Slur

Slur may refer to:

See also

Relaxed pronunciation

Relaxed pronunciation (also called condensed pronunciation or word slurs) is a phenomenon that happens when the syllables of common words are slurred together. It is almost always present in normal speech, in all natural languages but not in some constructed languages, such as Loglan or Lojban, which are designed so that all words are parsable.

Some shortened forms of words and phrases, such as contractions or weak forms can be considered to derive from relaxed pronunciations, but a phrase with a relaxed pronunciation is not the same as a contraction. In English, where contractions are common, they are considered part of the standard language and accordingly used in many contexts (except on very formal speech or in formal/legal writing); however, relaxed pronunciation is markedly informal in register. This is also sometimes reflected in writing: contractions have a standard written form, but relaxed pronunciations may not, outside of eye dialect.

Certain relaxed pronunciations occur only in specific grammatical contexts, the exact understanding of which can be complicated. See trace (linguistics) for some further info.

Slur (music)

A slur is a symbol in Western musical notation indicating that the notes it embraces are to be played without separation, i.e. with legato articulation. A slur is denoted with a curved line generally placed over the notes if the stems point downward, and under them if the stems point upwards:

Notation

The slur is not to be confused with two other similar musical symbols. The tie is a curved line that links two notes of the same pitch to show that their durations are to be added together. The phrase mark is a curved line that extends over a passage which is visually indistinguishable from the slur, and indicates that the passage is to be interpreted as a single phrase.

When two instruments written on the same staff both have slurred phrases with the same note values (e.g., clarinets playing in thirds) it is customary to have two sets of slurs, though in some scores just one set is used and it is understood to apply to both of the instruments.

Performance

Coil

Coil may refer to:

Science, technology and medicine

Music

Other uses

People with the surname

See also

Coil (band)

Coil was an English cross-genre, experimental music group formed in 1982 by John Balance—later credited as "Jhonn Balance"—and his life partner and collaborator Peter Christopherson, aka "Sleazy". The duo worked together on a series of releases before Balance chose the name Coil, which he claimed to be inspired by the omnipresence of the coil's shape in nature. Today, Coil remains one of the most influential and best-known industrial music groups.

The group's first official release as Coil was a 1984 12" album titled How to Destroy Angels released on the Belgian Les Disques du Crépuscule's sublabel LAYLAH Antirecords. Following the 12"s success, Some Bizarre Records produced two albums, Scatology, Horse Rotorvator and Coil departed SomeBizzare Label and Produced Love's Secret Domain, which met with little commercial success, but were praised as innovative due to their blend of industrial music and acid house.

In 1985, the group began working on a series of soundtracks, amongst them music for the first Hellraiser movie based on the novel The Hellbound Heart by their acquaintance at that time, Clive Barker. The group's first live performance in 16 years occurred in 1999, and began a series of mini-tours that would last until 2004. Following the death of John Balance on 13 November 2004, Christopherson announced via their official record label website Threshold House that Coil as an entity had ceased to exist.

Coil (album)

Coil is an album by Toad the Wet Sprocket released in 1997. It is their fifth studio album, and the final one before the band broke up in 1998. As with previous albums, Coil was released under the Columbia Records label and produced by Gavin MacKillop.

This album has been praised by some as the band's most mature album. It combines themes explored in all of their previous albums - including love, spirituality and the virtues of an uncomplicated life - and it continues the straightforward rock sound found in Dulcinea. One song from the album, "Come Down", hit the Billboard Modern Rock and Mainstream Rock Charts, and the single "Crazy Life" explores the perceived injustices experienced by Leonard Peltier. "Whatever I Fear" was also released as a single but failed to chart with poor backing from Columbia Records; thus in turn, the planned fourth single "Dam Would Break" was never released.

Track listing

Studio outtakes