Academy Award for Best Original Song

The Academy Award for Best Original Song is one of the awards given annually to people working in the motion picture industry by the Academy of Motion Picture Arts and Sciences (AMPAS).
The award goes to the songwriters who have composed the best original song written specifically for a film. Hence it is the writers who win, not the song. (Technically, there is no such thing as an "Oscar-winning song", but since the songwriters win for a specific song, general usage calls the song the Oscar winner.) Similarly, the performers of a song cannot win the Academy Award unless they contributed either to music, lyrics or both in their own right.
The award category was introduced at the 7th Academy Awards, the ceremony honoring the best in film for 1934. Nominations are currently made by Academy members who are songwriters and composers, and the winners are chosen by the Academy membership as a whole.

AF5

Ipod

IPod is a brand of portable media players designed and marketed by Apple Inc. and launched on October 23, 2001. As of 2008, the current product line-up includes the hard drive-based iPod classic, the touchscreen iPod touch, the video-capable iPod nano and the screenless iPod shuffle. Former products include the compact iPod mini and the spin-off iPod photo (since re-integrated into the main iPod classic line). iPod classic models store media on an internal hard drive, while all other models use flash memory to enable their smaller size (the discontinued mini used a Microdrive miniature hard drive). As with many other digital music players, iPods, excluding the iPod touch, can also serve as external data storage devices. Storage capacity varies by model.

Apple's iTunes software is used to transfer music to the devices. As a jukebox application, iTunes stores a music library on the user's computer and can play, burn and rip music from a CD. It can also transfer photos, videos, games, and calendars to iPod models supporting those features. Apple focused its development on the iPod's unique user interface and its ease of use, rather than on technical capability. As of September 2007, the iPod had sold over 110 million units worldwide making it the best-selling digital audio player series in history.

iPod came from Apple's digital sub category, when the company began creating software for the growing market of personal digital devices. Digital cameras, camcorders and organizers had well-established mainstream markets, but the company found existing digital music players "big and clunky or small and useless" with user interfaces that were "unbelievably awful," so Apple decided to develop its own. As ordered by CEO Steve Jobs, Apple's hardware engineering chief Jon Rubinstein assembled a team of engineers to design the iPod, including hardware engineers Tony Fadell and Michael Dhuey, and design engineer Jonathan Ive.The product was developed in less than one year and unveiled on October 23, 2001. Jobs announced it as a Mac-compatible product with a 5 GB hard drive that put "1,000 songs in your pocket."

Uncharacteristically, Apple did not develop iPod's software entirely in-house, instead using PortalPlayer's reference platform based on 2 ARM cores. The platform had rudimentary software running on a commercial microkernel embedded operating system. PortalPlayer had previously been working on an IBM-branded MP3 player with Bluetooth headphones. Apple contracted another company, Pixo, to help design and implement the user interface under the direct supervision of Steve Jobs. As development progressed, Apple continued to refine the software's look and feel. Starting with the iPod mini, the Chicago font was replaced with Espy Sans. Later iPods switched fonts again to Podium Sans — a font similar to Apple's corporate font, Myriad. iPods with color displays then adopted some Mac OS X themes like Aqua progress bars, and brushed metal in the lock interface. In 2007, Apple modified the iPod interface again with the introduction of the sixth-generation iPod classic and third-generation iPod nano by changing the font to Helvetica and, in most cases, splitting the screen in half by displaying the menus on the left and album artwork, photos, or videos on the right (whichever was appropriate for the selected item).

iPod can play several audio file formats including MP3, AAC/M4A, Protected AAC, AIFF, WAV, Audible audiobook, and Apple Lossless. The iPod photo introduced the ability to display JPEG, BMP, GIF, TIFF, and PNG image file formats. Fifth and sixth generation iPod classics, as well as third generation iPod nanos, can additionally play MPEG-4 (H.264/MPEG-4 AVC) and QuickTime video formats, with restrictions on video dimensions, encoding techniques and data-rates. ^[5] Originally, iPod software only worked with Macs; iPod software supported Windows starting with the second generation model.^[6] Unlike most other media players, Apple does not support Microsoft's WMA audio format — but a converter for WMA files without Digital Rights Management (DRM) is provided with the Windows version of iTunes. MIDI files also cannot be played, but can be converted to audio files using the "Advanced" menu in iTunes. Alternative open-source audio formats, such as Ogg Vorbis and FLAC, are not supported without installing custom firmware onto the iPod.

During installation, the iPod is associated with one host computer. Each time an iPod connects to its host computer, iTunes can synchronize entire music libraries or music playlists either automatically or manually. Song ratings can be set on the iPod and synchronized later to the iTunes library, and vice versa. A user can access, play, and add music on a second computer if the iPod is set to manual and not automatic sync, but anything added or edited will be reversed upon connecting and syncing with the main computer and its library. If a user wishes to automatically sync music with a another computer, the iPod's library will be entirely wiped and replaced with the other computer's library.

History of MP4

MPEG-4 Part 14 was based on Apple’s QuickTime container format. MPEG-4 Part 14 is essentially identical to the QuickTime MOV format, but formally specifies support for Initial Object Descriptors (IOD) and other MPEG features.

MP4 versus .M4A file extensions

The existence of two different file extensions for naming audio-only MP4 files has been a source of confusion among users and multimedia playback software. Since MPEG-4 Part 14 is a container format, MPEG-4 files may contain any number of audio, video, and even subtitle streams, making it impossible to determine the type of streams in an MPEG-4 file based on its filename extension alone. In response, Apple Inc. started using and popularizing the .m4a file extension. Software capable of audio/video playback should recognize files with either .m4a or .mp4 file extensions, as would be expected, as there are no file format differences between the two. Most software capable of creating MPEG-4 audio will allow the user to choose the filename extension of the created MPEG-4 files.

While the only official file extension defined by the standard is .mp4, various file extensions are commonly used to indicate intended content:

• MPEG-4 files with audio and video generally use the standard .mp4 extension.
• Audio-only MPEG-4 files generally have a .m4a extension. This is especially true of non-protected content.
  • MPEG-4 files with audio streams encrypted by FairPlay Digital Rights Management as sold through the iTunes Store use the .m4p extension.
  • Audio book and podcast files, which also contain metadata including chapter markers, images, and hyperlinks, can use the extension .m4a, but more commonly use the .m4b extension. An .m4a audio file cannot "bookmark" (remember the last listening spot), whereas .m4b extension files can. Users can rename .mp4 or .m4a file extensions to .m4b to activate these features.
  • The Apple iPhone uses MPEG-4 audio for its ringtones but uses the .m4r extension rather than the .m4a extension.
• Raw MPEG-4 Visual bitstreams are named .m4v.
• Mobile phones use 3GP, a simplified version of MPEG-4 Part 12 (a.k.a MPEG-4/JPEG2000 ISO Base Media file format), with the .3gp and .3g2 extensions. These files also store non-MPEG-4 data (H.263, AMR, TX3G).

The common but non-standard use of the extensions .m4a and .m4v is due to the popularity of Apple’s iPod, the iTunes Store, and the Xbox 360 (in which support for mp4 formatted files was added in the fall 2007 Dashboard update).

MPEG-4 is a suite of standards which has many "parts", where each part standardizes various entities related to multimedia, such as audio, video, and file formats. To know more about various parts and what they mean, please see the entry for MPEG-4.

H.264 is a standard for video compression. It is also known as MPEG-4 Part 10, or MPEG-4 AVC (for Advanced Video Coding). It was written by the ITU-T Video Coding Experts Group (VCEG) together with the ISO/IEC Moving Picture Experts Group (MPEG) as the product of a partnership effort known as the Joint Video Team (JVT). The ITU-T H.264 standard and the ISO/IEC MPEG-4 Part 10 standard (formally, ISO/IEC 14496-10) are jointly maintained so that they have identical technical content. The final drafting work on the first version of the standard was completed in May 2003.

Audio Layer 3

It is a common audio format for consumer audio storage, as well as a de facto standard encoding for the transfer and playback of music on digital audio players.

MP3's use of a lossy compression algorithm is designed to greatly reduce the amount of data required to represent the audio recording and still sound like a faithful reproduction of the original uncompressed audio for most listeners, but is not considered High Fidelity audio by most audiophiles. An MP3 file that is created using the mid-range bitrate setting of 128 kbit/s will result in a file that is typically about 1/10th the size of the CD file created from the original audio source. An MP3 file can also be constructed at higher or lower bitrates, with higher or lower resulting quality.

MP3 is an audio-specific format. It was invented by a team of international engineers at Philips, CCETT (Centre commun d'études de télévision et télécommunications), IRT, AT&T-Bell Labs and Fraunhofer Society, and it became an ISO/IEC standard in 1991. The compression works by reducing accuracy of certain parts of sound that are deemed beyond the auditory resolution ability of most people. This method is commonly referred to as Perceptual Coding.

It provides a representation of sound within a short term time/frequency analysis window, by using psychoacoustic models to discard or reduce precision of components less audible to human hearing, and recording the remaining information in an efficient manner. This is relatively similar to the principles used by JPEG, an image compression format.

From the first half of 1995 through the late 1990s, MP3 files began to spread on the Internet. MP3's popularity began to rise rapidly with the advent of Nullsoft's audio player Winamp (released in 1997), and the Unix audio player mpg123. The small size of MP3 files has enabled widespread peer-to-peer file sharing of music ripped from compact discs, which would previously have been nearly impossible. The first large peer-to-peer filesharing network, Napster, was released in 1999.

The ease of creating and sharing MP3s resulted in widespread copyright infringement. Major record companies argue that this free sharing of music reduces sales, and call it "music piracy". They reacted by pursuing lawsuits against Napster (which was eventually shut down) and eventually against individual users who engaged in file sharing.

Despite the popularity of MP3, online music retailers often use other proprietary formats that are encrypted (known as Digital rights management) to prevent users from using purchased music in ways not specifically authorized by the record companies. The record companies argue that this is necessary to prevent the files from being made available on peer-to-peer file sharing networks. However, this has other side effects such as preventing users from playing back their purchased music on different types of devices. The audio content of these files can be converted into an unencrypted format, however, because often the user permissions include "burn to audio CD". And even when that option is not available, many sound cards allow the user to record anything they play. Unauthorized MP3 filesharing continues on next-generation peer-to-peer networks, though some authorized services, such as eMusic, and Amazon.com sell unrestricted music in the MP3 format.

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio, for example, when ripping a compact disc to this format. The lower the bit rate used, the lower the audio quality will be, but the smaller the file size. Likewise, the higher the bit rate used, the higher the quality, and therefore, larger the resulting file will be.

Files encoded with a lower bit rate will generally play back at a lower quality. With too low a bit rate, "compression artifacts" (i.e., sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bitrate provides a good example of compression artifacts.

Besides the bit rate of an encoded piece of audio, the quality of MP3 files also depends on the quality of the encoder itself, and the difficulty of the signal being encoded. As the MP3 standard allows quite a bit of freedom with encoding algorithms, different encoders may feature quite different quality, even when targeting similar bit rates. As an example, in a public listening test featuring two different MP3 encoders at about 128 kbit/s,one scored 3.66 on a 1–5 scale, while the other scored only 2.22.

Quality is heavily dependent on the choice of encoder and encoding parameters. While quality around 128 kbit/s was somewhere between annoying and acceptable with older encoders, modern MP3 encoders can provide adequate quality at those bit rates (January 2006). However, in 1998, MP3 at 128 kbit/s was only providing quality equivalent to AAC-LC at 96 kbit/s and MP2 at 192 kbit/s.

The original Academy

Before the Akademia was a school, and even before Cimon enclosed its precincts with a wall (Plutarch Life of Cimon xiii:7), it contained a sacred grove of olive trees dedicated to Athena, the goddess of wisdom, outside the city walls of ancient Athens (Thucydides ii:34). The archaic name for the site was Hekademia, which by classical times evolved into Akademia and was explained, at least as early as the beginning of the 6th century BC, by linking it to an Athenian hero, a legendary "Akademos". The site of the Academy was sacred to Athena and other immortals.

Plato's immediate successors as "scholarch" of the Academy were Speusippus (347-339 BC), Xenocrates (339-314 BC), Polemon (314-269 BC), Crates (ca. 269-266 BC), and Arcesilaus (ca. 266-240 BC). Later scholarchs include Lacydes of Cyrene, Carneades, Clitomachus, and Philo of Larissa ("the last undisputed head of the Academy"^[1]).^[2] Other notable members of the Academy include Aristotle, Heraclides Ponticus, Eudoxus of Cnidus, Philip of Opus, Crantor, and Antiochus of Ascalon.

After a lapse during the early Roman occupation, the Academy was refounded (Cameron 1965) as a new institution of some outstanding Platonists of late antiquity who called themselves "successors" (diadochoi, but of Plato) and presented themselves as an uninterrupted tradition reaching back to Plato. However, there cannot have actually been any geographical, institutional, economic or personal continuity with the original Academy in the new organizational entity (Bechtle).

The last "Greek" philosophers of the revived Academy in the 6th century were drawn from various parts of the Hellenistic cultural world and suggest the broad syncretism of the common culture (see koine): Five of the seven Academy philosophers mentioned by Agathias were Syriac in their cultural origin: Hermias and Diogenes (both from Phoenicia), Isidorus of Gaza, Damascius of Syria, Iamblichus of Coele-Syria and perhaps even Simplicius of Cilicia (Thiele).

The emperor Justinian closed the school in AD 529, a date that is often cited as the end of Antiquity. According to the sole witness, the historian Agathias, its remaining members looked for protection under the rule of Sassanid king Khosrau I in his capital at Ctesiphon, carrying with them precious scrolls of literature and philosophy, and to a lesser degree of science. After a peace treaty between the Persian and the Byzantine empire in 532 guaranteed their personal security (an early document in the history of freedom of religion), some members found sanctuary in the pagan stronghold of Harran, near Edessa. One of the last leading figures of this group was Simplicius, a pupil of Damascius, the last head of the Athenian school. The students of the Academy-in-exile, an authentic and important Neoplatonic school surviving at least until the 10th century, contributed to the Islamic preservation of Greek science and medicine, when Islamic forces took the area in the 7th century (Thiele). One of the earliest academies established in the east was the 7th century Academy of Gundishapur in Sassanid Persia.

Because of the tradition of intellectual brilliance associated with this institution, many groups have chosen to use the word "Academy" in their name.

During the Florentine Renaissance, Cosimo de' Medici took a personal interest in the new Platonic Academy that he determined to re-establish in 1439, centered on the marvellous promise shown by Marsilio Ficino, scarcely more than a lad.^{[citation needed]} Cosimo had been inspired by the arrival at the otherwise ineffective Council of Florence of Gemistos Plethon, who seemed like a Plato reborn to the Florentine intellectuals.^{[citation needed]} In 1462 Cosimo gave Ficino a villa at Careggi for the Academy's use, situated where Cosimo could descry[?] it from his own villa.^{[citation needed]} The Renaissance drew potent intellectual and spiritual strength from the academy at Careggi.^{[citation needed]} During the course of the following century many Italian cities established an Academy, of which the oldest survivor is the Accademia dei Lincei of Rome, which became a national academy for a reunited Italy. Other national academies include the Académie Française; the Royal Academy of the United Kingdom; the International Academy of Science; the United States Military Academy at West Point, New York; the United States Naval Academy; United States Air Force Academy; and the Australian Defence Force Academy. In emulation of the military academies, police in the United States are trained in police academies. The Academy of Motion Picture Arts and Sciences presents the annual Academy awards.

A fundamental feature of academic discipline in those academies that were training-schools for artists was regular practice in making accurate drawings from antiquities, or from casts of antiquities, on the one hand, and on the other, in deriving inspiration from the other fount, the human form. Students assembled in sessions drawing the draped and undraped human form, and such drawings, which survive in the tens of thousands from the 17th through the 19th century, are termed académies.

In the early 19th century "academy" took the connotations that "gymnasium" was acquiring in German-speaking lands, of school that was less advanced than a college (for which it might prepare students) but considerably more than elementary. An early example are the two academies founded at Andover and Phillips Exeter Academy. Amherst Academy expanded with time to form Amherst College.

Mozart organized public subscription performances of his music in Vienna in the 1780s and 1790s, he called the concerts "academies." This usage in musical terms survives in the concert orchestra Academy of St Martin in the Fields and in the Brixton Academy, a concert hall in Brixton, South London.

Academies proliferated in the 20th century until even a three-week series of lectures and discussions would be termed an "academy." In addition, the generic term "the academy" is sometimes used to refer to all of academia, which is sometimes considered a global successor to the Academy of Athens.