Glimpse

Glimpse may refer to:

GLIMPSE may refer to:

Glimpse: Live Recordings from Around the World

Glimpse: Live Recordings from Around the World is Sonicflood's sixth original album and second live album. It was released on October 31, 2006.

Track listing

Personnel

References

GLIMPSE

GLIMPSE is a text indexing and retrieval software program originally developed at the University of Arizona by Udi Manber, Sun Wu, and Burra Gopal. It was released under the ISC open source license in September 2014.

GLIMPSE stands for GLobal IMPlicit SEarch. While many text indexing schemes create quite large indexes (usually around 50% of the size of the original text), a GLIMPSE-created index is only 2-4% of the size of the original text.

GLIMPSE uses and takes a great deal of inspiration from Agrep, which was also developed at the University of Arizona, but GLIMPSE uses a high level index whereas Agrep parses all the text each time.

The basic algorithm is similar to other text indexing and retrieval engines, except that the text records in the index are huge, consisting of multiple files each. This index is searched using a boolean matching algorithm like most other text indexing and retrieval engines. After one or more of these large text records is matched, Agrep is used to actually scan for the exact text desired. While this is slower than traditional totally indexed approaches, the advantage of the smaller index is seen to be advantageous to the individual user. This approach would not work particularly well across websites, but it would work reasonably well for a single site, or a single workstation. In addition, the smaller index can be created more quickly than a full index.

Folk music

Folk music includes both traditional music and the genre that evolved from it during the 20th century folk revival. The term originated in the 19th century but is often applied to music that is older than that. Some types of folk music are also called world music.

Traditional folk music has been defined in several ways: as music transmitted orally, or as music with unknown composers. It has been contrasted with commercial and classical styles. One meaning often given is that of old songs, with no known composers; another is music that has been transmitted and evolved by a process of oral transmission or performed by custom over a long period of time.

Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. This form of music is sometimes called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller similar revivals have occurred elsewhere in the world at other times, but the term folk music has typically not been applied to the new music created during those revivals. This type of folk music also includes fusion genres such as folk rock, folk metal, electric folk, and others. While contemporary folk music is a genre generally distinct from traditional folk music, in English it shares the same name, and it often shares the same performers and venues as traditional folk music. Even individual songs may be a blend of the two.

Folksong '59

Upon his return to New York in 1959 after a nearly a decade spent based in London, UK, Alan Lomax produced a concert, Folksong '59, in New York City's Carnegie Hall, featuring Arkansas singer Jimmy Driftwood; the Selah Jubilee Singers and Drexel Singers (gospel groups); Muddy Waters and Memphis Slim (blues); Earl Taylor and the Stoney Mountain Boys (bluegrass); Pete Seeger, Mike Seeger (urban folk revival); and The Cadillacs (a rock and roll group).

The occasion marked the first time rock and roll and bluegrass were performed on the Carnegie Hall Stage. "The time has come for Americans not to be ashamed of what we go for, musically, from primitive ballads to rock 'n' roll songs," Lomax told the audience. According to the Izzy Young, owner of the Folklore Center, and chronicler of the Greenwich Village folk music scene, the audience booed when Alan Lomax told them to lay down their prejudices and listen to rock 'n' roll.

In Young's opinion, "Lomax put on what is probably the turning point in American folk music . . . . At that concert, the point he was trying to make was that Negro and white music were mixing, and rock and roll was that thing."