Birdseye, Birds Eye or Bird's Eye may refer to:
Antonio Jeffries Jr. (born November 19, 1971), better known as Tony Rich and The Tony Rich Project, is a contemporary R&B singer-songwriter best known for his single "Nobody Knows".
Rich first attracted attention through the production team of Tim & Bob. The duo convinced Perri "Pebbles" Reid (then the wife of L.A. Reid, co-founder of LaFace Records) to listen to Rich over the phone. Rich was hired as a house songwriter for LaFace Records. As incoming Vice President of A&R, Eddie F then convinced Reid to sign him as an artist. Later, Rich mixed elements of jazz, rock and soul music into his own tracks.
In January 1996 Rich released the hit single, "Nobody Knows", which made it to number 2 on the Billboard Hot 100. Under the moniker "The Tony Rich Project", he released his debut album Words in early 1996. Both the album and single went platinum and in 1997, Rich won a Grammy Award for the Best R&B Album. The song was covered by country music artist Kevin Sharp in 1997, also as his debut single. The song "Like a Woman" was also nominated for a Grammy Award.
A fermata [ferˈmaːta] (also known as a hold, pause, colloquially a birdseye or cyclops eye, or as a grand pause when placed on a note or a rest) is a symbol of musical notation indicating that the note should be prolonged beyond its normal duration or note value would indicate. Exactly how much longer it is held is up to the discretion of the performer or conductor, but twice as long is not unusual. It is usually printed above, but occasionally below (upside down), the note that is to be held longer.
When a fermata is placed over a bar or double-bar, it is used to indicate the end of a phrase or section of a work. In a concerto, it indicates the point where the soloist is to play a cadenza.
A fermata can occur at the end of a piece (or movement), or it can occur in the middle of a piece, and be followed by either a brief rest or more notes.
Other names for a fermata are corona (Italian), point d'orgue (French), Fermate (German), and calderón (Spanish).
This symbol appears as early as the 15th century, and is quite common in the works of Dufay and Josquin.