Question: The following article contains an answer for the question: What is the real name of the person who produced rough tracks via trial and error? , can you please find it?   In 2001, M.I.A. (Mathangi "Maya" Arulpragasam) had worked exclusively in the visual arts. While filming a documentary on Elastica's 2001 tour of the US, she was introduced to the Roland MC-505 sequencer/drum machine by electroclash artist Peaches, whose minimalistic approach to music inspired her. She found Peaches' decision to perform without additional instrumentation to be brave and liberating and felt that it emphasised the artist. Returning to London, she unexpectedly gained access to a 505 owned by her friend, former Elastica singer Justine Frischmann. M.I.A. used the 505 to make demo recordings in her bedroom. She initially planned to work as a producer. To this end, she approached Caribbean girls in clubs to see if they would provide vocals for the songs, but without success. M.I.A. secured a record deal with XL Recordings after Frischmann's manager overheard the demo. M.I.A. began work on the album by composing lyrics and melodies, and she programmed drum beats at home on the drum machine. Having produced rough tracks via trial and error, she honed the finished songs in collaboration with other writer-producers. Through these collaborations, she sought to produce a diverse style and "drag [her collaborators] out of their boxes, musically".DJ Diplo introduced elements of Brazilian baile funk to "Bucky Done Gun". Fellow composer-producer Richard X worked on the track "Hombre", which featured a drum pattern created from the sounds made by toys that M.I.A. had bought in India, augmented with sounds produced by objects such as pens and mobile phones. Steve Mackey and Ross Orton, known professionally as Cavemen, worked on "Galang", which M.I.A. had initially produced with her 505 and a basic four-track tape recorder. Working with Cavemen in a professional studio, she added a bass line and new vocals to give the song "a more analogue sound" than was possible with the 505. The track was co-written by Frischmann, whose input M.I.A. described as "refreshing". She initially hoped to feature guest vocalists on...
Answer: Mathangi "Maya" Arulpragasam

Question: The following article contains an answer for the question: What is the title of the work throughout which Handel's use of trumpets is limited? , can you please find it?   Handel's music for Messiah  is distinguished from most of his other oratorios by an orchestral restraint—a quality which the musicologist Percy M. Young observes was not adopted by Mozart and other later arrangers of the music. The work begins quietly, with instrumental and solo movements preceding the first appearance of the chorus, whose entry in the low alto register is muted. A particular aspect of Handel's restraint is his limited use of trumpets throughout the work. After their introduction in the Part I chorus "Glory to God", apart from the solo in "The trumpet shall sound" they are heard only in "Hallelujah" and the final chorus "Worthy is the Lamb". It is this rarity, says Young, that makes these brass interpolations particularly effective: "Increase them and the thrill is diminished". In  "Glory to God", Handel marked the entry of the trumpets as da lontano e un poco piano, meaning "quietly, from afar"; his original intention had been to place the brass offstage (in disparte) at this point, to highlight the effect of distance.  In this initial appearance the trumpets lack the expected drum accompaniment, "a deliberate withholding of effect, leaving something in reserve for Parts II and III"  according to Luckett.Although Messiah is not in any particular key, Handel's tonal scheme has been summarised by the musicologist Anthony Hicks as "an aspiration towards D major", the key musically associated with light and glory. As the oratorio moves forward with various shifts in key to reflect changes in mood, D major emerges at significant points, primarily the "trumpet" movements with their uplifting messages. It is the key in which the work reaches its triumphant ending. In the absence of a predominant key, other integrating elements have been proposed. For example, the musicologist Rudolf Steglich has suggested that Handel used the device of the "ascending fourth"  as a unifying motif; this device most noticeably occurs in the first two notes of "I know that my Redeemer liveth" and on numerous other...
Answer: Messiah

Question: The following article contains an answer for the question: What is the last name of the person whose father was determined that his sons would not work in the mines? , can you please find it?   Henry Moore was born in Castleford, West Riding of Yorkshire, England, to Mary Baker and Raymond Spencer Moore. His father was of Irish origin and became pit deputy and then under-manager of the Wheldale colliery in Castleford. He was an autodidact with an interest in music and literature. Determined that his sons would not work in the mines, he saw formal education as the route to their advancement. Henry was the seventh of eight children in a family that often struggled with poverty. He attended infant and elementary schools in Castleford, where he began modelling in clay and carving in wood. He professed to have decided to become a sculptor when he was eleven after hearing of Michelangelo's achievements at a Sunday School reading.On his second attempt he was accepted at Castleford Grammar School, which several of his siblings had attended, where his headmaster soon noticed his talent and interest in medieval sculpture. His art teacher broadened his knowledge of art, and with her encouragement, he determined to make art his career; first by sitting for examinations for a scholarship to the local art college.  Moore's earliest recorded carvings – a plaque for the Scott Society at Castleford Secondary School, and a Roll of Honour commemorating the boys who went to fight in the First World War from the school – were executed around this time.Despite his early promise, Moore's parents had been against him training as a sculptor, a vocation they considered manual labour with few career prospects. After a brief introduction as a student teacher, Moore became a teacher at the school he had attended. Upon turning eighteen, Moore volunteered for army service. He was the youngest man in the Prince of Wales' Own Civil Service Rifles regiment and was injured in 1917 in a gas attack, on 30 November at Bourlon Wood, during the Battle of Cambrai. After recovering in hospital, he saw out the remainder of the war as a physical training instructor, only returning to France as the Armistice was signed. He recalled later, "for...
Answer:
Moore