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By the late 1990s, customers had begun using LabVIEW in industrial automation applications. With LabVIEW and the more advanced DAQ boards provided by the company, engineers could now replace expensive, fixed-function, vendor-defined instruments with a custom PC-based system that would acquire, analyze, and present data with added flexibility and a lower cost. With the company's acquisition of Georgetown Systems Lookout software, NI products were further incorporated into applications run on the factory-floor. By 1996, the company had reached $200 million in annual sales, and was named to Forbes magazine's 200 Best Small Companies list.
The earliest history of the accordion in Russia is poorly documented. Nevertheless, according to Russian researchers, the earliest known simple accordions were made in Tula, Russia, by Ivan Sizov and Timofey Vorontsov around 1830, after they received an early accordion from Germany. By the late 1840s, the instrument was already very widespread; together the factories of the two masters were producing 10,000 instruments a year. By 1866, over 50,000 instruments were being produced yearly by Tula and neighbouring villages, and by 1874 the yearly production was over 700,000. By the 1860s, Novgorod, Vyatka and Saratov governorates also had significant accordion production. By the 1880s, the list included Oryol, Ryazan, Moscow, Tver, Vologda, Kostroma, Nizhny Novgorod and Simbirsk, and many of these places created their own varieties of the instrument.
Shankar completed his training in 1944. He moved to Mumbai and joined the Indian People's Theatre Association, for whom he composed music for ballets in 1945 and 1946. Shankar recomposed the music for the popular song "Sare Jahan Se Achcha" at the age of 25. He began to record music for HMV India and worked as a music director for All India Radio (AIR), New Delhi, from February 1949 until January 1956. Shankar founded the Indian National Orchestra at AIR and composed for it; in his compositions he combined Western and classical Indian instrumentation. Beginning in the mid-1950s he composed the music for the Apu Trilogy by Satyajit Ray, which became internationally acclaimed. He was music director for several Hindi movies including Godaan and Anuradha.
Just a few years ago, multi-instrumentalist Chelsea Cutler approached the talented Jeremy Zucker after his energetic performance at the University of Connecticut and realized they were already mutual fans of each other. Now both signed to Republic Records, Cutler and Zucker took it upon themselves to express their personal conversations through reflective songwriting. As a follow-up to their 2018 debut single, "better off," Cutler and Zucker are back at it again with painfully sorrow melodies in "you were good to me."
After the partition of India in 1947, Narayan moved to Delhi and played at the local AIR station. His work for popular singers increased his repertory and knowledge of style and he accompanied Amir Khan in 1948, when Khan sang for the first time at AIR Delhi after partition. Narayan was allowed occasional solo performances and had begun thinking of a solo career. As an accompanist for vocalists, Narayan showed his own skill and refused to stay in the background. Traditionally, the sarangi and the other stringed instruments as well as the harmonium are used to accompany vocal music melodically and are supposed to play after the singer, imitate the vocal performance, and fill in gaps between phrases, when the singer breaths and prepares a new phrase. Some vocalists complained Narayan was not a consistent accompanist and too assertive, but he maintained he wanted to keep singers in tune and inspire them in a friendly competition. Other singers and tabla players publicly expressed admiration for Narayan's playing. Narayan became frustrated with his supporting role for vocalists and moved to Mumbai in 1949, to freelance in film music and recording. He recorded three solo 78 rpm gramophone records for the British HMV Group in 1950 and he and Vilayat Khan recorded early 10 inch LP albums in Mumbai in 1951, but the record was not popular. Narayan's compositions and performances were popular in the Mumbai film industry, which offered a steady salary and anonymity for work that would have lowered his standing among classical musicians. For the next 15 years Narayan played and composed songs for films, including Humdard, Adalat, Milan, Gunga Jumna, Mughal-e-Azam, and Kashmir Ki Kali.Cowasji Jehangir Hall in 2007
Narayan performed in Afghanistan in 1952 and China in 1954 and was well received in both countries. His first solo concert in 1954 at a Mumbai music festival in the Cowasji Jehangir Hall was cut short by an impatient audience that waited for a duet of Ravi Shankar and Ali Akbar Khan, and Narayan contemplated giving up the sarangi for singing. He later gave performances to smaller crowds and received an approving response after another attempt to play for a Mumbai music festival in 1956. Narayan gave up accompaniment in the early 1960s; this decision carried a financial risk, because demand for solo sarangi had yet to be created. Narayan became one of the Indian instrumentalists who followed Ravi Shankar's example and performed in the Western countries. He started to record solo albums and made his first international tour in 1964 to America and Europe, together with his older brother Chatur Lal, a tabla player who had toured with Shankar in the 1950s. Beginning in the 1960s, Narayan often taught and gave concerts outside of India. On his several Western tours Narayan encountered interest in the sarangi because of its similarity to cello and violin. He continued to perform and record in India and abroad for the next decades and his records appeared on Indian, American, and European labels. During the 1980s he typically spent a few months each year visiting Western nations. He performed less frequently in the 2000s. In August 2009, Narayan will perform at BBC's The Proms.
Narayan increased the status of the sarangi to a modern concert solo instrument, made it known outside of India, and was the first sarangi player with international success, an example later followed by Sultan Khan. He contributed to the playing of the sarangi by codifying its playing technique. Narayan's simplified fingering technique allows for glide (meend) and influenced the contemporary sarangi concert style, as aspects of his playing and tone production were adapted by sarangi players from Narayan's recordings. Narayan taught at Wesleyan University and Mills College, Oakland, in 1968, and at the American Society for Eastern Arts and the National Centre for the Performing Arts (NCPA) in Mumbai in the 1970s and 1980s, where he gave the first master class for sarangi. Narayan privately trained sarangi players, including his daughter Aruna Narayan Kalle, his grandson Harsh Narayan, and Vasanti Srikhande. He also taught sarod players, including his son Brij Narayan, as well as vocalists and a violinist. In 2002, he had 15 Indian students and more than 500 students in the United States and Europe had studied with him. Indian Music in Performance: a practical introduction, released by Neil Sorrell in cooperation with Narayan, was described as "one of the best presentations on modern North Indian music practice."
Mesut Cemil had the distinction of being the son of the great Tanburi Cemil Bey (1873-1916), whom many consider to be the most important Ottoman classical performer and composer during the early recorded era. The sometimes irascible and occasionally alcoholic Tanburi Cemil Bey was not only a multi-instrumentalist, but he also revitalized the Turkish art-music solo, or taksim. He also recorded an abundance of discs in the earliest era of recording, well-circulated and revered for years (though very difficult to find in clean condition, today). 2b1af7f3a8