document_title: Hornbostel–Sachs

question_text: what is the classification of an instrument that makes sound from a tightly stretched membrane

text: Hornbostel–Sachs

text: Idiophones (1)[edit]

text: Idiophones primarily produce their sounds by means of the actual body of the instrument vibrating, rather than a string, membrane, or column of air. In essence, this group includes all percussion instruments apart from drums, as well as some other instruments. In the Hornbostel–Sachs classification, idiophones are first categorized according to the method used to play the instrument. The result is four main categories: struck idiophones (11), plucked idiophones (12), friction idiophones (13), and blown idiophones (14). These groups are subsequently divided through various criteria. In many cases these sub-categories are split in singular specimens and sets of instruments. The latter category includes the xylophone, the marimba, the glockenspiel, and the glass harmonica. List of idiophones by Hornbostel–Sachs number

text: Struck idiophones (11)[edit]

text: These idiophones are set in vibration by being struck, for example cymbals or xylophones.

text: Directly struck idiophones (111)[edit]

text: The player himself/herself executes the movement of striking; whether by mechanical intermediate devices, beaters, keyboards, or by pulling ropes, etc. It is definitive that the player can apply clear, exact, individual strokes, and that the instrument itself is equipped for this kind of percussion.

text:
111.1 Concussion idiophones or clappers – Two or more complementary sonorous parts are struck against each other.

111.11 Concussion sticks or stick clappers (clapstick).
111.12 Concussion plaques or plaque clappers (paiban).
111.13 Concussion troughs or trough clappers (devil chase).
111.14 Concussion vessels or vessel clappers (spoons).

111.141 Castanets – Natural and hollowed-out vessel clappers.
111.142 Cymbals – Vessel clappers with manufactured rim.

111.2 Percussion idiophones – The instrument is struck either with a non-sonorous object (hand, stick, striker) or against a non-sonorous object (human body, the ground).

111.21 Percussion sticks.

111.211 Individual percussion sticks.
111.212 Sets of percussion sticks in a range of different pitches combined into one instrument. – All xylophones, as long as their sounding components are not in two different planes.

111.22 Percussion plaques.

111.221 Individual percussion plaques.
111.222 Sets of percussion plaques – Examples are the lithophone and also most metallophones.

111.23 Percussion tubes.

111.231 Individual percussion tubes.
111.232 Sets of percussion tubes.

111.24 Percussion vessels.

111.241 Gongs – The vibration is strongest near the vertex.

111.241.1 Individual gongs.
111.241.2 Sets of gongs.

111.242 Bells – The vibration is weakest near the vertex.

111.242.1 Individual bells.

111.242.11 Resting bells whose opening faces upward (for example the standing bell)
111.242.12 Hanging bells suspended from the apex.

111.242.121 Hanging bells without internal strikers.
111.242.122 Hanging bells with internal strikers.

111.242.2 Sets of bells or chimes.

111.242.21 Sets of resting bells whose opening faces upward.
111.242.22 Sets of hanging bells suspended from the apex.

111.242.221 Sets of hanging bells without internal strikers.
111.242.222 Sets of hanging bells with internal strikers.

text: Indirectly struck idiophones (112)[edit]

text: The player himself/herself does not go through the movement of striking; percussion results indirectly through some other movement by the player.

text:
112.1 Shaken Idiophones or rattles – The player makes a shaking motion

112.11 Suspension rattles – Perforated idiophones are mounted together, and shaken to strike against each other.

112.111 Strung rattles – Rattling objects are strung in rows on a cord.
112.112 Stick rattles – Rattling objects are strung on a bar or ring.

112.12 Frame rattles – Rattling objects are attached to a carrier against which they strike (flexatone).

112.121 Pendant rattles.
112.122 Sliding rattles.

112.13 Vessel rattles – Rattling objects enclosed in a vessel strike against each other or against the walls of the vessel, or usually against both.

112.2 Scraped Idiophones – The player causes a scraping movement directly or indirectly; a non-sonorous object moves along the notched surface of a sonorous object, to be alternately lifted off the teeth and flicked against them; or an elastic sonorous object moves along the surface of a notched non-sonorous object to cause a series of impacts. This group must not be confused with that of friction idiophones.

112.21 Scraped sticks.

112.211 Scraped sticks without resonator.
112.212 Scraped sticks with resonator.

112.22 Scraped tubes.
112.23 Scraped vessels.
112.24 Scraped wheels – cog rattles or Ratchet

112.3 Split idiophones – Instruments in the shape of two springy arms connected at one end and touching at the other: the arms are forced apart by a little stick, to jangle or vibrate on recoil.

text: Plucked idiophones (12)[edit]

text: Plucked idiophones, or lamellaphones, are idiophones set in vibration by being plucked; examples include the jaw harp or mbira. This group is sub-divided in the following two categories:

text: In the form of a frame (121)[edit]

text: The lamellae vibrate within a frame or hoop.

text:
121.1 Clack idiophones or Cricri – The lamella is carved in the surface of a fruit shell, which serves as resonator.
121.2 Guimbardes and Jaw harps – The lamella is mounted in a rod- or plaque-shaped frame and depends on the player's mouth cavity for resonance.

121.21 Idioglot guimbardes – The lamella is cut through the frame of the instrument (kubing).
121.22 Heteroglot guimbardes – The lamella is attached to the frame (Western Jew's harp, kouxian).

121.221 Individual heteroglot guimbardes.
121.222 Sets of heteroglot guimbardes

text: In the form of a comb (122)[edit]

text: The lamellae are tied to a board or cut out from a board like the teeth of a comb.

text:
122.1 With laced on lamellae.

122.11 Without resonator.
122.12 With resonator.

122.2 With cut-out lamellae – Musical box

text: Friction idiophones (13)[edit]

text: Idiophones which are rubbed, for example the nail violin, a bowed instrument with solid pieces of metal or wood rather than strings.

text: Friction sticks (131)[edit]

text:
131.1 Individual friction sticks.
131.2 Sets of friction sticks.

131.21 Without direct friction.
131.22 With direct friction.

text: Friction plaques (132)[edit]

text:
132.1 Individual friction plaques.
132.2 Sets of friction plaques.

text: Friction vessels (133)[edit]

text:
133.1 Individual friction vessels (for example the singing bowl)
133.2 Sets of friction vessels.

text: Blown idiophones (14)[edit]

text: Blown idiophones are idiophones set in vibration by the movement of air, for example the Aeolsklavier, an instrument consisting of several pieces of wood which vibrate when air is blown onto them by a set of bellows. The piano chanteur features plaques.

text: Blown sticks (141)[edit]

text:
141.1 Individual blown sticks.
141.2 Sets of blown sticks.

text: Blown plaques (142)[edit]

text:
142.1 Individual blown plaques.
142.2 Sets of blown plaques.

text: Unclassified idiophones (15)[edit]

text: Membranophones (2)[edit]

text: Membranophones primarily produce their sounds by means of the vibration of a tightly stretched membrane. This group includes all drums and kazoos. List of membranophones by Hornbostel–Sachs number

text: Struck membranophones (21)[edit]

text: Struck drums are instruments which have a struck membrane. This includes most types of drums, such as the timpani, or kettle drum, and the snare drum.

text: Directly struck membranophones (211)[edit]

text: Instruments in which the membrane is struck directly, such as through bare hands, beaters or keyboards.

text:
211.1 Instruments in which the body of the drum is dish- or bowl-shaped (kettle drums)

211.11 Single instruments
211.12 Sets of instruments

211.2 Instruments in which the body is tubular (tubular drums)

211.21 Instruments in which the body has the same diameter at the middle and end (cylindrical drums)

211.211 Instruments which have only one usable membrane

211.211.1 Instruments in which the end without a membrane is open
211.211.2 Instruments in which the end without a membrane is closed

211.212 Instruments which have two usable membranes

211.212.1 Single instruments
211.212.2 Sets of instruments

211.22 Instruments in which the body is barrel-shaped (barrel drums)

211.221 Instruments which have only one usable membrane

211.221.1 Instruments in which the end without a membrane is open
211.221.2 Instruments in which the end without a membrane is closed

211.222 Instruments which have two usable membranes

211.222.1 Single instruments
211.222.2 Sets of instruments

211.23 Instruments in which the body is double-conical

211.231 Instruments which have only one usable membrane

211.231.1 Instruments in which the end without a membrane is open
211.231.2 Instruments in which the end without a membrane is closed

211.232 Instruments which have two usable membranes

211.232.1 Single instruments
211.232.2 Sets of instruments

211.24 Instruments in which the body is hourglass-shaped

211.241 Instruments which have only one usable membrane

211.241.1 Instruments in which the end without a membrane is open
211.241.2 Instruments in which the end without a membrane is closed

211.242 Instruments which have two usable membranes

211.242.1 Single instruments
211.242.2 Sets of instruments

211.25 Instruments in which the body is conical-shaped (conical drums)

211.251 Instruments which have only one usable membrane

211.251.1 Instruments in which the end without a membrane is open
211.251.2 Instruments in which the end without a membrane is closed

211.252 Instruments which have two usable membranes

211.252.1 Single instruments
211.252.2 Sets of instruments

211.26 Instruments in which the body is goblet-shaped (goblet drums)

211.261 Instruments which have only one usable membrane

211.261.1 Instruments in which the end without a membrane is open
211.261.2 Instruments in which the end without a membrane is closed

211.262 Instruments which have two usable membranes

211.262.1 Single instruments
211.262.2 Sets of instruments

211.3 Instruments in which the body depth is not greater than the radius of the membrane (frame drums).

211.31 Instruments which do not have a handle

211.311 Instruments which have only one usable membrane
211.312 Instruments which have two usable membranes

211.32 Instruments which have a handle

211.321 Instruments which have only one usable membrane
211.322 Instruments which have two usable membranes

text: Shaken membranophones (212)[edit]

text: Instruments which are shaken, the membrane being vibrated by objects inside the drum (rattle drums).

text: Plucked membranophones (22)[edit]

text:
Instruments with a string attached to the membrane, so that when the string is plucked, the membrane vibrates (plucked drums).
Some commentators believe that instruments in this class ought instead to be regarded as chordophones (see below).

text: Friction membranophones (23)[edit]

text: Instruments in which the membrane vibrates as a result of friction. These are drums which are rubbed, rather than being struck.

text: Friction drums with stick (231)[edit]

text: Instruments in which the membrane is vibrated from a stick that is rubbed or used to rub the membrane

text:
231.1 Instruments in which the stick is inserted in a hole in the membrane

231.11 Instruments in which the stick can not be moved and is subject to rubbing, causing friction on the membrane
231.12 Instruments in which the stick is semi-movable, and can be used to rub the membrane
231.13 Instruments in which the stick is freely movable, and is used to rub the membrane

231.2 Instruments in which the stick is tied upright to the membrane

text: Friction drum with cord (232)[edit]

text: Instruments in which a cord, attached to the membrane, is rubbed.

text:
232.1 Instruments in which the drum is held stationary while playing

232.11 Instruments which have only one usable membrane
232.12 Instruments which have two usable membranes

232.2 Instruments in which the drum is twirled by a cord, which rubs in a notch on the stick held by the player

text: Hand friction drums (233)[edit]

text: Instruments in which the membrane is rubbed by hand

text: Singing membranes (kazoos) (24)[edit]

text: This group includes kazoos, instruments which do not produce sound of their own, but modify other sounds by way of a vibrating membrane.

text: Free kazoos (241)[edit]

text: Instruments in which the membrane is vibrated by an unbroken column of wind, without a chamber

text: Tube or vessel-kazoos (242)[edit]

text: Instruments in which the membrane is placed in a box, tube or other container

text: Unclassified membranophones (25)[edit]

text: Chordophones (3)[edit]

text: Chordophones, which are arguably the most common, and most popular, of all musical instruments,[according to whom?] primarily produce their sounds by means of the vibration of a string or strings that are stretched between fixed points. This group includes all instruments generally called string instruments in the west, as well as many (but not all) keyboard instruments, such as pianos and harpsichords. List of chordophones by Hornbostel–Sachs number

text: Simple chordophones or zithers (31)[edit]

text: Instruments which are in essence simply a string or strings and a string bearer. These instruments may have a resonator box, but removing it should not render the instrument unplayable, though it may result in quite a different sound being produced. They include the piano therefore, as well as other kinds of zithers such as the koto, and musical bows.

text: Bar or stick zithers (311)[edit]

text: The string bearer is bar-shaped.

text:
311.1 Musical bows – The string bearer is flexible (and curved).

311.11 Idiochord musical bows – The string is cut from the bark of the cane, remaining attached at each end.

311.111 Mono-idiochord musical bows – Containing one string only
311.112 Poly-idiochord musical bows or harp-bows – Containing several strings that pass over some type of bridge.

311.12 Heterochord musical bows – The string is of separate material from the bearer.

311.121 Mono-heterochord musical bows – The bow has one heterochord string only.

311.121.1 Without resonator.

311.121.11 Without tuning noose.
311.121.12 With tuning noose.

311.121.2 With resonator.

311.121.21 With independent resonator.
311.121.22 With resonator attached.

311.121.221 Without tuning noose.
311.121.222 With tuning noose.

311.122 Poly-heterochord musical bows – The bow has several heterochord strings.

311.122.1 Without tuning noose.
311.122.2 With tuning noose.

311.2 Stick zithers – With rigid string carrier

311.21 Musical bow/stick – The string carrier has one rigid and one flexible end.
311.22 True stick zithers – NB Round sticks which happen to be hollow by chance do not belong on this account to the tube zithers, but are round-bar zithers; however, instruments in which a tubular cavity is employed as a true resonator, like the modern Mexican harpa, are tube zithers.

311.221 With one resonator gourd.
311.222 With several resonator gourds.

text: Tube zithers (312)[edit]

text: The string bearer is a vaulted surface.

text:
312.1 Whole tube zithers – The string carrier is a complete tube

312.11 Idiochord tube zithers.
312.12 Heterochord tube zithers.

312.121 Without extra resonator.
312.122 With extra resonator.

312.2 Half-tube zithers – The strings are stretched along the convex surface of a gutter.

312.21 Idiochord half-tube zithers.
312.22 Heterochord half-tube zithers.

text: Raft zithers (313)[edit]

text: The string bearer is composed of canes tied together in the manner of a raft.

text:
313.1 Idiochord raft zithers.
313.2 Heterochord raft zithers.

text: Board zithers (314)[edit]

text: The string bearer is a board.

text:
314.1 True board zithers.

314.11 Without resonator.
314.12 With resonator.

314.121 With resonator bowl.
314.122 With resonator box – the piano is part of this subdivision.

314.2 Board zither variations.

314.21 Ground zithers.
314.22 Harp zithers.

text: Trough zithers (315)[edit]

text: The strings are stretched across the mouth of a trough.

text:
315.1 Without resonator.
315.2 With resonator.

text: Frame zithers (316)[edit]

text: The strings are stretched across an open frame.

text:
316.1 Without resonator.
316.2 With resonator.

text: Composite chordophones (32)[edit]

text: Acoustic and electro-acoustic instruments which have a resonator as an integral part of the instrument, and solid-body electric chordophones. This includes most western string instruments, including lute-type instruments such as violins and guitars, and harps.

text: Lutes (321)[edit]

text: The plane of the strings runs parallel with the resonator's surface.

text:
321.1 Bow lutes – Each string has its own flexible carrier.
321.2 Yoke lutes or lyres – The strings are attached to a yoke which lies in the same plane as the sound-table and consists of two arms and a cross-bar.

321.21 Bowl lyres.
321.22 Box lyres.

321.3 Handle lutes – The string bearer is a plain handle.

321.31 Spike lutes.

321.311 Spike bow lutes.
321.312 Spike box lutes.
321.313 Spike tube lutes.

321.32 Necked lutes

321.321 Necked bowl lute – Mandolin, Balalaika, etc.
321.322 Necked box lutes – Guitar, Violin, etc.

text: Harps (322)[edit]

text: The plane of the strings lies perpendicular to the resonator's surface.

text:
322.1 Open harps – The harp has no pillar.

322.11 Arched harps.
322.12 Angular harps.

322.2 Frame harps – The harp has a pillar

322.21 Without tuning mechanism.

322.211 Diatonic frame harps.
322.212 Chromatic frame harps.

322.212.1 With all strings in one plane. Inline chromatic harp
322.212.2 With strings in two planes crossing each other. Cross-strung harp

322.22 With tuning action.

322.221 With manual tuning action. Lever harp
322.222 With pedal action. Pedal harp

text: Harp lutes (323)[edit]

text: The plane of the strings lies at right angles to the sound-table; a line joining the lower ends of the strings would be perpendicular to the neck. These have notched bridges.

text: Unclassified chordophones (33)[edit]

text: Aerophones (4)[edit]

text: Aerophones primarily produce their sounds by means of vibrating air. The instrument itself does not vibrate, and there are no vibrating strings or membranes. List of aerophones by Hornbostel–Sachs number

text: Free aerophones (41)[edit]

text: Instruments in which the vibrating air is not contained within the instrument, for example sirens, or the bullroarer.

text: Displacement free aerophones (411)[edit]

text: The air-stream meets a sharp edge, or a sharp edge is moved through the air. In either case, according to more recent views, a periodic displacement of air occurs to the alternate flanks of the edge. Examples are the swordblade or the whip.

text: Interruptive free aerophones (412)[edit]

text: The air-stream is interrupted periodically.

text:
412.1 Idiophonic interruptive aerophones or reeds – The air-stream is directed against a lamella, setting it in periodic vibration to interrupt the stream intermittently. In this group also belong reeds with a 'cover,' i.e. a tube in which the air vibrates only in a secondary sense, not producing the sound but simply adding roundness and timbre to the sound made by the reed's vibration; generally recognizable by the absence of fingerholes.

412.11 Concussion reeds – Two lamellae make a gap which closes periodically during their vibration.
412.12 Percussion reeds – A single lamella strikes against a frame.

412.121 Independent percussion reeds.
412.122 Sets of percussion reeds. – Earlier organs

412.13 Free-reed instruments feature a reed which vibrates within a closely fitting slot (there may be an attached pipe, but it should only vibrate in sympathy with the reed, and not have an effect on the pitch – instruments of this class can be distinguished from 422.3 by the lack of finger-holes).

412.131 Individual free reeds.
412.132 Sets of free reeds – Accordion, harmonica, and reed pipes of the pipe organ.

412.14 Band reed instruments – The air hits the sharp edge of a band under tension. The acoustics of this instrument have so far not been investigated.[3]

412.2 Non-idiophonic interruptive instruments. The interruptive agent is not a reed.

412.21 Rotating aerophones (interruptive agent rotates in its own plane and does not turn on its axis)- Siren disk.
412.22 Whirling aerophones (interruptive agent turns on its axis) – Bullroarer, whirly tube.

text: Plosive aerophones (413)[edit]

text: The sound is caused by a single compression and release of air. Examples include the botija, the gharha, the ghatam, and the udu.

text: Non-free aerophones (wind instruments proper) (42)[edit]

text: The vibrating air is contained within the instrument. This group includes most of the instruments called wind instruments in the west, such as the flute or French horn, as well as many other kinds of instruments such as conch shells.

text: Edge-blown aerophones or flutes (421)[edit]

text: The player makes a ribbon-shaped flow of air with his/her lips (421.1), or his/her breath is directed through a duct against an edge (421.2).

text:
421.1 Flutes without duct – The player himself/herself creates a ribbon-shaped stream of air with his/her lips.

421.11 End-blown flutes – The player blows against the sharp rim at the upper open end of a tube.

421.111 Individual end-blown flutes.

421.111.1 Open single end-blown flutes – The lower end of the flute is open.

421.111.11 Without fingerholes.
421.111.12 With fingerholes.

421.111.2 Stopped single end-blown flutes – The lower end of the flute is closed.

421.111.21 Without fingerholes.
421.111.22 With fingerholes.

421.112 Sets of end-blown flutes or panpipes – Several end-blown flutes of different pitch are combined to form a single instrument.

421.112.1 Open panpipes.

421.112.11 Open (raft) panpipes – The pipes are tied together in the form of a board, or they are made by drilling tubes *in a board.
421.112.12 Open bundle (pan-) pipes – The pipes are tied together in a round bundle.

421.112.2 Stopped panpipes.
421.112.3 Mixed open and stopped panpipes.

421.12 Side-blown flutes – The player blows against the sharp rim of a hole in the side of the tube.

421.121 (Single) side-blown flutes.

421.121.1 Open side-blown flutes.

421.121.11 Without fingerholes.
421.121.12 With fingerholes – Western concert flute.

421.121.2 Partly stopped side-blown flutes – The lower end of the tube is a natural node of the pipe pierced by a small hole.
421.121.3 Stopped side-blown flutes.

421.121.31 Without fingerholes.

421.121.311 With fixed stopped lower end – (apparently non-existent).
421.121.312 With adjustable stopped lower end – piston flutes.

421.121.32 With fingerholes.

421.122 Sets of side-blown flutes.

421.122.1 Sets of open slide-blown flutes.
421.122.2 Sets of stopped side-blown flutes.

421.13 Vessel flutes (without distinct beak) The body of the pipe is not tubular but vessel-shaped – Xun.

421.2 Flutes with duct or duct flutes – A narrow duct directs the air-stream against the sharp edge of a lateral orifice.

421.21 Flutes with external duct – The duct is outside the wall of the flute; this group includes flutes with the duct chamfered in the wall under a ring-like sleeve and other similar arrangements.

421.211 (Single) flutes with external duct.

421.211.1 Open flutes with external duct.

421.211.11 Without fingerholes.
421.211.12 With fingerholes.

421.211.2 Partly stopped flutes with external duct.
421.211.3 Stopped flutes with external duct.

421.212 Sets of flute with external duct.

421.22 Flutes with internal duct – The duct is inside the tube. This group includes flutes with the duct formed by an internal baffle (natural node, bock of resin) and an exterior tied-on cover (cane, wood, hide).

421.221 (Single) flutes with internal duct.

421.221.1 Open flutes with internal duct.

421.221.11 Without fingerholes – Whistle
421.221.12 With fingerholes – Recorder

421.221.2 Partly stopped flute with internal duct.
421.221.3 Stopped flutes with internal duct.

421.221.31 Without fingerholes.

421.221.311 With fixed stopped lower end.
421.221.312 With adjustable stopped lower end.

421.221.4 Vessel flutes with duct.

421.221.41 Without fingerholes.
421.221.42 With fingerholes – Ocarina.

421.222 Sets of flutes with internal duct.

421.222.1 Sets of open flutes with internal duct.

421.222.11 Without fingerholes – Open flue pipes of the pipe organ.
421.222.12 With fingerholes – Double flageolet.

421.222.2 Sets of partly stopped flutes with internal duct.
421.222.3 Sets of stopped flutes with internal duct.

text: Reed aerophones (422)[edit]

text: The player's breath is directed against a lamella or pair of lamellae which periodically interrupt the airflow and cause the air to be set in motion.

text:
422.1 Double reed instruments – There are two lamellae which beat against one another.

422.11 (Single) oboes.

422.111 With cylindrical bore.

422.111.1 Without fingerholes.
422.111.2 With fingerholes.

422.112 With conical bore – Oboe, bassoon.

422.12 Sets of oboes.

422.121 With cylindrical bore.
422.122 With conical bore.

422.2 Single reed instruments – The pipe has a single 'reed' consisting of a percussion lamella.

422.21 (Single) clarinets.

422.211 With cylindrical bore.

422.211.1 Without fingerholes.
422.211.2 With fingerholes – Western clarinet.

422.212 With conical bore – Saxophone.

422.22 Sets of clarinets.

422.3 Reedpipes with free reeds – The reed vibrates through [at] a closely fitted frame. There must be fingerholes, otherwise the instrument belongs to the free reeds 412.13.

422.31 Single pipes with free reed.
422.32 Double pipes with free reeds.

text: Trumpets (423)[edit]

text: The player's vibrating lips set the air in motion.

text:
423.1 Natural trumpets – There are no means of changing the pitch apart from the player's lips. Examples include the bugle, the didgeridoo, and the shofar.

423.11 Conches – A conch shell serves as trumpet.

423.111 End-blown.

423.111.1 Without mouthpiece.
423.111.2 With mouthpiece.

423.112 Side-blown.

423.12 Tubular trumpets.

423.121 End-blown trumpets – The mouth-hole faces the axis of the trumpet.

423.121.1 End-blown straight trumpets – The tube is neither curved nor folded.

423.121.11 Without mouthpiece.
423.121.12 With mouthpiece.

423.121.2 End-blown horns – The tube is curved or folded.

423.121.21 Without mouthpiece.
423.121.22 With mouthpiece.

423.122 Side blown trumpets.

423.2 Chromatic trumpets – The pitch of the instrument can be altered mechanically

423.21 Keyed trumpets – Ophicleide.
423.22 Slide trumpets – Trombone.
423.23 Valved trumpets – French horn, euphonium, baritone horn, trumpet, and tuba.

423.231 Conical bore
423.232 Semi-conical bore
423.233 Cylindrical bore

text: Unclassified aerophones (43)[edit]

text: Electrophones (5)[edit]

text:
51. Instruments having electric action (e.g. pipe organ with electrically controlled solenoid air valves);
52. Instruments having electrical amplification, such as the Neo-Bechstein piano of 1931, which had 18 microphones built into it;
53. Radioelectric instruments: instruments in which sound is produced by electrical means.

text: The fifth top-level group, the electrophones category, was added by Sachs in 1940, to describe instruments involving electricity. Sachs broke down his 5th category into 3 subcategories: 51=electrically actuated acoustic instruments; 52=electrically amplified acoustic instruments; 53= instruments which make sound primarily by way of electrically driven oscillators, such as theremins or synthesizers, which he called radioelectric instruments. Francis William Galpin provided such a group in his own classification system, which is closer to Mahillon than Sachs–Hornbostel. For example, in Galpin's 1937 book A Textbook of European Musical Instruments, he lists electrophones with three second-level divisions for sound generation ("by oscillation," "electro-magnetic," and "electro-static"), as well as third-level and fourth-level categories based on the control method. Sachs himself proposed subcategories 51, 52, and 53, on pages 447–467 of his 1940 book The History of Musical Instruments. However, the original 1914 version of the system did not acknowledge the existence of his 5th category.

text: Present-day ethnomusicologists, such as Margaret Kartomi (page 173) and Ellingson (PhD dissertation, 1979, p. 544), suggest that, in keeping with the spirit of the original Hornbostel-Sachs classification scheme, of categorization by what first produces the initial sound in the instrument, that only subcategory 53 should remain in the electrophones category. Thus it has been more recently proposed that, for example, the pipe organ (even if it uses electric key action to control solenoid valves) remain in the aerophones category, and that the electric guitar remain in the chordophones category, etc..

text: Application of the system[edit]

text: Beyond the top three groups are several further levels of classification, so that the xylophone, for example, is in the group labeled 111.212 (periods are usually added after every third digit to make long numbers easier to read). A long classification number does not necessarily indicate the instrument is a complicated one. The valveless bugle for instance, has the classification number 423.121.22, even though it is generally regarded as a relatively simple instrument (it is basically a bent conical tube which you blow down like a trumpet, but it does not have valves or finger-holes). The numbers in the bugle's classification indicate the following:

text:
4 – an aerophone
42 – the vibrating air is enclosed within the instrument
423 – the player's lips cause the air to vibrate directly (as opposed to an instrument with a reed like a clarinet, or an edge-blown instrument, like a flute)
423.1 – the player's lips are the only means of changing the instrument's pitch (that is, there are no valves as on a trumpet)
423.12 – the instrument is tubular, rather than being a conch-type instrument
423.121 – the player blows into the end of the tube, as opposed to the side of the tube
423.121.2 – the tube is bent or folded, as opposed to straight
423.121.22 – the instrument has a mouthpiece

text: 423.121.22 does not uniquely identify the bugle, but rather identifies the bugle as a certain kind of instrument which has much in common with other instruments in the same class. Another instrument classified as 423.121.22 is the bronze lur, an instrument dating back to the Bronze Age.

text: Suffixes and composite instruments[edit]

text: After the number described above, a number of suffixes may be appended. An 8 indicates that the instrument has a keyboard attached, while a 9 indicates the instrument is mechanically driven. In addition to these, there are a number of suffixes unique to each of the top-level groups indicating details not considered crucial to the fundamental nature of the instrument. In the membranophone class, for instance, suffixes can indicate whether the skin of a drum is glued, nailed or tied to its body; in the chordophone class, suffixes can indicate whether the strings are plucked with fingers or plectrum, or played with a bow.

text: There are ways to classify instruments with this system even if they have elements from more than one group. Such instruments may have particularly long classification numbers with colons and hyphens used as well as numbers. Hornbostel and Sachs themselves cite the case of various bagpipes where some of the pipes are single reed (like a clarinet) and others are double reed (like the oboe). A number of similar composite instruments exist.


document_title: Pearl Harbor (film)

question_text: who does ben affleck play in pearl harbor

root

text: Pearl Harbor (film)

text: Plot[edit]

text: In 1923 Tennessee, two headstrong young boys, Rafe McCawley and Danny Walker, play together in the back of an old biplane, pretending to be soldiers fighting the Germans in World War I. After Rafe's father lands his biplane and leaves, Rafe and Danny climb into the plane. Rafe accidentally starts it, but manages to stop the plane at the end of the runway. Enraged, Danny's father beats his son. Rafe stands up to him, calling him a "dirty German". However, Danny's father reveals that he fought the Germans in World War I.

tag: p

text: Eighteen years later, in January 1941, with World War II raging, Danny and Rafe are both first lieutenants under the command of Major Jimmy Doolittle. Doolittle informs Rafe that he has been accepted into the Eagle Squadron (a RAF outfit for American pilots during the Battle of Britain). A nurse named Evelyn meets Rafe, who passes his medical exam despite his dyslexia. That night, Rafe and Evelyn enjoy an evening of dancing at a nightclub and later a jaunt in New York harbor in a borrowed police boat. Rafe shocks Evelyn by saying that he has joined the Eagle Squadron and is leaving the next day.

text: Danny, Evelyn and their fellow pilots and nurses are transferred to Pearl Harbor. Meanwhile, Rafe becomes a flying ace, but is shot down over the English Channel and presumed to be killed in action. Danny gives Evelyn the news and she is devastated. Three months later, Evelyn and Danny begin a relationship.

text: On the night of December 6, Evelyn is shocked to discover Rafe standing outside her door, having survived his downing. He goes to the Hula bar where he is welcomed back by his overjoyed fellow pilots. Danny finds Rafe in the bar with the intention of making things right, but the two get into a fight. They drive away, avoiding being put in the brig when the authorities arrive at the bar. The two later fall asleep in Danny's car.

text: Next morning, on December 7, 1941, the Japanese navy begins its attack on Pearl Harbor. The USS Arizona is obliterated when an armor-piercing bomb detonates the ship's forward ammunition magazine, literally lifting the bow out of the water. The USS Oklahoma capsizes after several torpedoes strike her, trapping hundreds of men inside. The USS West Virginia suffers severe damage. One bomb mortally wounds Captain Mervyn S. Bennion. Cook Dorie Miller, mans a .50 caliber machine gun and shoots down a Japanese plane. The USS Nevada makes a run for the sea, becoming a primary target during the second wave. Danny and Rafe drive away in search of a still standing airfield, while Evelyn and the other nurses struggle to assist hundreds of wounded. Rafe and Danny manage to get in the air in P-40s, managing to down several Zeroes. Landing, they assist in the rescue of the capsized USS Oklahoma, but are too late to save the crew of the USS Arizona.

text: The next day, President Franklin Delano Roosevelt delivers his Day of Infamy Speech to the nation and requests the US Congress declare a state of war with the Empire of Japan. The survivors attend a memorial service to honor the numerous dead. Later, Danny and Rafe are both assigned to travel stateside under newly promoted Lt. Colonel Doolittle for a secret mission. Before they leave, Evelyn reveals to Rafe that she is pregnant with Danny's child, and intends to stay with Danny.

text: Upon their arrival in California, Danny and Rafe are both promoted to Captain and awarded the Silver Star, and volunteer for a secret mission under Doolittle. During the next three months, Rafe, Danny and other pilots train with specially modified B-25 Mitchell bombers. In April, the raiders are sent towards Japan on board the USS Hornet. Their mission: bombing Tokyo, landing in China. However, the Japanese discover them early, forcing the raiders to launch from a longer distance than planned. After a successful bombing run, the raiders crash-land in a rice paddy in Japanese-controlled China. The Japanese Army pin down Rafe's plane, but Danny's crew manages to destroy a patrol before crashing. Danny is shot during the attack by Japanese patrols while the other pilots, Red and Gooz, kill the remaining Japanese patrolmen. Rafe tells Danny that Evelyn is pregnant and he must live to be the baby's father. Danny then tells Rafe that he will have to be the father and dies. Back in California, a pregnant Evelyn sees Rafe getting off the aircraft, carrying Danny's coffin. Afterward, Evelyn and Miller are awarded medals and Rafe is awarded his medal by President Roosevelt. After the war, Rafe and Evelyn, now married, visit Danny's grave with Danny and Evelyn's son, also named Danny. Rafe then asks his stepson if he would like to go flying, and they fly off into the sunset in the old biplane that his father once had.

text: Cast[edit]

text:
Ben Affleck as the First Lieutenant (later Captain) Rafe McCawley

Jesse James as young Rafe McCawley

Josh Hartnett as First Lieutenant (later Captain) Daniel "Danny" Walker

Reiley McClendon as young Danny Walker

Kate Beckinsale as Lieutenant Evelyn Johnson McCawley
Cuba Gooding Jr. as Petty Officer Second Class Dorie Miller
Tom Sizemore as Earl
Jon Voight as President Franklin D. Roosevelt
Colm Feore as Admiral Husband E. Kimmel
Mako as Kaigun Taishō (Admiral) Isoroku Yamamoto
Alec Baldwin as Major (later Lieutenant Colonel) Jimmy Doolittle

tag: ul

text: Supporting characters[edit]

text:
William Lee Scott as First Lieutenant Billy Thompson
Greg Zola as First Lieutenant Anthony Fusco
Ewen Bremner as First Lieutenant Red Winkle
Jaime King as Nurse Betty Bayer
Catherine Kellner as Nurse Barbara
Jennifer Garner as Nurse Sandra
Michael Shannon as First Lieutenant Gooz Wood
Matt Davis as Joe
Cary-Hiroyuki Tagawa as Kaigun Chūsa (Commander) Minoru Genda
Dan Aykroyd as Captain Thurman
Scott Wilson as General George Marshall
Graham Beckel as Admiral Chester W. Nimitz
Tom Everett as Secretary of the Navy Frank Knox
Tomas Arana as Rear-Admiral Frank J. 'Jack' Fletcher
Peter Firth as Captain Mervyn S. Bennion
Glenn Morshower as Vice Admiral William F. 'Bull' Halsey Jr.
Madison Mason as Admiral Raymond A. Spruance
Sara Rue as Nurse Martha
Kim Coates as Lieutenant Jack Richards
Michael Shamus Wiles as Captain Marc Andrew "Pete" Mitscher
William Fichtner as Mr. Walker (Danny's father)
Steve Rankin as Mr. McCawley (Rafe's Father)
Andrew Bryniarski as Joe the Boxer
Leland Orser as Major Jackson
Michael Milhoan as Army Commander
Eric Christian Olsen as gunner to Captain McCawley
David Kaufman as young nervous doctor
Brandon Lozano as Baby Danny McCawley (Danny and Evelyn's son)

text: Production[edit]

text: 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. (February 2015) (Learn how and when to remove this template message)

tag: table

text: The proposed budget of $208 million that Bay and Bruckheimer wanted was an area of contention with Disney executives, since a great deal of the budget was to be expended on production aspects. Also controversial was the effort to change the film's rating from R to PG-13. Bay wanted to graphically portray the horrors of war and was not interested in primarily marketing the final product to a teen and young adult audience. Budget fights continued throughout the planning of the film, with Bay "walking" on several occasions.

text: In order to recreate the atmosphere of pre-war Pearl Harbor, the producers staged the film in Hawaii and used current naval facilities. Many active duty military members stationed in Hawaii and members of the local population served as extras during the filming. The set at Rosarito Beach in the Mexican state of Baja California was used for scale model work as required. Formerly the set of Titanic (1997), Rosarito was the ideal location to recreate the death throes of the battleships in the Pearl Harbor attack. A large-scale model of the bow section of USS Oklahoma mounted on a gimbal produced an authentic rolling and submerging of the doomed battleship. Production Engineer Nigel Phelps stated that the sequence of the ship rolling out of the water and slapping down would involve one of the "biggest set elements" to be staged. Matched with computer generated imagery, the action had to reflect precision and accuracy throughout.[4] In addition, to simulate the ocean, the film crew used a massive stadium-like "bowl" filled with water. The bowl was built in Honolulu, Hawaii and cost nearly $8 million. Today the bowl is used for scuba training and deep water fishing tournaments.

text: The vessel most seen in the movie was USS Lexington, representing both USS Hornet and a Japanese carrier. All aircraft take-offs during the movie were filmed on board the Lexington, a museum ship in Corpus Christi, Texas. The aircraft on display were removed for filming and were replaced with film aircraft as well as World War II anti-aircraft turrets. Other ships used in filler scenes included USS Hornet,[5] and USS Constellation during filming for the carrier sequences. Filming was also done on board the museum battleship USS Texas located near Houston, Texas.

text: Release[edit]

text: Marketing[edit]

text: The first trailer was released in 2000 and was shown alongside screenings of Cast Away and O Brother, Where Art Thou?, with another trailer released in Spring 2001, shown before Pokémon 3: The Movie.

text: Box office[edit]

text: Pearl Harbor grossed $198,542,554 at the domestic box office and $250,678,391 overseas for a worldwide total of $449,220,945, ahead of Shrek. The film was ranked the sixth highest-earning picture of 2001.[2] It is also the third highest-grossing romantic drama film of all time, as of January 2013, behind Titanic and Ghost.[6]

text: Critical response[edit]

text: This movie is inspired by Bollywood movie Sangam (1964 Hindi film). The film received generally negative reviews from critics. It has a 25% approval rating according to review aggregator website Rotten Tomatoes (based on 190 reviews with an average rating of 4.5/10). The site's critical consensus reads: "Pearl Harbor tries to be the Titanic of war movies, but it's just a tedious romance filled with laughably bad dialogue. The 40-minute action sequence is spectacular, though." " On Metacritic, the film has a score of 44 out of 100 based on 35 reviews, indicating "mixed or average reviews".[7] While it earned praise for its technical achievements and the performances of Josh Hartnett, Mako, and Dan Aykroyd, the screenplay - its three-hour run time and acting - were popular targets for criticism.

text: Roger Ebert of the Chicago Sun-Times gave the film one and a half stars, writing: "Pearl Harbor is a two-hour movie squeezed into three hours, about how, on Dec. 7, 1941, the Japanese staged a surprise attack on an American love triangle. Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality. The film has been directed without grace, vision, or originality, and although you may walk out quoting lines of dialogue, it will not be because you admire them", and criticized its liberties with historical facts: "There is no sense of history, strategy or context; according to this movie, Japan attacked Pearl Harbor because America cut off its oil supply, and they were down to an 18-month reserve. Would going to war restore the fuel sources? Did they perhaps also have imperialist designs? Movie doesn't say".[8]

text: A. O. Scott of the New York Times wrote, "Nearly every line of the script drops from the actors' mouths with the leaden clank of exposition, timed with bad sitcom beats".[9] USA Today gave the film two out of four stars and wrote, "Ships, planes and water combust and collide in Pearl Harbor, but nothing else does in one of the wimpiest wartime romances ever filmed."[10]

text: In his review for The Washington Post, Desson Howe wrote, "although this Walt Disney movie is based, inspired and even partially informed by a real event referred to as Pearl Harbor, the movie is actually based on the movies Top Gun, Titanic and Saving Private Ryan. Don't get confused."[11] Peter Travers of Rolling Stone magazine wrote, "Affleck, Hartnett and Beckinsale – a British actress without a single worthy line to wrap her credible American accent around – are attractive actors, but they can't animate this moldy romantic triangle".[12] Time magazine's Richard Schickel criticized the love triangle: "It requires a lot of patience for an audience to sit through the dithering. They're nice kids and all that, but they don't exactly claw madly at one another. It's as if they know that someday they're going to be part of "the Greatest Generation" and don't want to offend Tom Brokaw. Besides, megahistory and personal history never integrate here".[13]

text: Entertainment Weekly was more positive, giving the film a "B−" rating, and Owen Gleiberman praised the Pearl Harbor attack sequence: "Bay's staging is spectacular but also honorable in its scary, hurtling exactitude. ... There are startling point-of-view shots of torpedoes dropping into the water and speeding toward their targets, and though Bay visualizes it all with a minimum of graphic carnage, he invites us to register the terror of the men standing helplessly on deck, the horrifying split-second deliverance as bodies go flying and explosions reduce entire battleships to liquid walls of collapsing metal".[14]

text: In his review for The New York Observer, Andrew Sarris wrote, "here is the ironic twist in my acceptance of Pearl Harbor – the parts I liked most are the parts before and after the digital destruction of Pearl Harbor by the Japanese carrier planes" and felt that "Pearl Harbor is not so much about World War II as it is about movies about World War II. And what's wrong with that?"[15]

text: Historical accuracy[edit]

text: Like many historical dramas, Pearl Harbor provoked debate about the artistic license taken by its producers and director. National Geographic Channel produced a documentary called Beyond the Movie: Pearl Harbor[17] detailing some of the ways that "the film's final cut didn't reflect all the attacks' facts, or represent them all accurately".[18]

text: Many Pearl Harbor survivors dismissed the film as grossly inaccurate and pure Hollywood. In an interview done by Frank Wetta, producer Jerry Bruckheimer was quoted saying: "We tried to be accurate, but it's certainly not meant to be a history lesson".[19] Historian Lawrence Suid's review is particularly detailed as to the major factual misrepresentations of the film and the negative impact they have even on an entertainment film.[20] Some other historical inaccuracies found in the film include the early childhood scenes depicting a Stearman biplane crop duster in 1923; the aircraft was not accurate for the period, as the first commercial crop-dusting company did not begin operation until 1924,[21] and the U.S. Department of Agriculture did not purchase its first cotton-dusting aircraft until April 16, 1926.[22][Note 1]

text: The inclusion of Affleck's character in the Eagle Squadron is another jarring aspect of the film, since active-duty U.S. airmen were prohibited from joining the squadron, though some American civilians did join the RAF.[23][Note 2] Yet another flaw: Ben Affleck's Spitfire has insignia "RF" – this is an insignia of No. 303 Polish Fighter Squadron. Countless other technical lapses rankled film critics, such as Bay's decision to paint the Japanese Zero fighters green (most of the aircraft in the attack being painted light gray/white), even though he knew that was historically inaccurate, because he liked the way the aircraft looked and because it would help audiences differentiate the "good guys from the bad guys".[24]

text: One of the film's scenes show Japanese aircraft targeting medical staff and the base's hospital. Although it was damaged in the attack, the Japanese did not deliberately target the U.S. naval hospital and only a single member of its medical staff was killed as he crossed the navy yard to report for duty.[25]

text: Critics decried the use of fictional replacements for real people, declaring that Pearl Harbor was an "abuse of artistic license".[26] The roles the two male leads have in the attack sequence are analogous to the real historical deeds of U.S. Army Air Forces Second Lieutenants George Welch and Kenneth M. Taylor, who took to the skies in P-40 Warhawk aircraft during the Japanese attack and, together, claimed six Japanese aircraft and a few probables. Taylor, who died in November 2006, called the film adaptation "a piece of trash... over-sensationalized and distorted".[27]

text: The harshest criticism was aimed at instances in the film where actual historical events were altered for dramatic purposes. For example, Admiral Kimmel did not receive the report that an enemy midget submarine was being attacked until after the bombs began falling, and did not receive the first official notification of the attack until several hours after the attack ended.[28][Note 3]

text: The scene following the attack on Pearl Harbor, where President Roosevelt demands an immediate retaliatory strike on the soil of Japan, did not happen as portrayed in the film. Admiral Chester Nimitz and General George Marshall are seen denying the possibility of an aerial attack on Japan, but in real life they actually advocated such a strike. Another inconsistency in this scene is when President Roosevelt (who was at this time in his life, stricken and bound to a wheelchair due to Polio) is able to stand up to challenge his staff's distrust in a strike on Japan. This too, never happened in real life.[30] In the film Admiral Isoroku Yamamoto says “I fear all we have done is to awaken a sleeping giant”, a quote which was copied from the 1970 film Tora! Tora! Tora!.[20]

text: The portrayal of the planning of the Doolittle Raid, the air raid itself, and the raid's aftermath, is considered one of the most historically inaccurate portions of the film. In the film, Jimmy Doolittle and the rest of the Doolittle raiders had to launch from USS Hornet 624 miles off the Japanese coast and after being spotted by a few Japanese patrol boats. In actuality, the Doolittle raiders had to launch 650 miles off the Japanese coast and after being spotted by only one Japanese patrol boat. The aircraft were launched from USS Constellation, standing in for USS Hornet from which the Doolittle Raid was launched. In the film, all of the raiders are depicted as dropping their bombs on Tokyo, with some of the bomb blasts obliterating entire buildings. In actuality, the Doolittle raiders did bomb Tokyo but also targeted three other industrial cities, and the damage inflicted was minimal.[31][32] The film shows the Doolittle raider personnel in China overcoming the Japanese soldiers in a short gun battle with help from a strafing B-25, which never happened in real life.[20] Also, there was no acknowledgement given in the film to the fact that approximately 250,000 Chinese civilians were massacred by the Japanese Army in eastern China in retaliation for Chinese assistance of the attacking American aviators, who participated in the Doolittle Raid.

text: Actor Kim Coates criticized the film[33] for choosing not to portray historically accurate smoking habits and men's hairstyles.

text: An establishing shot of the United States Department of War building is clearly a shot of the exterior of the U.S. Capitol Building. In 1941, the War Department was housed in the War Department Building in Washington's Foggy Bottom neighborhood (renamed the Harry S Truman Building in 2000) and in the Munitions Building on the National Mall. Neither structure bears any architectural resemblance to the edifice shown in the film.

text: Anachronisms[edit]

text: Numerous other inconsistencies and anachronisms are present in the film. A sailor has a pack of Marlboro Light cigarettes in his pocket, not introduced until 1972. In the beginning of the movie, a newsreel of 1940 is presented with combat footage in Europe, showing a M-26 Pershing tank fighting in the city of Cologne, which did not happen until March 1945.[34]

text: The crop duster in the first scene set in 1923 was not commercially available until the late 1930s.[30]

text: Actor Michael Milhoan is seen as an army major advising Admiral Kimmel about island air defenses on Oahu. On the morning of the attack, he is seen commanding a radar station. While playing chess he is addressed as "lieutenant" but, in a further inconsistency, is seen wearing the insignia of an army captain.

text: Three Spruance destroyers tied abreast of each other at their pier are seen being bombed by the Japanese planes, although this class of ship only entered service with the US Navy in the 1970s. The retired Iowa-class battleship USS Missouri was used to represent USS West Virginia for Dorie Miller's boxing match. The West Virginia did not have the modernized World War II-era bridge and masts found on newer U.S. battleships until her reconstruction was finished in 1943, while the Iowa-class did not enter service until 1943 onwards.[35] In one shot, the USS Arizona memorial is briefly visible in the background during a scene taking place several months before the attack.

text: One of Doolittle's trophies in a display case depicts a model of an F-86 Sabre, which was not even on the drawing board in the 1940s. Late production models of the B-25J were used instead of the early B-25B. Several shots of the USS Hornet aircraft carrier depicted it as having an angled flight deck, a technology that was not implemented until after the war. While Hornet was portrayed by a World War II era vessel (USS Lexington), Hornet was a Yorktown-class carrier, whereas Lexington was a modernized Essex-class carrier.[36] The takeoff sequences for the Doolittle Raid were filmed on USS Constellation, a Kitty Hawk-class aircraft carrier which did not enter service until 1961. As a supercarrier, the Constellation has a much longer flight deck than the Yorktown or Essex class carriers, giving the B-25s a substantially longer (and safer) takeoff run.[37] The Japanese carriers are portrayed more correctly by comparison—, the Akagi and Hiryu did have their bridge/conning tower superstructure on the port side rather than the more common starboard configuration. In the movie it was done by maneuvering an Essex class aircraft carrier backwards to act as the Akagi.

text: Honors and awards[edit]

text:
Award
Category
Subject
Result

Academy Award
Best Sound Editing
George Watters II and Christopher Boyes
Won

Best Sound
Greg P. Russell, Peter J. Devlin, and Kevin O'Connell
Nominated

Best Visual Effects
Eric Brevig, John Frazier, Ben Snow, and Ed Hirsh
Nominated

Best Original Song[38]
Diane Warren ("There You'll Be")
Nominated

Golden Globe Award
Best Original Song
Nominated

Best Original Score
Hans Zimmer
Nominated

MTV Movie Award
Best Action Sequence
Attack on Pearl Harbor
Won

Golden Raspberry Award
Worst Actor
Ben Affleck
Nominated

Worst Screen Couple
Nominated

Josh Hartnett
Nominated

Kate Beckinsale
Nominated

Worst Screenplay
Randall Wallace
Nominated

Worst Picture
Jerry Bruckheimer
Nominated

Michael Bay
Nominated

Worst Director
Nominated

Worst Remake or Sequel
Nominated

World Stunt Taurus Award[39]
Best Aerial Work
Nominated

text: In popular culture[edit]

text: The soundtrack for the 2004 film Team America: World Police contains a song entitled "End of an Act". The song's chorus recounts, "Pearl Harbor sucked, and I miss you" equating the singer's longing to how much "Michael Bay missed the mark when he made Pearl Harbor" which is "an awful lot, girl". The ballad contains other common criticisms of the film, concluding with the rhetorical question "Why does Michael Bay get to keep on making movies?"[40]

text: Home media [edit]

text: 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. (February 2015) (Learn how and when to remove this template message)

text: A Commemorative 60th Anniversary Edition was released on December 4, 2001. The feature was spread across two videotapes in letterbox format, and tape two also included Unsung Heroes of Pearl Harbor, a 50-minute documentary on little-known heroes of the attack, and a Faith Hill music video.

text: Around the same time, a two-disc DVD of the Commemorative 60th Anniversary Edition was released. This release included the first two hours of the feature on disc one, and on disc two, the last hour of the feature, Journey to the Screen, a 47-minute documentary on the monumental production of the film, Unsung Heroes of Pearl Harbor, the Faith Hill music video and theatrical trailers.

text: A Pearl Harbor DVD gift set that includes the Commemorative Edition two-disc set, National Geographic′s "Beyond the Movie" feature and a dual-sided map was released concurrently on December 4, 2001.

text: A deluxe Vista Series edition of the film was released on July 2, 2002. It contained an R-rated director's cut of the film, with numerous commentaries from the cast and crew alongside a few "easter eggs". The director's cut included the reinsertion of graphic carnage during the central attack; small alterations and additions to existing scenes; Doolittle addressing the pilots before the raid; and the replacement of the campfire scene with a scene of Doolittle speaking personally to Rafe and Danny about the value of friendship. It runs at 184 minutes compared to the 183 minutes of the theatrical cut.

text: This elaborate package, which DVDtalk.com called "the most extensive set released comprising of [sic] only one film", includes four discs of film and bonus features, a replication of Roosevelt's speech, collectible promotional postcards and a carrying case that resembles a historic photo album. The bonus features include all the features included in the commemorative edition, plus additional footage. There are three audio commentaries: 1) Director and film historian, 2) Cast and 3) Crew. Other features include: "The Surprise Attack", a multi-angle breakdown of the film's most exciting sequence (30 minutes), which includes multiple video tracks (such as previsualization and final edit) and commentaries from veterans. Also included is the "Pearl Harbor Historic Timeline", a set-top interactive feature produced by documentarian Charles Kiselyak (68 minutes). The "Soldier's Boot Camp" follows the actors as they take preparation for their roles to an extreme (30 minutes)), "One Hour Over Tokyo" and "The Unsung Heroes of Pearl Harbor", two History Channel documentaries along with "Super-8 Montage", a collection of unseen Super-8 footage shot for potential use in the movie by Michael Bay's assistant, Mark Palansky; "Deconstructing Destruction", an in-depth conversation with Michael Bay and Eric Brevig (of Industrial Light and Magic) about the special effects in the movie and "Nurse Ruth Erickson interview" complete the extra features component.

text: On December 19, 2006, a 65th Anniversary Commemorative Edition high-definition Blu-ray Disc was released of the Theatrical Cut.

text: Soundtrack[edit]

text:
Pearl Harbor: Music From The Motion Picture

Soundtrack album by Hans Zimmer

Released
May 22, 2001 (2001-05-22)

Genre
Film score

Length
46:21

Label
Hollywood

Producer

Bob Badami
"There You'll Be":
Trevor Horn
Byron Gallimore

Hans Zimmer chronology

Riding in Cars with Boys
(2001)Riding in Cars with Boys2001
Pearl Harbor
(2001)
Hannibal
(2001)Hannibal2001

text: The soundtrack to Pearl Harbor on Hollywood Records was nominated for the Golden Globe Award for Best Original Score (lost to the score of Moulin Rouge!). The original score was composed by Hans Zimmer. The song "There You'll Be" was nominated for the Academy Award and Golden Globe Award for Best Original Song.

text:
"There You'll Be" – song performed by Faith Hill
Tennessee – 3:40
Brothers – 4:04
...And Then I Kissed Him – 5:37
I Will Come Back – 2:54
Attack – 8:56
December 7 – 5:08
War – 5:15
Heart of a Volunteer – 7:05

tag: ol


document_title: Three-point field goal

question_text: when did the nba get the 3 point line

question_tokens: when did the nba get the 3 point line

text: Three-point field goal

text: History[edit]

text: The three-point line was first tested at the collegiate level in a 1945 NCAA game between Columbia and Fordham but it was not kept as a rule. At the direction of Abe Saperstein, the American Basketball League became the first basketball league to institute the rule in 1961. Its three-point line was a radius of 25 feet (7.62 m) from the baskets, except along the sides.[2] The Eastern Professional Basketball League followed in its 1963–64 season.

text: The three-point shot later became popularized by the American Basketball Association after its introduction in the 1967–68 season. Then commissioner of the ABA George Mikan stated the three-pointer "would give the smaller player a chance to score and open up the defense to make the game more enjoyable for the fans."[3] During the 1970s, the ABA used the three-point shot, along with the slam dunk, as a marketing tool to compete with the National Basketball Association (NBA).

text: In the 1979–80 season, after having tested it in the previous pre-season, the NBA adopted the three-point line despite the view of many that it was a gimmick.[4] Chris Ford of the Boston Celtics is widely credited with making the first three-point shot in NBA history on October 12, 1979. Kevin Grevey of the Washington Bullets also made one on the same day.

text: The sport's international governing body, FIBA, introduced the three-point line in 1984, at a distance of 6.25 m (20 ft 6 in).

text: The NCAA's Southern Conference became the first collegiate conference to use the three-point rule, adopting a 22-foot (6.71 m) line for the 1980–81 season.[5][6] Ronnie Carr of Western Carolina University was the first to score a three-point field goal in college basketball history on November 29, 1980.[6][7][8] Over the following five years, NCAA conferences differed in their use of the rule and distance required for a three-pointer. The line was as close as 17 ft 9 in (5.41 m) in the Atlantic Coast Conference, and as far away as 22 feet in the Big Sky Conference.[9] Used in conference play, it was adopted by the NCAA for the 1986–87 men's season at 19 ft 9 in (6.02 m), and was first used in the NCAA Tournament in 1987.[10] In the same 1986–87 season, the NCAA adopted the three-pointer in women's basketball on an experimental basis, using the same 19 ft 9 in distance, and made its use mandatory beginning in 1987–88.[11] In 2007, the NCAA lengthened the men's three-point distance to 20 ft 9 in (6.32 m), with the rule coming into effect at the beginning of the 2008–09 season.[12] The NCAA women's three-point distance was moved to match the men's distance in 2011–12.[11] American high schools, along with elementary and middle schools, adopted a 19 ft 9 in (6.02 m) line nationally in 1987, a year after the NCAA.[13]

text: During the 1994–95, 1995–96, and 1996–97 seasons, the NBA attempted to address decreased scoring by shortening the distance of the line from 23 ft 9 in (7.24 m) (22 ft (6.71 m) at the corners) to a uniform 22 ft (6.71 m) around the basket. From the 1997–98 season on, the NBA reverted the line to its original distance of 23 ft 9 in (22 ft at the corners, with a 3 inch differential). Ray Allen is currently the NBA all-time leader in career made three-pointers with 2,973.[14]

text: In 2008, FIBA announced that the distance would be increased by 50 cm (19.69 in) to 6.75 m (22 ft 1 3⁄4 in), with the change being phased in beginning in October 2010. In December 2012, the WNBA announced that it would be using FIBA's distance, too, as of the 2013 season. The NBA has discussed adding a four-point line, according to president Rod Thorn.[15]

text: Rule specifications[edit]

text: A three-point line consists of an arc at a set radius measured from the point on the floor directly below the center of the basket, and two parallel lines equidistant from each sideline extending from the nearest end line to the point at which they intersect the arc. In the NBA and FIBA standard, the arc spans the width of the court until it is a specified minimum distance from each sideline. The three-point line then becomes parallel to the sidelines from those points to the baseline. The unusual formation of the three-point line at these levels allows players some space from which to attempt a three-point shot at the corners of the court; the arc would be less than 2 feet (0.61 m) from each sideline at the corners if it was a continuous arc. In the NCAA and American high school standards, the arc spans 180° around the basket, then becomes parallel to the sidelines from the plane of the basket center to the baseline (5 feet 3 inches or 1.60 metres). The distance of the three-point line to the center of the hoop varies by level:

text:
Arc radius
Minimum distance from sidelines

National Basketball Association
23 feet 9 inches (7.24 m)
3 feet (0.91 m)
[16]

FIBA (also used by WNBA)
6.75 meters (22 ft 2 in)
0.90 meters (2 ft 11 in)
[17]

National Collegiate Athletic Association
20 feet 9 inches (6.32 m)
4 feet 3 inches (1.30 m)
[18]

American High school basketball
19 feet 9 inches (6.02 m)
5 feet 3 inches (1.60 m)
[19]

text: A player's feet must be completely behind the three-point line at the time of the shot or jump in order to make a three-point attempt; if the player's feet are on or in front of the line, it is a two-point attempt. A player is allowed to jump from outside the line and land inside the line to make a three-point attempt, as long as the ball is released in mid-air.

text: An official raises his/her arm with three fingers extended to signal the shot attempt. If the attempt is successful, he/she raises his/her other arm with all fingers fully extended in manner similar to a football official signifying successful field goal to indicate the three-point goal. The official must recognize it for it to count as three points. Instant replay has sometimes been used, depending on league rules. The NBA,[20] WNBA, FIBA and the NCAA specifically allow replay for this purpose. In NBA, FIBA, and WNBA games, video replay does not have to occur immediately following a shot; play can continue and the officials can adjust the scoring later in the game, after reviewing the video. However, in late game situations, play may be paused pending a review.

text: If a shooter is fouled while attempting a three-pointer and subsequently misses the shot, the shooter is awarded three free-throw attempts. If a player completes a three-pointer while being fouled, the player is awarded one free-throw for a possible 4-point play. Conceivably, if a player completed a three-pointer while being fouled, and that foul was ruled as either a Flagrant 1 or a Flagrant 2 foul, the player would be awarded two free throws for a possible 5-point play.

text: Related concepts[edit]

text: Major League Lacrosse features a two-point line which forms a 15-yard (14 m) arc around the front of the goal. Shots taken from behind this line count for two points, as opposed to the standard one point.

text: In gridiron football, a standard field goal is worth three points; various professional and semi-pro leagues have experimented with four-point field goals. NFL Europe and the Stars Football League adopted a rule similar to basketball's three-point line in which an additional point was awarded for longer field goals; in both leagues any field goal of 50 yards (46 m) or more was worth four points. The Arena Football League awards four points for any successful drop kicked field goal (like the three-point shot, the drop kick is more challenging than a standard place kick, as the bounce of the ball makes a kick less predictable, and arena football also uses narrower goal posts for all kicks than the outdoor game does).

text: During the existence of the World Hockey Association in the 1970s, there were proposals for two-point hockey goals for shots taken beyond an established distance (one proposal was a 44-foot (13.4m) arc, which would have intersected the faceoff circles), but this proposal gained little support and faded after the WHA merged with the NHL. It was widely believed that long-distance shots in hockey had little direct relation to skill (usually resulting more from goalies' vision being screened or obscured), plus with the lower scoring intrinsic to the sport a two-point goal was seen as disruptive of the structure of the game.

text: The Super Goal is a similar concept in Australian rules football, in which a 50-meter (55 yd) arc determines the value of a goal; within the arc, it is the usual 6 points, but 9 points are scored for a "super goal" scored from outside the arc. To date the super goal is only used in pre-season games and not in the season proper.[21]

text: The National Professional Soccer League II, which awarded two points for all goals except those on the power play, also used a three-point line, drawn 45 feet (14 m) from the goal. It has since been adopted by some other indoor soccer leagues.