alternative AlbumAura, BajofondoMonstruo, CamiSobrevolando, Cultura ProféticaLa Conquista Del Espacio, Fito PaezMiss Colombia, Lido PimientaBest Regional Mexican Music Album (Including Tejano)Hecho En México, Alejandro FernándezLa Serenata, Lupita InfanteUn Canto Por Mexico, Vol.1, Natalia LafourcadeBailando Sones y Huapangos Con el Mariachi Sol de Mexica de Jose Hernandez, Mariachi Sol De Mexico De Jose HernandezAYAYAY!, Christian NodalBest Tropical Latin AlbumMi Tumbao, José Alberto “El Ruiseñor”Infinito, Edwin BonillaSigo Cantando Al Amor (Deluxe), Jorge Celedon & Sergio Luis40, Grupo NicheMemorias de Navidad, Víctor ManuelleBest American Roots Performance“Colors,” Black Pumas“Deep In Love,” Bonny Light Horseman“Short and Sweet,” Brittany Howard“I’ll Be Gone,” Norah Jones & Mavis Staples“I Remember Everything,” John PrineBest American Roots Song“Cabin,” Laura Rogers & Lydia Rogers (The Secret Sisters)“Ceiling To The Floor,” Sierra Hull & Kai Welch (Sierra Hull)“Hometown,” Sarah Jarosz“I Remember Everything,” Pat McLaughlin & John Prine (John Prine)“Man Without a Soul,” Tom Overby & Lucinda Williams (Lucinda Williams)Best Americana AlbumOld Flowers, Courtney Marie AndrewsTerms Of Surrender, Hiss Golden MessengerWorld On The Ground, Sarah JaroszEl Dorado, Marcus KingGood Souls Better Angels, Lucinda WilliamsBest Bluegrass AlbumMan On Fire, Danny BarnesTo Live In Two Worlds, Vol. 1, Thomm JutzNorth Carolina Songbook, Steep Canyon RangersHome, Billy StringsThe John Hartford Fiddle Tune Project, Vol. 1, Various ArtistsBest Traditional Blues AlbumAll My Dues Are Paid, Frank BeyYou Make Me Feel, Don BryantThat’s What I Heard, Robert Cray BandCypress Grove, Jimmy “Duck” HolmesRawer Than Raw, Bobby RushBest Contemporary Blues AlbumHave You Lost Your Mind Yet?, Fantastic NegritoLive At The Paramount, Ruthie Foster Big BandThe Juice, G. LoveBlackbirds, Bettye LaVetteUp And Rolling, North Mississippi AllstarsBest Folk AlbumBonny Light Horseman, Bonny Light HorsemanThanks for the Dance, Leonard CohenSong For Our Daughter, Laura MarlingSaturn Return, The Secret SistersAll The Good Times, Gillian Welch & David RawlingsBest Regional Roots Music AlbumMy Relatives “Nikso Kowaiks,” Black Lodge SingersCameron Dupuy and the Cajun Troubadors, Cameron Dupuy And The Cajun TroubadoursLovely Sunrise, Nā Wai ʽEhāAtmosphere, New Orleans NightcrawlersA Tribute To Al Bernard, Sweet CeciliaBest Reggae AlbumUpside Down 2020, Buju BantonHigher Place, Skip MarleyIt All Comes Back To Love, Maxi PriestGot To Be Tough, Toots & The MaytalsOne World, The WailersBest Global Music AlbumFu Chronicles, AntibalasTwice As Tall, Burna BoyAgora, Bebel GilbertoLove Letters, Anoushka ShankarAmadjar, TinariwenBest Children’s Music AlbumAll The Ladies, Joanie LeedsBe a Pain: An Album for Young (and Old) Leaders, Alastair Moock And FriendsI’m An Optimist, Dog On FleasSongs For Singin’, The Okee Dokee BrothersWild Life, Justin RobertsBest Spoken Word Album (Includes Poetry, Audio Books & Storytelling)Acid for the Children: A Memoir, FleaAlex Trebek - The Answer is…, Ken JenningsBlowout: Corrupted Democracy, Rogue State Russia, and the Richest, Most Destructive Industry on Earth, Rachel MaddowCatch and Kill, Ronan FarrowCharlotte’s Web (E.B. White), Meryl Streep (& Full cast)Best Comedy AlbumBlack Mitzvah, Tiffany HaddishI Love Everything, Patton OswaltThe Pale Tourist, Jim GaffiganPaper Tiger, Bill Burr23 Hours to Kill, Jerry SeinfeldBest Musical Theater AlbumAmelie, Audrey Brisson, Chris Jared, Caolan McCarthy & Jez Unwin, principal soloists; Michael Fentiman, Sean Patrick Flahaven, Barnaby Race & Nathan Tysen, producers; Nathan Tysen, lyricist; Daniel Messe, composer & lyricist (Original London Cast)American Utopia on Broadway, David ByrneJagged Little Pill, Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard & Alanis Morissette, lyricists) (Original Broadway Cast)Little Shop of Horrors, Tammy Blanchard, Jonathan Groff & Tom Alan Robbins, principal soloists; Will Van Dyke, Michael Mayer, Alan Menken & Frank Wolf, producers (Alan Menken, composer; Howard Ashman, lyricist) (The New Off-Broadway Cast)Prince of Egypt, Christine Allado, Luke Brady, Alexia Khadime & Liam Tamne, principal soloists; Dominick Amendum & Stephen Schwartz, producers; Stephen Schwartz, composer & lyricist (Original Cast)Soft Power, Francis Jue, Austin Ku, Alyse Alan Louis & Conrad Ricamora, principal soloists; Matt Stine, producer; David Henry Hwang, lyricist; Jeanine Tesori, composer & lyricist (Original Cast)Best Compilation Soundtrack For Visual MediaA Beautiful Day in the Neighborhood, Various ArtistsBill & Ted Face the Music, Various ArtistsEurovision Song Contest: The Story of Fire Saga, Various ArtistsFrozen 2, Various ArtistsJoJo Rabbit, Various ArtistsBest Score Soundtrack For Visual MediaAd Astra, Max RichterBecoming, Kamasi WashingtonJoker, Hildur Guðnadóttir1917, Thomas NewmanStar Wars: The Rise of Skywalker, John WilliamsBest Song Written For Visual Media“Beautiful Ghosts” [From Cats], Andrew Lloyd Webber & Taylor Swift (Taylor Swift)“Carried Me With You” [From Onward], Brandi Carlile, Phil Hanseroth & Tim Hanseroth (Brandi Carlile)“Into The Unknown” [From Frozen 2], Kristen Anderson-Lopez & Robert Lopez (Idina Menzel & AURORA)“No Time To Die” [From No Time To Die], Billie Eilish O’Connell & Finneas Baird O’Connell (Billie Eilish)“Stand Up” [From Harriett], Joshuah Brian Campbell & Cynthia Erivo (Cynthia Erivo)Best Instrumental Composition“Baby Jack,” Arturo O’Farrill, (Arturo O’Farrill & The Afro Latin Jazz Orchestra)“Be Water II,” Christian Sands (Christian Sands)“Plumfield,” Alexandre Desplat (Alexandre Desplat)“Sputnik,” Maria Schneider (Maria Schneider)“Strata,” Remy Le Boeuf (Remy Le Boeuf’s Assembly Of Shadows Featuring Anna Webber & Eric Miller)Best Arrangement, Instrumental or A Cappella“Bathroom Dance,” Hildur Guðnadóttir (Hildur Guðnadóttir)“Donna Lee,” John Beasley (John Beasley)“Honeymooners,” Remy Le Boeuf (Remy Le Boeuf’s Assembly Of Shadows)“Life Every Voice and Sing,” Alvin Chea & Jarrett Johnson (Jarrett Johnson Featuring Alvin Chea)“Uranus: The Magician,” Jeremy Levy (Jeremy Levy Jazz Orchestra)Best Arrangement, Instruments and Vocals“Asas Fechadas,” John Beasley & Maria Mendes (Maria Mendes Featuring John Beasley & Orkest Metropole)“Desert Song,” Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor (Säje)“From This Place,” Alan Broadbent & Pat Metheny (Pat Metheny Featuring Meshell Ndegeocello)“He Won’t Hold You,” Jacob Collier (Jacob Collier Featuring Rapsody)“Slow Burn,” Talia Billig, Nic Hard & Becca Stevens (Becca Stevens Feat. Jacob Collier, Mark Lettieri, Justin Stanton, Jordan Perlson, Nic Hard, Keita Ogawa, Marcelo Woloski & Nate Werth)Best Recording PackageEveryday Life, Pilar Zeta (Coldplay)Funeral, Kyle Goen (Lil Wayne)Healer, Julian Gross & Hannah Hooper (Grouplove)On Circles, Jordan Butcher (Caspian)Vols. 11 & 12, Doug Cunningham & Jason Noto (Desert Sessions)Best Boxed Or Special Limited Edition PackageFlaming Pie (Collector’s Edition), Linn Wie Andersen, Simon Earith, Paul McCartney & James Musgrave (Paul McCartney)Giants Stadium 1987, 1989, 1991, Lisa Glines & Doran Tyson (Grateful Dead)Mode, Jeff Schulz (Depeche Mode)Ode to Joy, Lawrence Azerrad & Jeff Tweedy (Wilco)The Story of Ghostly International, Michael Cina & Molly Smith (Various Artists)Best Album NotesAt the Minstrel Show: Minstrel Routines from the Studio, 1894-1926, Tim Brooks (Various Artists)The Bakersfield Sound: Country Music Capital of the West, 1940-1974, Scott B. Bomar (Various Artists)Dead Man’s Pop, Bob Mehr (The Replacements)The Missing Link: How Gus Haenschen Got Us from Joplin to Jazz and Shaped the Music Business, Colin Hancock (Various Artists)Out of a Clear Blue Sky, David Sager (Nat Brusiloff)Best Historical AlbumCelebrated, 1895-1896, Meagan Hennessey & Richard Martin (Unique Quartette)Hittin’ The Ramp, The Early Years (1936 - 1943), Zev Feldman, Will Friedwald & George Klabin, Matthew Lutthans (Nat King Cole)It’s Such a Good Feeling: The Best of Mister Rogers, Lee Lodyga & Cheryl Pawelski, Michael Graves (Mister Rogers)1999 Super Deluxe Edition, Michael Howe, Bernie Grundman (Prince)Souvenir, Carolyn Agger, Miles Showell (Orchestral Manoeuvres In The Dark)Throw Down Your Heart: The Complete Africa Sessions, Béla Fleck, Richard Dodd (Béla Fleck)Best Orchestral Performance“Aspects of America - Pulitzer Edition,” Carlos Kalmar (Oregon Symphony)“Concurrence,” Daníel Bjarnason (Iceland Symphony Orchestra)“Copland: Symphony No. 3,” Michael Tilson Thomas (San Francisco Symphony)“Ives: Complete Symphonies,” Gustavo Dudamel (Los Angeles Philharmonic)“Lutoslawski: Symphonies Nos. 2 & 3,” Hannu Lintu (Finnish Radio Symphony Orchestra)Best Opera Recording“Dello Joio: The Trial at Rouen,” Gil Rose, Heather Buck & Stephen Powell (Boston Modern Orchestra Project; Odyssey Opera Chorus)“Floyd C., Prince of Players,” William Boggs, Keith Phares & Kate Royal, Blanton Alspaugh (Milwaukee Symphony Orchestra; Florentine Opera Chorus)“Gershwin: Porgy and Bess,” David Robertson, Angel Blue & Eric Owens, David Frost (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)“Handel: Agrippina,” Maxim Emelyanychev, Joyce DiDonato, Daniel Zalay (Il Pomo D’Oro)“Zemlinksy: Der Zwerg,” Donald Runnicles, David Butt Philip & Elena Tsallagova, Peter Ghirardini & Erwin Stürzer (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin)Best Choral Performance“Carthage,” Donald Nally (The Crossing)“Danielpour: The Passion of Yeshua,” JoAnn Falletta, James K. Bass & Adam Luebke (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)“Kastalsky: Requiem,” Leonard Slatkin, Charles Bruffy, Steven Fox & Benedict Sheehan (Joseph Charles Beutel & Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale & The Saint Tikhon Choir)“Moravec: Sanctuary Road,” Kent Tritle (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather & Laquita Mitchell; Oratorio Society Of New York Orchestra; Oratorio Society Of New York Chorus)“Once Upon A Time,” Matthew Guard (Sarah Walker; Skylark Vocal Ensemble)Best Chamber Music/Small Ensemble Performance“Contemporary Voices,” Pacifica Quartet“Healing Modes,” Brooklyn Rider“Hearne, T.: Place,” Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra“Hynes: Fields,” Devonté Hynes & Third Coast Percussion“The Schumann Quartets,” Dover QuartetBest Classical CompendiumAdès Conduct Adès, Mark Stone & Christianne Stotijn; Thomas Adès, Nick SquireSaariaho: Graal Theatre; Circle Map’ Neiges; Vers Toi Es Si Loin, Clément Mao-Takacs, Hans KipferSerebrier: Symphonic Bach Variations; Laments and Hallelujahs; Flute Concerto, José Serebrier, Jens BraunThomas, M.T.: From the Diary of Anne Frank & Meditations on Rilke, Isabel Leonard, Michael Tilson Thomas, Jack VadWoolf, L.P.: Fire and Flood, Matt Haimovitz, Julian Wachner, Blanton AlspaughBest Contemporary Classical CompositionAdès: Concerto for Piano and Orchestra, Thomas Adès (Kirill Gerstein, Thomas Adès & Boston Symphony Orchestra)Danielpour: The Passion of Yeshua, Richard Danielpour (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)Floyd, C.: Prince of Players, Carlisle Floyd (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus & Milwaukee Symphony Orchestra)Hearne, T.: Place, Ted Hearne (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods & Place Orchestra)Rouse: Symphony No. 5, Christopher Rouse (Giancarlo Guerrero & Nashville Symphony)