document_title: Dynamo

question_text: what type of device is a bicycle dynamo

question_tokens: what type of device is a bicycle dynamo

text: Dynamo

text: Etymology[edit]

text: The word dynamo (from the Greek word dynamis(δύναμις), meaning force or power) was originally another name for an electrical generator, and still has some regional usage as a replacement for the word generator. The word "dynamo" was coined by Werner von Siemens in 1882.[1] The original "dynamo principle" of W. Siemens meant only the direct current generators which use exclusively the self-excitation (self-induction) principle to generate DC power. The earlier DC generators which used permanent magnets were not considered "dynamo electric machines".[2] The invention of the Dynamo principle (self-induction) was a huge technological leap over the old traditional permanent magnet based DC generators. The discovery of the dynamo principle made industrial scale electric power generation technically and economically feasible. After the invention of the alternator and that alternating current can be used as a power supply, the word dynamo became associated exclusively with the commutated direct current electric generator, while an AC electrical generator using either slip rings or rotor magnets would become known as an alternator.

text: A small electrical generator built into the hub of a bicycle wheel to power lights is called a hub dynamo, although these are invariably AC devices,[citation needed] and are actually magnetos.

text: Description[edit]

text: The electric dynamo uses rotating coils of wire and magnetic fields to convert mechanical rotation into a pulsing direct electric current through Faraday's law of induction. A dynamo machine consists of a stationary structure, called the stator, which provides a constant magnetic field, and a set of rotating windings called the armature which turn within that field. Due to Faraday's law of induction the motion of the wire within the magnetic field creates an electromotive force which pushes on the electrons in the metal, creating an electric current in the wire. On small machines the constant magnetic field may be provided by one or more permanent magnets; larger machines have the constant magnetic field provided by one or more electromagnets, which are usually called field coils.

text: Commutation[edit]

text: The commutator is needed to produce direct current. When a loop of wire rotates in a magnetic field, the magnetic flux through it, and thus the potential induced in it, reverses with each half turn, generating an alternating current. However, in the early days of electric experimentation, alternating current generally had no known use. The few uses for electricity, such as electroplating, used direct current provided by messy liquid batteries. Dynamos were invented as a replacement for batteries. The commutator is essentially a rotary switch. It consists of a set of contacts mounted on the machine's shaft, combined with graphite-block stationary contacts, called "brushes", because the earliest such fixed contacts were metal brushes. The commutator reverses the connection of the windings to the external circuit when the potential reverses, so instead of alternating current, a pulsing direct current is produced.

text: Excitation[edit]

text: The earliest dynamos used permanent magnets to create the magnetic field. These were referred to as "magneto-electric machines" or magnetos.[3] However, researchers found that stronger magnetic fields, and so more power, could be produced by using electromagnets (field coils) on the stator.[4] These were called "dynamo-electric machines" or dynamos.[3] The field coils of the stator were originally separately excited by a separate, smaller, dynamo or magneto. An important development by Wilde and Siemens was the discovery (by 1866) that a dynamo could also bootstrap itself to be self-excited, using current generated by the dynamo itself. This allowed the growth of a much more powerful field, thus far greater output power.

text: Self-Excited Starting[edit]

text: Self-excited direct current dynamos commonly have a combination of series and parallel (shunt) field windings which are directly supplied power by the rotor through the commutator in a regenerative manner. They are started and operated in a manner similar to modern portable alternating current electric generators, which are not used with other generators on an electric grid.

text: There is a weak residual magnetic field that persists in the metal frame of the device when it is not operating, which has been imprinted onto the metal by the field windings. The dynamo begins rotating while not connected to an external load. The residual magnetic field induces a very small electrical current into the rotor windings as they begin to rotate. Without an external load attached, this small current is then fully supplied to the field windings, which in combination with the residual field, cause the rotor to produce more current. In this manner the self-exciting dynamo builds up its internal magnetic fields until it reaches its normal operating voltage. When it is able to produce sufficient current to sustain both its internal fields and an external load, it is ready to be used.

text: A self-excited dynamo with insufficient residual magnetic field in the metal frame will not be able to produce any current in the rotor, regardless of what speed the rotor spins. This situation can also occur in modern self-excited portable generators, and is resolved for both types of generators in a similar manner, by applying a brief direct current battery charge to the output terminals of the stopped generator. The battery energizes the windings just enough to imprint the residual field, to enable building up the current. This is referred to as flashing the field.

text: Both types of self-excited generator, which have been attached to a large external load while it was stationary, will not be able to build up voltage even if the residual field is present. The load acts as an energy sink and continuously drains away the small rotor current produced by the residual field, preventing magnetic field buildup in the field coil.

text: History[edit]

text: Induction with permanent magnets[edit]

text: The operating principle of electromagnetic generators was discovered in the years 1831–1832 by Michael Faraday. The principle, later called Faraday's law, is that an electromotive force is generated in an electrical conductor which encircles a varying magnetic flux.

text: He also built the first electromagnetic generator, called the Faraday disk, a type of homopolar generator, using a copper disc rotating between the poles of a horseshoe magnet. It produced a small DC voltage. This was not a dynamo in the current sense, because it did not use a commutator.

text: This design was inefficient, due to self-cancelling counterflows of current in regions of the disk that were not under the influence of the magnetic field. While current was induced directly underneath the magnet, the current would circulate backwards in regions that were outside the influence of the magnetic field. This counterflow limited the power output to the pickup wires, and induced waste heating of the copper disc. Later homopolar generators would solve this problem by using an array of magnets arranged around the disc perimeter to maintain a steady field effect in one current-flow direction.

text: Another disadvantage was that the output voltage was very low, due to the single current path through the magnetic flux. Faraday and others found that higher, more useful voltages could be produced by winding multiple turns of wire into a coil. Wire windings can conveniently produce any voltage desired by changing the number of turns, so they have been a feature of all subsequent generator designs, requiring the invention of the commutator to produce direct current.

text: The first dynamos[edit]

text: The first dynamo based on Faraday's principles was built in 1832 by Hippolyte Pixii, a French instrument maker. It used a permanent magnet which was rotated by a crank. The spinning magnet was positioned so that its north and south poles passed by a piece of iron wrapped with insulated wire.

text: Pixii found that the spinning magnet produced a pulse of current in the wire each time a pole passed the coil. However, the north and south poles of the magnet induced currents in opposite directions. To convert the alternating current to DC, Pixii invented a commutator, a split metal cylinder on the shaft, with two springy metal contacts that pressed against it.

text: This early design had a problem: the electric current it produced consisted of a series of "spikes" or pulses of current separated by none at all, resulting in a low average power output. As with electric motors of the period, the designers did not fully realize the seriously detrimental effects of large air gaps in the magnetic circuit.

text: Antonio Pacinotti, an Italian physics professor, solved this problem around 1860 by replacing the spinning two-pole axial coil with a multi-pole toroidal one, which he created by wrapping an iron ring with a continuous winding, connected to the commutator at many equally spaced points around the ring; the commutator being divided into many segments. This meant that some part of the coil was continually passing by the magnets, smoothing out the current.[5]

text: The Woolrich Electrical Generator of 1844, now in Thinktank, Birmingham Science Museum, is the earliest electrical generator used in an industrial process.[6] It was used by the firm of Elkingtons for commercial electroplating.[7][8][9]

text: Dynamo self excitation[edit]

text: Independently of Faraday, the Hungarian Anyos Jedlik started experimenting in 1827 with the electromagnetic rotating devices which he called electromagnetic self-rotors. In the prototype of the single-pole electric starter, both the stationary and the revolving parts were electromagnetic.

text: About 1856 he formulated the concept of the dynamo about six years before Siemens and Wheatstone but did not patent it as he thought he was not the first to realize this. His dynamo used, instead of permanent magnets, two electromagnets placed opposite to each other to induce the magnetic field around the rotor.[10][11] It was also the discovery of the principle of dynamo self-excitation,[12] which replaced permanent magnet designs.

text: Practical designs[edit]

text: The dynamo was the first electrical generator capable of delivering power for industry. The modern dynamo, fit for use in industrial applications, was invented independently by Sir Charles Wheatstone, Werner von Siemens and Samuel Alfred Varley. Varley took out a patent on 24 December 1866, while Siemens and Wheatstone both announced their discoveries on 17 January 1867, the latter delivering a paper on his discovery to the Royal Society.

text: The "dynamo-electric machine" employed self-powering electromagnetic field coils rather than permanent magnets to create the stator field.[13] Wheatstone's design was similar to Siemens', with the difference that in the Siemens design the stator electromagnets were in series with the rotor, but in Wheatstone's design they were in parallel.[14] The use of electromagnets rather than permanent magnets greatly increased the power output of a dynamo and enabled high power generation for the first time. This invention led directly to the first major industrial uses of electricity. For example, in the 1870s Siemens used electromagnetic dynamos to power electric arc furnaces for the production of metals and other materials.

text: The dynamo machine that was developed consisted of a stationary structure, which provides the magnetic field, and a set of rotating windings which turn within that field. On larger machines the constant magnetic field is provided by one or more electromagnets, which are usually called field coils.

text: Zénobe Gramme reinvented Pacinotti's design in 1871 when designing the first commercial power plants operated in Paris. An advantage of Gramme's design was a better path for the magnetic flux, by filling the space occupied by the magnetic field with heavy iron cores and minimizing the air gaps between the stationary and rotating parts. The Gramme dynamo was one of the first machines to generate commercial quantities of power for industry.[15] Further improvements were made on the Gramme ring, but the basic concept of a spinning endless loop of wire remains at the heart of all modern dynamos.[16]

text: Charles F. Brush assembled his first dynamo in the summer of 1876 using a horse-drawn treadmill to power it. Brush's design modified the Gramme dynamo by shaping the ring armature like a disc rather than a cylinder shape. The field electromagnets were also positioned on the sides of the armature disc rather than around the circumference.[17][18]

text: Rotary converters[edit]

text: After dynamos and motors were found to allow easy conversion back and forth between mechanical or electrical power, they were combined in devices called rotary converters, rotating machines whose purpose was not to provide mechanical power to loads but to convert one type of electric current into another, for example DC into AC. They were multi-field single-rotor devices with two or more sets of rotating contacts (either commutators or sliprings, as required), one to provide power to one set of armature windings to turn the device, and one or more attached to other windings to produce the output current.

text: The rotary converter can directly convert, internally, any type of electric power into any other. This includes converting between direct current (DC) and alternating current (AC), three phase and single phase power, 25 Hz AC and 60 Hz AC, or many different output voltages at the same time. The size and mass of the rotor was made large so that the rotor would act as a flywheel to help smooth out any sudden surges or dropouts in the applied power.

text: The technology of rotary converters was replaced in the early 20th century by mercury-vapor rectifiers, which were smaller, did not produce vibration and noise, and required less maintenance. The same conversion tasks are now performed by solid state power semiconductor devices. Rotary converters remained in use in the West Side IRT subway in Manhattan into the late 1960s, and possibly some years later. They were powered by 25 Hz AC, and provided DC at 600 volts for the trains.

text: Historical uses[edit]

text: Electric power generation[edit]

text: Dynamos, usually driven by steam engines, were widely used in power stations to generate electricity for industrial and domestic purposes. They have since been replaced by alternators.

text: Large industrial dynamos with series and parallel (shunt) windings can be difficult to use together in a power plant, unless either the rotor or field wiring or the mechanical drive systems are coupled together in certain special combinations. Without taking care to configure the dynamos in this manner, their combined power outputs can become imbalanced in various ways such that one dynamo drives the others as a motor, leading to out of control racing and overspeed. [19]

text: This can cause serious damage to the dynamos and power plant, potentially resulting in centrifugal warping and collision of the rotor windings with the field coils, shaft bearing overspeed and failure, and damage to the driving engine, the engine governor, or the rotary power transmission system.

text: Transport[edit]

text: Dynamos were used in motor vehicles to generate electricity for battery charging. An early type was the third-brush dynamo. They have, again, been replaced by alternators.

text: Modern uses[edit]

text: Dynamos still have some uses in low power applications, particularly where low voltage DC is required, since an alternator with a semiconductor rectifier can be inefficient in these applications.

text: Hand cranked dynamos are used in clockwork radios, hand powered flashlights, mobile phone rechargers, and other human powered equipment to recharge batteries.


document_title: Sound

question_text: what are the 3 properties of a medium that effect sound

root

text: Sound

text: Acoustics[edit]

text: Acoustics is the interdisciplinary science that deals with the study of mechanical waves in gases, liquids, and solids including vibration, sound, ultrasound, and infrasound. A scientist who works in the field of acoustics is an acoustician, while someone working in the field of acoustical engineering may be called an acoustical engineer.[2] An audio engineer, on the other hand, is concerned with the recording, manipulation, mixing, and reproduction of sound.

tag: p

text: Applications of acoustics are found in almost all aspects of modern society, subdisciplines include aeroacoustics, audio signal processing, architectural acoustics, bioacoustics, electro-acoustics, environmental noise, musical acoustics, noise control, psychoacoustics, speech, ultrasound,  underwater acoustics, and vibration.[3]

text: Definition[edit]

text: Sound is defined as "(a) Oscillation  in pressure, stress, particle displacement, particle velocity, etc., propagated in a medium with internal forces (e.g., elastic or viscous), or the superposition of such propagated oscillation. (b) Auditory sensation evoked by the oscillation described in (a)."[4] Sound can be viewed as a wave motion in  air or other elastic media. In this case, sound is a stimulus. Sound can also be viewed as an excitation of the hearing mechanism that results in the perception of sound. In this case, sound is a sensation.

text: Physics of sound[edit]

text: Sound can propagate through a medium such as air, water and solids as longitudinal waves and also as a transverse wave in solids (see Longitudinal and transverse waves, below). The sound waves are generated by a sound source, such as the vibrating diaphragm of a stereo speaker. The sound source creates vibrations in the surrounding medium. As the source continues to vibrate the medium, the vibrations propagate away from the source at the speed of sound, thus forming the sound wave. At a fixed distance from the source, the pressure, velocity, and displacement of the medium vary in time. At an instant in time, the pressure, velocity, and displacement vary in space. Note that the particles of the medium do not travel with the sound wave. This is intuitively obvious for a solid, and the same is true for liquids and gases (that is, the vibrations of particles in the gas or liquid transport the vibrations, while the average position of the particles over time does not change).  During propagation, waves can be reflected, refracted, or attenuated by the medium.[5]

text: The behavior of sound propagation is generally affected by three things:

text:
A complex relationship between the density and pressure of the medium. This relationship, affected by temperature, determines the speed of sound within the medium.
Motion of the medium itself. If the medium is moving, this movement may increase or decrease the absolute speed of the sound wave depending on the direction of the movement. For example, sound moving through wind will have its speed of propagation increased by the speed of the wind if the sound and wind are moving in the same direction. If the sound and wind are moving in opposite directions, the speed of the sound wave will be decreased by the speed of the wind.
The viscosity of the medium. Medium viscosity determines the rate at which sound is attenuated. For many media, such as air or water, attenuation due to viscosity is negligible.

tag: ul

text: When sound is moving through a medium that does not have constant physical properties, it may be refracted (either dispersed or focused).[5]

text: The mechanical vibrations that can be interpreted as sound can travel through all forms of matter: gases, liquids, solids, and plasmas. The matter that supports the sound is called the medium. Sound cannot travel through a vacuum.[6][7]

text: Longitudinal and transverse waves[edit]

text: Sound is transmitted through gases, plasma, and liquids as longitudinal waves, also called compression waves. It requires a medium to propagate. Through solids, however, it can be transmitted as both longitudinal waves and transverse waves. Longitudinal sound waves are waves of alternating pressure deviations from the equilibrium pressure, causing local regions of compression and rarefaction, while transverse waves (in solids) are waves of alternating shear stress at right angle to the direction of propagation.

text: Sound waves may be "viewed" using parabolic mirrors and objects that produce sound.[8]

text: The energy carried by an oscillating sound wave converts back and forth between the potential energy of the extra compression (in case of longitudinal waves) or lateral displacement strain (in case of transverse waves) of the matter, and the kinetic energy of the displacement velocity of particles of the medium.

text: Sound wave properties and characteristics[edit]

text: Although there are many complexities relating to the transmission of sounds, at the point of reception (i.e. the ears), sound is readily dividable into two simple elements: pressure and time. These fundamental elements form the basis of all sound waves. They can be used to describe, in absolute terms, every sound we hear.

text: In order to understand the sound more fully, a complex wave such as the one shown in a blue background on the right of this text, is usually separated into its component parts, which are a combination of various sound wave frequencies (and noise).[9][10][11]

text: Sound waves are often simplified to a description in terms of sinusoidal plane waves, which are characterized by these generic properties:

text:
Frequency, or its inverse, wavelength
Amplitude, sound pressure or Intensity
Speed of sound
Direction

text:
Sound that is perceptible by humans has frequencies from about 20 Hz to 20,000 Hz. In air at standard temperature and pressure, the corresponding wavelengths of sound waves range from 17 m to 17 mm.
Sometimes speed and direction are combined as a velocity vector; wave number and direction are combined as a wave vector.

text: Transverse waves, also known as shear waves, have the additional property, polarization, and are not a characteristic of sound waves.

text: Speed of sound[edit]

text: The speed of sound depends on the medium the waves pass through, and is a fundamental property of the material. The first significant effort towards measurement of the speed of sound was made by Isaac Newton. He believed the speed of sound in a particular substance was equal to the square root of the pressure acting on it divided by its density:

text:
This was later proven wrong when found to incorrectly derive the speed. The French mathematician Laplace corrected the formula by deducing that the phenomenon of sound travelling is not isothermal, as believed by Newton, but adiabatic.  He added another factor to the equation—gamma—and multiplied

γ

{\displaystyle {\sqrt {\gamma }}}

by

p

/

ρ

{\displaystyle {\sqrt {p/\rho }}}

,
thus coming up with the equation

c
=

γ
⋅
p

/

ρ

{\displaystyle c={\sqrt {\gamma \cdot p/\rho }}}

.
Since

K
=
γ
⋅
p

{\displaystyle K=\gamma \cdot p}

,
the final equation came up to be

c
=

K

/

ρ

{\displaystyle c={\sqrt {K/\rho }}}

,
which is also known as the Newton–Laplace equation. In this equation, K is the elastic bulk modulus, c is the velocity of sound, and

ρ

{\displaystyle \rho }

 is the density.  Thus, the speed of sound is proportional to the square root of the ratio of the bulk modulus of the medium to its density.

text: Those physical properties and the speed of sound change with ambient conditions.  For example, the speed of sound in gases depends on temperature.  In 20 °C (68 °F) air at sea level, the speed of sound is approximately 343 m/s (1,230 km/h; 767 mph) using the formula v [m/s] = 331 + 0.6 T [°C].  In fresh water, also at 20 °C, the speed of sound is approximately 1,482 m/s (5,335 km/h; 3,315 mph). In steel, the speed of sound is about 5,960 m/s (21,460 km/h; 13,330 mph).  The speed of sound is also slightly sensitive, being subject to a second-order anharmonic effect, to the sound amplitude, which means there are non-linear propagation effects, such as the production of harmonics and mixed tones not present in the original sound (see parametric array).

text: Perception of sound[edit]

text: A distinct use of the term sound from its use in physics is that in physiology and psychology, where the term refers to the subject of perception by the brain. The field of psychoacoustics is dedicated to such studies. Historically the word "sound" referred exclusively to an effect in the mind. Webster's 1947 dictionary defined sound as: "that which is heard; the effect which is produced by the vibration of a body affecting the ear."[13] This meant (at least in 1947) the correct response to the question: "if a tree falls in the forest with no one to hear it fall, does it make a sound?" was "no". However, owing to contemporary usage, definitions of sound as a physical effect are prevalent in most dictionaries. Consequently, the answer to the same question is now "yes, a tree falling in the forest with no one to hear it fall does make a sound".

text: The physical reception of sound in any hearing organism is limited to a range of frequencies. Humans normally hear sound frequencies between approximately 20 Hz and 20,000 Hz (20 kHz),[14]:382 The upper limit decreases with age.[14]:249 Sometimes sound refers to only those vibrations with frequencies that are within the hearing range for humans[15] or sometimes it relates to a particular animal. Other species have different ranges of hearing. For example, dogs can perceive vibrations higher than 20 kHz.

text: As a signal perceived by one of the major senses, sound is used by many species for detecting danger, navigation, predation, and communication. Earth's atmosphere, water, and virtually any physical phenomenon, such as fire, rain, wind, surf, or earthquake, produces (and is characterized by) its unique sounds. Many species, such as frogs, birds, marine and terrestrial mammals, have also developed special organs to produce sound. In some species, these produce song and speech. Furthermore, humans have developed culture and technology (such as music, telephone and radio) that allows them to generate, record, transmit, and broadcast sound.

text: Noise is a term often used to refer to an unwanted sound. In science and engineering, noise is an undesirable component that obscures a wanted signal. However, in sound perception it can often be used to identify the source of a sound and is an important component of timbre perception (see above).

text: Soundscape is the component of the acoustic environment that can be perceived by humans. The acoustic environment is the combination of all sounds (whether audible to humans or not) within a given area as modified by the environment and understood by people, in context of the surrounding environment.

text: There are, historically, six experimentally separable ways in which sound waves are analysed. They are:  pitch, duration, loudness, timbre, sonic texture and  spatial location.[16] Some of these terms have a standardised definition (for instance in the ANSI Acoustical Terminology ANSI/ASA S1.1-2013). More recent approaches have also considered temporal envelope and temporal fine structure as perceptually relevant analyses.[17][18][19]

text: Pitch[edit]

text: Pitch is perceived as how "low" or "high" a sound is and represents the cyclic, repetitive nature of the vibrations that make up sound. For simple sounds, pitch relates to the frequency of the slowest vibration in the sound (called the fundamental harmonic). In the case of complex sounds, pitch perception can vary. Sometimes individuals identify different pitches for the same sound, based on their personal experience of particular sound patterns. Selection of a particular pitch is determined by pre-conscious examination of vibrations, including their frequencies and the balance between them. Specific attention is given to recognising potential harmonics.[20][21]  Every sound is placed on a pitch continuum from low to high. For example: white noise (random noise spread evenly across all frequencies) sounds higher in pitch than pink noise (random noise spread evenly across octaves) as white noise has more high frequency content.  Figure 1 shows an example of pitch recognition. During the listening process, each sound is analysed for a repeating pattern (See Figure 1: orange arrows) and the results forwarded to the auditory cortex as a single pitch of a certain height (octave) and chroma (note name).

text: Duration[edit]

text: Duration is perceived as how "long" or "short" a sound is and relates to onset and offset signals created by nerve responses to sounds. The duration of a sound usually lasts from the time the sound is first noticed until the sound is identified as having changed or ceased.[22] Sometimes this is not directly related to the physical duration of a sound. For example; in a noisy environment, gapped sounds (sounds that stop and start) can sound as if they are continuous because the offset messages are missed owing to disruptions from noises in the same general bandwidth.[23] This can be of great benefit in understanding distorted messages such as radio signals that suffer from interference, as (owing to this effect) the message is heard as if it was continuous. Figure 2 gives an example of duration identification. When a new sound is noticed (see Figure 2, Green arrows), a sound onset message is sent to the auditory cortex. When the repeating pattern is missed, a sound offset messages is sent.

text: Loudness[edit]

text: Loudness is perceived as how "loud" or "soft" a sound is and relates to the totalled number of auditory nerve stimulations over short cyclic time periods, most likely over the duration of theta wave cycles.[24][25][26] This means that at short durations, a very short sound can sound softer than a longer sound even though they are presented at the same intensity level. Past around 200 ms this is no longer the case and the duration of the sound no longer affects the apparent loudness of the sound. Figure 3 gives an impression of how loudness information is summed over a period of about 200 ms before being sent to the auditory cortex. Louder signals create a greater 'push' on the Basilar membrane and thus stimulate more nerves, creating a stronger loudness signal. A more complex signal also creates more nerve firings and so sounds louder (for the same wave amplitude) than a simpler sound, such as a sine wave.

text: Timbre[edit]

text: Timbre is perceived as the quality of different sounds (e.g. the thud of a fallen rock, the whir of a drill, the tone of a musical instrument or the quality of a voice) and represents the pre-conscious allocation of a sonic identity to a sound (e.g. “it’s an oboe!"). This identity is based on information gained from frequency transients, noisiness, unsteadiness, perceived pitch and the spread and intensity of overtones in the sound over an extended time frame.[9][10][11] The way a sound changes over time (see figure 4) provides most of the information for timbre identification. Even though a small section of the wave form from each instrument looks very similar (see the expanded sections indicated by the orange arrows in figure 4), differences in changes over time between the clarinet and the piano are evident in both loudness and harmonic content. Less noticeable are the different noises heard, such as air hisses for the clarinet and hammer strikes for the piano.

text:
Figure 3. Loudness perception

 Figure 4. Timbre perception

tag: table

text: Sonic texture[edit]

text: Sonic texture relates to the number of sound sources and the interaction between them.[27][28] The word 'texture', in this context, relates to the cognitive separation of auditory objects.[29] In music, texture is often referred to as the difference between unison, polyphony and homophony, but it can also relate (for example) to a busy cafe; a sound which might be referred to as 'cacophony'. However texture refers to more than this. The texture of an orchestral piece is very different to the texture of a brass quintet because of the different numbers of players. The texture of a market place is very different to a school hall because of the differences in the various sound sources.

text: Spatial location[edit]

text: Spatial location (see: Sound localization) represents the cognitive placement of a sound in an environmental context; including the placement of a sound on both the horizontal and vertical plane, the distance from the sound source and the characteristics of the sonic environment.[29][30] In a thick texture, it is possible to identify multiple sound sources using a combination of spatial location and timbre identification. It is the main reason why we can pick the sound of an oboe in an orchestra and the words of a single person at a cocktail party.

text: Sound pressure level[edit]

text:
Sound measurementsCharacteristic
Symbols Sound pressure
 p, SPL,LPA Particle velocity
 v, SVL Particle displacement
 δ Sound intensity
 I, SIL Sound power
 P, SWL, LWA Sound energy
 W Sound energy density
 w Sound exposure
 E, SEL Acoustic impedance
 Z Speed of sound
 c Audio frequency
 AF Transmission loss
 TL
vte

text:
Sound pressure is the difference, in a given medium, between average local pressure and the pressure in the sound wave. A square of this difference (i.e., a square of the deviation from the equilibrium pressure) is usually averaged over time and/or space, and a square root of this average provides a root mean square (RMS) value. For example, 1 Pa RMS sound pressure (94 dBSPL) in atmospheric air implies that the actual pressure in the sound wave oscillates between (1 atm

−

2

{\displaystyle -{\sqrt {2}}}

 Pa) and (1 atm

+

2

{\displaystyle +{\sqrt {2}}}

 Pa), that is between 101323.6 and 101326.4 Pa.
As the human ear can detect sounds with a wide range of amplitudes, sound pressure is often measured as a level on a logarithmic decibel scale. The sound pressure level (SPL) or Lp is defined as

text: Since the human ear does not have a flat spectral response, sound pressures are often frequency weighted so that the measured level matches perceived levels more closely. The International Electrotechnical Commission (IEC) has defined several weighting schemes. A-weighting attempts to match the response of the human ear to noise and A-weighted sound pressure levels are labeled dBA. C-weighting is used to measure peak levels.

text: Ultrasound[edit]

text: Ultrasound is sound waves with frequencies higher than the upper audible limit of human hearing. Ultrasound is not different from "normal" (audible) sound in its physical properties, except in that humans cannot hear it. Ultrasound devices operate with frequencies from 20 kHz up to several gigahertz.

text: Ultrasound is commonly used for medical diagnostics such as sonograms.

text: Infrasound[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2018) (Learn how and when to remove this template message)

text: Infrasound is sound waves with frequencies lower than 20 Hz. Although sounds of such low frequency are too low for humans to hear, whales, elephants and other animals can detect infrasound and use it to communicate. It can be used to detect volcanic eruptions and is used in some types of music.


document_title: Beauty and the Beast (1991 film)

question_text: who voiced lumiere in the original beauty and the beast

text: Beauty and the Beast (1991 film)

text: Plot[edit]

text: One winter's night, an enchantress disguised as a beggar offers a cold-hearted prince a rose in exchange for shelter. When he refuses, she transforms him into a beast and his servants into household objects. She bestows the Beast with a magic mirror before hexing the rose and warning him that, unless he learns to love another and earns their love in return by the time the last petal falls, he and his servants will lose their humanity forever.

text: Ten years later, a beautiful young woman named Belle dreams of adventure and brushes off advances from Gaston, a handsome, arrogant hunter. Lost in the forest while traveling to a fair to present his latest invention, Belle's father Maurice seeks refuge in the Beast's castle. After Maurice befriends the castle's servants, however, the Beast discovers and imprisons him. Belle ventures out in search for him and finds him locked in the castle's dungeon. The Beast agrees to let her take Maurice's place.

text: Befriending the castle's servants, Belle is treated to a spectacular dinner. When she wanders into the forbidden West Wing where the rose is kept, the Beast flies into a rage, causing Belle to flee the castle and into the woods. She is attacked by wolves, but the Beast rescues Belle and gets injured in the process. He begins to develop feelings for her while she nurses his wounds and he delights her by showing his extensive library.

text: Returning to the village, Maurice tells the townsfolk of Belle's predicament, but no one believes him. Gaston then bribes Monsieur D'Arque, the town's warden of the insane asylum to have Maurice locked up if Belle refuses to marry Gaston.

text: After sharing a romantic dance with the Beast, Belle discovers her father lying in the woods while attempting to rescue her using the magic mirror. The Beast releases her to save Maurice, giving her the mirror to remember him with. Belle rescues Maurice and brings him back to the village where she nurses him back to health. Suddenly, an angry mob led by Gaston comes to Belle's house and they try to take Maurice away. Belle then proves Maurice's sanity by revealing the Beast in the mirror to the townsfolk. Belle angrily confronts Gaston that he is a monster and the Beast is not, which enrages Gaston whom she does not want to marry. Realizing that Belle loves the Beast, Gaston has her thrown into the basement with her father and rallies the villagers to follow him to the castle to kill the Beast. With Chip's aid, Maurice and Belle escape and rush back to the castle.

text: Not happy, the servants battle the invading villagers, driving them out of the castle. Gaston attacks the Beast in his tower, who is too depressed to fight back, but regains his will upon seeing Belle return. He overpowers Gaston but spares his life before reuniting with Belle. Gaston stabs the Beast, but he loses his footing from the Beast's thrashing and falls to his death.[a] The Beast nearly dies from Gaston's stab before the last petal falls. When Belle tearfully professes her love to him, the curse is broken, repairing the castle and restoring the Beast's and servants' human forms. The Prince and Belle host a ball for the kingdom, where they dance happily.

text: Cast[edit]

text:
Paige O'Hara as Belle[11] – A bibliophilic young woman who seeks adventure, and offers her own freedom to the Beast in return for her father's. In their effort to enhance the character from the original story, the filmmakers felt that Belle should be "unaware" of her own beauty and made her "a little odd".[12] Wise recalls casting O'Hara because of a "unique tone" she had, "a little bit of Judy Garland", after whose appearance Belle was modeled.[13] James Baxter and Mark Henn served as the supervising animators for Belle.
Robby Benson as Beast[11] – A young prince who is transformed into a beast by an enchantress as punishment for his arrogance. The animators drew him with the head structure and horns of an American bison, the arms and body of a bear, the ears of a deer, the eyebrows of a gorilla, the jaws, teeth, and mane of a lion, the tusks of a wild boar, and the legs and tail of a wolf. Chris Sanders, one of the film's storyboard artists, drafted the designs for the Beast and came up with designs based on birds, insects, and fish before coming up with something close to the final design. Glen Keane, supervising animator for the Beast, refined the design by going to the zoo and studying the animals on which the Beast was based.[10] Benson commented, "There's a rage and torment in this character I've never been asked to use before."[14] The filmmakers commented that "everybody was big fee-fi-fo-fum and gravelly" while Benson had the "big voice and the warm, accessible side" so that "you could hear the prince beneath the fur".[10]
Richard White as Gaston[11] – A vain hunter who vies for Belle's hand in marriage and is determined not to let anyone else win her heart. He serves as a foil personality to the Beast, who was once as egotistic as Gaston prior to his transformation. Gaston's supervising animator, Andreas Deja, was pressed by Jeffrey Katzenberg to make Gaston handsome in contrast to the traditional appearance of a Disney villain, an assignment he found difficult at first. In the beginning, Gaston is depicted as more of a narcissist than a villain, but later he leads all the villagers to kill the beast, enraged that Belle would love a Beast more than him.[15]
Jerry Orbach as Lumière[16] – The kind-hearted but rebellious valet of the Beast's, who has been transformed into a candlestick. He has a habit of disobeying his master's strict rules, sometimes causing tension between them, but the Beast often turns to him for advice. He is depicted as flirtatious, as he is frequently seen with the Featherduster and immediately takes a liking to Belle. A running gag throughout the movie is Lumière burning Cogsworth. Nik Ranieri served as the supervising animator for Lumière.
David Ogden Stiers as Cogsworth[17] – Majordomo, the head of the household staff and Lumière's best friend, who has been transformed into a clock. He is extremely loyal to the Beast so as to save himself and anyone else any trouble, often leading to friction between himself and Lumière. Will Finn served as the supervising animator for Cogsworth. Stiers also narrates the prologue.
Angela Lansbury as Mrs. Potts[18] – The castle cook, turned into a teapot, who takes a motherly attitude toward Belle. The filmmakers went through several names for Mrs. Potts, such as "Mrs. Chamomile", before Ashman suggested the use of simple and concise names for the household objects.[10] David Pruiksma served as the supervising animator for Mrs. Potts.
Bradley Pierce as Chip[19] – Mrs. Potts' son, who has been turned into a teacup. Originally intended to only have one line, the filmmakers were impressed with Pierce's performance and expanded the character's role significantly, eschewing a mute Music Box character.[10] Pruiksma also served as the supervising animator for Chip.
Rex Everhart as Maurice[11] – Belle's inventor father. The villagers see him as insane for crafting devices believed impossible to construct in reality, but his loyal daughter believes he will be famous one day. Ruben A. Aquino served as the supervising animator for Maurice.
Jesse Corti as Lefou[11] – Gaston's often abused yet loyal sidekick. Chris Wahl served as the supervising animator for Lefou.
Hal Smith as Philippe[20] – Belle's Belgian horse. Russ Edmonds served as the supervising animator for Philippe.
Jo Anne Worley as the Wardrobe[21] – The castle's authority over fashion, and a former opera singer, who has been turned into a wardrobe. The character of Wardrobe was introduced by visual development person Sue C. Nichols to the then entirely male cast of servants, and was originally a more integral character named "Madame Armoire". Wardrobe is known as "Madame de la Grande Bouche" (Madame Big Mouth) in the stage adaptation of the film and is the only major enchanted object character whose human form does not appear in the film. Tony Anselmo served as the supervising animator for the Wardrobe.
Mary Kay Bergman and Kath Soucie as the Bimbettes[22] – A trio of village maidens who constantly fawn over Gaston, known as the "Silly Girls" in the stage adaptation.
Brian Cummings as the Stove[23] – The castle's chef who has been transformed into a stove. He is named Chef Bouche in 1998's Belle's Magical World.
Alvin Epstein as the Bookseller[24] – The owner of a book shop in Belle's home town.
Tony Jay as Monsieur D'Arque[25] – The sadistic warden of the Asylum de Loons. Gaston bribes him to help in his plan to blackmail Belle.
Alec Murphy as the Baker[26] – The owner of a bakery in Belle's home town.
Kimmy Robertson as the Featherduster[27] – A maid and Lumière's sweetheart, who has been turned into a feather duster. She is unnamed in the 1991 film (listed as Featherduster in the credits); Babette is the name given to this character later in the 1994 stage adaptation of the film; Fifi in the 1998 animated musical film Belle's Magical World and Plumette in the 2017 live-action remake.
Frank Welker as Sultan[28] – The castle's pet dog turned into a footstool.

text: Production[edit]

text: Early versions[edit]

text: After the success of Snow White and the Seven Dwarfs in 1937, Walt Disney sought out other stories to adapt into feature films, with Beauty and the Beast being among the stories he considered.[12][29] Attempts to develop the Beauty and the Beast story into a film were made in the 1930s and 1950s, but were ultimately given up because it "proved to be a challenge" for the story team.[12] Peter M. Nichols states Disney may later have been discouraged by Jean Cocteau having already done his 1946 version.[30]

text: Decades later, during the production of Who Framed Roger Rabbit in 1987, the Disney studio resurrected Beauty and the Beast as a project for the satellite animation studio it had set up in London, England to work on Roger Rabbit. Richard Williams, who had directed the animated portions of Roger Rabbit, was approached to direct but declined in favor of continuing work on his long-gestating project The Thief and the Cobbler. In his place, Williams recommended his colleague, English animation director Richard Purdum, and work began under producer Don Hahn on a non-musical version of Beauty and the Beast set in 19th-century France.[31] At the behest of Disney CEO Michael Eisner, Beauty and the Beast became the first Disney animated film to use a screenwriter. This was an unusual production move for an animated film, which is traditionally developed on storyboards rather than in scripted form. Linda Woolverton wrote the original draft of the story before storyboarding began, and worked with the story team to retool and develop the film.[32]

text: Script rewrite and musicalization[edit]

text: Upon seeing the initial storyboard reels in 1989, Walt Disney Studios chairman Jeffrey Katzenberg ordered that the film be scrapped and started over from scratch. A few months after starting anew, Purdum resigned as director. The studio had approached Ron Clements and John Musker to direct the film, but they turned down the offer, saying they were "tired" after just having finished directing Disney's recent success The Little Mermaid. Disney then hired first-time feature directors Kirk Wise and Gary Trousdale. Wise and Trousdale had previously directed the animated sections of Cranium Command, a short film for a Disney EPCOT theme park attraction. In addition, Katzenberg asked songwriters Howard Ashman and Alan Menken, who had written the song score for The Little Mermaid, to turn Beauty and the Beast into a Broadway-style musical film in the same vein as Mermaid. Ashman, who at the time had learned he was dying of complications from AIDS, had been working with Disney on a pet project of his, Aladdin, and only reluctantly agreed to join the struggling production team. To accommodate Ashman's failing health, pre-production of Beauty and the Beast was moved from London to the Residence Inn in Fishkill, New York, close to Ashman's New York City home.[31] Here, Ashman and Menken joined Wise, Trousdale, Hahn, and Woolverton in retooling the film's script.[12][32] Since the original story had only two major characters, the filmmakers enhanced them, added new characters in the form of enchanted household items who "add warmth and comedy to a gloomy story" and guide the audience through the film, and added a "real villain" in the form of Gaston.[12]

text: These ideas were somewhat similar to elements of the 1946 French film version of Beauty and the Beast, which introduced the character of Avenant, an oafish suitor somewhat similar to Gaston,[33] as well as inanimate objects coming to life in the Beast's castle.[34] The animated objects were, however, given distinct personalities in the Disney version. By early 1990, Katzenberg had approved the revised script, and storyboarding began again.[12][32] The production flew story artists back and forth between California and New York for storyboard approvals from Ashman, though the team was not told the reason why.[12]

text: Casting and recording[edit]

text: Disney had originally considered casting Jodi Benson from The Little Mermaid as Belle.[35] They eventually decided upon Broadway actress and singer Paige O'Hara in favor of having a heroine who sounded "more like a woman than a girl".[36] According to co-director Kirk Wise, O'Hara was given the role because she "had a unique quality, a tone she would hit that made her special",[37] reminiscent to that of American actress and singer Judy Garland.[38] O'Hara, who, after reading about the film in The New York Times,[39] competed for the role against 500 hopefuls,[40] believes the fact that lyricist Howard Ashman admired her cast recording of the musical Show Boat proved integral in her being cast.[41]

text: Animation[edit]

text: Production of Beauty and the Beast was to be completed on a compressed timeline of two years rather than the traditional four-year Disney Feature Animation production schedule; this was due to the loss of production time spent developing the earlier Purdum version of the film.[10] Most of the production was done at the main Feature Animation studio, housed in the Air Way facility in Glendale, California. A smaller team at the Disney-MGM Studios theme park in Lake Buena Vista, Florida assisted the California team on several scenes, particularly the "Be Our Guest" number.[12]

text: Beauty and the Beast was the second film, after The Rescuers Down Under, produced using CAPS (Computer Animation Production System), a digital scanning, ink, paint, and compositing system of software and hardware developed for Disney by Pixar.[12][31] The software allowed for a wider range of colors, as well as soft shading and colored line effects for the characters, techniques lost when the Disney studio abandoned hand inking for xerography in the early 1960s. CAPS/ink & paint also allowed the production crew to simulate multiplane effects: placing characters and/or backgrounds on separate layers and moving them towards/away from the camera on the Z-axis to give the illusion of depth, as well as altering the focus of each layer.[10]

text: In addition, CAPS/ink & paint allowed an easier combination of hand-drawn art with computer-generated imagery, which before had to be plotted to animation paper and then xeroxed and painted traditionally.[12][42] This technique was put to significant use during the "Beauty and the Beast" waltz sequence, in which Belle and Beast dance through a computer-generated ballroom as the camera dollies around them in simulated 3D space.[10][12] The filmmakers had originally decided against the use of computers in favor of traditional animation, but later, when the technology had improved, decided it could be used for the one scene in the ballroom.[30] Before that, CGI environments had first been printed out as wireframe, but this was the first time Disney made use of 3D rendering.[43] The success of the ballroom sequence helped convince studio executives to further invest in computer animation.[44]

text: Music[edit]

text: Ashman and Menken wrote the Beauty song score during the pre-production process in Fishkill, the opening operetta-styled "Belle" being their first composition for the film. Other songs included "Be Our Guest," sung (in its original version) to Maurice by the objects when he becomes the first visitor to eat at the castle in a decade, "Gaston," a solo for the swaggering villain, "Human Again," a song describing Belle and Beast's growing love from the objects' perspective, the love ballad "Beauty and the Beast (Tale as Old as Time)" and the climactic "The Mob Song." As story and song development came to a close, full production began in Burbank while voice and song recording began in New York City.[12] The Beauty songs were mostly recorded live with the orchestra and the voice cast performing simultaneously rather than overdubbed separately, in order to give the songs a cast album-like "energy" the filmmakers and songwriters desired.[10]

text: During the course of production, many changes were made to the structure of the film, necessitating the replacement and re-purposing of songs. After screening a mostly animated version of the "Be Our Guest" sequence, story artist Bruce Woodside suggested that the objects should be singing the song to Belle rather than her father. Wise and Trousdale agreed, and the sequence and song were retooled to replace Maurice with Belle. The film's title song went through a noted bit of uncertainty during production. Originally conceived as a rock-oriented song, it was changed to a slow, romantic ballad. Howard Ashman and Alan Menken asked Angela Lansbury to perform the song, but she did not think her voice was suited for the melody. When she voiced her doubts, Menken and Ashman asked her for at least one take and told her to perform the song as she saw fit. Lansbury reportedly reduced everyone in the studio to tears with her rendition, nailing the song in the one take asked of her. This version went on to win the Oscar for Best Original Song. "Human Again" was dropped from the film before animation began, as its lyrics caused story problems about the timeline over which the story takes place.[12] This required Ashman and Menken to write a new song in its place. "Something There," in which Belle and Beast sing (via voiceover) of their growing fondness for each other, was composed late in production and inserted into the script in place of "Human Again."[10]

text: Menken would later revise "Human Again" for inclusion in the 1994 Broadway stage version of Beauty and the Beast, and another revised version of the song was added to the film itself in a new sequence created for the film's Special Edition re-release in 2002.[10][12] Ashman died of AIDS-related complications at the age of 40 on March 14, 1991, eight months before the film's release. He never saw the finished film, though he did get to see it in its unfinished format. Ashman's work on Aladdin was completed by another lyricist, Tim Rice. Before Ashman's death, members of the film's production team visited him after the film's well-received first screening, with Don Hahn commenting that "the film would be a great success. Who'd have thought it?", to which Ashman replied with "I would." A tribute to the lyricist was included at the end of the credits crawl: "To our friend, Howard, who gave a mermaid her voice, and a beast his soul. We will be forever grateful. Howard Ashman: 1950–1991."[31] A pop version of the "Beauty and the Beast" theme, performed by Céline Dion and Peabo Bryson over the end credits, was released as a commercial single from the film's soundtrack, supported with a music video. The Dion/Bryson version of "Beauty and the Beast" became an international pop hit and performed considerably well on charts around the world. The song became Dion's second single to land within the top-10 of the Billboard Hot 100, peaking at number nine. The song peaked at number three on the Billboard Hot Adult Contemporary chart. In Canada, "Beauty and the Beast" peaked at number two.[45][46] Outside of North America, the song peaked within the top ten in New Zealand and the United Kingdom, while peaking within the top twenty in Australia, Netherlands, and Ireland. The song sold over a million copies worldwide.[47] This version of the song was also nominated for Record of the Year and Song of the Year at the Grammys, and it won the Grammy for Dion and Bryson for Best Pop Duo/Group Vocal Performance.

text: Release[edit]

text: In a first-time accomplishment for The Walt Disney Company, an unfinished version of Beauty and the Beast was shown at the New York Film Festival on September 29, 1991.[48] The film was deemed a "work in progress" because roughly only 70% of the animation had been completed; storyboards and pencil tests were used in replacement of the remaining 30%.[49] Additionally, certain segments of the film that had already been finished were reverted to previous stages of completion. At the end of the screening, Beauty and the Beast received a ten-minute-long standing ovation from the film festival audience.[31][50] The completed film was also screened out of competition at the 1992 Cannes Film Festival.[51] The finished film premiered at the El Capitan Theatre in Hollywood on November 13, 1991, beginning a limited release before expanding wide on November 22.[50]

text: Re-issues[edit]

text: The film was restored and remastered for its New Year's Day, 2002 re-release in IMAX theatres in a special-edition edit, including a new musical sequence. For this version of the film, much of the animation was cleaned up, a new sequence set to the deleted song "Human Again" was inserted into the film's second act, and a new digital master from the original CAPS production files was used to make the high-resolution IMAX film negative.[52]

text: A sing along edition of the film, hosted by Jordin Sparks, was released in select theaters on September 29 and October 2, 2010. Prior to the showing of the film, Sparks showed an exclusive behind-the-scenes look at the newly restored film and the making of her new Beauty and the Beast music video. There was also commentary from producer Don Hahn, interviews with the cast and an inside look at how the animation was created.[53][54]

text: A Disney Digital 3D version of the film, the second of a traditionally animated film, was originally scheduled to be released in US theatres on February 12, 2010, but the project was postponed.[55] On August 25, 2011, Disney announced that the 3D version of the film would make its American debut at Hollywood's El Capitan Theatre from September 2–15, 2011.[56] Disney spent less than $10 million on the 3D conversion.[57] After the successful 3D re-release of The Lion King, Disney announced a wide 3D re-release of Beauty and the Beast in North America beginning January 13, 2012.[58]

text: Home media[edit]

text: The film was released to VHS on October 30, 1992 as part of the Walt Disney Classics series, and was later put on moratorium on April 30, 1993; it was not included in the Walt Disney Masterpiece Collection line.[59] This version contains a minor edit to the film: skulls that appear in Gaston's pupils for two frames during his climactic fall to his death were removed for the original home video release. No such edit was made to later reissues of the film. The "work-in-progress" version screened at the New York Film Festival was also released on VHS and LaserDisc at this time;[10] however, said version was the only one available on the latter format until the fall of 1993, when the completed theatrical version was released. This measure was to diminish the threat of video pirates making copies derived from the LaserDisc (which are not copy-protected) and selling them in international markets, where the film was yet to be available for home release.[60][61]

text: Beauty and the Beast: Special Edition, as the enhanced version of the film released in IMAX/large-format is called, was released on two-disc "Platinum Edition" DVD and VHS on October 8, 2002. The DVD set features three versions of the film: the extended IMAX Special Edition with the "Human Again" sequence added, the original theatrical version, and the New York Film Festival "work-in-progress" version. This release went to "Disney Vault" moratorium status in January 2003, along with its direct-to-video follow-ups Beauty and the Beast: The Enchanted Christmas and Belle's Magical World.[62]

text: The film was released from the vault on October 5, 2010 as the second of Disney's Diamond Editions, in the form of a three-disc Blu-ray Disc and DVD combination pack[63]—the first release of Beauty and the Beast on home video in high-definition format.[64] This edition consists of four versions of the film: the original theatrical version, an extended version, the New York Film Festival storyboard-only version, and a fourth iteration displaying the storyboards via picture-in-picture alongside the original theatrical version.[65] Upon its first week of release, the Blu-ray sold 1.1 million units, topping the Blu-ray sales chart and finishing in third place on the combined Blu-ray and DVD sales chart for the week ending on October 10, 2010.[66][67] It was the second-best-selling Blu-ray of 2010, behind Avatar.[68] A two-disc DVD edition was released on November 23, 2010.[63] A five-disc combo pack, featuring Blu-ray 3D, Blu-ray 2D, DVD and a digital copy, was released on October 4, 2011. The 3D combo pack is identical to the original Diamond Edition, except for the added 3D disc and digital copy. The Blu-ray release went into the Disney Vault along with the two sequels on April 30, 2012.[69]

text: A 25th-anniversary Signature Edition was released on Digital HD September 6, 2016 and was followed by Blu-ray/DVD combo pack on September 20, 2016.[70] Upon its first week of release on home media in the U.S., the film topped the Blu-ray Disc sales chart, and debuted at number 3 in the Nielsen VideoScan First Alert chart, which tracks overall disc sales, behind Teenage Mutant Ninja Turtles: Out of the Shadows and Captain America: Civil War.[71]

text: Reception and legacy[edit]

text: Critical response[edit]

text: Review aggregator website Rotten Tomatoes gives the film an approval rating of 94% based on reviews from 110 critics, with an average rating of 8.5/10. The website's critical consensus reads, "Enchanting, sweepingly romantic, and featuring plenty of wonderful musical numbers, Beauty and the Beast is one of Disney's most elegant animated offerings."[72] The film also holds a 95/100 on Metacritic, which indicates the reviews as "universal acclaim".[73] Audiences polled by CinemaScore gave the film a rare "A+" grade.[74]

text: Janet Maslin of The New York Times praised the film with the following statement, "Two years ago, Walt Disney Pictures reinvented the animated feature, not only with an eye toward pleasing children, but also with an older, savvier audience in mind. Disney truly bridged a generation gap with The Little Mermaid … Now, lightning has definitely struck twice with Beauty and the Beast."[75] Awarding the film a perfect score of four stars, Roger Ebert of the Chicago Sun-Times compared Beauty and the Beast positively to Snow White and the Seven Dwarfs and Pinocchio, writing, "Beauty and the Beast reaches back to an older and healthier Hollywood tradition in which the best writers, musicians and filmmakers are gathered for a project on the assumption that a family audience deserves great entertainment, too."[76] In 2001 Ebert again gave the IMAX re-release a full 4 out of 4 stars.[77] James Berardinelli of ReelViews rated the film similarly while hailing it as "the finest animated movie ever made", writing, "Beauty and the Beast attains a nearly-perfect mix of romance, music, invention, and animation."[78] The use of computer animation, particularly in the ballroom sequence, was singled out in several reviews as one of the film's highlights.[10] Hal Hinson of The Washington Post gave the film a positive review, calling the film "A delightfully satisfying modern fable, a near-masterpiece that draws on the sublime traditions of the past while remaining completely in sync with the sensibility of its time."[79] Janet Maslin of The New York Times gave the film a positive review, saying "It is a surprise, in a time of sequels and retreads, that the new film is so fresh and altogether triumphant in its own right."[80] Dave Kehr of the Chicago Tribune gave the film three out of four stars, saying "Beauty and the Beast is certainly adequate holiday entertainment for children and their more indulgent parents … But the film has little of the technical facility, vivid characterization and emotional impact of Disney past."[81]

text: Jay Boyar of the Orlando Sentinel gave the film four out of five stars, saying "It's not an especially scary movie, but right from the start, you can tell that this Beauty and the Beast has a beauty of a bite."[82] John Hartl of The Seattle Times gave the film three-and-a-half stars out of four, saying "It's exceptionally difficult to make an audience care for animated characters unless they're mermaids or anthropomorphized animals or insects, yet the Disney animators, with a big assist from the vocal talents of a superb cast, have pulled it off."[83] Gene Siskel, also of the Chicago Tribune, gave the film four out of four stars, saying "Beauty and the Beast is one of the year's most entertaining films for both adults and children."[84] On their Beauty and the Beast edition of Siskel & Ebert, both Siskel and Roger Ebert proclaimed that the film is "a legitimate contender for Oscar consideration as Best Picture of the Year." Michael Sragow of The New Yorker gave the film a positive review, saying "It's got storytelling vigor and clarity, bright, eclectic animation, and a frisky musical wit."[85] Eric Smoodin writes in his book Animating Culture that the studio was trying to make up for earlier gender stereotypes with this film.[86] Smoodin also states that, in the way it has been viewed as bringing together traditional fairy tales and feminism as well as computer and traditional animation, the film's "greatness could be proved in terms of technology narrative or even politics".[87] Animation legend Chuck Jones praised the film, in a 1992 guest appearance on Later with Bob Costas he claimed he "Loved it. I think it should have won [Best Picture] … I think the animation on the beast is one of the greatest pieces of animation I've seen".[88]

text: Animation historian Michael Barrier wrote that Belle "becomes a sort of intellectual less by actually reading books, it seems, than by hanging out with them", but says that the film comes closer than other "Disney-studio" films to "accepting challenges of the kind that the finest Walt Disney features met".[89] David Whitley writes in The Idea of Nature in Disney Animation that Belle is different from earlier Disney heroines in that she is mostly free from the burdens of domestic housework, although her role is somewhat undefined in the same way that "contemporary culture now requires most adolescent girls to contribute little in the way of domestic work before they leave home and have to take on the fraught, multiple responsibilities of the working mother". Whitley also notes other themes and modern influences, such as the film's critical view of Gaston's chauvinism and attitude towards nature, the cyborg-like servants, and the father's role as an inventor rather than a merchant.[90]

text: In 2010, IGN named Beauty and the Beast as the greatest animated film of all time, directly ahead of WALL-E, The Incredibles, Toy Story 2, and The Iron Giant.[91]

text: Several critics regard the 1991 animated film as superior to the 2017 live-action remake. Michael Phillips of the Chicago Tribune said that the 1991 film "worked wonderfully because it was pure Broadway, written for the screen, blending comedy and romance and magic and just enough snark in the margins", while the 2017 remake got lost in translation since "The movie takes our knowledge and our interest in the material for granted. It zips from one number to another, throwing a ton of frenetically edited eye candy at the screen, charmlessly." Phillips also wrote of the 2017 film that "too often we're watching highly qualified performers, plus a few less conspicuously talented ones (Watson, primarily), stuck doing karaoke, or motion-capture work of middling quality".[92] Dana Schwartz of the Observer criticized some of the 2017 film changes to the characters like Gaston and the Beast as regressive by watering down their distinguishing personalities from the 1991 film, also arguing that the added backstory to the characters in the 2017 version failed to "advance the plot or theme in any meaningful way".[93] David Sims of The Atlantic wrote that the 2017 film "feels particularly egregious, in part, because it’s so slavishly devoted to the original; every time it falls short of its predecessor (which is quite often), it’s hard not to notice".[94]

text: Box office[edit]

text: During its initial release in 1991, the film grossed $145.9 million in revenues in North America and $351.9 million worldwide.[5] It ranked as the third-most successful film of 1991 in North America, surpassed only by the summer blockbusters Terminator 2: Judgment Day and Robin Hood: Prince of Thieves.[95] At the time Beauty and the Beast was the most successful animated Disney film release, and the first animated film to reach $100 million in the United States and Canada in its initial run.[96][97] In its IMAX re-release, it earned $25.5 million in North America and $5.5 million in other territories, for a worldwide total of $31 million.[98] It also earned $9.8 million from its 3D re-release overseas.[5] During the opening weekend of its North American 3D re-release in 2012, Beauty and the Beast grossed $17.8 million, coming in at the No. 2 spot, behind Contraband, and achieved the highest opening weekend for an animated film in January.[99][100] The film was expected to make $17.5 million over the weekend; however, the results topped its forecast and the expectations of box office analysts.[101][102] The re-release ended its run on May 3, 2012, and earned $47.6 million, which brought the film's total gross in North America to $219 million.[103] It made an estimated $206 million in other territories, for a worldwide total of $425 million.[5]

text: Accolades[edit]

text: Alan Menken and Howard Ashman's song "Beauty and the Beast" won the Academy Award for Best Original Song, while Menken's score won the award for Best Original Score.[104] Two other Menken and Ashman songs from the film, "Belle" and "Be Our Guest", were also nominated for Best Original Song.[104] Beauty and the Beast was the first picture to receive three Academy Award nominations for Best Original Song, a feat that would be repeated by The Lion King (1994), Dreamgirls (2006), and Enchanted (2007).[104] Academy rules have since been changed to limit each film to two nominations in this category, due to the consecutive unintentional failures of Dreamgirls and Enchanted to win the award.[104]

text: The film was also nominated for Best Picture and Best Sound.[104] It was the first animated film ever to be nominated for Best Picture, and remained the only animated film nominated until 2009 when the Best Picture field was widened to ten nominees, and it remains the only animated film nominated for the award when it had five nominees.[104] It became the first musical in twelve years to be nominated for the Academy Award for Best Picture of the Year, following All That Jazz (1979), and the last one to be nominated until Moulin Rouge! (2001), ten years later.[104] It lost the Best Picture award to The Silence of the Lambs.[104] With six nominations, the film currently shares the record for the most nominations for an animated film with WALL-E (2008), although, with three nominations in the Best Original Song category, Beauty and the Beast's nominations span only four categories, while WALL-E's nominations cover six individual categories.[104]

text: While The Little Mermaid was the first to be nominated, Beauty and the Beast became the first animated film to win the Golden Globe Award for Best Motion Picture – Musical or Comedy.[104] This feat was later repeated by The Lion King and Toy Story 2.[104]

text:
List of awards and nominations

Award

Date of ceremony

Category

Recipients and nominees

Result

Academy Awards[104]

March 30, 1992

Best Picture

Don Hahn

Nominated

Best Sound

Terry Porter, Mel Metcalfe, David J. Hudson & Doc Kane

Best Original Score

Alan Menken

Won

Best Original Song

Alan Menken & Howard Ashman for "Be Our Guest"

Nominated

Alan Menken & Howard Ashman for "Beauty and the Beast"

Won

Alan Menken & Howard Ashman for "Belle"

Nominated

Chicago Film Critics Association

February 1992

Best Picture

Nominated

Dallas–Fort Worth Film Critics Association

1992

Best Film

3rd place

Best Animated Film

Won

Golden Globe Awards[105]

January 18, 1992

Best Motion Picture – Musical or Comedy

Don Hahn

Best Original Score – Motion Picture

Alan Menken

Best Original Song – Motion Picture

Alan Menken and Howard AshmanFor the song "Be Our Guest"

Nominated

Alan Menken and Howard AshmanFor the song "Beauty and the Beast"

Won

Grammy Awards[106]

February 18, 1993

Album of the Year

Nominated

Record of the Year

Celine Dion and Peabo BrysonFor the song "Beauty and the Beast"

Nominated

Best Album for Children

Won

Best Pop Performance by a Group or Duo With Vocal

For "Beauty and the Beast"

Song of the Year

For "Beauty and the Beast"

Nominated

Best Instrumental Composition Written for a Motion Picture

Alan Menken

Won

Best Song Written Specifically for a Motion Picture or for Television

For "Beauty and the Beast"

Best Pop Instrumental Performance

For "Beauty and the Beast"

Los Angeles Film Critics Association

December 14, 1991

Best Animated Film

Gary Trousdale and Kirk Wise

Producers Guild of America

March 4, 1992

Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures

Don Hahn

Nominated

text: In 2002, Beauty and the Beast was added to the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant." In June 2008, the American Film Institute revealed its "Ten Top Ten" lists of the best ten films in ten "classic" American film genres, based on polls of over 1,500 people from the creative community. Beauty and the Beast was acknowledged as the seventh-best film in the animation genre.[107][108] In previous lists, it ranked number 22 on the Institute's list of best musicals and number 34 on its list of the best romantic American films.[109] On the list of the greatest songs from American films, Beauty and the Beast ranked number 62.[110]

text: American Film Institute recognition:

text:
AFI's 100 Years...100 Movies – Nominated[111]
AFI's 100 Years...100 Passions – No. 34[109]
AFI's 100 Years...100 Heroes and Villains:
Belle – Nominated Hero[112]
AFI's 100 Years...100 Songs:
"Beauty and the Beast" – No. 62[110]
"Be Our Guest" – Nominated[113]
AFI's Greatest Movie Musicals – No. 22[114]
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated[115]
AFI's 10 Top 10 – No. 7 Animated film[108]

text: Adaptations[edit]

text: Broadway musical[edit]

text: According to an article in the Houston Chronicle, "The catalyst for Disney's braving the stage was an article by The New York Times theater critic Frank Rich that praised Beauty and the Beast as 1991's best musical … Theatre Under The Stars executive director Frank Young had been trying to get Disney interested in a stage version of Beauty about the same time Eisner and Katzenberg were mulling over Rich's column. But Young couldn't seem to get in touch with the right person in the Disney empire. Nothing happened till the Disney execs started to pursue the project from their end … When they asked George Ives, the head of Actors Equity on the West Coast, which Los Angeles theater would be the best venue for launching a new musical, Ives said the best theater for that purpose would be TUTS. Not long after that, Disney's Don Frantz and Bettina Buckley contacted Young, and the partnership was under way."[116] A stage condensation of the film, directed by Robert Jess Roth and choreographed by Matt West, both of whom moved on to the Broadway development, had already been presented at Disneyland at what was then called the Videopolis stage.[116] Beauty and the Beast premiered in a joint production of Theatre Under The Stars and Disney Theatricals at the Music Hall, Houston, Texas, from November 28, 1993, through December 26, 1993.[116]

text: On Monday, April 18, 1994, Beauty and the Beast premiered on Broadway at the Palace Theatre in New York City to mixed reviews.[117][118] The show transferred to the Lunt-Fontanne Theatre on November 11, 1999.[119] The commercial (though not critical) success of the show led to productions in the West End, Toronto, and all over the world.[119] The Broadway version, which ran for over a decade, received a Tony Award, and became the first of a whole line of Disney stage productions.[120] The original Broadway cast included Terrence Mann as the Beast, Susan Egan as Belle, Burke Moses as Gaston, Gary Beach as Lumière, Heath Lamberts as Cogsworth, Tom Bosley as Maurice, Beth Fowler as Mrs. Potts, and Stacey Logan as Babette the feather duster.[119] Many well-known actors and singers also starred in the Broadway production during its thirteen-year run, including Kerry Butler, Deborah Gibson, Toni Braxton, Andrea McArdle, Jamie-Lynn Sigler, Christy Carlson Romano, Ashley Brown, and Anneliese van der Pol as Belle; Chuck Wagner, James Barbour, and Jeff McCarthy as the Beast; Meshach Taylor, Patrick Page, Bryan Batt, Jacob Young, and John Tartaglia as Lumière; and Marc Kudisch, Christopher Sieber, and Donny Osmond as Gaston.[119] The show ended its Broadway run on July 29, 2007 after 46 previews and 5,461 performances.[119] As of 2017, it is Broadway's tenth-longest-running show in history.[119]

text: Live-action film[edit]

text: In June 2014, Walt Disney Pictures announced that a live-action film adaptation of the original film was in the works, with Bill Condon directing and Evan Spiliotopoulos writing the script.[121][122] Condon originally planned on not only drawing inspiration from the original film, but also to include most, if not all, of the Menken/Rice songs from the Broadway musical, with the intention of making the film as a "straight-forward, live-action, large-budget movie musical".[123] In September 2014, it was announced that Stephen Chbosky (The Perks of Being a Wallflower) would re-write the script.[124] In January 2015, Emma Watson announced on her Facebook page that she would portray Belle in the new live action remake film.[125] In March 2015, Dan Stevens, Luke Evans, Emma Thompson, Josh Gad, Audra McDonald, and Kevin Kline joined the film as the Beast, Gaston, Mrs. Potts, Lefou, Garderobe, and Maurice, respectively.[126][127][128][129] The following month, Ian McKellen, Ewan McGregor, Stanley Tucci, and Gugu Mbatha-Raw joined the cast, as Cogsworth, Lumière, Cadenza, and Plumette, respectively.[130][131][132][133] Composer Alan Menken returned to score the film's music, with new material written by Menken and Tim Rice.[134] In June 2015, Menken said the film would not include the songs that were written for the Broadway musical.[135] Filming began on May 18, 2015 in London, and production officially wrapped in August 2015.[136][137] The film was released on March 17, 2017.[138]

text: Merchandise[edit]

text: Beauty and the Beast merchandise cover a wide variety of products, among them storybook versions of the film's story, a comic book based on the film published by Disney Comics, toys, children's costumes, and other items. In addition, the character of Belle has been integrated into the "Disney Princess" line of Disney's Consumer Products division, and appears on merchandise related to that franchise.[139] In 1995, a live-action children's series entitled Sing Me a Story with Belle began running in syndication, remaining on the air through 1999.[140] Two direct-to-video followups (which take place during the timeline depicted in the original film) were produced by Walt Disney Television Animation: Beauty and the Beast: The Enchanted Christmas in 1997 and Belle's Magical World in 1998; in contrast to the universal acclaim of the original, reception to the sequels was extremely negative.[141][142] Disney on Ice produced an ice version of the movie that opened in 1992 in Lakeland, Florida. The show was such a huge commercial and critical success, touring around the world to sell-out crowds, that a television special was made when it toured Spain in 1994.[143] The show ended its run in 2006, after 14 years.[143]

text: Video games[edit]

text: There are several video games that are loosely based on the film:

text: The first video game based on the film was titled Beauty and the Beast: Belle's Quest and is an action platformer for the Sega Genesis. Developed by Software Creations, the game was released in North America in 1993.[144] It is one of two video games based on the film that Sunsoft published for the Genesis, the other being Beauty & The Beast: Roar of the Beast. Characters from the film like Gaston can help the player past tricky situations. As Belle, the player must reach the Beast's castle and break the spell to live happily ever after. To succeed, she must explore the village, forest, castle, and snowy forest to solve puzzles and mini-games while ducking or jumping over enemies. Belle's health is represented by a stack of blue books, which diminishes when she touches bats, rats, and other hazards in the game. Extra lives, keys and other items are hidden throughout the levels. While there is no continue or game saving ability, players can use a code to start the game at any of the seven levels.[145]

text: The second video game based on the film was titled 'Beauty and the Beast: Roar of the Beast and is a side-scrolling video game for the Genesis. As the Beast, the player must successfully complete several levels, based on scenes from the film, in order to protect the castle from invading villagers and forest animals and rescue Belle from Gaston.[146]

text: The third and fourth video games based on the film are action platformers developed by Probe Software[147] and published by Hudson Soft. One, titled Beauty and the Beast, was released in Europe in 1994 for the NES,[148] while the other, Disney's Beauty and the Beast, was released in North America in July 1994 and in Europe on February 23 1995 for the SNES. The entire games are played through the perspective of the Beast. As the Beast, the player must get Belle to fall in love so that the curse cast upon him and his castle will be broken. The final boss of the game is Gaston.[147] The Beast can walk, jump, swipe, stomp, super stomp, and roar, the last of which is used to both damage enemies and reveal hidden objects.[149]

text: The fifth video game based on the film was titled Disney's Beauty and the Beast: A Boardgame Adventure and is a Disney Boardgame adventure for the Game Boy Color. It was released on October 25, 1999.[150]

text: The video game series Kingdom Hearts features a world based on the film, named "Beast's Castle", along with several of the film's characters. In the first game, the world has been destroyed and Belle kidnapped by the Heartless, led by Maleficent, but the Beast travels to Maleficent's stronghold and works with Sora to defeat Maleficent and rescue Belle and the other captured princesses.[151] In Kingdom Hearts II, the world has since been restored following Ansem's defeat, but Beast and Belle are having difficulties due to the enigmatic Xaldin of Organization XIII attempting to bring out the Beast's darker side in order to turn him into a Heartless and a Nobody, but the Beast eventually comes to his senses and works with Sora once again to defeat Xaldin once and for all. In the game's ending credits, the Beast turns back into the Prince. In Kingdom Hearts: 358/2 Days, the world is featured as a playable level but the story is not essential to the main plot. In Kingdom Hearts χ, the world is featured again, this time as a hallucination that follows the plot of the movie more closely. The characters featured in the series are Beast, Belle, Lumiere, Gaston, Cogsworth, Mrs. Potts, Chip, Maurice, and the Wardrobe. After Gaston is defeated, the Beast transforms back into the Prince. Gaston does not appear in Kingdom Hearts II, the world's primary antagonist being Xaldin, an original character created for the series, but who shares several traits with Forte, the main antagonist of Beauty and the Beast: The Enchanted Christmas.[152]


document_title: Tola (unit)

question_text: how many gram in 1 tola gold in india

question_tokens: how many gram in 1 tola gold in india

text: Tola (unit)

text:
British Indian
units of mass

Mughal Empire[show]

1 maund
=
40 seers

1 seer
=
30 dams

1 dam
=
5 tanks

1 tank
=
3 mashas

1 masha
=
8 ruttees

Bengal Presidency[show]

1 maund
=
8 passerees

1 passeree
=
5 seers

1 seer
=
16 chitaks

1 chitak
=
5 tolas

1 tola
=
12 mashas

1 masha
=
8 rattis

1 ratti
=
4 dhans

Regulation VII 1833 fixed the mass of one tola as 180 troy grains
(11.663 8038 grams)

Bombay Presidency[show]

1 candy
=
20 maunds

1 maund
=
40 seers

1 seer
=
72 tanks

The maund was fixed at 28 pounds avoirdupois (¼ hundredweight)
(12.700 586 36 kilograms)

Madras Presidency[show]

1 candy
=
20 maunds

1 maund
=
8 vis

1 vis
=
5 seers

1 seer
=
8 pollums

1 pollum
=
10 pagodas

The maund was fixed at 25 pounds avoirdupois
(11.339 809 25 kilograms)

text: The tola (Hindi: तोला; Urdu: تولا; Bengali: তোলা; tolā. from Sanskrit: तोलकः; tolaka) Punjabi ਤੋਲਾ, also transliterated as tolah or tole, is a traditional Ancient Indian and South Asian unit of mass, now standardised as 180 troy grains (11.663 8038 grams) or exactly 3/8 troy ounce. It was the base unit of mass in the British Indian system of weights and measures introduced in 1833, although it had been in use for much longer.[1] It was also used in Aden and Zanzibar: in the latter, one tola was equivalent to 175.90 troy grains (0.97722222 British tolas, or 11.33980925 grams).[2]

text: The tola is a Vedic measure, with the name derived from the Sanskrit tol (तोलः root तुल्) meaning "weighing" or "weight".[3] One tola was traditionally the weight of 100 ratti (ruttee) seeds,[4] and its exact weight varied according to locality. However, it is also a convenient mass for a coin: several pre-colonial coins, including the currency of Akbar the Great (1556–1605), had a mass of "one tola" within slight variation.[1][5] The very first rupee (Urdu: رپيا; rupayā), minted by Sher Shah Suri (1540–45), had a mass of 178 troy grains, or about 1% less than the British tola.[6] The British East India Company issued a silver rupee coin of 180 troy grains, and this became the practical standard mass for the tola well into the 20th century.[7]

text: The British tola of 180 troy grains (from 1833) can be seen as more of a standardisation than a redefinition: the previous standard in the Bengal Presidency, the system of "sicca weights", was the mass of one Murshidabad rupee, 179.666 troy grains.[1] For the larger weights used in commerce (in the Bengal Presidency), the variation in the pre-1833 standards was found to be greater than the adjustment.[1]

text: The tola formed the base for units of mass under the British Indian system, and was also the standard measure of gold and silver bullion.[1] Although the tola has been officially replaced by metric units since 1956,[8] it is still in current use, and is a popular denomination for gold bullion bars in Bangladesh, India, Nepal, Pakistan and Singapore, with a ten tola bar being the most commonly traded.[9] In Nepal, minting of tola size gold coins continue up to the present, even though the currency of Nepal is called rupee and has no official connection to the tola. It is also used in most gold markets (bazars/souks) in the United Arab Emirates and in all the Cooperation Council for the Arab States of the Gulf (GCC) countries.

text: Tola is still used as a measure of charas. (Indian hashish)[10]