document_title: Kiss Him, Not Me

question_text: kiss him not me who does serinuma choose

text: Kiss Him, Not Me

text: Plot[edit]

text: Kae Serinuma is a fujoshi, a female manga and anime geek who loves reading yaoi (boys love) material and imagining men together in romantic relationships, both fictional and real. When one of her favorite anime characters is killed off, Kae is so shocked that she locks herself in her room for a whole week. When she eventually comes out, she discovers that she has lost a lot of weight. She becomes a beautiful girl that catches the eye of four boys at her school: Yūsuke Igarashi, Nozomu Nanashima, Hayato Shinomiya, and Asuma Mutsumi. Despite learning about Kae's bizarre tendencies, the four boys, along with another fujoshi girl named Shima Nishina, all fall for Kae and begin competing with each other for her affection, much to Kae's frustration as she wants them to fall in love with each other.

text: Characters[edit]

text: Main characters[edit]

text: Secondary characters[edit]

text: Others[edit]

text: Media[edit]

text: Manga[edit]

text: The original manga by Junko began serialization in Kodansha's Bessatsu Friend magazine from May 2013. The series has been compiled into fourteen tankōbon volumes as of March 13, 2018. Crunchyroll began releasing the manga online as it is published from September 5, 2014, holding a contest to determine the series' official English title.[12][13] Kodansha Comics began publishing the physical edition in English from October 13, 2015.[14]

text: Volume list[edit]

text:
No.Japanese release dateJapanese ISBNEnglish release dateEnglish ISBN
1 October 11, 2013[15]ISBN 978-4-06-341879-8October 13, 2015[16]ISBN 978-1-63-236202-5
2 February 13, 2014[17]ISBN 978-4-06-341903-0December 15, 2015[18]ISBN 978-1-63-236203-2
3 June 13, 2014[19]ISBN 978-4-06-341919-1February 2, 2016[20]ISBN 978-1-63-236206-3
4 September 12, 2014[21]ISBN 978-4-06-341939-9April 5, 2016[22]ISBN 978-1-63-236207-0
5 January 13, 2015[23]ISBN 978-4-06-341960-3June 7, 2016[24]ISBN 978-1-63-236264-3
6 June 16, 2015[25]ISBN 978-4-06-341988-7August 16, 2016[26]ISBN 978-1-63-236265-0
7 October 13, 2015[27]ISBN 978-4-06-392010-9October 25, 2016[28]ISBN 978-1-63-236298-8
8 March 11, 2016[29]ISBN 978-4-06-392030-7December 20, 2016[30]ISBN 978-1-63-236299-5
9 July 13, 2016ISBN 978-4-06-392050-5February 21, 2017[31]ISBN 978-1-63-236343-5
10 October 13, 2016ISBN 978-4-06-392081-9April 18, 2017[32]ISBN 978-1-63-236344-2
11 January 14, 2017ISBN 978-4-06-392098-7June 20, 2017[33]ISBN 978-1-63-236437-1
12 June 13, 2017[34]ISBN 978-4-06-392118-2September 5, 2017[35]ISBN 978-1-63-236493-7
13 November 13, 2017[36]ISBN 978-4-06-510393-7February 27, 2018[37]ISBN 978-1-63-236556-9
14 March 13, 2018[38]ISBN 978-4-06-511050-8July 10, 2018[39]ISBN 978-1-63-236557-6

text: Anime[edit]

text: An anime television adaptation of the manga was announced in the Bessatsu Friend magazine's April 2016 issue. Brain's Base produced the anime, with Hiroshi Ishiodori directing, Michiko Yokote handled the series composition and Kazuhiko Tamura designed the characters.[1] The series aired in Japan between October 6, 2016 and December 22, 2016 and was simulcast by Crunchyroll,[40] and Funimation streamed an English dub.[41] The opening theme is "Prince×Prince" by From4to7 (Yūki Ono, Keisuke Koumoto, Yoshitsugu Matsuoka, and Nobunaga Shimazaki), while the ending theme is "Dokidoki no Kaze" (ドキドキの風, Heart-pounding Wind) by Rie Murakawa.[42] Anime Limited has licensed the series in the UK.[43]

text: Episode list[edit]

text:
No.

Official English title[a]

Original air date

1
"Can She Do It? A Real Life Otome Game""Dekiru ka na? Riaru Otogē" (できるかな？リアル乙女ゲー) October 6, 2016
Kae Serinuma is a chubby fujoshi who enjoys shipping boys together in yaoi pairings. One night, as Kae watches the latest episode of the Mirage Saga anime, she becomes horrified after her favorite character, Shion, is killed off. After spending an entire week locked up in her room due to shock, Kae emerges to find she has lost all of her weight. Kae's new-found beauty quickly attracts the attention of her male schoolmates; Yūsuke Igarashi, Nozomu Nanashima and Hayato Shinomiya who all invite her to watch a movie with them. While trying to deal with all the new attention, Kae ends up giving into her repressed urges when an anime shop has limited goods on sale, revealing to the boys that she is an otaku. Despite this, the boys decide to accept Kae as she is and spend the rest of the day doing what she wants.
2
"The Strange Room And The Four High School Boys""Fushigi na o Heya to Yonnin no DK" (不思議なお部屋と4人のDK) October 13, 2016
Kae is asked to fill in for the school's Soccer Club, only to quickly discover she has no idea how to play soccer. Irked by some of the bad words said behind her back, Nozomu decides to help Kae with her practise, and she ultimately manages to win the match by turning her flaw into an advantage. Later, the group get together at Kae's house to help her study for the exams, much to the ire of her brother, Takuro, who tries to shoo them away by revealing Kae's fujoshi hobby.
3
"The Clear and Blue Autumn Sky, and Passionate Otome""Tentakaku Otome Moe Yuru Aki" (天高く乙女萌ゆる秋) October 20, 2016
Upon the arrival of the culture festival, the boys make an agreement to each spend thirty minutes alone with Kae without interference from the others. As a result, Kae ends up having her picture taken with Nozomu, eating lunch with Asuma, watching a play with Yūsuke, and going to a haunted house with Hayato. As Kae becomes overwhelmed by everyone hitting on her, she becomes harassed by some other students, prompting the others to come to her aid. When the fight becomes violent, Kae urges them to stop, explaining that she is not used to having so much attention. As the boys agree to take things more slowly with Kae, they dance knowing that Kae will enjoy seeing them do so.
4
"Christmas in the Holy Land""Kurisumasu wa Seichi de" (クリスマスは聖地で) October 27, 2016
Come Christmas Eve, the boys end up joining Kae to Comiket, unprepared for how packed the event is. While the boys are sent to buy dōjinshi, Kae is harassed by a photographer but is rescued by someone cosplaying as a butler character. Upon returning to school, Kae discovers that the cosplayer she met is actually a female underclassman named Shima Nishina. After being introduced to the boys, Shima invites everyone to her place to act as models for her dōjinshi. When Kae offers her own advice for poses, Shima suddenly takes the initiative, and Kae's first kiss.
5
"Back to My Original Self! What Should I Do?""Moto ni Modotte Dōsunda" (元に戻ってどうすんだ) November 3, 2016
When a Valentine's Day event is announced allowing fans to give chocolate to Mirage Saga characters, Kae struggles with trying to craft a 3D chocolate sculpture of Shion. Although Shima offers to let her submit the one she made, Kae realises that feelings are the most important thing and sends in her avant-garde creation, winning a special prize. However, as a result of eating all of the leftover chocolate, Kae ends up putting on all the weight she had lost. Wanting Kae to go back to her more beautiful self, Nozomu and Hayato try and get Kae to lose her weight, only to discover that their methods are doing more harm than good. As Yūsuke comes to realise that he loves Kae regardless of her weight, the boys come up with a reward system, awarding Kae with yaoi fanservice for every weight goal reached. Thanks to this, Kae quickly goes back to her normal weight and is treated to the sight of Yūsuke and Nozomu kissing.
6
"Let The Shipping Wars Begin!""Kappuringu Sensō Boppatsu!" (カップリング戦争勃発！) November 10, 2016
While obsessed with a new anime titled Kanchu Ranbu, Kae and Shima fall out with each other when they get into a heated argument over which of the two male leads should be the more dominant one. After the boys fail in an attempt to get them to make up with each other, Shima challenges Kae to a fanfiction writing competition to determine which pairing is superior. Shima wins the contest in the end, but doesn't feel happy with her victory. Recalling how she came to fall in love with Kae in the first place, Shima properly apologises to Kae and the two compromise by declaring their ship to have a reversible dynamic.
7
"On A Journey to the Holy Land of Kachu☆Rabu""Seichi Junrei Kachu☆Rabu no Tabi" (聖地巡礼かちゅ☆らぶの旅) November 17, 2016
Wanting to attend a requiem mass for the samurai that Kanchu Ranbu's main character was based on, Hyakki Sametora, Kae and the others end up spending the night at an inn, where Yūsuke lands on top of Kae during a pillow fight. The next day, the gang attend the mass, look at a museum, and visit Sametora's grave. While taking swan boats to an island where Sametora's head was buried separately, the group gets swept up by a whirlpool and stranded on the island, with Kae and Asuma becoming separated from the others. As the two groups struggle to find each other due to an alleged curse surrounding the island, Asuma is forced to take drastic measures when Kae comes down with a fever. After Kae recovers, she and Asuma come up against the alleged ghost of Sametora, managing to use charms bought at the shrine to bring him to peace. Afterwards, the gang learn that the curses they saw were apparently hallucinations caused by poisonous mushrooms they had for lunch, though Asuma suspects there is some truth to what he and Kae experienced.
8
"I'm at a Disadvantage!""Ore wa Adobantēji Mainasu!" (俺はアドバンテージ・マイナス！) November 24, 2016
While Nozomu worries that everyone has been making progress with Kae except him, Kae reveals she is working part-time at an amusement park, performing as part of a Puri Puri Moon stage show. As everyone else ends up getting various roles at the park as well, Nozomu, having experience with Puri Puri Moon due to watching the TV series with his little sister Kirari, gets a part in the show alongside Kae. On the first day of practise, Nozomu comes down with a cold, so Kae comes over to his house to look after him. Delirious from the fever, Nozomu forces himself upon Kae and kisses her before Yūsuke stops him. As Kae ends up catching his cold and becoming afraid as a result, Nozomu apologises for his actions and encourages Kae to get better in time for the stage show. When rowdy otakus cause a disturbance during the show, Nozomu puts on an ad-lib performance to drive them off before filling in for one of the other girls in the dance number.
9
"The Beach! Bathing Suits! Time to Get Serious!""Umi da Mizugi da Honki dasu!" (海だ水着だ本気出す!) December 1, 2016
During a trip to the beach, Hayato's attempts to impress Kae keep either backfiring or getting upstaged by the others. After an attempt to save Kae from a snake ruins barbecue preparations, Hayato becomes depressed and runs off into the forest, prompting the others to search for him. While the others end up having to take another path after a bridge collapses, Kae catches up to Hayato and takes shelter in an abandoned hotel, which turns out to be the hideout of some delinquents that the other boys shooed away. With Kae in danger, Hayato manages to overcome his fear and deliver a swift kick to one of the delinquents, helping Kae to reunite with the others.
10
"Brother Invasion""Ani, Shūrai" (兄, 襲来) December 8, 2016
As the gang go on a treasure hunt near Mount Fuji after Asuma finds a map in the History Club, they become curious as to whether or not Asuma actually has any romantic feelings for Kae. After encountering a group of bats, Kae becomes separated from the others alongside Asuma, who she discovers is afraid of the dark. As Kae helps him get through the darkness and reunite with the others, Asuma starts to realise his own feelings for her before discovering the treasure to be a prank set up by his older brother, Kazuma. The next day, Kazuma begins working as the school's new student teacher, who acts flirtatious with both the boys and Kae. Later, Kazuma invites Kae to lunch to talk about Asuma, hearing about how much of an impression he has left on her. The following day, Kazuma attempts to make his own move on Kae only to be stopped by Asuma, who claims that Kae is his girlfriend.
11
"Forward! Guard the Castle!""Iza Shutsudō!! Shiro Gādo!" (いざ出動!! 城ガード!) December 15, 2016
Asuma's lie fails to pass with Kazuma, who throws himself into the running for Kae's affections to the annoyance of everyone else. As everyone tries to do their part to protect Kae, Kazuma keeps hitting them back by exploiting their weaknesses. When Asuma tries to reason with him, Kazuma traps him in a locker, reminding him of when Kazuma trapped him in a storehouse when they were kids. The next day, Kazuma challenges Asuma to a duel of the Guard the Castle card game, with Kae as the prize, leading Asuma to realise this is the one thing he cannot let his brother have. With the support of his friends, Asuma manages to win the duel and realises his true feelings for Kae.
12
"Kiss Him, Not Me""Watashi ga Motete Dōsunda" (私がモテてどうすんだ) December 22, 2016
Following Asuma's declaration of his feelings, the others take extra measures to keep him from properly confessing to Kae. After Asuma makes a public broadcast asking Kae to meet him on the roof after school, he prompts the others to also come to the rooftop and properly reveal their feelings, leading to everyone confessing to Kae at the same time. Feeling she can't make a decision without knowing everyone better, Kae decides to spend each day of the holiday going on dates with each of her suitors. As such, she goes to an aquarium with Yusuke, an amusement park with Nozomu, and alpaca farm with Hayato, a trip to Okinawa with Shima, and a treasure hunt with Asuma. After remaining uncertain following the dates, Kae ends up rekindling her love for Shion upon learning that he might be revived for a second season of Mirage Saga, leaving everyone's confessions unanswered.

text: Notes[edit]

text: Jump up ^ All English titles are taken from Funimation.

tag: ol

text: Reception[edit]

text: Volume 3 of the manga reached the 44th place on the weekly Oricon manga chart and, as of June 15, 2014, has sold 17,994 copies;[44] volume 4 reached the 43rd place and, as of September 14, 2014, has sold 22,107 copies;[45] volume 5 reached the 17th place and, as of January 18, 2015, has sold 41,112 copies.[46]

text: The manga won Best Shōjo Manga at the 40th Kodansha Manga Awards.[47] It was number four on the 2015 Kono Manga ga Sugoi! Top 20 Manga for Female Readers survey.[48]


document_title: Marriage and wedding customs in the Philippines

question_text: what is a secondary sponsor in filipino wedding

root

text: Historical overview[edit]

text: A typical ancient traditional Filipino wedding, during pre-colonial times, is held for three days and was officiated by a babaylan, a tribal priest or priestess.[3][4] The house of the babaylan was the ceremonial center for the nuptial. On the first day, the couple was brought to the priest's home, where the babaylan blesses them, while their hands are joined over a container of uncooked rice. On the third day, the priest would prick their chests to draw a small amount of blood, which will be placed on a container to be mixed with water. After announcing their love for each other three times, they were fed by the priest with cooked rice coming from a single container. Afterwards, they were to drink the water that was mixed with their blood. The priest proclaimed that they are officially wed after their necks and hands were bound by a cord or, sometimes, once their long hairs had been entwined together.[3][4] In lieu of the babaylan, the datu or a wise elder may also officiate a pre-colonial Filipino wedding.[4]

tag: p

text: After the ceremony, a series of gift-exchanging rituals was also done to counter the negative responses of the bride: if asked to enter her new home, if she refuses to go up the stairs of the dwelling, if she denies to participate in the marriage banquet, or even to go into her new bedroom, a room she would be sharing with her spouse.[4]

text: Spanish colonialism brought changes to these marriage rituals because of the teachings and conversion efforts of Spanish missionaries, which occurred as early as the 18th century. As a result, the majority of current-day Filipino weddings became predominantly Christian or Catholic[4] in character, which is also because of the mostly Catholic population, although indigenous traditions still exist today in other regions of the Philippines.[4] Parts of Filipino wedding ceremonies have become faith-centered and God-centered, which also highlights the concept that the joining of two individuals is a "life long commitment" of loving and caring.[1][2] In general, the marriage itself does not only signify the union of two persons, but also the fusion of two families, and the unification of two clans.[5]

text: Requirements[edit]

text: The following are the legal requirements that must be met in order to marry in the Philippines.[6][7] Specific requirements for marriage are detailed in Title I of the Family Code of the Philippines.[8] Some of these requirements are:

text:
Legal capacity of the contracting parties who must be a male and a female, 18 years old and above without any impediment to get married.[6][7]
Consent freely given in the presence of the solemnizing officer.
Authority of the solemnizing officer (only incumbent member of the judiciary; priest, rabbi, imam, or minister of any church or religious sect duly authorized by his church or religious sect and registered with the civil registrar general; ship captain or airplane chief, military commander of a unit to which a chaplain is assigned, in the absence of the latter, during a military operation only in marriages at the point of death; and consul-general, consul or vice-consul only between Filipino citizens abroad are authorized by law to solemnize marriage).[6] Article 35(2) of the Family Code, however, specifies that marriages solemnized by any person not legally authorized to perform marriages which were contracted with either or both parties believing in good faith that the solemnizing officer had the legal authority to do so are neither void nor voidable.[8]

tag: ul

text: In cases where parental consent or parental advice is needed,[9] marriage law in the Philippines also requires couples to attend a seminar[6] on family planning before the wedding day in order to become responsible for family life and parenthood. The seminar is normally conducted at a city hall or a municipal council.[5]

text: Some officiating ministers or churches require the couple to present a Certificate of No Marriage Record (CENOMAR), on top of or together with the marriage license and the authority of the solemnizing officer. The CENOMAR can be secured from the Philippine Statistics Authority or its designated sub-offices and branches.[10]

text: Marriage proposal[edit]

text: The traditional marriage proposal takes the form of the pamanhikan[3] or pamamanhikan or the "parental marriage proposal", a formal way of asking the parents of the woman for her hand. The would-be groom and his parents go to the would-be bride's home, and ask the parents for their consent. Once the woman's parents accept the proposal, other matters will be discussed during this meeting including among other things, the wedding plan, the date, the finances, and the list of guests. The expenses for the wedding are generally shouldered by the groom and his family.[2]

text: Pamamanhikan enforces the importance of the familial nature of the wedding, as traditionally a marriage is the formation of an alliance between two clans as well as the joining of individuals. This is sometimes further expressed in how the whole extended family goes with the groom and his parents, using the occasion as a chance to meet and greet the other clan. In this situation, there is a feast held at the bride's family home.

text: This event is separate from the Despedida de Soltera (Spanish: "Farewell to Single-hood") party some families have before the wedding. The local variant of the Hispanic custom normally holds it for the bride, and it is held by her family. It is similar in sentiment to the hen night, albeit a more wholesome and formal version.

text: Wedding announcement[edit]

text: After the pamamanhikan, the couple performs the pa-alam or "wedding announcement visitations." In this custom, the couple goes to the homes of relatives to inform the latter of their status as a couple and the schedule of their nuptial. It is also during these visits when the couple personally delivers their wedding invitations.[11]

text: Wedding date and invitation[edit]

text: The typical Filipino wedding invitation contains the date and venue for the wedding ceremony and for the wedding reception, as well as the names and roles of the principal sponsors of the bride. Weddings in the Philippines are commonly held during the month of June.[2]

text: Ceremonial protocol[edit]

text: Attire[edit]

text: Bride[edit]

text: The bride's attire is typically a custom-made white wedding gown and veil.[1] This is from the Anglo-American influence of dressing the woman in white on her wedding day.[2] A popular alternative is a white version of the Baro't saya, a form of national dress for Filipino women.

text: Groom[edit]

text: The groom is traditionally clothed in the Barong Tagalog, the formal and traditional transparent, embroidered, button-up shirt made from jusi (also spelled as husi) fabric made from pineapple fibers.[1] This formal Filipino men's dress is worn untucked[12] with a white t-shirt or singlet underneath, and commonly worn together with a black pair of trousers.

text: Wedding Guests[edit]

text: Males guests typically wear the Filipino Barong, or a suit. Women wear a formal or semi-formal dress, the length and color determined by the wedding theme. [13]

text: It is discouraged for female guests to wear white since this competes with the bride's traditional wedding dress color. For Filipino-Chinese weddings, it is customary for the bride to wear red. It is frowned upon to wear this color as a guest, for the same reason.

text: Black and white ensembles are also considered impolite in traditional Filipino-Chinese weddings. These colors symbolize death and mourning, and are deemed to have no places in a festive celebration like weddings. However, using these as accents is acceptable. [14]

text: Wedding ceremony[edit]

text: Generally, the wedding ceremony proper includes the celebration of an hour-long Mass or religious service. The groom arrives an hour earlier than the bride for the purpose of receiving guests at the church or venue. The groom could be waiting with his parents; the bride will arrive later with her father and mother on board a wedding car. Afterwards, the wedding party assembles to enter the church for the processional.[2] During the nuptials, Catholic and Aglipayan brides customarily bear an ornate, heirloom rosary along with their bridal bouquet.[2]

text: Ceremonial sponsors, witnesses, and participants[edit]

text: The principal wedding sponsors (also termed "godparents," "special sponsors," "primary sponsors," "counselors," or "witnesses"),[6] are often chosen by the betrothed, sometimes on advice of their families. Multiple pairs of godparents are customary, with six godmothers (ninang) and six godfathers (ninong)

text: Ritual objects[edit]

text: Ceremonial paraphernalia in Filipino weddings include the arrhae, the candles, the veils, the cord, and wedding rings.[1][2] The ring bearer acts as the holder and keeper of the rings until the exchanging of rings is performed, while the coin bearer acts as the holder and keeper of the arrhae until it is offered and given by the groom to his bride.[2] Among the secondary sponsors or wedding attendants, three pairs – each pair consists of a male and a female secondary sponsor – are chosen to light the wedding candles, handle the veils, and place the cord.[2]

text: Rings and arrhae[edit]

text: After the exchange of wedding rings by the couple, the groom gives the wedding arrhae to his bride. The arrhae is a symbol of his "monetary gift" to the bride because it is composed of 13 pieces of gold, or silver coins, a "pledge" that the groom is devoted to the welfare and well-being of his wife and future offspring. Both rings and arrhae are blessed first by the priest during the wedding.[2]

text: Candles[edit]

text: Candle Sponsors are secondary sponsors who light the pair of candles, one on each side of the couple. For Christians, this embodies the presence of God in the union. An old folk belief holds that should one of the candles go out during the rite, the person beside it will die ahead of the other.[3]

text: Many weddings add the ritual of the "unity candle", which signifies the joining of their two families. The couple takes the two lighted candles and together lights a single candle. For Christians, lighting this single candle symbolises the inclusion of Christ into their life as a married couple.[1][2] The practice is rooted in American Protestantism,[2] and is sometimes discouraged by Catholic parishes for theological reasons.[citation needed]

text: Veils[edit]

text: After the candle ritual, a pair of secondary sponsors known as the Veil Sponsors will pin the veil(s) on the couple. The veiling ritual signifies the clothing of the two individuals as one.[2]

text: Two variants of this custom exist: a long, white, rectangular veil is draped over the shoulder of the groom and above the bride's head;[1] two smaller veils may also be pinned on the groom and bride's shoulders.

text: Cord[edit]

text: After the veiling, the last pair of secondary sponsors will then drape the yugal over the shoulders of the couple. The cord is customarily shaped or looped to form the figure "8" (a lucky number; the figure is also interpreted as the infinity sign), to symbolise "everlasting fidelity."[1][2] Each loop of the cord is placed around the individual collar areas of the bride and the groom.

text: Apart from silk, popular materials used to make the wedding cord are strings of flowers, links of coins, or a chain designed like a long, double rosary.

text: Black Bible[edit]

text: Catholic and Protestant weddings include the entrustment to the couple of a copy of the Holy Bible.

text: Wedding reception[edit]

text: During the wedding reception, it is typical to release a pair of white male and female doves, symbolising marital harmony and peace.[1] These are placed in a cage or receptacle, which can be opened by pulling ribbons or cords or manually opened and released by the couple themselves. After their release from their cage,[1] the person who catches them may take them home to rear as pets.

text: It is also a common practice to have the "Money Dance." This is where the bride and groom dance to slow music while the guests pin money (notes) on the couple.[13] The monetary gift from the dance is a way to help the new couple get started with their married life.

text: Tossing the bouquet is for the most part uncommon for the bride to do, though it is increasingly being observed by younger women. Instead, the bride traditionally offers it at a side altar of the church before an image of either the Blessed Virgin Mary or a patron saint, or offers it at the grave of an important relative or ancestor.[2]

text: Filipino Muslim wedding[edit]

text: Filipino Muslims in the Mindanao region of the Philippines commonly practice pre-arranged marriages and betrothal.[15] The Tausog people's wedding include the pangalay, a celebration or announcement performed by means of the playing of percussion instruments like as the gabbang, the kulintang, and the agong. Included in the wedding ceremony that is officiated by an Imam are readings taken from the Qur'an and the placement of the groom's fingerprint on the forehead of the bride.

text: Same sex marriage[edit]

text: Marriage between couples of the same sex is currently not possible under the laws of the Philippines because, according to the Filipino Family Code, both family and marriage are considered as heterosexual units. The legal concept of a family in the Philippines does not incorporate homosexual relationships. Furthermore, finding that a party to the marital union is either homosexual or lesbian is a ground for annulment of the marriage and legal separation in the Philippines, which leads to the severance of the homosexual individual's spousal inheritance, claims to any conjugal property, and the custody of offspring.[16]

text: Pre-colonial Wedding customs[edit]

text: Filipinos have pre-colonial customs based on the Indian Hindu wedding that are related to marriage and weddings and still carried out even after colonial masters destroyed other customs after the imposition of Christianity.[3][4]

text: Pre-colonial customs include the groom or bride avoiding travel beforehand to prevent accidents from happening.[3] The bride must not wear pearls as these are similar to tears,[3] and a procession of men holding bolos and musicians playing agongs must be done. This march was also done after the ceremony until the newly-wed couple reaches their abode. The purpose of this procession is similar to the current practise of breaking plates during the wedding reception, in order to dispel bad luck.[3][4]

text: Spanish colonisers introduced new beliefs to the Philippines, with particular concern over banning activities that may cause broken marriages, sadness and regret. Wedding gowns cannot be worn in advance, [3] as any black-coloured clothing during the ceremony, and sharp objects such as knives cannot be given as gifts.[3][4]

text: Other beliefs include a typhoon on the wedding day being an ill omen; that after the ceremony the bride should walk ahead of her husband or step on his foot to prevent being dominated by him; and an accidentally dropped ring, veil, or arrhae will cause marital misery.[4][17]

text: Superstitious beliefs on good fortune include showering the married couple with uncooked rice, as this wishes them a prosperous life together.[3] The groom's arrival at the venue ahead of his bride also diminishes dire fate.[3] In addition, a single woman who will follow the footsteps of a newly married couple may enhance her opportunity to become a bride herself.[4]

text: Siblings are not permitted to marry within the calendar year as this is considered bad luck. The remedy to this belief, called sukob, is to have the one marrying later pass through the back entrance of the church instead of its main doors. Bride and groom cannot have marital relations starting from the 60th day prior to the wedding.


document_title: Pilkington (Animal Farm)

question_text: who said serves you right in animal farm

text: Pilkington (Animal Farm)

text: Role in the story[edit]

text: Pilkington is based on Winston Churchill and Franklin Delano Roosevelt. Mr Pilkington has a larger but more unkempt farm, and is on bad terms with Mr Frederick of Pinchfield Farm. Frederick's farm is adjacent to Animal Farm on the opposite side, to which Animal Farm acts as a buffer zone, sandwiched between Pinchfield and Foxwood. Frederick is in ways the antithesis of Pilkington; he is comparatively poorer and has less land than Pilkington; however Pinchfield is more efficiently run and more productive than Foxwood. Despite the bickering between Frederick and Pilkington, there are two factors both respectfully agree upon: they are frightened of the animal revolution that deposed Mr Jones, the original owner, fearing that their own animals may stage similar revolutions on their farmsteads, and both continue to call "Animal Farm" by its original name of "Manor Farm", as they believe the name "Animal Farm" is an unofficial endorsement of the animal revolution. Mr Pilkington at first offered to buy Napoleon's pile of surplus timber, but the timber is also sought after by Mr. Frederick, which Napoleon instigates the trade war by spreading messages of "Death to Pilkington". Napoleon plays both sides by feigning friendship with Pilkington to get Frederick to pay a higher price for the timber. Through Napoleon's human aide Mr. Whymper, Napoleon furiously learns that Frederick got the timber for free as he paid in counterfeit money. Napoleon orders the slogan "Death to Pilkington" changed to "Death to Frederick". Immediately after the bum deal, Frederick and his men invade Animal Farm, killing many animals and ultimately destroying the windmill with blasting powder. Napoleon parlays his new "Death to Frederick" slogan into an attempt to rebuild relations with Pilkington by sending a message for aid against a common enemy, but this proves too little too late as the "Death to Pilkington" slogans are recent memory, and Napoleon gets a sole response from Pilkington which reads "Serves you right".

text: The Meeting[edit]

text: Pilkington and several other of the men working on the farm are invited to a meeting by Napoleon and the pigs, where Napoleon reintroduces Animal Farm's "new" name of The Manor Farm. Pilkington praises Napoleon for the extreme strictness that he imposes upon the animals, forbidding them any time to enjoy themselves. He talks about the misunderstandings in the past that had been rectified. "You have your lower animals," he jokingly consents, "and we have our lower classes." The men and pigs start playing cards, flattering and praising each other while cheating at the game.

text: At the end of the novel, both Napoleon and Pilkington play the Ace of Spades (which in most games, is the highest-ranking card) at the same time and begin fighting loudly.

text: In the allegory[edit]

text: Pilkington represents western capitalist countries, specifically the sprawling British Empire which was crumbling during World War II. This is in contrast to Frederick, who has the opposite scenario of a smaller, better managed farm run by an unscrupulous, violent owner (an allegory of Germany). After the end of World War II, the Cold War began between the 'West' and the Soviet Union, similar to the end of the meeting where both Napoleon and Pilkington play a simultaneous Ace of Spades, then get into an argument over it.

text: Film[edit]

text: In the 1999 film adaptation of the novel, Pilkington is portrayed by Alan Stanford. In the film, he is the first human to enter into trade agreements with Animal Farm, beginning regular deals with Napoleon. He considers it more practical to trade with the animals after learning that they can talk, believing that they are incapable of coping on their own, and dismissing claims that other animals are starving in favour of the benefits to himself.

text:
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v
t
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George Orwell's Animal Farm (1945)

Characters

Old Major
Napoleon
Snowball
Squealer
Boxer
Benjamin
Pilkington
Mr. Jones

Concepts

Anthems

Other media

1954 film
1999 film

tag: table

text: Animal Farm charactersFictional farmersFictional characters introduced in 1945Fictional British peopleMale characters in literature

text: Articles lacking sources from December 2009All articles lacking sources


document_title: Legends of the Fall

question_text: where was the legend of the fall filmed

question_tokens: where was the legend of the fall filmed

text: Legends of the Fall

text: Plot[edit]

text: Sick of betrayals the United States government perpetrated on the Native Americans, Colonel William Ludlow leaves the Army and moves to a remote part of Montana. Along with One Stab, a Cree friend, he builds a ranch and raises his family. Accompanying them are hired hand and former outlaw Decker, Decker's Cree wife Pet, and daughter Isabel Two. William has three sons: Alfred, the eldest, is responsible and cautious; Tristan, the Colonel's favorite son, is wild and well-versed in American Indian traditions; Samuel, the youngest, is educated but naive and constantly watched over by his brothers.

text: William's wife Isabel does not adapt to the harsh Montana winters and moves to the East Coast; Tristan vows never to speak of her again. At age 12, Tristan touches a sleeping grizzly bear. The bear awakens and injures him, but he stabs at the bear's paw and cuts off a claw.

text: Years later, Samuel returns from Harvard University with his fiancée, Susannah. Susannah talks with Isabel Two and learns of her fondness for Tristan. Susannah finds Tristan captivating but loves Samuel. Before they can marry, Samuel announces his intention to join the Canadian Expeditionary Force and aid Britain in the fight against Germany. Much to their father's displeasure, Alfred also joins. Although Tristan does not want to join, he does so to protect his brothers.

text: During World War I, the brothers find themselves in the 10th Battalion, CEF. Alfred, commissioned as an officer, leads a charge into no man's land. The attack results in heavy casualties and Alfred is wounded. While visiting Alfred in the field hospital, Tristan learns that Samuel has volunteered for a dangerous reconnaissance mission. He rushes off to protect his brother but arrives too late. A devastated Tristan holds Samuel until he dies, then cuts out his brother's heart and sends it home to be buried at the ranch. Tristan single-handedly raids the German lines. He returns to camp with the scalps of German soldiers hanging around his neck, horrifying his fellow soldiers. He is discharged but does not go home. Alfred returns to Montana and proposes to Susannah, but she declines.

text: Tristan returns home, where Susannah finds him weeping over Samuel's grave. She comforts him, and they become lovers. A jealous Alfred confronts Tristan and leaves to make his name in Helena. Tristan is plagued with guilt over Samuel's death and feels responsible for driving Alfred away; he leaves Montana for several years. Susannah waits for him, only to receive a letter telling her to marry someone else. Alfred comforts Susannah. William finds them together, which leads to a falling out between him and Alfred. William later suffers a stroke. He does not speak for years and the ranch deteriorates. Susannah marries Alfred, now a congressman. Alfred's business and politics cause him to get involved with the O'Banion brothers, bootleggers and gangsters.

text: Tristan returns during Prohibition, bringing life back to the ranch and his father. He falls in love with Isabel Two and they marry. They have two children, the elder being a boy named Samuel Decker. Tristan becomes involved in small-scale rum-running, finding himself at odds with the O'Banion brothers. Isabel is accidentally killed by a police officer working for the O'Banions. In a fit of grief, Tristan beats the officer nearly to death and is jailed. Susannah visits Tristan, still having feelings for him, but he refuses her advances. After his release, Tristan and Decker kill those responsible for Isabel's death, including one of the O'Banion brothers.

text: Realizing she cannot live without Tristan, Susannah commits suicide. The remaining O'Banion brother, along with the corrupt sheriff and another police officer, comes after Tristan for revenge. At the ranch, William and Alfred kill the attackers. Alfred reconciles with his father and brother. The family realizes that Tristan is likely to be blamed for the deaths, which prompts Tristan to ask Alfred to take care of his children. One Stab's narration explains that later during the night they bury the bodies and dump the car in the Missouri River. He reflects that rather than dying young as One Stab had expected, Tristan lived to watch his children and grandchildren grow. One Stab observes that it was the people Tristan loved and wanted to protect most that died young.  The last scene takes place in 1963. Tristan, now an old man living in the North Country, investigates an animal carcass and is confronted by a grizzly bear. He draws his knife and fights it. As they struggle, the image freeze-frames as One Stab narrates, "It was a good death".

text: Cast[edit]

text:
Brad Pitt as Tristan Ludlow
Keegan MacIntosh as Young Tristan Ludlow
Eric Johnson as Teen Tristan Ludlow
Anthony Hopkins as Col. William Ludlow
Aidan Quinn as Alfred Ludlow
Julia Ormond as Susannah Fincannon-Ludlow
Henry Thomas as Samuel Ludlow
Karina Lombard as Isabel "Isabel II" Decker/Isabel Decker Ludlow
Sekwan Auger as Young Isabel II Decker
Gordon Tootoosis as One Stab
Christina Pickles as Isabel Ludlow
Paul Desmond as Roscoe Decker
Tantoo Cardinal as Pet Decker
Robert Wisden as John T. O'Banion
John Novak as James O'Banion
Kenneth Welsh as Sheriff Tynert
Bart the Bear as the Bear

text: Production[edit]

text: Filming[edit]

text: Legends of the Fall was primarily filmed on location in Alberta and British Columbia, Canada. Principal photography began in mid-September 1993.[4] The World War I battlefield scenes took two weeks to film and were shot near Morley, Alberta, with hundreds of locals and a few Canadian Forces soldiers recruited as extras.[5] The Ghost River Wilderness Area in Alberta served as the filming location for the Ludlow ranch; additional outdoor scenes, as well as the funeral and cemetery scenes, were shot at the Bow River near Banff National Park. A historic harbour area in Vancouver called Gastown was augmented with period building facades for the Helena, Montana street scenes. Hotel scenes were shot at the Hotel Europe at 43 Powell Street in Vancouver. Additional scenes were shot at Maple Leaf Square in Gastown, Vancouver, and Ocho Rios in Saint Ann, Jamaica. Filming wrapped up around January 1994.[6]

text: Reception[edit]

text: Box office[edit]

text: The film opened in limited release on December 23, 1994, and expanded to a wide release on January 13, 1995. During its first weekend in wide release, which was a four-day weekend due to Martin Luther King, Jr. Day, the film reached number one at the domestic box office after grossing $14 million.[7] After its initial run, the film brought in a final box office total of $160,638,883.[8] Against its $30 million budget, the film was a financial success.

text: Critical response[edit]

text: Review aggregator website Rotten Tomatoes reports that 56% of 54 film critics have given the film a positive review, with a rating average of 5.8 out of 10.[9] Metacritic, which assigns a weighted average score out of 100 to reviews from mainstream critics, gives the film a score of 45 based on 23 reviews, indicating "mixed or average reviews".[10]

text: Roger Ebert of the Chicago Sun-Times described the film as "pretty good ... with full-blooded performances and heartfelt melodrama".[11] Peter Travers of Rolling Stone particularly praised Pitt's performance saying, "Though the admirable Quinn has the toughest role, Pitt carries the picture. The blue-eyed boy who seemed a bit lost in Interview with the Vampire proves himself a bona fide movie star, stealing every scene he's in."[12] Comparatively, Chris Hicks of Deseret News noted, "Pitt is the hunk of the moment, and Legends of the Fall will only further cement his big-screen, romantic leading-man status. And he is satisfying as the internalized, rebellious Tristan (look for that name to be given to more than a few babies over the next few years). Even if the character seems only a slight twist on the similar role he played in A River Runs Through It. (He even becomes a bootlegger!)"[13]

text: On the other hand, Rita Kempley of The Washington Post stated that the film's "yarn doesn't so much sweep as sprawl across the screen in all its panoramic idiocy".[14] Janet Maslin of The New York Times commented, "Before it turns exhaustingly hollow, this film shows the potential for bringing Mr. Harrison's tough, brooding tale to life. And the actors may have captured the spirit of the story, but that's impossible to know." She concluded, "These are performances that lost too much in the editing room, smothered by music and overshadowed by a picture-postcard vision of the American West."[15]

text: Accolades[edit]

text: The film was nominated for the Academy Awards for Best Cinematography (John Toll), Best Art Direction (Lilly Kilvert, Dorree Cooper), and Best Sound (Paul Massey, David E. Campbell, Chris David and Douglas Ganton), and won the category for Best Cinematography.[2][16] In addition, the film was nominated for the Golden Globes for Best Picture – Drama, Best Actor – Drama (Brad Pitt), Best Director (Edward Zwick), and Best Original Score (James Horner).[17]

text: Home media[edit]

text: Legends of the Fall was first released on DVD on April 29, 1997, and once again on October 17, 2000.[18] The film was later released on Blu-ray on February 8, 2011, with bonus content that includes two audio commentaries, deleted scenes with optional commentary and two behind-the-scenes featurettes.[19]


document_title: Classical period (music)

question_text: what city was considered the center for music during the classical period

text: Classical period (music)

text: Classicism[edit]

text:
Part of a series onClassicism
Classical antiquity
Greco-Roman world

Age of Enlightenment
Neoclassicism
Economics
Music
Physics

20th-century neoclassicism
Between World War I and II
Ballet
Economics
Music
Philosophy
vte

text: In the middle of the 18th century, Europe began to move toward a new style in architecture, literature, and the arts, generally known as Classicism. This style sought to emulate the ideals of Classical antiquity, especially those of Classical Greece.[3] Classical music used formality and emphasis on order and hierarchy, and a "clearer", "cleaner" style that used clearer divisions between parts (notably a clear, single melody accompanied by chords), brighter contrasts and "tone colors" (achieved by the use of dynamic changes and modulations to more keys). In contrast with the richly layered music of the Baroque era, Classical music moved towards simplicity rather than complexity. In addition, the typical size of orchestras began to increase,[3] giving orchestras a more powerful sound.

text: The remarkable development of ideas in "natural philosophy" had already established itself in the public consciousness. In particular, Newton's physics was taken as a paradigm: structures should be well-founded in axioms and be both well-articulated and orderly. This taste for structural clarity began to affect music, which moved away from the layered polyphony of the Baroque period toward a style known as homophony, in which the melody is played over a subordinate harmony.[3] This move meant that chords became a much more prevalent feature of music, even if they interrupted the melodic smoothness of a single part. As a result, the tonal structure of a piece of music became more audible.

text: The new style was also encouraged by changes in the economic order and social structure. As the 18th century progressed, the nobility became the primary patrons of instrumental music, while public taste increasingly preferred lighter, funny comic operas. This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the continuo—the rhythmic and harmonic groundwork of a piece of music, typically played by a keyboard (harpsichord or organ) and usually accompanied by a varied group of bass instruments, including cello, double bass, bass viol, and theorbo. One way to trace the decline of the continuo and its figured chords is to examine the disappearance of the term obbligato, meaning a mandatory instrumental part in a work of chamber music. In Baroque compositions, additional instruments could be added to the continuo group according to the group or leader's preference; in Classical compositions, all parts were specifically noted, though not always notated, so the term "obbligato" became redundant. By 1800, basso continuo was practically extinct, except for the occasional use of a pipe organ continuo part in a religious Mass in the early 1800s.

text: Economic changes also had the effect of altering the balance of availability and quality of musicians. While in the late Baroque, a major composer would have the entire musical resources of a town to draw on, the musical forces available at an aristocratic hunting lodge or small court were smaller and more fixed in their level of ability. This was a spur to having simpler parts for ensemble musicians to play, and in the case of a resident virtuoso group, a spur to writing spectacular, idiomatic parts for certain instruments, as in the case of the Mannheim orchestra, or virtuoso solo parts for particularly skilled violinists or flautists. In addition, the appetite by audiences for a continual supply of new music carried over from the Baroque. This meant that works had to be performable with, at best, one or two rehearsals. Even after 1790 Mozart writes about "the rehearsal", with the implication that his concerts would have only one rehearsal.

text: Since there was a greater emphasis on a single melodic line, there was greater emphasis on notating that line for dynamics and phrasing. This contrasts with the Baroque era, when melodies were typically written with no dynamics, phrasing marks or ornaments, as it was assumed that the performer would improvise these elements on the spot. In the Classical era, it became more common for composers to indicate where they wanted performers to play ornaments such as trills or turns. The simplification of texture made such instrumental detail more important, and also made the use of characteristic rhythms, such as attention-getting opening fanfares, the funeral march rhythm, or the minuet genre, more important in establishing and unifying the tone of a single movement.

text: The Classical period also saw the gradual development of sonata form, a set of structural principles for music that reconciled the Classical preference for melodic material with harmonic development, which could be applied across musical genres. The sonata itself continued to be the principal form for solo and chamber music, while later in the Classical period the string quartet became a prominent genre. The symphony form for orchestra was created in this period (this is popularly attributed to Joseph Haydn). The concerto grosso (a concerto for more than one musician), a very popular form in the Baroque era, began to be replaced by the solo concerto, featuring only one soloist. Composers began to place more importance on the particular soloist's ability to show off virtuoso skills, with challenging, fast scale and arpeggio runs. Nonetheless, some concerti grossi remained, the most famous of which being Mozart's Sinfonia Concertante for Violin and Viola in E flat Major.

text: Main characteristics[edit]

text: In the classical period, the theme is made up of phrases with contrasting melodic figures and rhythms. These phrases are relatively brief, typically four bars in length, and can occasionally seem sparse or terse.  The texture is mainly homophonic,[2] with a clear melody above a subordinate chordal accompaniment, for instance an Alberti bass. This contrasts with the practice in Baroque music, where a piece or movement would typically have only one musical subject, which would then be worked out in a number of voices according to the principles of counterpoint, while maintaining a consistent rhythm or metre throughout.  As a result, Classical music tends to have a lighter, clearer texture than the Baroque. The classical style draws on the style galant, a musical style which emphasised light elegance in place of the Baroque's dignified seriousness and impressive grandeur.

text: Structurally, Classical music generally has a clear musical form, with a well-defined contrast between tonic and dominant, introduced by clear cadences. Dynamics are used to highlight the structural characteristics of the piece. In particular, sonata form and its variants were developed during the early classical period and was frequently used.  The Classical approach to structure again contrasts with the Baroque, where a composition would normally move between tonic and dominant and back again, but through a continual progress of chord changes and without a sense of "arrival" at the new key. While counterpoint was less emphasised in the classical period, it was by no means forgotten, especially later in the period, and composers still used counterpoint in "serious" works such as symphonies and string quartets, as well as religious pieces, such as Masses.

text: The classical musical style was supported by technical developments in instruments. The widespread adoption of equal temperament made classical musical structure possible, by ensuring that cadences in all keys sounded similar. The fortepiano and then the pianoforte replaced the harpsichord, enabling more dynamic contrast and more sustained melodies.  Over the Classical period, keyboard instruments became richer, more sonorous and more powerful.

text: The orchestra increased in size and range, and became more standardised. The harpsichord or pipe organ basso continuo role in orchestra  fell out of use between 1750 and 1775, leaving the string section woodwinds became a self-contained section, consisting of clarinets, oboes, flutes and bassoons.

text: While vocal music such as comic opera was popular, great importance was given to instrumental music. The main kinds of instrumental music were the  sonata, trio, string quartet, symphony, concerto (usually for a virtuoso solo instrument accompanied by orchestra), and light pieces such as serenades and divertimentos. Sonata form developed and became the most important form. It was used to build up the first movement of most large-scale works in symphonies and string quartets. Sonata form was also used in other movements and in single, standalone pieces such as overtures.

text: History[edit]

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text: Baroque/Classical transition c. 1730–1760[edit]

text: At first the new style took over Baroque forms—the ternary da capo aria and the sinfonia and concerto—but composed with simpler parts, more notated ornamentation, rather than the improvised ornaments that were common in the Baroque era, and more emphatic division of pieces into sections. However, over time, the new aesthetic caused radical changes in how pieces were put together, and the basic formal layouts changed. Composers from this period sought dramatic effects, striking melodies, and clearer textures. One of the big textural changes was a shift away from the complex, dense polyphonic style of the Baroque, in which multiple interweaving melodic lines were played simultaneously, and towards homophony, a lighter texture which uses a clear single melody line accompanied by chords.

text: The Italian composer Domenico Scarlatti was an important figure in the transition from Baroque to Classical style. His unique compositional style is strongly related to that of the early Classical period. He is best known for composing more than five hundred one-movement keyboard sonatas. In Spain, Antonio Soler also produced valuable keyboard sonatas, more varied in form than those of Scarlatti, with some pieces in three or four movements.

text: Baroque music generally uses many harmonic fantasies and polyphonic sections that focus less on the structure of the musical piece, and there was less emphasis on clear musical phrases. In the classical period, the harmonies became simpler. However, the structure of the piece, the phrases and small melodic or rhythmic motives, became much more important than in the Baroque period.

text: Another important break with the past was the radical overhaul of opera by Christoph Willibald Gluck, who cut away a great deal of the layering and improvisational ornaments and focused on the points of modulation and transition. By making these moments where the harmony changes more of a focus, he enabled powerful dramatic shifts in the emotional color of the music. To highlight these transitions, he used changes in instrumentation (orchestration), melody, and mode. Among the most successful composers of his time, Gluck spawned many emulators, one of whom was Antonio Salieri. Their emphasis on accessibility brought huge successes in opera, and in other vocal music such as songs, oratorios, and choruses. These were considered the most important kinds of music for performance and hence enjoyed greatest public success.

text: The phase between the Baroque and the rise of the Classical, with its broad mixture of competing ideas and attempts to unify the different demands of taste, economics and "worldview", goes by many names. It is sometimes called Galant, Rococo, or pre-Classical, or at other times early Classical[citation needed]. It is a period where some composers still working in the Baroque style flourish, though sometimes thought of as being more of the past than the present—Bach, Handel, and Telemann all composed well beyond the point at which the homophonic style is clearly in the ascendant. Musical culture was caught at a crossroads: the masters of the older style had the technique, but the public hungered for the new. This is one of the reasons C. P. E. Bach was held in such high regard: he understood the older forms quite well and knew how to present them in new garb, with an enhanced variety of form.

text: By the late 1750s there were flourishing centers of the new style in Italy, Vienna, Mannheim, and Paris; dozens of symphonies were composed and there were bands of players associated with musical theatres. Opera or other vocal music accompanied by orchestra was the feature of most musical events, with concertos and symphonies (arising from the overture) serving as instrumental interludes and introductions for operas and church services. Over the course of the Classical period, symphonies and concertos developed and were presented independently of vocal music.

text: The "normal" orchestra ensemble—a body of strings supplemented by winds—and movements of particular rhythmic character were established by the late 1750s in Vienna. However, the length and weight of pieces was still set with some Baroque characteristics: individual movements still focused on one "affect" (musical mood) or had only one sharply contrasting middle section, and their length was not significantly greater than Baroque movements. There was not yet a clearly enunciated theory of how to compose in the new style. It was a moment ripe for a breakthrough.

text: Many consider this breakthrough to have been made by C. P. E. Bach, Gluck, and several others. Indeed, C. P. E. Bach and Gluck are often considered founders of the Classical style. The first great master of the style was the composer Joseph Haydn. In the late 1750s he began composing symphonies, and by 1761 he had composed a triptych (Morning, Noon, and Evening) solidly in the contemporary mode. As a vice-Kapellmeister and later Kapellmeister, his output expanded: he composed over forty symphonies in the 1760s alone. And while his fame grew, as his orchestra was expanded and his compositions were copied and disseminated, his voice was only one among many.

text: While some scholars suggest that Haydn was overshadowed by Mozart and Beethoven, it would be difficult to overstate Haydn's centrality to the new style, and therefore to the future of Western art music as a whole. At the time, before the pre-eminence of Mozart or Beethoven, and with Johann Sebastian Bach known primarily to connoisseurs of keyboard music, Haydn reached a place in music that set him above all other composers except perhaps the Baroque era's George Frideric Handel. Haydn took existing ideas, and radically altered how they functioned—earning him the titles "father of the symphony" and "father of the string quartet".

text: One of the forces that worked as an impetus for his pressing forward was the first stirring of what would later be called Romanticism—the Sturm und Drang, or "storm and stress" phase in the arts, a short period where obvious and dramatic emotionalism was a stylistic preference. Haydn accordingly wanted more dramatic contrast and more emotionally appealing melodies, with sharpened character and individuality in his pieces. This period faded away in music and literature: however, it influenced what came afterward and would eventually be a component of aesthetic taste in later decades.

text: The Farewell Symphony, No. 45 in F♯ Minor, exemplifies Haydn's integration of the differing demands of the new style, with surprising sharp turns and a long slow adagio to end the work. In 1772, Haydn completed his Opus 20 set of six string quartets, in which he deployed the polyphonic techniques he had gathered from the previous Baroque era to provide structural coherence capable of holding together his melodic ideas. For some, this marks the beginning of the "mature" Classical style, in which the period of reaction against late Baroque complexity yielded to a period of integration Baroque and Classical elements.

text: Haydn, having worked for over a decade as the music director for a prince, had far more resources and scope for composing than most other composers. His position also gave him the ability to shape the forces that would play his music, as he could select skilled musicians. This opportunity was not wasted, as Haydn, beginning quite early on his career, sought to press forward the technique of building and developing ideas in his music. His next important breakthrough was in the Opus 33 string quartets (1781), in which the melodic and the harmonic roles segue among the instruments: it is often momentarily unclear what is melody and what is harmony. This changes the way the ensemble works its way between dramatic moments of transition and climactic sections: the music flows smoothly and without obvious interruption. He then took this integrated style and began applying it to orchestral and vocal music.

text: Haydn's gift to music was a way of composing, a way of structuring works, which was at the same time in accord with the governing aesthetic of the new style. However, a younger contemporary, Wolfgang Amadeus Mozart, brought his genius to Haydn's ideas and applied them to two of the major genres of the day: opera, and the virtuoso concerto. Whereas Haydn spent much of his working life as a court composer, Mozart wanted public success in the concert life of cities, playing for the general public. This meant he needed to write operas and write and perform virtuoso pieces. Haydn was not a virtuoso at the international touring level; nor was he seeking to create operatic works that could play for many nights in front of a large audience. Mozart wanted to achieve both. Moreover, Mozart also had a taste for more chromatic chords (and greater contrasts in harmonic language generally), a greater love for creating a welter of melodies in a single work, and a more Italianate sensibility in music as a whole. He found, in Haydn's music and later in his study of the polyphony of J.S. Bach, the means to discipline and enrich his artistic gifts.

text: Mozart rapidly came to the attention of Haydn, who hailed the new composer, studied his works, and considered the younger man his only true peer in music. In Mozart, Haydn found a greater range of instrumentation, dramatic effect and melodic resource. The learning relationship moved in both directions. Mozart also had a great respect for the older, more experienced composer, and sought to learn from him.

text: Mozart's arrival in Vienna in 1780 brought an acceleration in the development of the Classical style. There, Mozart absorbed the fusion of Italianate brilliance and Germanic cohesiveness that had been brewing for the previous 20 years. His own taste for flashy brilliances, rhythmically complex melodies and figures, long cantilena melodies, and virtuoso flourishes was merged with an appreciation for formal coherence and internal connectedness. It is at this point that war and economic inflation halted a trend to larger orchestras and forced the disbanding or reduction of many theater orchestras. This pressed the Classical style inwards: toward seeking greater ensemble and technical challenges—for example, scattering the melody across woodwinds, or using a melody harmonized in thirds. This process placed a premium on small ensemble music, called chamber music. It also led to a trend for more public performance, giving a further boost to the string quartet and other small ensemble groupings.

text: It was during this decade that public taste began, increasingly, to recognize that Haydn and Mozart had reached a high standard of composition. By the time Mozart arrived at age 25, in 1781, the dominant styles of Vienna were recognizably connected to the emergence in the 1750s of the early Classical style. By the end of the 1780s, changes in performance practice, the relative standing of instrumental and vocal music, technical demands on musicians, and stylistic unity had become established in the composers who imitated Mozart and Haydn. During this decade Mozart composed his most famous operas, his six late symphonies that helped to redefine the genre, and a string of piano concerti that still stand at the pinnacle of these forms.

text: One composer who was influential in spreading the more serious style that Mozart and Haydn had formed is Muzio Clementi, a gifted virtuoso pianist who tied with Mozart in a musical "duel" before the emperor in which they each improvised on the piano and performed their compositions. Clementi's sonatas for the piano circulated widely, and he became the most successful composer in London during the 1780s. Also in London at this time was Jan Ladislav Dussek, who, like Clementi, encouraged piano makers to extend the range and other features of their instruments, and then fully exploited the newly opened up possibilities. The importance of London in the Classical period is often overlooked, but it served as the home to the Broadwood's factory for piano manufacturing and as the base for composers who, while less notable than the "Vienna School", had a decisive influence on what came later. They were composers of many fine works, notable in their own right. London's taste for virtuosity may well have encouraged the complex passage work and extended statements on tonic and dominant.

text: Circa 1790–1820[edit]

text: When Haydn and Mozart began composing, symphonies were played as single movements—before, between, or as interludes within other works—and many of them lasted only ten or twelve minutes; instrumental groups had varying standards of playing, and the continuo was a central part of music-making.

text: In the intervening years, the social world of music had seen dramatic changes. International publication and touring had grown explosively, and concert societies formed. Notation became more specific, more descriptive—and schematics for works had been simplified (yet became more varied in their exact working out). In 1790, just before Mozart's death, with his reputation spreading rapidly, Haydn was poised for a series of successes, notably his late oratorios and "London" symphonies. Composers in Paris, Rome, and all over Germany turned to Haydn and Mozart for their ideas on form.

text: The time was again ripe for a dramatic shift. In the 1790s, a new generation of composers, born around 1770, emerged. While they had grown up with the earlier styles, they heard in the recent works of Haydn and Mozart a vehicle for greater expression. In 1788 Luigi Cherubini settled in Paris and in 1791 composed Lodoiska, an opera that raised him to fame. Its style is clearly reflective of the mature Haydn and Mozart, and its instrumentation gave it a weight that had not yet been felt in the grand opera. His contemporary Étienne Méhul extended instrumental effects with his 1790 opera Euphrosine et Coradin, from which followed a series of successes. The final push towards change came from Gaspare Spontini, who was deeply admired by future romantic composers such as Weber, Berlioz and Wagner. The innovative harmonic language of his operas, their refined instrumentation and their "enchained" closed numbers (a structural pattern which was later adopted by Weber in Euryanthe and from him handed down, through Marschner, to Wagner), formed the basis from which French and German romantic opera had its beginnings.

text: The most fateful of the new generation was Ludwig van Beethoven, who launched his numbered works in 1794 with a set of three piano trios, which remain in the repertoire. Somewhat younger than the others, though equally accomplished because of his youthful study under Mozart and his native virtuosity, was Johann Nepomuk Hummel. Hummel studied under Haydn as well; he was a friend to Beethoven and Franz Schubert. He concentrated more on the piano than any other instrument, and his time in London in 1791 and 1792 generated the composition and publication in 1793 of three piano sonatas, opus 2, which idiomatically used Mozart's techniques of avoiding the expected cadence, and Clementi's sometimes modally uncertain virtuoso figuration. Taken together, these composers can be seen as the vanguard of a broad change in style and the center of music. They studied one another's works, copied one another's gestures in music, and on occasion behaved like quarrelsome rivals.

text: The crucial differences with the previous wave can be seen in the downward shift in melodies, increasing durations of movements, the acceptance of Mozart and Haydn as paradigmatic, the greater use of keyboard resources, the shift from "vocal" writing to "pianistic" writing, the growing pull of the minor and of modal ambiguity, and the increasing importance of varying accompanying figures to bring "texture" forward as an element in music. In short, the late Classical was seeking a music that was internally more complex. The growth of concert societies and amateur orchestras, marking the importance of music as part of middle-class life, contributed to a booming market for pianos, piano music, and virtuosi to serve as examplars. Hummel, Beethoven, and Clementi were all renowned for their improvising.

text: Direct influence of the Baroque continued to fade: the figured bass grew less prominent as a means of holding performance together, the performance practices of the mid-18th century continued to die out. However, at the same time, complete editions of Baroque masters began to become available, and the influence of Baroque style continued to grow, particularly in the ever more expansive use of brass. Another feature of the period is the growing number of performances where the composer was not present. This led to increased detail and specificity in notation; for example, there were fewer "optional" parts that stood separately from the main score.

text: The force of these shifts became apparent with Beethoven's 3rd Symphony, given the name Eroica, which is Italian for "heroic", by the composer. As with Stravinsky's The Rite of Spring, it may not have been the first in all of its innovations, but its aggressive use of every part of the Classical style set it apart from its contemporary works: in length, ambition, and harmonic resources as well.

text: First Viennese School[edit]

text: The First Viennese School is a name mostly used to refer to three composers of the Classical period in late-18th-century Vienna: Haydn, Mozart, and Beethoven. Franz Schubert is occasionally added to the list.

text: In German-speaking countries, the term Wiener Klassik (lit. Viennese classical era/art) is used. That term is often more broadly applied to the Classical era in music as a whole, as a means to distinguish it from other periods that are colloquially referred to as classical, namely Baroque and Romantic music.

text: The term "Viennese School" was first used by Austrian musicologist Raphael Georg Kiesewetter in 1834, although he only counted Haydn and Mozart as members of the school. Other writers followed suit, and eventually Beethoven was added to the list.[4] The designation "first" is added today to avoid confusion with the Second Viennese School.

text: Whilst, Schubert apart, these composers certainly knew each other (with Haydn and Mozart even being occasional chamber-music partners), there is no sense in which they were engaged in a collaborative effort in the sense that one would associate with 20th-century schools such as the Second Viennese School, or Les Six. Nor is there any significant sense in which one composer was "schooled" by another (in the way that Berg and Webern were taught by Schoenberg), though it is true that Beethoven for a time received lessons from Haydn.

text: Attempts to extend the First Viennese School to include such later figures as Anton Bruckner, Johannes Brahms, and Gustav Mahler are merely journalistic, and never encountered in academic musicology.

text: Classical influence on later composers[edit]

text: Musical eras and their prevalent styles, forms and instruments seldom disappear at once; instead, features are replaced over time, until the old approach is simply felt as "old-fashioned". The Classical style did not "die" suddenly; rather, it gradually got phased out under the weight of changes. To give just one example, while it is generally stated that the Classical era stopped using the harpsichord in orchestras, this did not happen all of a sudden at the start of the Classical era in 1750. Rather, orchestras slowly stopped using the harpsichord to play basso continuo until the practice was discontinued by the end of the 1700s.

text: One crucial change was the shift towards harmonies centering on "flatward" keys: shifts in the subdominant direction[clarification needed]. In the Classical style, major key was far more common than minor, chromaticism being moderated through the use of "sharpward" modulation (e.g., a piece in C major modulating to G major, D major, or A major, all of which are keys with more sharps). As well, sections in the minor mode were often used for contrast. Beginning with Mozart and Clementi, there began a creeping colonization of the subdominant region (the ii or IV chord, which in the key of C major would be the keys of d minor or F major). With Schubert, subdominant modulations flourished after being introduced in contexts in which earlier composers would have confined themselves to dominant shifts (modulations to the dominant chord, e.g., in the key of C major, modulating to G major). This introduced darker colors to music, strengthened the minor mode, and made structure harder to maintain. Beethoven contributed to this by his increasing use of the fourth as a consonance, and modal ambiguity—for example, the opening of the Symphony No. 9 in D minor.

text: Franz Schubert, Carl Maria von Weber, and John Field are among the most prominent in this generation of "Proto-Romantics", along with the young Felix Mendelssohn. Their sense of form was strongly influenced by the Classical style. While they were not yet "learned" composers (imitating rules which were codified by others), they directly responded to works by Beethoven, Mozart, Clementi, and others, as they encountered them. The instrumental forces at their disposal in orchestras were also quite "Classical" in number and variety, permitting similarity with Classical works.

text: However, the forces destined to end the hold of the Classical style gathered strength in the works of many of the above composers, particularly Beethoven. The most commonly cited one is harmonic innovation. Also important is the increasing focus on having a continuous and rhythmically uniform accompanying figuration: Beethoven's Moonlight Sonata was the model for hundreds of later pieces—where the shifting movement of a rhythmic figure provides much of the drama and interest of the work, while a melody drifts above it. Greater knowledge of works, greater instrumental expertise, increasing variety of instruments, the growth of concert societies, and the unstoppable domination of the increasingly more powerful piano (which was given a bolder, louder tone by technological developments such as the use of steel strings, heavy cast-iron frames and sympathetically vibrating strings) all created a huge audience for sophisticated music. All of these trends contributed to the shift to the "Romantic" style.

text: Drawing the line between these two styles is very difficult: some sections of Mozart's later works, taken alone, are indistinguishable in harmony and orchestration from music written 80 years later—and some composers continued to write in normative Classical styles into the early 20th century. Even before Beethoven's death, composers such as Louis Spohr were self-described Romantics, incorporating, for example, more extravagant chromaticism in their works (e.g., using chromatic harmonies in a piece's chord progression). Conversely, works such as Schubert's Symphony No. 5, written during the chronological dawn of the Romantic era, exhibit a deliberately anachronistic artistic paradigm, harking back to the compositional style of several decades before.

text: However, Vienna's fall as the most important musical center for orchestral composition during the late 1820s, precipitated by the deaths of Beethoven and Schubert, marked the Classical style's final eclipse—and the end of its continuous organic development of one composer learning in close proximity to others. Franz Liszt and Frédéric Chopin visited Vienna when they were young, but they then moved on to other cities. Composers such as Carl Czerny, while deeply influenced by Beethoven, also searched for new ideas and new forms to contain the larger world of musical expression and performance in which they lived.

text: Renewed interest in the formal balance and restraint of 18th century classical music led in the early 20th century to the development of so-called Neoclassical style, which numbered Stravinsky and Prokofiev among its proponents, at least at certain times in their careers.

text: Classical period instruments[edit]

text: Guitar[edit]

text: The Baroque guitar, with four or five sets of double strings or "courses" and elaborately decorated soundhole, was a very different instrument from the early classical guitar which more closely resembles the modern instrument with the standard six strings. Judging by the number of instructional manuals published for the instrument – over three hundred texts were published by over two hundred authors between 1760 and 1860 – the classical period marked a golden age for guitar.[5]

text: Strings[edit]

text: In the Baroque era, there was more variety in the bowed stringed instruments used in ensembles, with instruments such as the viola d'amore and a range of fretted viols being used, ranging from small viols to large bass viols. In the Classical period, the string section of the orchestra was standardized as just four instruments:

text:
Violin (in orchestras and chamber music, typically there are first violins and second violins, with the former playing the melody and/or a higher line and the latter playing either a countermelody, a harmony part, a part below the first violin line in pitch, or an accompaniment line)
Viola (the alto voice of the orchestral string section and string quartet; it often performs "inner voices", which are accompaniment lines which fill in the harmony of the piece)
Cello (the cello plays two roles in Classical era music; at times it is used to play the bassline of the piece, typically doubled by the double basses [Note: When cellos and double basses read the same bassline, the basses play an octave below the cellos, because the bass is a transposing instrument]; and at other times it performs melodies and solos in the lower register)
Double bass (the bass typically performs the lowest pitches in the string section in order to provide the bassline for the piece)

text: In the Baroque era, the double bass players were not usually given a separate part; instead, they typically played the same basso continuo bassline that the cellos and other low-pitched instruments (e.g., theorbo, serpent wind instrument, viols), albeit an octave below the cellos, because the double bass is a transposing instrument that sounds one octave lower than it is written. In the Classical era, some composers continued to write only one bass part for their symphony, labeled "bassi"; this bass part was played by cellists and double bassists. During the Classical era, some composers began to give the double basses their own part.

text: Woodwinds[edit]

text:
Basset clarinet
Basset horn
Clarinette d'amour
Classical clarinet
Chalumeau
Flute
Oboe
Bassoon

text: Percussion[edit]

text:
Timpani
"Turkish music":
Bass drum
Cymbals
Triangle

text: Keyboards[edit]

text:
Clavichord
Fortepiano (the forerunner to the modern piano)
Piano
Harpsichord, the standard Baroque era basso continuo keyboard instrument, was used until the 1750s, after which time it was gradually phased out, and replaced with the fortepiano and then the piano. By the early 1800s, the harpsichord was no longer used.

text: Brasses[edit]

text:
Buccin
Ophicleide – replacement for the "serpent", a bass wind instrument that was the precursor of the tuba
French horn
Trumpet
Trombone


document_title: List of counties in North Dakota

question_text: what is the largest county in north dakota

text: List of counties in North Dakota

text:
Counties of North Dakota

RD
SG
RM
DK
LM
MI
LO
EM
SX
GR
HE
AD
BO
SL
GV
BI
ST
MO
OL
BH
KI
SM
BA
CS
TL
SE
GS
FO
ED
WE
SH
ML
ME
DN
MK
MT
WL
DV
BU
WD
RE
MH
BO
PC
RL
TN
BE
RA
NE
GF
WS
CV
PE
Location
State of North DakotaNumber
53Populations
727 (Slope) – 149,778 (Cass)Areas
632 square miles (1,640 km2) (Eddy) – 2,742 square miles (7,100 km2) (McKenzie)Government
County governmentSubdivisions
cities, towns, townships, unincorporated communities, indian reservations, census designated place

text: This is a list of counties in North Dakota. There are 53 counties in the U.S. state of North Dakota.

text: The Federal Information Processing Standard (FIPS) code, which is used by the United States government to uniquely identify states and counties, is provided with each entry.[1] North Dakota's code is 38, which when combined with any county code would be written as 38XXX. The FIPS code for each county links to census data for that county.[2]

text: List[edit]

text:
County

FIPS code[2]

County seat[3]

Established[3]

Etymology[4]

Population[3][5]

Area[3][5]

Map

Adams County

001

Hettinger
1885
John Quincy Adams, a railroad agent and cousin of the former president who was instrumental in having the Chicago, Milwaukee and St. Paul Railway built through North Dakota

7003234300000000000♠2,343

7002988000000000000♠988 sq mi(7003255900000000000♠2,559 km2)

Barnes County

003

Valley City
1875
Dakota Territory judge Alanson H. Barnes

7004110660000000000♠11,066

7003149200000000000♠1,492 sq mi(7003386400000000000♠3,864 km2)

Benson County

005

Minnewaukan
1883
Dakota territorial legislator Bertil W. Benson

7003666000000000000♠6,660

7003138900000000000♠1,389 sq mi(7003359700000000000♠3,597 km2)

Billings County

007

Medora
1879
Frederick H. Billings (1823–1890), who was president of the Northern Pacific Railroad

7002783000000000000♠783

7003115200000000000♠1,152 sq mi(7003298400000000000♠2,984 km2)

Bottineau County

009

Bottineau
1873
Named for frontiersman Pierre Bottineau

7003642900000000000♠6,429

7003166900000000000♠1,669 sq mi(7003432300000000000♠4,323 km2)

Bowman County

011

Bowman
1883
Dakota territorial legislator Edward M. Bowman

7003315100000000000♠3,151

7003116200000000000♠1,162 sq mi(7003301000000000000♠3,010 km2)

Burke County

013

Bowbells
1910
John Burke, tenth Governor of North Dakota

7003196800000000000♠1,968

7003110400000000000♠1,104 sq mi(7003285900000000000♠2,859 km2)

Burleigh County

015

Bismarck
1873
Walter A. Burleigh (1820–1896), territorial delegate to Congress

7004813080000000000♠81,308

7003163300000000000♠1,633 sq mi(7003422900000000000♠4,229 km2)

Cass County

017

Fargo
1873
George Washington Cass (1810–1888), who was the president of the Northern Pacific Railroad

7005149778000000000♠149,778

7003176600000000000♠1,766 sq mi(7003457400000000000♠4,574 km2)

Cavalier County

019

Langdon
1873
Charles Cavalier, French fur trapper and one of the area's original settlers

7003399300000000000♠3,993

7003148900000000000♠1,489 sq mi(7003385600000000000♠3,856 km2)

Dickey County

021

Ellendale
1881
Dakota territorial legislator George H. Dickey

7003528900000000000♠5,289

7003113100000000000♠1,131 sq mi(7003292900000000000♠2,929 km2)

Divide County

023

Crosby
1910
Named because it was created upon the division of Williams County

7003207100000000000♠2,071

7003125900000000000♠1,259 sq mi(7003326100000000000♠3,261 km2)

Dunn County

025

Manning
1883
John P. Dunn, an early civic leader of Bismarck, who opened the first drugstore in North Dakota

7003353600000000000♠3,536

7003201000000000000♠2,010 sq mi(7003520600000000000♠5,206 km2)

Eddy County

027

New Rockford
1885
Ezra B. Eddy, a Fargo banker and one of the territory's wealthiest citizens

7003238500000000000♠2,385

7002632000000000000♠632 sq mi(7003163700000000000♠1,637 km2)

Emmons County

029

Linton
1879
James Emmons, an early entrepreneur and businessman who operated the first steamboat across the Missouri River in Bismarck

7003355000000000000♠3,550

7003151000000000000♠1,510 sq mi(7003391100000000000♠3,911 km2)

Foster County

031

Carrington
1873
Either James S. Foster and George I. Foster, brother, and prominent farmers during the territorial days

7003334300000000000♠3,343

7002635000000000000♠635 sq mi(7003164500000000000♠1,645 km2)

Golden Valley County

033

Beach
1912
Named for either promotional reasons or for the Golden Valley Land and Cattle Company

7003168000000000000♠1,680

7003100200000000000♠1,002 sq mi(7003259500000000000♠2,595 km2)

Grand Forks County

035

Grand Forks
1873
Named for Grand Forks, North Dakota, which in turn was named for its location at the intersection of the Red Lake River and the Red River of the North

7004668610000000000♠66,861

7003143800000000000♠1,438 sq mi(7003372400000000000♠3,724 km2)

Grant County

037

Carson
1916
Ulysses S. Grant (1822–1885), eighteenth U.S. President

7003239400000000000♠2,394

7003166000000000000♠1,660 sq mi(7003429900000000000♠4,299 km2)

Griggs County

039

Cooperstown
1881
Alexander Griggs, a steamboat captain and founder of Grand Forks, North Dakota

7003242000000000000♠2,420

7002708000000000000♠708 sq mi(7003183400000000000♠1,834 km2)

Hettinger County

041

Mott
1883
Mathias K. Hettinger, the father-in-law of Erastus A. Williams, the North Dakota Speaker of the House during that session

7003247700000000000♠2,477

7003113200000000000♠1,132 sq mi(7003293200000000000♠2,932 km2)

Kidder County

043

Steele
1873
Jefferson Parrish Kidder, territorial delegate to the 44th Congress and 45th Congresses

7003243500000000000♠2,435

7003135200000000000♠1,352 sq mi(7003350200000000000♠3,502 km2)

LaMoure County

045

LaMoure
1873
Dakota territorial legislator and North Dakota state legislator Judson LaMoure

7003413900000000000♠4,139

7003114700000000000♠1,147 sq mi(7003297100000000000♠2,971 km2)

Logan County

047

Napoleon
1873
Illinois U.S. Senator John A. Logan (1826–1886)

7003199000000000000♠1,990

7002993000000000000♠993 sq mi(7003257200000000000♠2,572 km2)

McHenry County

049

Towner
1873
James McHenry, one of the area's original settlers

7003539500000000000♠5,395

7003187400000000000♠1,874 sq mi(7003485400000000000♠4,854 km2)

McIntosh County

051

Ashley
1883
Edward H. McIntosh, a member of the Territorial Legislature

7003280900000000000♠2,809

7002975000000000000♠975 sq mi(7003252500000000000♠2,525 km2)

McKenzie County

053

Watford City
1905
Alexander McKenzie, party boss known in the state as "the senator-maker"

7003636000000000000♠6,360

7003274200000000000♠2,742 sq mi(7003710200000000000♠7,102 km2)

McLean County

055

Washburn
1883
John A. McLean, first mayor of Bismarck, North Dakota

7003896200000000000♠8,962

7003211000000000000♠2,110 sq mi(7003546500000000000♠5,465 km2)

Mercer County

057

Stanton
1875
William Henry Harrison Mercer, an early settler

7003842400000000000♠8,424

7003104500000000000♠1,045 sq mi(7003270700000000000♠2,707 km2)

Morton County

059

Mandan
1873
Governor of Indiana Oliver Hazard Perry Throck Morton

7004274710000000000♠27,471

7003192600000000000♠1,926 sq mi(7003498800000000000♠4,988 km2)

Mountrail County

061

Stanley
1873
Joseph Mountraille, Metis voyageur and early explorer

7003767300000000000♠7,673

7003182400000000000♠1,824 sq mi(7003472400000000000♠4,724 km2)

Nelson County

063

Lakota
1883
Dakota territorial legislator Nelson E. Nelson

7003312600000000000♠3,126

7002982000000000000♠982 sq mi(7003254300000000000♠2,543 km2)

Oliver County

065

Center
1885
Dakota territorial legislator Harry S. Oliver

7003184600000000000♠1,846

7002724000000000000♠724 sq mi(7003187500000000000♠1,875 km2)

Pembina County

067

Cavalier
1867
Named for the high-bush cranberries which grew wild in the area. Pembina may be from an Ojibwa phrase, anepeminan sipi, referring to the berries, as they grew in abundance around the Redberry River; it may also be from an Ojibwa word meaning meeting place. The name originally applied to the old Pembina Territory

7003741300000000000♠7,413

7003111900000000000♠1,119 sq mi(7003289800000000000♠2,898 km2)

Pierce County

069

Rugby
1887
Gilbert Ashville Pierce, a Governor of Dakota Territory and later a U.S. Senator from North Dakota

7003435700000000000♠4,357

7003101800000000000♠1,018 sq mi(7003263700000000000♠2,637 km2)

Ramsey County

071

Devils Lake
1873
Minnesota U.S. Senator Alexander Ramsey

7004114510000000000♠11,451

7003118600000000000♠1,186 sq mi(7003307200000000000♠3,072 km2)

Ransom County

073

Lisbon
1873
Named for locally situated Fort Ransom

7003545700000000000♠5,457

7002863000000000000♠863 sq mi(7003223500000000000♠2,235 km2)

Renville County

075

Mohall
1873
Joseph Renville, missionary and interpreter for Dakota Native Americans

7003247000000000000♠2,470

7002875000000000000♠875 sq mi(7003226600000000000♠2,266 km2)

Richland County

077

Wahpeton
1873
Morgan T. Rich, early settler

7004163210000000000♠16,321

7003143700000000000♠1,437 sq mi(7003372200000000000♠3,722 km2)

Rolette County

079

Rolla
1873
Joseph Rolette, Jr. (1820–1871), a prominent fur trapper and local political organizer

7004139370000000000♠13,937

7002902000000000000♠902 sq mi(7003233600000000000♠2,336 km2)

Sargent County

081

Forman
1883
Homer E. Sargent, a general manager of the Northern Pacific Railroad

7003382900000000000♠3,829

7002859000000000000♠859 sq mi(7003222500000000000♠2,225 km2)

Sheridan County

083

McClusky
1873
American Civil War officer Philip Henry Sheridan (1831–1888)

7003132100000000000♠1,321

7002972000000000000♠972 sq mi(7003251700000000000♠2,517 km2)

Sioux County

085

Fort Yates
1915
The Native American Sioux people

7003415300000000000♠4,153

7003109400000000000♠1,094 sq mi(7003283300000000000♠2,833 km2)

Slope County

087

Amidon
1915
Topographical feature within the county known as the Missouri Slope

7002727000000000000♠727

7003121800000000000♠1,218 sq mi(7003315500000000000♠3,155 km2)

Stark County

089

Dickinson
1879
George Stark, a vice president of the Northern Pacific Railroad

7004241990000000000♠24,199

7003133800000000000♠1,338 sq mi(7003346500000000000♠3,465 km2)

Steele County

091

Finley
1883
Edward H. Steele, secretary-treasurer of the Red River Land Company

7003197500000000000♠1,975

7002712000000000000♠712 sq mi(7003184400000000000♠1,844 km2)

Stutsman County

093

Jamestown
1873
Dakota Territorial Legislator Enos Stutsman

7004211000000000000♠21,100

7003222200000000000♠2,222 sq mi(7003575500000000000♠5,755 km2)

Towner County

095

Cando
1883
Dakota territorial legislator Oscar M. Towner

7003224600000000000♠2,246

7003102500000000000♠1,025 sq mi(7003265500000000000♠2,655 km2)

Traill County

097

Hillsboro
1875
Walter John Strickland Traill, early settler

7003812100000000000♠8,121

7002862000000000000♠862 sq mi(7003223300000000000♠2,233 km2)

Walsh County

099

Grafton
1881
George H. Walsh, early settler and one of the founders of the University of North Dakota

7004111190000000000♠11,119

7003128200000000000♠1,282 sq mi(7003332000000000000♠3,320 km2)

Ward County

101

Minot
1888
Dakota territorial legislator Mark Ward (1844–1902)

7004616750000000000♠61,675

7003201300000000000♠2,013 sq mi(7003521400000000000♠5,214 km2)

Wells County

103

Fessenden
1873
Dakota territorial legislator Edward Payson Wells

7003420700000000000♠4,207

7003127100000000000♠1,271 sq mi(7003329200000000000♠3,292 km2)

Williams County

105

Williston
1890
Dakota territorial legislator Erastus Appelman Williams

7004223980000000000♠22,398

7003207100000000000♠2,071 sq mi(7003536400000000000♠5,364 km2)