Safe web fonts
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A very nice discussion of the history of typefaces is taken fromhttp://www.xnet.se/xpo/typetalk/ and archived here.
Another font comparison pageis here,archived here. The same site hasmore excellentinformation about fonts here,archived here.
Another document cross-linking fonts is here.
The fonts that are most safe to use are:
Other options that usually work cross-platform are:
- Palatino
- Garamond
- Bookman
- Avant Garde
Fonts that work on Windows and MacOS but not Unix+X are:
- Verdana
- Georgia
- Comic Sans MS
- Trebuchet MS
- Arial Black
- Impact
Common sans-serif fonts
Helvetica is the granddaddy here, but Arial is more common onmodern OS's.
Helvetica
ABCDE abcde 012345 &*!,.
Helvetica is a sans-serif font. It is a good choice for shorttext, perhaps a paragraph or two in length. Unix and Macintoshcomputers have had always had Helvetica, and it is a native fonton PostScript printers.
Arial
Avant Garde Mac Os Catalina
ABCDE abcde 012345 &*!,.
Arial is near-copy of Helvetica, updated slightly. Windows usesArial in place of Helvetica.
Common serif fonts
Times is the grand-daddy of serif fonts, but Times New Roman ismore common on recent OS's. Macroboy y mac os.
Times
ABCDE abcde 012345 &*!,.
Times (also called Times Roman) is the traditional seriffont. It is available on Macintosh and Unix computers, and is acore PostScript font. Times was designed for use as newspapercolumn text. It has a small size, compared to most other fonts.
Times New Roman
ABCDE abcde 012345 &*!,.
Times New Roman is Microsoft's version of Times. It is availableon Windows computers, and most Macintosh computers.
Common monospace fonts
Designed to mimic typewritten output, these fonts are often usedwhen writing code. Courier is the grand-daddy, while most recentOS's have Courier New.
Courier
ABCDE abcde 012345 &*!,.
Courier is the traditional monospace font. It is available onMacintosh and Unix computers, and is a core PostScript font.
Courier New
ABCDE abcde 012345 &*!,.
Courier New is Microsoft's version of Courier. Most Windows andMacintosh computers will have Courier New.
Less-common sans-serif fonts
Verdana is popular, but still new to the scene. Tahoma's styleis half-way between Verdana and Arial. Comic Sans MS is oftenliked for its informal feel. Avante Garde is big and spacious.Impact and Arial Black are both designed for titles andheadings. All of the fonts in this section suffer from theproblem that most Unix machines don't have the fonts.
Verdana
ABCDE abcde 012345 &*!,.
From around 2000 until mid-2002, Microsoft distributed a set ofWeb-optimized fonts, for free use. They have stopped allowingdownloads, but still ship the fonts with Windows. Verdana is asans-serif replacement. Its lowercase letters are very large,compared to the overall size of the font, which makes text easyto read on the web.
Unfortunately, the stretching of Verdana lowercase letters hastwo drawbacks. One issue is that the stretched letters don'tlook quite right when printed—compare them to Arial, forexample. The other problem is that some people don't have theVerdana font, and these people may have trouble reading a webpage that uses Verdana. The problem is that while 9 ptVerdana is readable, 9 pt Arial is not readable, and aperson who doesn't have Verdana will probably have their webbrowser choose Arial as the substitute font.
Mac Os Mojave
Tahoma
ABCDE abcde 012345 &*!,.
Tahoma is another of Microsoft's web fonts. It is not as widelyavailable as Verdana or Arial are.
Arial Black
ABCDE abcde 012345 &*!,.
Arial Black is a version of Arial designed for headlines.
Comic Sans MS
Fonts that work on Windows and MacOS but not Unix+X are:
- Verdana
- Georgia
- Comic Sans MS
- Trebuchet MS
- Arial Black
- Impact
Common sans-serif fonts
Helvetica is the granddaddy here, but Arial is more common onmodern OS's.
Helvetica
ABCDE abcde 012345 &*!,.
Helvetica is a sans-serif font. It is a good choice for shorttext, perhaps a paragraph or two in length. Unix and Macintoshcomputers have had always had Helvetica, and it is a native fonton PostScript printers.
Arial
Avant Garde Mac Os Catalina
ABCDE abcde 012345 &*!,.
Arial is near-copy of Helvetica, updated slightly. Windows usesArial in place of Helvetica.
Common serif fonts
Times is the grand-daddy of serif fonts, but Times New Roman ismore common on recent OS's. Macroboy y mac os.
Times
ABCDE abcde 012345 &*!,.
Times (also called Times Roman) is the traditional seriffont. It is available on Macintosh and Unix computers, and is acore PostScript font. Times was designed for use as newspapercolumn text. It has a small size, compared to most other fonts.
Times New Roman
ABCDE abcde 012345 &*!,.
Times New Roman is Microsoft's version of Times. It is availableon Windows computers, and most Macintosh computers.
Common monospace fonts
Designed to mimic typewritten output, these fonts are often usedwhen writing code. Courier is the grand-daddy, while most recentOS's have Courier New.
Courier
ABCDE abcde 012345 &*!,.
Courier is the traditional monospace font. It is available onMacintosh and Unix computers, and is a core PostScript font.
Courier New
ABCDE abcde 012345 &*!,.
Courier New is Microsoft's version of Courier. Most Windows andMacintosh computers will have Courier New.
Less-common sans-serif fonts
Verdana is popular, but still new to the scene. Tahoma's styleis half-way between Verdana and Arial. Comic Sans MS is oftenliked for its informal feel. Avante Garde is big and spacious.Impact and Arial Black are both designed for titles andheadings. All of the fonts in this section suffer from theproblem that most Unix machines don't have the fonts.
Verdana
ABCDE abcde 012345 &*!,.
From around 2000 until mid-2002, Microsoft distributed a set ofWeb-optimized fonts, for free use. They have stopped allowingdownloads, but still ship the fonts with Windows. Verdana is asans-serif replacement. Its lowercase letters are very large,compared to the overall size of the font, which makes text easyto read on the web.
Unfortunately, the stretching of Verdana lowercase letters hastwo drawbacks. One issue is that the stretched letters don'tlook quite right when printed—compare them to Arial, forexample. The other problem is that some people don't have theVerdana font, and these people may have trouble reading a webpage that uses Verdana. The problem is that while 9 ptVerdana is readable, 9 pt Arial is not readable, and aperson who doesn't have Verdana will probably have their webbrowser choose Arial as the substitute font.
Mac Os Mojave
Tahoma
ABCDE abcde 012345 &*!,.
Tahoma is another of Microsoft's web fonts. It is not as widelyavailable as Verdana or Arial are.
Arial Black
ABCDE abcde 012345 &*!,.
Arial Black is a version of Arial designed for headlines.
Comic Sans MS
ABCDE abcde 012345 &*!,.
Comic Sans MS is a sans-serif font with a soft, rounded style.
Impact
ABCDE abcde 012345 &*!,.
Impact is a Microsoft Web font, designed for headlines.
Avant Garde
ABCDE abcde 012345 &*!,.
Avant Garde or Century Gothic. HP Printers call this AvantGarde Gothic.
Less-common serif fonts
Georgia is a web-optimized serif font, but is still a newcomer.Palatino is as old and established as Times is, butlooks terrible on recent Unixsystems. Century Schoolbook, Garamond, and Bookman seem to beavailable on Unix systems, but I am not sure how widespread theyare on Windows/Mac systems.
Georgia
ABCDE abcde 012345 &*!,.
Georgia is a Microsoft Web font. It has serifs but also haslarge lowercase letters, similar to Verdana. It is a nicelyreadable screen font, but has the same problems that Verdanadoes: it looks bad when printed, and paged designed for Georgiawill look bad if rendered in Times, because of the difference inletter size.
Palatino
ABCDE abcde 012345 &*!,.
Palatino is a less-commonly used serif font. It is available onMacintosh and Unix computers, and is a core PostScript font. Itis available on Windows computers under alternate font names.
Palatino was originally designed as a display font—forexample, to be used in lettering on signs. Nevertheless, itis commonly used to set body text.
Bookman
ABCDE abcde 012345 &*!,.
Bookman, also called Bookman Old Style.Not shipped with WinXP. Shipped with MS Office 2000.
Garamond
ABCDE abcde 012345 &*!,.
Garamond. There are a lot of variants of this font.Not shipped with WinXP.
Mac Os Download
Century Schoolbook
ABCDE abcde 012345 &*!,.
Century Schoolbook is a core postscript font. You cannot rely onits being present on Windows computers.Not shipped with WinXP.
Less-common monospace fonts
Andale Mono is similar to Verdana and Georgia; it is a new font,not widespread, and not available on Unix or on some Windows computers.
Andale Mono
ABCDE abcde 012345 &*!,.
Rainbow cube (itch) mac os. Andale Mono is yet another Microsoft's monospace typeface. Ithas some resemblance to Monaco.Not shipped with WinXP.
| Avant-garde | |
|---|---|
| Stylistic origins | |
| Cultural origins | Early-to-mid 20th century |
| Derivative forms | |
| Fusion genres | |
| Other topics |
Avant-garde music is music that is considered to be at the forefront of innovation in its field, with the term 'avant-garde' implying a critique of existing aesthetic conventions, rejection of the status quo in favor of unique or original elements, and the idea of deliberately challenging or alienating audiences.[1] Avant-garde music may be distinguished from experimental music by the way it adopts an extreme position within a certain tradition, whereas experimental music lies outside tradition.
Distinctions[edit]
Avant-garde music may be distinguished from experimental music by the way it adopts an extreme position within a certain tradition, whereas experimental music lies outside tradition.[2] In a historical sense, some musicologists use the term 'avant-garde music' for the radical compositions that succeeded the death of Anton Webern in 1945,[3][verification needed] but others disagree. For example, Ryan Minor writes that this period began with the work of Richard Wagner,[4] whereas Edward Lowinsky cites Josquin des Prez.[5] The term may also be used to refer to any post-1945 tendency of modernist music not definable as experimental music, though sometimes including a type of experimental music characterized by the rejection of tonality.[3] A commonly cited example of avant-garde music is John Cage's 4'33' (1952),[1] a piece which instructs the performer(s) not to play their instrument(s) during its entire duration.[6] The piece has been described as 'not a musical ‘work' in the normal sense, only an occasion for a Zen-like meditation.'[7]
Avant Garde Mac Os Catalina
Although some modernist music is also avant-garde, a distinction can be made between the two categories. According to scholar Larry Sitsky, because the purpose of avant-garde music is necessarily political, social, and cultural critique, so that it challenges social and artistic values by provoking or goading audiences, composers such as Igor Stravinsky, Richard Strauss, Arnold Schoenberg, Anton Webern, George Antheil and Claude Debussy may reasonably be considered to have been avant-gardists in their early works (which were understood as provocative, whether or not the composers intended them that way), but Sitsky does not consider the label appropriate for their later music.[8] For example, modernists of the post–World War II period, such as Milton Babbitt, Luciano Berio, Elliott Carter, György Ligeti, and Witold Lutosławski, never conceived their music for the purpose of goading an audience and cannot, therefore, be classified as avant-garde. Composers such as John Cage and Harry Partch, on the contrary, remained avant-gardists throughout their creative careers.[8]
A prominent feature of avant-garde music is to break through various rules and regulations of traditional culture, in order to transcend established creative principles and appreciation habits. Avant-garde music pursues novelty in musical form and style, insisting that art is above everything else; thus, it creates a transcendental and mysterious sound world. Hint, metaphor, symbol, association, imagery, synesthesia and perception are widely used in avant-garde music techniques to excavate the mystery of human heart and the flow of consciousness, so that many seemingly unrelated but essentially very important events interweave into multi-level structures and forms.[9]
Popular music[edit]
Popular music, by definition, is designed for mass appeal.[10] The 1960s saw a wave of avant-garde experimentation in jazz, represented by artists such as Ornette Coleman, Sun Ra, Albert Ayler, Archie Shepp, John Coltrane and Miles Davis.[11][12] In the rock music of the 1970s, the 'art' descriptor was generally understood to mean 'aggressively avant-garde' or 'pretentiously progressive'.[13]Post-punk artists from the late 1970s rejected traditional rock sensibilities in favor of an avant-garde aesthetic.[14] In 1988 the writer Greg Tate described hip hop music as 'the only avant-garde around, still delivering the shock of the new.'[15]
See also[edit]
Contemporary/classical music
Popular/traditional music
References[edit]
- ^ ab'Avant-Garde Music'. AllMusic.
- ^David Nicholls, American Experimental Music, 1890–1940 (Cambridge [England] and New York: Cambridge University Press, 1990): 318.
- ^ abPaul Du Noyer (ed.), 'Contemporary', in the Illustrated Encyclopedia of Music: From Rock, Pop, Jazz, Blues and Hip Hop to Classical, Folk, World and More (London: Flame Tree, 2003), p. 272. ISBN1-904041-70-1
- ^Ryan Minor, 'Modernism', Harvard Dictionary of Music, fourth edition, edited by Don Michael Randel (Cambridge: Harvard University Press, 2003). ISBN9780674011632.
- ^Edward Lowinsky, 'The Musical Avant-Garde of the Renaissance; or, the Peril and Profit of Foresight', in Music in the Culture of the Renaissance and Other Essays, edited and with an introduction by Bonie J. Blackburn with forewords by Howard Mayer Brown and Ellen T. Harris, 2 vols. (Chicago: The University of Chicago Press, 1989) 2:730–754, passim.
- ^Richard Kostelanetz, Conversing with John Cage (New York: Routledge, 2003):[page needed]. ISBN0-415-93792-2.
- ^Wright, Craig M.; Simms, Bryan (2010). Music in Western Civilization: Media Update. Schirmer Cengage Learning. p. 781. ISBN978-0495572732.
- ^ abLarry Sitsky, Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Connecticut: Greenwood Press, 2002): xiii–xiv. ISBN0-313-29689-8.
- ^Paul Hegarty, Noise/Music: A History, (London: Continuum International Publishing Group, 2007): 137. ISBN87-988955-0-8.
- ^'Popular music'. collinsdictionary.com.
- ^Anon. Avant-Garde Jazz. AllMusic.com, n.d.
- ^Michael West (April 3, 2015). 'In the year jazz went avant-garde, Ramsey Lewis went pop with a bang'. The Washington Post.
- ^Murray, Noel (May 28, 2015). '60 minutes of music that sum up art-punk pioneers Wire'. The A.V. Club.
- ^Bannister, Matthew (2007). White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock. Ashgate Publishing, Ltd. p. 38. ISBN978-0-7546-8803-7.
- ^Cited in Chang, Jeff (2005). Can't Stop, Won't Stop. New York: St. Martin's Press. p. 410.
[hip-hop], the only avant-garde around, still delivering the shock of the new (over recycled James Brown compost modernism like a bitch), and it's got a shockable bourgeoise, to boot. [sic]
Further reading[edit]
- Gendron, Bernard. 2002. Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. Chicago: University of Chicago Press. ISBN978-0-226-28735-5.
- Griffiths, Paul. 1981. Modern Music: The Avant Garde Since 1945. London: J. M. Dent and Sons Ltd.; New York: George Braziller. ISBN0-8076-1018-6.
- Stubbs, David. Fear of Music: Why People Get Rothko but Don't Get Stockhausen, UK: Zero Books, 2009, ISBN1-8469-4179-2.
