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Why Do Orchestras Tune to an A Note?

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When orchestra members tune their instruments before a performance, it almost always sounds the same. That’s because across the world, most orchestras tune to the same A note, using a standard pitch of 440 hertz.

This is the result of international standards that have been in place since the 19th century, according to WQXR, a classical music radio station in New York City. Currently, standard tuning frequency is set by the International Organization for Standardization (ISO), an international group that makes recommendations on everything from what safety labels should look like to how big the hole in a pen cap should be. A standard called ISO 16, first recommended in 1955 and confirmed in 1975, “specifies the frequency for the note A in the treble stave and shall be 440 hertz.”

The ISO didn’t pull that frequency out of thin air. During the Industrial Revolution, a rush toward standardization and universality led to multiple international meetings that aimed to bring orchestras all over the world to the same pitch. Standardizing pitch had important ramifications for the international music scene.

Historically, the pitch that orchestras tuned to could differ wildly depending on where the musicians were playing. “In the course of the last 400 years in Europe, the point that has been considered ideal for a reference pitch has fluctuated by some 5 or 6 semitones,” musicologist Bruce Haynes explained in his book, A History of Performing Pitch: The Story of ‘A.’ In the 17th century, a French performer might tune his or her instrument a whole tone lower than their German colleagues. The standards could even change from one town to the next, affecting how music written in one location might sound when played in another.

As a writer for London's The Spectator observed in 1859, “It is well known that when we are performing Handel's music (for example) from the very notes in which he wrote it, we are really performing it nearly a whole tone higher than he intended;—the sound associated in his ear with the note A, being nearly the same sound which, in our ear, is associated with the note G.”

In the 19th century, a commission established by the French government tried to analyze pitch across Europe by looking at the frequencies of the tuning forks musicians used as their reference while tuning their instruments. The commission gathered tuning forks from different cities, finding that most were pitched somewhere around 445 hertz. Over the years, due to bigger concert halls and more advanced instruments, pitch was rising across most orchestras, and instruments and voices were being strained as a result. So the commission recommended lowering the standard to what was known as “the compromise pitch.”

In 1859, the French commission legally established diapason normal, the standard pitch for the A above middle C, at 435 hertz. (The music world would still be debating whether or not pitch had risen too much more than a century later.) Later, 435 hertz became enshrined as a standard elsewhere, too. In 1885, government representatives from Italy, Austria, Hungary, Prussia, Russia, Saxony, Sweden, and Württemberg met to establish their own international standard, agreeing on 435 hertz. The agreement was eventually written into the Treaty of Versailles in 1919.

But not everyone was on board with 435 hertz. The Royal Philharmonic Society in London believed the French pitch standard was pegged to a specific temperature—59°F—and decided to adjust their pitch upward to compensate for their concert halls being warmer than that, settling on 439 hertz. Meanwhile, in 1917, the American Federation of Musicians declared 440 hertz to be the standard pitch in the U.S.

In 1939, the International Standardizing Organization met in London to agree on a standard for concert pitch to be used across the world. A Dutch study of European pitch that year had found that while pitch varied across orchestras and countries, the average of those varied pitches was around 440 hertz. So it made sense for the ISO to choose A 440. Furthermore, radio broadcasters and technicians like the BBC preferred A 440 to the English A 439 because 439 was a prime number and thus harder to reproduce in a laboratory.

World War II delayed the official launch of the 1939 ISO agreement, but the organization issued its A 440 decision in 1955, then again two decades later. A 440 was here to stay. That said, even now, pitch does vary a little depending on the musicians in question. The Vienna Philharmonic Orchestra notably tunes to 443 hertz rather than the standard 440 hertz, for instance. While A 440 may be the official “concert pitch” across the world, in practice, there is still a little wiggle room.

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Why Are Mugshots Made Public Before a Suspect is Convicted by the Court?
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Jennifer Ellis:

Several reasons.

1. Mugshots can help find people when they have absconded, or warn people when someone is out and dangerous. So there is a good reason to share some mugshots.

2. Our legal system requires openness as per the federal constitution, and I imagine most if not all state constitutions. As such, this sort of information is not considered private and can be shared. Any effort to keep mugshots private would result in lawsuits by the press and lay people. This would be under the First and Sixth Amendments as well as the various Freedom of Information Acts. However, in 2016 a federal court ruled [PDF] that federal mugshots are no longer routinely available under the federal FOIA.

This is partially in recognition of the damage that mugshots can do online. In its opinion, the court noted that “[a] disclosed booking photo casts a long, damaging shadow over the depicted individual.” The court specifically mentions websites that put mugshots online, in its analysis. “In fact, mugshot websites collect and display booking photos from decades-old arrests: BustedMugshots and JustMugshots, to name a couple.” Some states have passed or are looking to pass laws to prevent release of mugshots prior to conviction. New Jersey is one example.

a) As the federal court recognizes, and as we all know, the reality is that if your picture in a mugshot is out there, regardless of whether you were convicted, it can have an unfortunate impact on your life. In the old days, this wasn’t too much of a problem because it really wasn’t easy to find mugshots. Now, with companies allegedly seeking to extort people into paying to get their images off the web, it has become a serious problem. Those companies may get in trouble if it can be proved that they are working in concert, getting paid to take the picture off one site and then putting it on another. But that is rare. In most cases, the picture is just public data to which there is no right of privacy under the law.

b) The underlying purpose of publicity is to avoid the government charging people and abusing the authority to do so. It was believed that the publicity would help protect people. And it does when you have a country that likes to hide what it is up to. But, it also can cause harm in a modern society like ours, where such things end up on the web and can cause permanent damage. Unfortunately, it is a bit of a catch-22. We have the right to know issues and free speech rights smack up against privacy rights and serious damage of reputation for people who have not been convicted of a crime. The law will no doubt continue to shake out over the next few years as it struggles to catch up with the technology.

This post originally appeared on Quora. Click here to view.

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What Happens When You Flush an Airplane Toilet?
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For millions of people, summer means an opportunity to hop on a plane and experience new and exciting sights, cultures, and food. It also means getting packed into a giant commercial aircraft and then wondering if you can make it to your next layover without submitting to the anxiety of using the onboard bathroom.

Roughly the size of an apartment pantry, these narrow facilities barely accommodate your outstretched knees; turbulence can make expelling waste a harrowing nightmare. Once you’ve successfully managed to complete the task and flush, what happens next?

Unlike our home toilets, planes can’t rely on water tanks to create passive suction to draw waste from the bowl. In addition to the expense of hauling hundreds of gallons of water, it’s impractical to leave standing water in an environment that shakes its contents like a snow globe. Originally, planes used an electronic pump system that moved waste along with a deodorizing liquid called Anotec. That method worked, but carrying the Anotec was undesirable for the same reasons as storing water: It raised fuel costs and added weight to the aircraft that could have been allocated for passengers. (Not surprisingly, airlines prefer to transport paying customers over blobs of poop.)

Beginning in the 1980s, planes used a pneumatic vacuum to suck liquids and solids down and away from the fixture. Once you hit the flush button, a valve at the bottom of the toilet opens, allowing the vacuum to siphon the contents out. (A nonstick coating similar to Teflon reduces the odds of any residue.) It travels to a storage tank near the back of the plane at high speeds, ready for ground crews to drain it once the airplane lands. The tank is then flushed out using a disinfectant.

If you’re also curious about timing your bathroom visit to avoid people waiting in line while you void, flight attendants say the best time to go is right after the captain turns off the seat belt sign and before drink service begins.

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