text:
List of musical symbols
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
For the use of musical symbols on Wikipedia, see Help:Musical symbols.
Musical symbols are the marks and symbols, used since about the 13th century in the musical notation of musical scores, styles, and instruments to describe pitch, rhythm, tempo and, to some degree, its articulation (a composition in its fundamentals).
Contents
[hide]
1 Lines
2 Clefs
3 Notes and rests
4 Breaks
5 Accidentals and key signatures
5.1 Common accidentals
5.2 Key signatures
5.3 Quarter tones
6 Time signatures
7 Note relationships
8 Dynamics
9 Articulation marks
10 Ornaments
11 Octave signs
12 Repetition and codas
13 Instrument-specific notation
13.1 Bowed string instruments
13.2 Guitar
13.3 Piano
13.3.1 Pedal marks
13.3.2 Other piano notation
13.4 Other stringed instruments
13.5 Four-mallet percussion
13.6 Six-mallet percussion
14 See also
15 References
16 External links
Lines[edit]
Staff
The staff is the fundamental latticework of music notation, on which symbols are placed. The five staff lines and four intervening spaces correspond to pitches of the diatonic scale – which pitch is meant by a given line or space is defined by the clef. In British usage, the word "stave" is often used.

Ledger or leger lines
These extend the staff to pitches that fall above or below it. Such ledger lines are placed behind the note heads, and extend a small distance to each side. Multiple ledger lines can be used when necessary to notate pitches even farther above or below the staff.

Bar line
These separate measures (see time signatures below for an explanation of measures). Also used for changes in time signature. Bar lines are extended to connect multiple staves in certain types of music, such as keyboard, harp, and conductor scores, but are omitted for other types of music, such as vocal scores.
Double bar line, Double barline
These separate two sections of music or are placed before a change in key signature.

Bold double bar line, Bold double barline
These indicate the conclusion of a movement or an entire composition.

Dotted bar line, Dotted barline
Subdivides long measures of complex meter into shorter segments for ease of reading, usually according to natural rhythmic subdivisions.

Bracket
Connects two or more lines of music that sound simultaneously. In general contemporary usage the bracket usually connects the staves of separate instruments (e.g., flute and clarinet; two trumpets; etc.) or multiple vocal parts in a choir or ensemble, whereas the brace connects multiple parts for a single instrument (e.g., the right-hand and left-hand staves of a piano or harp part).

Brace
Connects two or more lines of music that are played simultaneously in piano, keyboard, harp, or some pitched percussion music.[1] Depending on the instruments playing, the brace, (occasionally called an "accolade" in some old texts), varies in design and style.
Clefs[edit]
Main article: Clef
Clefs define the pitch range, or tessitura, of the staff on which it is placed. A clef is usually the leftmost symbol on a staff. Additional clefs may appear in the middle of a staff to indicate a change in register for instruments with a wide range. In early music, clefs could be placed on any of several lines on a staff.
G clef (Treble clef)
The centre of the spiral defines the line on which it rests as the pitch G above middle C.[2] Positioned here, it assigns G above middle C to the second line from the bottom of the staff, and is referred to as the "treble clef". This is the most commonly encountered clef in modern notation, and is used for most modern vocal music. Middle C is the first ledger line below the staff here. The shape of the clef comes from a stylised upper-case-G.
C clef (Alto, and Tenor clefs)
These clefs point to the line representing middle C. As illustrated here, it makes the center line on the staff middle C, and is referred to as the "alto clef". This clef is used in modern notation for the viola. While all clefs can be placed anywhere on the staff to indicate various tessitura, the C clef is most often considered a "movable" clef: it is frequently seen pointing instead to the fourth line and called a "tenor clef". This clef is used very often in music written for bassoon, cello, trombone, and double bass; it replaces the bass clef when the number of ledger lines above the bass staff hinders easy reading.
Until the classical era, the C clef was also frequently seen pointing to other lines, mostly in vocal music, but today this has been supplanted by the universal use of the treble and bass clefs. Modern editions of music from such periods generally transpose the original C clef parts to either treble (female voices), octave treble (tenors), or bass clef (tenors and basses). It can be occasionally seen in modern music on the third space (between the third and fourth lines), in which case it has the same function as an octave treble clef. This unusual practice runs the risk of misreading, however, because the traditional function of all clefs is to identify staff lines, not spaces.

F clef (Bass clef)
The line between the dots in this clef denotes F below middle C.[2] Positioned here, it makes the second line from the top of the staff F below middle C, and is called a "bass clef". This clef appears nearly as often as the treble clef, especially in choral music, where it represents the bass and baritone voices. Middle C is the first ledger line above the staff here. In old music, particularly vocal scores, this clef is sometimes encountered centered on the third staff line, in which position it is referred to as a baritone clef; this usage has essentially become obsolete. The shape of the clef comes from a stylised upper-case-F (which used to be written the reverse of the modern F)

Neutral clef
Used for pitchless instruments, such as some of those used for percussion. Each line can represent a specific percussion instrument within a set, such as in a drum set. Two different styles of neutral clefs are pictured here. It may also be drawn with a separate single-line staff for each untuned percussion instrument.
Octave clef
Treble and bass clefs can also be modified by octave numbers. An eight or fifteen above a clef raises the intended pitch range by one or two octaves respectively. Similarly, an eight or fifteen below a clef lowers the pitch range by one or two octaves respectively. A treble clef with an eight below is the most commonly used, typically used for guitar and similar instruments, as well as for tenor parts in choral music.
Tablature
For stringed instruments it is possible to notate tablature in place of ordinary notes. In this case, a TAB sign is often written instead of a clef. The number of lines of the staff is not necessarily five: one line is used for each string of the instrument (so, for standard 6-stringed guitars, six lines would be used). Numbers on the lines show which fret to play the string on. This TAB sign, like the percussion clef, is not a clef in the true sense, but rather a symbol employed instead of a clef. Similarly, the horizontal lines do not constitute a staff in the usual sense, because the spaces between the lines in a tablature are never used.
Notes and rests[edit]
Main article: Note value
Musical note and rest values are not absolutely defined, but are proportional in duration to all other note and rest values. The whole note is the reference value, and the other notes are named (in American usage) in comparison; i.e., a quarter note is a quarter of the length of a whole note.
Note
British name / American name
Rest
Large (Latin: Maxima) / Octuple whole note[3]
Long / Quadruple whole note[3]
Breve / Double whole note
Semibreve / Whole note
Minim / Half note
Crotchet / Quarter note[4][5]
Quaver / Eighth note
For notes of this length and shorter, the note
has the same number of flags (or hooks) as the rest has branches.
Semiquaver / Sixteenth note
Demisemiquaver / Thirty-second note
Hemidemisemiquaver / Sixty-fourth note
Semihemidemisemiquaver / Quasihemidemisemiquaver / Hundred twenty-eighth note[6][7]
Demisemihemidemisemiquaver / Two hundred fifty-sixth note[3]
Beamed notes
Beams connect eighth notes (quavers) and notes of shorter value and are equivalent in value to flags. In metered music, beams reflect the rhythmic grouping of notes. They may also group short phrases of notes of the same value, regardless of the meter; this is more common in ametrical passages. In older printings of vocal music, beams are often only used when several notes are to be sung on one syllable of the text – melismatic singing; modern notation encourages the use of beaming in a consistent manner with instrumental engraving, and the presence of beams or flags no longer informs the singer. Today, due to the body of music in which traditional metric states are not always assumed, beaming is at the discretion of composers and arrangers, who often use irregular beams to emphasize a particular rhythmic pattern.
Dotted note
Placing a dot to the right of a notehead lengthens the note's duration by one-half. Additional dots lengthen the previous dot instead of the original note, thus a note with one dot is one and one half its original value, a note with two dots is one and three quarters, a note with three dots is one and seven eighths, and so on. Rests can be dotted in the same manner as notes. In other words, n dots lengthen the note's or rest's original duration d to d × (2 − 2−n).
Ghost note
A note with a rhythmic value, but no discernible pitch when played. It is represented by a (saltire) cross (similar to the letter x) for a note head instead of an oval.
Multi-measure rest
Indicates the number of measures in a resting part without a change in meter to conserve space and to simplify notation. Also called gathered rest or multi-bar rest.
Durations shorter than the 64th are rare but not unknown. 128th notes are used by many composers, including Mozart and Beethoven; 256th notes occur in works by Vivaldi, Mozart and Beethoven. An extreme case is the Toccata Grande Cromatica by early-19th-century American composer Anthony Philip Heinrich, which uses note values as short as 2,048ths; however, the context shows clearly that these notes have one beam more than intended, so they should really be 1,024th notes.[8]
The name of very short notes can be formed as 2n + 2th note, where n is the number of flags on the note.
Breaks[edit]
Breath mark
In a score, this symbol tells the performer to take a breath (or make a slight pause for non-wind instruments). This pause usually does not affect the overall tempo. For bowed instruments, it indicates to lift the bow and play the next note with a downward (or upward, if marked) bow.
Caesura
Indicates a brief, silent pause, during which time is not counted. In ensemble playing, time resumes when the conductor or leader indicates. For piano this usually means that the player should release all keys and pedals.
Accidentals and key signatures[edit]
Main articles: Accidental (music) and Key signature
Common accidentals[edit]
Accidentals modify the pitch of the notes that follow them on the same staff position within a measure, unless cancelled by an additional accidental.
Flat
Lowers the pitch of a note by one semitone.
Sharp
Raises the pitch of a note by one semitone.
Natural
Cancels a previous accidental, or modifies the pitch of a sharp or flat as defined by the prevailing key signature (such as F-sharp in the key of G major, for example).
Double flat
Lowers the pitch of a note by two chromatic semitones. Usually used when the note to modify is already flatted by the key signature.
Double sharp
Raises the pitch of a note by two chromatic semitones. Usually used when the note to modify is already sharpened by the key signature.
Key signatures[edit]
Key signatures define the prevailing key of the music that follows, thus avoiding the use of accidentals for many notes. If no key signature appears, the key is assumed to be C major/A minor, but can also signify a neutral key, employing individual accidentals as required for each note. The key signature examples shown here are described as they would appear on a treble staff.
Flat key signature
Lowers by a semitone the pitch of notes on the corresponding line or space, and all octaves thereof, thus defining the prevailing major or minor key. Different keys are defined by the number of flats in the key signature, starting with the leftmost, i.e., B♭, and proceeding to the right; for example, if only the first two flats are used, the key is B♭ major/G minor, and all B's and E's are "flatted" (US) or "flattened" (UK), i.e., lowered to B♭ and E♭.[9]
Sharp key signature
Raises by a semitone the pitch of notes on the corresponding line or space, and all octaves thereof, thus defining the prevailing major or minor key. Different keys are defined by the number of sharps in the key signature, also proceeding from left to right; for example, if only the first four sharps are used, the key is E major/C♯ minor, and the corresponding pitches are raised.
Quarter tones[edit]
There is no universally accepted notation for microtonal music, with varying systems being used depending on the situation. A common notation for quarter tones involves writing the fraction 1⁄4 next to an arrow pointing up or down. Below are other forms of notation:
Demiflat
Lowers the pitch of a note by one quarter tone. (Another notation for the demiflat is a flat with a diagonal slash through its stem. In systems where pitches are divided into intervals smaller than a quarter tone, the slashed flat represents a lower note than the reversed flat.)
Flat-and-a-half (sesquiflat)
Lowers the pitch of a note by three quarter tones.
Demisharp
Raises the pitch of a note by one quarter tone.
Sharp-and-a-half (sesquisharp)
Raises the pitch of a note by three quarter tones. Occasionally represented with two vertical and three diagonal bars instead.
In 19 equal temperament, where a whole tone is divided into three steps instead of two, music is typically notated in a way that flats and sharps are not usually enharmonic (thus a C♯ represents a third of a step lower than D♭); this has the advantage of not requiring any nonstandard notation.
Time signatures[edit]
Main article: Time signature
Time signatures define the meter of the music. Music is "marked off" in uniform sections called bars or measures, and time signatures establish the number of beats in each. This does not necessarily indicate which beats to emphasize, however, so a time signature that conveys information about the way the piece actually sounds is thus chosen. Time signatures tend to suggest prevailing groupings of beats or pulses.
Specific time – simple time signatures
The bottom number represents the note value of the basic pulse of the music (in this case the 4 represents the crotchet or quarter-note). The top number indicates how many of these note values appear in each measure. This example announces that each measure is the equivalent length of three crotchets (quarter-notes). For example, 3
4 is pronounced as "three-four time" or "three-quarter time".
Specific time – compound time signatures
The bottom number represents the note value of the subdivisions of the basic pulse of the music (in this case the 8 represents the quaver or eighth-note). The top number indicates how many of these subdivisions appear in each measure. Usually each beat is composed of three subdivisions. To derive the unit of the basic pulse in compound meters, double this value and add a dot, and divide the top number by 3 to determine how many of these pulses there are each measure. This example announces that each measure is the equivalent length of two dotted crotchets (dotted quarter-notes). You would pronounce this as "Six-Eight Time".
Common time
This symbol represents 4
4 time. It derives from the broken circle that represented "imperfect" duple meter in fourteenth-century mensural time signatures.
Alla breve or Cut time
This symbol represents 2
2 time, indicating two minim (or half-note) beats per measure. Here, a crotchet (or quarter note) would get half a beat.
Metronome mark
Written at the start of a score, and at any significant change of tempo, this symbol precisely defines the tempo of the music by assigning absolute durations to all note values within the score. In this particular example, the performer is told that 120 crotchets, or quarter notes, fit into one minute of time. Many publishers precede the marking with letters "M.M.", referring to Maelzel's Metronome.
Note relationships[edit]
Tie
Indicates that the two (or more) notes joined together are to be played as one note with the time values added together. To be a tie, the notes must be identical – that is, they must be on the same line or the same space. Otherwise, it is a slur (see below).

Slur
Indicates to play two or more notes in one physical stroke, one uninterrupted breath, or (on instruments with neither breath nor bow) connected into a phrase as if played in a single breath. In certain contexts, a slur may only indicate to play the notes legato. In this case, rearticulation is permitted.
Slurs and ties are similar in appearance. A tie is distinguishable because it always joins two immediately adjacent notes of the same pitch, whereas a slur may join any number of notes of varying pitches. In vocal music a slur normally indicates that notes grouped together by the slur should be sung to a single syllable.
A phrase mark (or less commonly, ligature) is a mark that is visually identical to a slur, but connects a passage of music over several measures. A phrase mark indicates a musical phrase and may not necessarily require that the music be slurred.
Glissando or Portamento
A continuous, unbroken glide from one note to the next that includes the pitches between. Some instruments, such as the trombone, timpani, non-fretted string instruments, electronic instruments, and the human voice can make this glide continuously (portamento), while other instruments such as the piano or mallet instruments blur the discrete pitches between the start and end notes to mimic a continuous slide (glissando).
Tuplet
A number of notes of irregular duration are performed within the duration of a given number of notes of regular time value; e.g., five notes played in the normal duration of four notes; seven notes played in the normal duration of two; three notes played in the normal duration of four. Tuplets are named according to the number of irregular notes; e.g., duplets, triplets, quadruplets, etc.
Chord
Several notes sounded simultaneously ("solid" or "block"), or in succession ("broken"). Two-note chords are called dyad; three-note chords are called triads. A chord may contain any number of notes.
Arpeggiated chord
A chord with notes played in rapid succession, usually ascending, each note being sustained as the others are played. It is also called a "broken chord".
Dynamics[edit]
Main article: Dynamics (music)
Dynamics are indicators of the relative intensity or volume of a musical line.
Pianississimo[D 1]
Extremely soft. Very infrequently does one see softer dynamics than this, which are specified with additional ps.
Pianissimo
Very soft. Usually the softest indication in a piece of music, though softer dynamics are often specified with additional ps.
Piano
Soft; louder than pianissimo.
Mezzo piano
Moderately soft; louder than piano.
Mezzo forte
Moderately loud; softer than forte. If no dynamic appears, mezzo-forte is assumed to be the prevailing dynamic level.
Forte
Loud. Used as often as piano to indicate contrast.
Fortissimo
Very loud. Usually the loudest indication in a piece, though louder dynamics are often specified with additional fs (such as fortississimo – seen below).
Fortississimo[D 1]
Extremely loud. Very infrequently does one see louder dynamics than this, which are specified with additional fs.
Sforzando
Literally "forced", denotes an abrupt, fierce accent on a single sound or chord. When written out in full, it applies to the sequence of sounds or chords under or over which it is placed.
Crescendo
A gradual increase in volume.
Can be extended under many notes to indicate that the volume steadily increases during the passage.
Diminuendo
Also decrescendo
A gradual decrease in volume. Can be extended in the same manner as crescendo.
^ Jump up to: a b Dynamics with 3 letters (i.e., ppp and fff) are often referred to by adding an extra "iss" (pianissimo to pianississimo). This is improper Italian and would translate literally to "softestest" in English, but acceptable as a musical term; such a dynamic can also be described as molto pianissimo, piano pianissimo or molto fortissimo and forte fortissimo in somewhat more proper Italian.[citation needed]
Other commonly used dynamics build upon these values. For example, "pianississimo" (represented as ppp) meaning so softly as to be almost inaudible, and fortississimo, (fff) meaning extremely loud. In some European countries, use of the loudest dynamics has been strongly discouraged as endangering the hearing of the performers.[10] A small s in front of the dynamic notations means subito, and means that the dynamic is to change to the new notation rapidly. Subito is commonly used with sforzandos, but can appear with all other dynamic notations, most commonly as sff (subitofortissimo) or spp (subitopianissimo).
Forte-piano
A section of music in which the music should initially be played loudly (forte), then immediately softly (piano).
Another value that rarely appears is niente or n, which means "nothing". This may be used at the end of a diminuendo to indicate "fade out to nothing".
Articulation marks[edit]
Articulations (or accents) specify how to perform individual notes within a phrase or passage. They can be fine-tuned by combining more than one such symbol over or under a note. They may also appear in conjunction with phrasing marks listed above.
Staccato
This indicates the musician should play the note shorter than notated, usually half the value; the rest of the metric value is then silent. Staccato marks may appear on notes of any value, shortening their performed duration without speeding the music itself.
Staccatissimo or Spiccato
Indicates a longer silence after the note (as described above), making the note very short. Usually applied to quarter notes or shorter. (In the past, this marking’s meaning was more ambiguous: it sometimes was used interchangeably with staccato, and sometimes indicated an accent and not staccato. These usages are now almost defunct, but still appear in some scores.) In string instruments this indicates a bowing technique in which the bow bounces lightly upon the string.
Accent
Play the note louder, or with a harder attack than surrounding unaccented notes. May appear on notes of any duration.
Tenuto
This symbol indicates play the note at its full value, or slightly longer. It can also indicate a slight dynamic emphasis or be combined with a staccato dot to indicate a slight detachment (portato or mezzo staccato).
Marcato
Play the note somewhat louder or more forcefully than a note with a regular accent mark (open horizontal wedge). In organ notation, this means play a pedal note with the toe. Above the note, use the right foot; below the note, use the left foot.
Fermata (Pause)
A note, chord, or rest sustained longer than its customary value. Usually appears over all parts at the same metrical location in a piece, to show a halt in tempo. It can be placed above or below the note. The fermata is held for as long as the performer or conductor desires.
Ornaments[edit]
Ornaments modify the pitch pattern of individual notes.
Trill
A rapid alternation between the specified note and the next higher note (according to key signature) within its duration, also called a "shake". When followed by a wavy horizontal line, this symbol indicates an extended, or running, trill. In modern music the trill begins on the main note and ends with the lower auxiliary note then the main note, which requires a triplet immediately before the turn. In music up to the time of Haydn or Mozart the trill begins on the upper auxiliary note and there is no triplet.[11] In percussion notation, a trill is sometimes used to indicate a tremolo (q.v.).
Upper mordent
Rapidly play the principal note, the next higher note (according to key signature) then return to the principal note for the remaining duration. In most music, the mordent begins on the auxiliary note, and the alternation between the two notes may be extended. In handbells, this symbol is a "shake" and indicates the rapid shaking of the bells for the duration of the note.
Lower mordent (inverted)
Rapidly play the principal note, the note below it, then return to the principal note for the remaining duration. In much music, the mordent begins on the auxiliary note, and the alternation between the two notes may be extended.
Turn
When placed directly above the note, the turn (also known as a gruppetto) indicates a sequence of upper auxiliary note, principal note, lower auxiliary note, and a return to the principal note. When placed to the right of the note, the principal note is played first, followed by the above pattern. Placing a vertical line through the turn symbol or inverting it, it indicates an inverted turn, in which the order of the auxiliary notes is reversed.
Appoggiatura
The first half of the principal note's duration has the pitch of the grace note (the first two-thirds if the principal note is a dotted note).
Acciaccatura
The acciaccatura is of very brief duration, as though brushed on the way to the principal note, which receives virtually all of its notated duration. In percussion notation, the acciaccatura symbol denotes the flam rudiment, the miniature note still positioned behind the main note but on the same line or space of the staff. The flam note is usually played just before the natural durational subdivision the main note is played on, with the timing and duration of the main note remaining unchanged. Also known by the English translation of the Italian term, crushed note, and in German as Zusammenschlag (simultaneous stroke).
Octave signs[edit]
Ottava
The 8va (pronounced ottava alta) sign is placed above the staff (as shown) to tell the musician to play the passage one octave higher.
An 8va or, as alternative in modern music, an 8vb sign (both signs reading ottava bassa) is placed below the staff meaning play the passage one octave lower.[12][13]
Quindicesima
The 15ma sign is placed above the staff (as shown) to mean play the passage two octaves higher. A 15ma sign below the staff indicates play the passage two octaves lower.
8va and 15ma are sometimes abbreviated further to 8 and 15. When they appear below the staff, the word bassa is sometimes added.
Repetition and codas[edit]

Tremolo
A rapidly repeated note. If the tremolo is between two notes, then they are played in rapid alternation. The number of slashes through the stem (or number of diagonal bars between two notes) indicates the frequency to repeat (or alternate) the note. As shown here, the note is to be repeated at a demisemiquaver (thirty-second note) rate, but it is a common convention for three slashes to be interpreted as "as fast as possible", or at any rate at a speed to be left to the player's judgment.
In percussion notation, tremolos indicate rolls, diddles, and drags. Typically, a single tremolo line on a sufficiently short note (such as a sixteenth) is played as a drag, and a combination of three stem and tremolo lines indicates a double-stroke roll (or a single-stroke roll, in the case of timpani, mallet percussions and some untuned percussion instrument such as triangle and bass drum) for a period equivalent to the duration of the note. In other cases, the interpretation of tremolos is highly variable, and should be examined by the director and performers.
The tremolo symbol also represents flutter-tonguing.
Repeat signs
Enclose a passage that is to be played more than once. If there is no left repeat sign, the right repeat sign sends the performer back to the start of the piece or the nearest double bar.
Simile marks
Denote that preceding groups of beats or measures are to be repeated. In the examples here, the first usually means to repeat the previous measure, and the second usually means to repeat the previous two measures.
Volta brackets (1st and 2nd endings, or 1st- and 2nd-time bars)
A repeated passage is to be played with different endings on different playings; it is possible to have more than two endings (1st, 2nd, 3rd ...).
Da capo
(lit. "From top") Tells the performer to repeat playing of the music from its beginning. This is usually followed by al fine (lit. "to the end"), which means to repeat to the word fine and stop, or al coda (lit. "to the coda (sign)"), which means repeat to the coda sign and then jump forward.
Dal segno
(lit. "From the sign") Tells the performer to repeat playing of the music starting at the nearest segno. This is followed by al fine or al coda just as with da capo.
Segno
Mark used with dal segno.
Coda
Indicates a forward jump in the music to its ending passage, marked with the same sign. Only used after playing through a D.S. al coda (Dal segno al coda) or D.C. al coda (Da capo al coda).
Instrument-specific notation[edit]
Bowed string instruments[edit]
Left-hand pizzicato or Stopped note
A note on a stringed instrument where the string is plucked with the left hand (the hand that usually stops the strings) rather than bowed. On the horn, this accent indicates a "stopped note" (a note played with the stopping hand shoved further into the bell of the horn). In percussion this notation denotes, among many other specific uses, to close the hi-hat by pressing the pedal, or that an instrument is to be "choked" (muted with the hand).
Snap pizzicato
On a stringed instrument, a note played by stretching a string away from the frame of the instrument and letting it go, making it "snap" against the frame. Also known as a Bartók pizzicato.
Natural harmonic or Open note
On a stringed instrument, means to play a natural harmonic (also called flageolet). On a valved brass instrument, it means to play the note "open" (without lowering any valve, or without mute). In organ notation, this means to play a pedal note with the heel (above the note, use the right foot; below the note, use the left foot). In percussion notation this denotes, among many other specific uses, to open the hi-hat by releasing the pedal, or allow an instrument to ring.
Up bow or Sull'arco
On a bowed string instrument, the note is played while drawing the bow upward. On a plucked string instrument played with a plectrum or pick (such as a guitar played pickstyle or a mandolin), the note is played with an upstroke.
Down bow or Giù arco
Like sull'arco, except the bow is drawn downward. On a plucked string instrument played with a plectrum or pick (such as a guitar played pickstyle or a mandolin), the note is played with a downstroke.
Guitar[edit]
The guitar has a fingerpicking notation system derived from the names of the fingers in Spanish or Latin. They are written above, below, or beside the note to which they are attached. They read as follows:
Symbol
Spanish
Latin
English
p pulgar pollex thumb
i índice index index
m medio media middle
a anular anularis ring
c, x, e, q meñique minimus little
Piano[edit]
Pedal marks[edit]
Pedal marks appear in music for instruments with sustain pedals, such as the piano, vibraphone and chimes.
Engage pedal
Tells the player to put the sustaining pedal down.
Release pedal
Tells the player to let the sustain pedal up.
Variable pedal mark
More accurately indicates the precise use of the sustain pedal. The extended lower line tells the player to keep the sustain pedal depressed for all notes below which it appears. The ∧ shape indicates the pedal is to be momentarily released, then depressed again.
Con sordino, Una corda
Tells the player to put the soft pedal down or, in other instruments, apply the mute.
Senza sordino, Tre corde
Tells the player to let the soft pedal up or, in other instruments, remove the mute.
Other piano notation[edit]
left hand
right hand
English
l.h. r.h.
left hand right hand
German
l.H r.H
linke Hand rechte Hand
French
m.g. m.d.
main gauche main droite
Italian
m.s. m.d.
mano sinistra mano destra
1, 2, 3, 4, 5 Finger identifications:
1 = thumb
2 = index
3 = middle
4 = ring
5 = little
Old (pre-1940) tutors published in the UK may use "English fingering". + for thumb, then 1 (index), 2 (middle), 3 (ring) and 4 (little).[14]
Other stringed instruments[edit]
(With the exception of harp)
0, 1, 2, 3, 4 Finger identifications:
0 = open string (no finger used)
1 = index
2 = middle
3 = ring
4 = little
Thumb = (cello/bass) Thumb position
Four-mallet percussion[edit]
1, 2, 3, 4 Mallet identifications:
1 = Far left mallet
2 = Second to left mallet
3 = Second to right mallet
4 = Far right mallet
Some systems reverse the numbers (e.g., 4 = Far left mallet, 3 = Second to left mallet, etc.)
Six-mallet percussion[edit]
1, 2, 3, 4, 5, 6 Mallet identifications:
1 = Far-left mallet
2 = Middle-left mallet
3 = Third-to-left mallet
4 = Third-to-right mallet
5 = Middle-right mallet
6 = Far-right mallet
Numbers for six-mallet percussion may be reversed as well.[15]
See also[edit]
Graphic notation
Music theory
Glossary of musical terminology
Musical Symbols (Unicode block)
Shape note
Musical Symbols (disambiguation)
References[edit]
Jump up ^ U+007B left curly bracket Archived 2008-12-02 at the Wayback Machine. at decodeunicode.org; retrieved on May 3, 2009
^ Jump up to: a b Gerou, Tom; Lusk, Linda (1996). Essential Dictionary of Music Notation. USA: Alfred Publishing Co., Inc. p. 49. ISBN 0-88284-768-6.
^ Jump up to: a b c "UNLP at the C@merata Task: Question Answering on Musical Scores ACM" (PDF). Csee.essex.ac.uk. Retrieved 2017-05-30.
Jump up ^ Examples of the older form are found in the work of English music publishers up to the 20th century, e.g., W. A. Mozart Requiem Mass, vocal score ed. W. T. Best, pub. London: Novello & Co. Ltd. 1879.
Jump up ^ Rudiments and Theory of Music Associated Board of the Royal Schools of Music, London 1958. I,33 and III,25. The former shows both forms without distinction, the latter the "old" form only. The book was the standard theory manual in the UK up until at least 1975. The "old" form was taught as a manuscript variant of the printed form.
Jump up ^ Miller, RJ (2015). Contemporary Orchestration: A Practical Guide to Instruments, Ensembles, and Musicians. Routledge. p. 38. ISBN 978-0-415-74190-3.
Jump up ^ Haas, David (2011). "Shostakovich's Second Piano Sonata: A Composition Recital in Three Styles". In Fairclough, Pauline; Fanning, David. The Cambridge Companion to Shostakovich. Cambridge Companions to Music. Cambridge University Press. pp. 95–114. doi:10.1017/CCOL9780521842204.006. ISBN 978-1-139-00195-3. The listener is right to suspect a Baroque reference when a double-dotted rhythmic gesture and semihemidemisemiquaver triplets appear to ornament the theme. (p. 112)
Jump up ^ Byrd, Donald (16 December 2014). "Extremes of Conventional Music Notation". Retrieved 26 February 2015.
Jump up ^ Rudiments and Theory of Music Associated Board of the Royal Schools of Music, London 1958. I,24 "at least one note has to be sharpened or flattened"
Jump up ^ "No Fortissimo? Symphony Told to Keep It Down" by Sarah Lyall, The New York Times (20 April 2008)
Jump up ^ Rudiments and Theory of Music Associated Board of the Royal Schools of Music, London 1958. V,29
Jump up ^ George Heussenstamm, The Norton Manual of Music Notation (New York and London: W. W. Norton & Company), p.16
Jump up ^ Anthony Donato, Preparing Music Manuscript (Englewood Cliffs, New Jersey: Prentice-Hall, Inc.), pp. 42-43
Jump up ^ "Scales-continental/ English Fingering". The Associated Board of the Royal Schools of Music. 20 December 2004. Retrieved 3 September 2015.
Jump up ^ Paterson, Robert (2004). Sounds That Resonate: Selected Developments in Western Bar Percussion During the Twentieth Century. Cornell University: UMI Dissertation Services No. 3114502. p. 182.
External links[edit]
Comprehensive list of music symbols fonts
Music theory & history (Dolmetsch Online)
Dictionary of musical symbols (Dolmetsch Online)
Sight reading tutorial with symbol variations Amy Appleby
hide
v
t
e
Musical notation
Staff
8va
15ma
Abbreviation
Bar / barline / measure
Clef
Da capo
Dal segno
Key signature
Ledger line
Mode
Ossia
Scale
Rehearsal letter
Repeat sign
Tempo
Time signature
Transposition
Transposing instrument
Musical notes
Accidental (flat
natural
sharp)
Cue note
Dotted note
Grace note
Note value (beam
notehead
stem)
Pitch
Rest
Tacet
Tuplet
Tremolo
Interval
Helmholtz pitch notation
Letter notation
Scientific pitch notation
Articulation
Accent
Sforzando (musical direction)
Caesura
Damping
Dynamics
Fermata
Fingering
Legato
Marcato
Ornament (appoggiatura
glissando
grace note
mordent
slide
trill)
Portato
Slur
Staccato
Tenuto
Tie
Tonguing
Sheet music
History of music publishing
Music engraving
Popular-music publisher
Sheet-music publisher
Scorewriter
Alternative
Braille music
Chord chart
Fake book
Figured bass
Graphic notation
Lead sheet
Eye music
Nashville number system
Numbered musical notation
Klavarskribo
Tablature ("Tab")
Parsons
Percussion notation
Simplified
Non-Western
and ancient
Chinese
Kepatihan
Kunkunshi
Neume
Swaralipi
Shakuhachi
Znamenny
Related
Mensural notation
Music stand
Sight-reading
Sight singing
Transcription
List of musical symbols
Category:Musical notation
Retrieved from "https://en.wikipedia.org/w/index.php?title=List_of_musical_symbols&oldid=850538067"
Categories:
Musical notation
Classical music lists
Hidden categories:
All articles with unsourced statements
Articles with unsourced statements from March 2015
Webarchive template wayback links
Articles containing Spanish-language text
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
Afrikaans
Alemannisch
Deutsch
Español
Esperanto
Français
한국어
Íslenska
日本語
Norsk
Português
Română
Русский
Српски / srpski
Srpskohrvatski / српскохрватски
Svenska
中文
8 more
Edit links
This page was last edited on 16 July 2018, at 14:14 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: mw-jump-link #mw-head

values: mw-jump-link #p-search

value: span

values:
note
hatnote navigation-not-searchable

value: b

value: p

attrs: role tabindex class

values: button 0 togglelink

attrs: class dir

values: toctitle ltr

values:
/wiki/Treble_clef
mw-redirect
Treble clef

attrs: alt src width height data-file-width data-file-height

values:
/wiki/Multiple_measure_rest
mw-redirect
Multiple measure rest

values:
/wiki/Anthony_Philip_Heinrich
mw-redirect
Anthony Philip Heinrich

values: Edit section: Accidentals and key signatures

values:
/wiki/Natural_sign
mw-redirect
Natural sign

values:
/wiki/Double_flat
mw-redirect
Double flat

values:
/wiki/Double_sharp
mw-redirect
Double sharp

values: font-family: Arial Unicode MS, Lucida Sans Unicode;

values: font-family: 'Georgia Pro', Georgia, 'DejaVu Serif', Times, 'Times New Roman', serif;

values:
/wiki/Common_time
mw-redirect
Common time

values: This claim needs references to reliable sources. (March 2015)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values:
/wiki/Niente_(musical_dynamic)
mw-redirect
Niente (musical dynamic)

values:
/wiki/Mezzo_staccato
mw-redirect
Mezzo staccato

values:
/wiki/Auxiliary_note
mw-redirect
Auxiliary note

values:
/wiki/Turn_(music)
mw-redirect
Turn (music)

values:
/wiki/Flam_(drum_rudiment)
mw-redirect
Flam (drum rudiment)

values:
/wiki/Drag_(percussion)
mw-redirect
Drag (percussion)

values:
/wiki/Double-stroke_roll
mw-redirect
Double-stroke roll

values:
/wiki/Single-stroke_roll
mw-redirect
Single-stroke roll

values: Edit section: Instrument-specific notation

values:
/wiki/Bart%C3%B3k_pizzicato
mw-redirect
Bartók pizzicato

values:
/wiki/Tubular_bell
mw-redirect
Tubular bell

values:
/wiki/Sustaining_pedal
mw-redirect
Sustaining pedal

values: Edit section: Other stringed instruments

values:
/wiki/Musical_Symbols_(disambiguation)
mw-redirect mw-disambig
Musical Symbols (disambiguation)

values:
nofollow
external text
http://www.decodeunicode.org/u+007B

values:
/wiki/Cambridge_Companions_to_Music
mw-redirect
Cambridge Companions to Music

values:
nofollow
external text
//doi.org/10.1017/CCOL9780521842204.006

values:
/wiki/Sforzando_(musical_direction)
mw-redirect
Sforzando (musical direction)

values:
/wiki/Sight_singing
mw-redirect
Sight singing

attrs: alt src title width height srcset data-file-width data-file-height

values: nowraplinks hlist collapsible autocollapse navbox-inner mw-collapsible mw-made-collapsible

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from March 2015

values: Category:Webarchive template wayback links

values: Category:Articles containing Spanish-language text

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/List_of_musical_symbols
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values:
interlanguage-link interwiki-af
display: none;

values: Liste von musikalischen Symbolen – Alemannisch

values:
interlanguage-link interwiki-als
display: none;

values: Liste von musikalischen Symbolen – German

values: Simboloj de moderna muzika notacio – Esperanto

values:
interlanguage-link interwiki-eo
display: none;

values:
interlanguage-link interwiki-is
display: none;

values:
interlanguage-link interwiki-no
display: none;

values: Símbolos da notação musical moderna – Portuguese

values:
interlanguage-link interwiki-ro
display: none;

values: Современная музыкальная нотация – Russian

values: Реченица (музика) – Serbian

values:
interlanguage-link interwiki-sr
display: none;

values:
interlanguage-link interwiki-sh
display: none;

values: All languages (initial selection from common choices by you and others)

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-List_of_musical_symbols rootpage-List_of_musical_symbols skin-vector action-view


text:
Ossicles
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
This article may be confusing or unclear to readers. Please help us clarify the article. There might be a discussion about this on the talk page. (November 2017) (Learn how and when to remove this template message)
This article is about the bones in the human ear. For elements embedded in the body wall of echinoderms, see Ossicle (echinoderm).
Ossicles
Auditory ossicles: Malleus, incus and stapes
Details
Part of
Middle ear
Identifiers
Latin
Ossicula auditus,
ossicula auditoria
MeSH
D004429
TA
A02.1.17.001
FMA
52750
Anatomical terms of bone
[edit on Wikidata]
This article is one of a series documenting the anatomy of the
Human ear
Outer ear[show]
Pinna
Tragus
Middle ear[hide]
Tympanic membrane
Ossicles
Malleus
Incus
Stapes
Inner ear[show]
Vestibules
Utricle
Saccule
Cochlea
Semicircular canals
v
t
e
The ossicles (also called auditory ossicles) are three bones in either middle ear that are among the smallest bones in the human body. They serve to transmit sounds from the air to the fluid-filled labyrinth (cochlea). The absence of the auditory ossicles would constitute a moderate-to-severe hearing loss. The term "ossicle" literally means "tiny bone". Though the term may refer to any small bone throughout the body, it typically refers to the malleus, incus, and stapes (hammer, anvil, and stirrup) of the middle ear. The middle ear is one of the smallest bones in the human body.
Contents
[hide]
1 Structure
1.1 Development
1.2 Evolution
2 Function
3 Clinical relevance
4 History
5 See also
6 References
7 External links
Structure[edit]
See also: Malleus, Incus, and Stapes
Anatomy of the three ossicles.
The ossicles are, in order from the eardrum to the inner ear (from superficial to deep): the malleus, incus, and stapes, terms that in Latin are translated as "the hammer, anvil, and stirrup".
The malleus (Latin: "hammer") articulates with the incus through the incudomalleolar joint and is attached to the tympanic membrane (eardrum), from which vibrational sound pressure motion is passed.
The incus (Latin: "anvil") is connected to both the other bones.
The stapes (Latin: "stirrup") articulates with the incus through the incudostapedial joint and is attached to the membrane of the fenestra ovalis, the elliptical or oval window or opening between the middle ear and the vestibule of the inner ear. It is the smallest bone in the body.[1]
Development[edit]
Studies have shown that ear bones in mammal embryos are attached to the dentary, which is part of the jaw. These are ossified portions of cartilage—called Meckel's cartilage—that are attached to the jaw. As the embryo develops, the cartilage hardens to form bone. Later in development, the bone structure breaks loose from the jaw and migrates to the inner ear area. The structure is known as the middle ear, and is made up of the stapes, incus, malleus, and tympanic membrane. These correspond to the columella, quadrate, articular, and angular structures in the amphibian, bird or reptile jaw. For this reason, researchers believe that mammals and reptiles share a common ancestry.[2]
Evolution[edit]
Main article: Evolution of mammalian auditory ossicles
Function[edit]
As sound waves vibrate the tympanic membrane (eardrum), it in turn moves the nearest ossicle, the malleus, to which it is attached. The malleus then transmits the vibrations, via the incus, to the stapes, and so ultimately to the membrane of the fenestra ovalis (oval window), the opening to the vestibule of the inner ear.
Sound traveling through the air is mostly reflected when it comes into contact with a liquid medium; only about 1/30 of the sound energy moving through the air would be transferred into the liquid.[3] This is observed from the abrupt cessation of sound that occurs when the head is submerged underwater. This is because the relative incompressibility of a liquid presents resistance to the force of the sound waves traveling through the air. The ossicles give the eardrum a mechanical advantage via lever action and a reduction in the area of force distribution; the resulting vibrations would be much weaker if the sound waves were transmitted directly from the outer ear to the oval window. This reduction in the area of force application allows a large enough increase in pressure to transfer most of the sound energy into the liquid. The increased pressure will compress the fluid found in the cochlea and transmit the stimulus. Thus, the presence of the ossicles to concentrate the force of the vibrations improves the sensitivity to sound and is a form of impedance matching.
However, the extent of the movements of the ossicles is controlled (and constricted) by two muscles attached to them (the tensor tympani and the stapedius). It is believed that these muscles can contract to dampen the vibration of the ossicles, in order to protect the inner ear from excessively loud noise (theory 1) and that they give better frequency resolution at higher frequencies by reducing the transmission of low frequencies (theory 2) (see acoustic reflex). These muscles are more highly developed in bats and serve to block outgoing cries of the bats during echolocation (SONAR).
Clinical relevance[edit]
Occasionally the joints between the ossicles become rigid. One condition, otosclerosis, results in the fusing of the stapes to the oval window. This reduces hearing and may be treated surgically[further explanation needed].
History[edit]
There is some doubt as to the discoverers of the auditory ossicles and several anatomists from the early 16th century have the discovery attributed to them with the two earliest being Alessandro Achillini and Jacopo Berengario da Carpi.[4] Several sources, including Eustachi and Casseri,[5] attribute the discovery of the malleus and incus to the anatomist and philosopher Achillini.[6] The first written description of the malleus and incus was by Berengario da Carpi in his Commentaria super anatomia Mundini (1521),[7] although he only briefly described two bones and noted their theoretical association with the transmission of sound.[8] Niccolo Massa's Liber introductorius anatomiae[9] described the same bones in slightly more detail and likened them both to little hammers.[8] A much more detailed description of the first two ossicles followed in Andreas Vesalius' De humani corporis fabrica[10] in which he devoted a chapter to them. Vesalius was the first to compare the second element of the ossicles to an anvil although he offered the molar as an alternative comparison for its shape.[11] The first published description of the stapes came in Pedro Jimeno's Dialogus de re medica (1549)[12] although it had been previously described in public lectures by Giovanni Filippo Ingrassia at the University of Naples as early as 1546.[13]
The term ossicle derives from ossiculum, a diminutive of "bone" (Latin: os; genitive ossis).[14] The malleus gets its name from Latin malleus, meaning "hammer",[15] the incus gets its name from Latin incus meaning "anvil" from incudere meaning "to forge with a hammer",[16] and the stapes gets its name from Modern Latin "stirrup," probably an alteration of Late Latin stapia related to stare "to stand" and pedem, an accusative of pes "foot", so called because the bone is shaped like a stirrup – this was an invented Modern Latin word for "stirrup," for which there was no classical Latin word, as the ancients did not use stirrups.[17]
See also[edit]
This article uses anatomical terminology; for an overview, see Anatomical terminology.
Hearing
Ear
Incudomalleolar joint
Incudostapedial joint
Middle ear
Otolith
References[edit]
Jump up ^ "Your Bones". kidshealth.org.
Jump up ^ Meng, Jin. "The Journey From Jaw to Ear." Biologist. vol. 50. (2003) p. 154-158.
Jump up ^ Hill, R.W., Wyse, G.A. & Anderson, M. (2008). Animal Physiology, 2nd ed..
Jump up ^ O'Malley, C. D.; Clarke, E (1961). "The discovery of the auditory ossicles". Bulletin of the history of medicine. 35: 419–41. PMID 14480894.
Jump up ^ Alidosi, GNP. I dottori Bolognesi di teologia, filosofia, medicina e d'arti liberali dall'anno 1000 per tutto marzo del 1623, Tebaldini, N., Bologna, 1623. http://gallica.bnf.fr/ark:/12148/bpt6k51029z/f35.image#
Jump up ^ Lind, L. R. Studies in pre-Vesalian anatomy. Biography, translations, documents, American Philosophical Society, Philadelphia, 1975. p.40
Jump up ^ Jacopo Berengario da Carpi,Commentaria super anatomia Mundini, Bologna, 1521. https://archive.org/details/ita-bnc-mag-00001056-001
^ Jump up to: a b O'Malley, C.D. Andreas Vesalius of Brussels, 1514–1564. Berkeley: University of California Press, 1964. p. 120
Jump up ^ Niccolo Massa, Liber introductorius anatomiae, Venice, 1536. p.166. http://reader.digitale-sammlungen.de/en/fs1/object/display/bsb10151904_00001.html
Jump up ^ Andreas Vesalius, De humani corporis fabrica. Johannes Oporinus, Basle, 1543.
Jump up ^ O'Malley, C.D. Andreas Vesalius of Brussels, 1514–1564. Berkeley: University of California Press, 1964. p. 121
Jump up ^ Pedro Jimeno, Dialogus de re medica, Johannes Mey, Valencia, 1549. https://archive.org/details/dialogusderemed00jimegoog
Jump up ^ A Mudry, Disputes surrounding the discovery of the stapes in the mid 16th century., Otology and Neurotology, 2013 Apr;34(3):588-92.
Jump up ^ "Online Etymology Dictionary". etymonline.com.
Jump up ^ "Online Etymology Dictionary". etymonline.com.
Jump up ^ "Online Etymology Dictionary". etymonline.com.
Jump up ^ "Online Etymology Dictionary". etymonline.com.
External links[edit]
Wikimedia Commons has media related to Ossicles.
The middle ear and the ossicles
show
v
t
e
Anatomy of hearing and balance
Outer ear
Auricle
helix
antihelix
tragus
antitragus
intertragic notch
earlobe
Ear canal
Auricular muscles
Eardrum
umbo
pars flaccida
Middle ear
Tympanic cavity
Medial structures
oval window
round window
secondary tympanic membrane
prominence of facial canal
promontory of tympanic cavity
Posterior structures
mastoid cells
aditus to mastoid antrum
pyramidal eminence
Ossicles
Malleus
superior ligament
lateral ligament
anterior ligament
Incus
superior ligament
posterior ligament
Stapes
annular ligament
Muscles
stapedius
tensor tympani
Auditory tube /
Eustachian tube
Torus tubarius
Inner ear/
(membranous labyrinth,
bony labyrinth)
Auditory system/
Cochlear labyrinth
General cochlea
Vestibular duct
Helicotrema
Tympanic duct
Modiolus
Cochlear cupula
Perilymphatic space
Perilymph
Cochlear aqueduct
Cochlear duct /
scala media
Reissner's/vestibular membrane
Basilar membrane
Reticular membrane
Endolymph
Stria vascularis
Spiral ligament
Organ of Corti
stereocilia
tip links
Tectorial membrane
Sulcus spiralis
externus
internus
Spiral limbus
Cells
Claudius cell
Boettcher cell
Vestibular system/
Vestibular labyrinth
Vestibule
Utricle
macula
Saccule
macula
Kinocilium
Otolith
Vestibular aqueduct
endolymphatic duct
endolymphatic sac
Ductus reuniens
Semicircular canals
Superior semicircular canal
Posterior semicircular canal
Horizontal semicircular canal
Ampullary cupula
Ampullae
crista ampullaris
show
v
t
e
Bones in the human skeleton
Axial skeleton
Skull
Neurocranium
occipital
parietal
frontal
temporal
sphenoid
ethmoid
Face
nasal
maxilla
lacrimal
zygomatic
palatine
inferior nasal conchae
vomer
mandible
hyoid
Ear
ossicles
malleus
incus
stapes
Thorax
sternum
rib cage
rib
Vertebral column
vertebrae
cervical
thoracic
lumbar
sacrum
coccyx
Appendicular
Shoulder
clavicle
scapula
Arm
humerus
ulna
radius
Hand
carpals (scaphoid, lunate bone, triquetral, pisiform, trapezium, trapezoid, capitate, hamate)
metacarpals
phalanges (prox, int, dist)
Pelvis
ilium
ischium
pubis
Leg
femur
patella
fibula
tibia
Foot
tarsals
heelbone
anklebone
navicular
cuneiform
cuboid
metatarsals
phalanges
proximal
intermediate
distal
accessory
accessory navicular
Authority control
GND: 4771419-0
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ossicles&oldid=848778194"
Categories:
Auditory system
Bones of the head and neck
Hidden categories:
Pages with unresolved properties
Wikipedia articles needing clarification from November 2017
All Wikipedia articles needing clarification
Articles containing Latin-language text
Wikipedia articles with GND identifiers
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
Alemannisch
العربية
Bân-lâm-gú
Català
Čeština
Cymraeg
Deutsch
Eesti
Español
فارسی
Français
Galego
한국어
Italiano
עברית
Lietuvių
Bahasa Melayu
Nederlands
日本語
Norsk nynorsk
Polski
Română
Русский
Simple English
Slovenčina
Slovenščina
Српски / srpski
Suomi
Svenska
ไทย
Українська
Walon
中文
24 more
Edit links
This page was last edited on 4 July 2018, at 07:08 (UTC).
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

key: html

type: local

value: div

attrs: id class

values: mw-page-base noprint

values: mw-head-base noprint

value: a

attrs: id class lang

values: firstHeading firstHeading en

values: siteSub noprint

attrs: class href

values: mw-jump-link #mw-head

values: mw-jump-link #p-search

value: img

attrs: alt src width height srcset data-file-width data-file-height

value: td

attrs: href title

value: i

value: small

value: tr

value: tbody

values: plainlinks metadata ambox ambox-style ambox-confusing

values: font-size:105%;background:transparent;text-align:left;padding-right:3em; font-size: 100%; background-color: misty-rose

values:
/wiki/Pinna_(anatomy)
mw-redirect
Pinna (anatomy)

values: font-size: 105%; padding: 0.2em 0px 0.4em; text-align: center; display: none;

values:
/wiki/Tympanic_membrane
mw-redirect
Tympanic membrane

values: float:right;clear:right;width:22.0em;margin:0 0 1.0em 1.0em;background:#f9f9f9;border:1px solid #aaa;padding:0.2em;border-spacing:0.4em 0;text-align:center;line-height:1.4em;font-size:88%;width:22em; border: 1px solid blue; background: misty-rose

values:
/wiki/Labyrinth_(inner_ear)
mw-redirect
Labyrinth (inner ear)

attrs: alt src width height class srcset data-file-width data-file-height

values:
/wiki/Latin_language
mw-redirect
Latin language

values:
/wiki/Fenestra_ovalis
mw-redirect
Fenestra ovalis

values: Evolution of mammalian auditory ossicles

values:
/wiki/Tensor_tympani
mw-redirect
Tensor tympani

values: The text near this tag needs further explanation. (November 2017)

values:
/wiki/Berengario_da_Carpi
mw-redirect
Berengario da Carpi

values:
/wiki/Niccolo_Massa
mw-redirect
Niccolo Massa

values:
/wiki/University_of_Naples
mw-redirect
University of Naples

values:
/wiki/PubMed_Identifier
mw-redirect
PubMed Identifier

values:
nofollow
external text
//www.ncbi.nlm.nih.gov/pubmed/14480894

values: Template:Auditory and vestibular anatomy

values: Template talk:Auditory and vestibular anatomy

values:
/wiki/Auricular_muscles
mw-redirect
Auricular muscles

values:
/wiki/Umbo_of_tympanic_membrane
mw-redirect
Umbo of tympanic membrane

values:
/wiki/Secondary_tympanic_membrane
mw-redirect
Secondary tympanic membrane

values:
/wiki/Superior_ligament_of_malleus
mw-redirect
Superior ligament of malleus

values:
/wiki/Lateral_ligament_of_malleus
mw-redirect
Lateral ligament of malleus

values:
/wiki/Anterior_ligament_of_malleus
mw-redirect
Anterior ligament of malleus

values:
/wiki/Anular_ligament_of_stapes
mw-redirect
Anular ligament of stapes

values:
/wiki/Auditory_tube
mw-redirect
Auditory tube

values:
/wiki/Reissner%27s_membrane
mw-redirect
Reissner's membrane

values:
/wiki/Tectorial_membrane_(cochlea)
mw-redirect
Tectorial membrane (cochlea)

values:
/wiki/Semicircular_canal
mw-redirect
Semicircular canal

values:
/wiki/Superior_semicircular_canal
mw-redirect
Superior semicircular canal

values:
/wiki/Posterior_semicircular_canal
mw-redirect
Posterior semicircular canal

values:
/wiki/Horizontal_semicircular_canal
mw-redirect
Horizontal semicircular canal

values:
/wiki/Osseous_ampullae
mw-redirect
Osseous ampullae

values: nowraplinks collapsible autocollapse navbox-inner mw-collapsible mw-made-collapsible mw-collapsed

values:
/wiki/Human_skull
mw-redirect
Human skull

values:
/wiki/Human_mandible
mw-redirect
Human mandible

values:
/wiki/Thoracic_skeleton
mw-redirect
Thoracic skeleton

values:
/wiki/Spinal_vertebra
mw-redirect
Spinal vertebra

values:
/wiki/Pectoral_girdle
mw-redirect
Pectoral girdle

values:
/wiki/Phalanges_of_the_hand
mw-redirect
Phalanges of the hand

values:
/wiki/Proximal_phalanges
mw-redirect
Proximal phalanges

values:
/wiki/Intermediate_phalanges
mw-redirect
Intermediate phalanges

values:
/wiki/Distal_phalanges
mw-redirect
Distal phalanges

values:
nofollow
external text
https://d-nb.info/gnd/4771419-0

values: Category:Pages with unresolved properties

values: Category:Wikipedia articles needing clarification from November 2017

values: Category:All Wikipedia articles needing clarification

values: Category:Articles containing Latin-language text

values: Category:Wikipedia articles with GND identifiers

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Ossicles
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values:
/w/index.php?title=Ossicles&action=edit
Edit this page [ctrl-alt-e]
e

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

values: عظيمات – Arabic

values:
interlanguage-link interwiki-zh-min-nan
display: none;

values:
interlanguage-link interwiki-ca
display: none;

values:
interlanguage-link interwiki-cs
display: none;

values:
https://cy.wikipedia.org/wiki/Esgyrnyn
Esgyrnyn – Welsh
cy
cy
interlanguage-link-target

values:
interlanguage-link interwiki-cy
display: none;

values: interlanguage-link interwiki-de badge-Q17437796 badge-featuredarticle

values:
interlanguage-link interwiki-et
display: none;

values: استخوانچه‌های گوش – Persian

values:
interlanguage-link interwiki-fa
display: none;

values:
interlanguage-link interwiki-gl
display: none;

values:
https://it.wikipedia.org/wiki/Ossicini
Ossicini – Italian
it
it
interlanguage-link-target

values:
interlanguage-link interwiki-it
display: none;

values: עצמות השמע – Hebrew

values:
interlanguage-link interwiki-he
display: none;

values:
interlanguage-link interwiki-lt
display: none;

values:
https://ms.wikipedia.org/wiki/Osikel
Osikel – Malay
ms
ms
interlanguage-link-target

values:
interlanguage-link interwiki-nl
display: none;

values:
interlanguage-link interwiki-nn
display: none;

values:
interlanguage-link interwiki-pl
display: none;

values: Слуховые косточки – Russian

values:
interlanguage-link interwiki-simple
display: none;

values:
interlanguage-link interwiki-sk
display: none;

values:
interlanguage-link interwiki-sl
display: none;

values: Слушне кошчице – Serbian

values:
https://fi.wikipedia.org/wiki/Kuuloluut
Kuuloluut – Finnish
fi
fi
interlanguage-link-target

values:
interlanguage-link interwiki-fi
display: none;

values:
interlanguage-link interwiki-sv
display: none;

values: กระดูกหู – Thai

values:
interlanguage-link interwiki-th
display: none;

values: Слухові кістки – Ukrainian

values:
interlanguage-link interwiki-uk
display: none;

values:
interlanguage-link interwiki-wa
display: none;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Ossicles rootpage-Ossicles skin-vector action-view


text:
The Clan of the Cave Bear
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For the movie, see The Clan of the Cave Bear (film).
This article may need to be rewritten entirely to comply with Wikipedia's quality standards. You can help. The discussion page may contain suggestions. (June 2009)
The Clan of the Cave Bear
Author
Jean M. Auel
Country
United States
Language
English
Series
Earth's Children
Genre
Historical novel
Published
May 4, 1980, Crown
Media type
Print (Hardcover)
Pages
468 pp
ISBN
0-517-54202-1
OCLC
6277166
Dewey Decimal
813/.54
LC Class
PS3551.U36 C57 1980
Followed by
The Valley of Horses
The Clan of the Cave Bear is an epic[1] historical novel by Jean M. Auel about prehistoric times. It is the first book in the Earth's Children book series which speculates on the possibilities of interactions between Neanderthal and modern Cro-Magnon humans.
Contents
[hide]
1 Setting
2 Plot summary
3 Sequels
4 Background
5 Film and television adaptations
6 See also
7 References
8 External links
Setting[edit]
The novel references the advance of the polar ice sheets, setting the story before 18,000 years Before Present (BP), when the farthest southern encroachment of the last glacial period of the current ice age occurred. Auel's time-frame, somewhere between 28,000 and 25,000 years BP, corresponds generally with archaeological estimates of the Neanderthal branch of mankind disappearing.
Plot summary[edit]
A five-year-old girl, who readers come to understand is Cro-Magnon, is orphaned and left homeless by an earthquake that destroys her family's camp. She wanders aimlessly, naked and unable to feed herself, for several days. Having been attacked and nearly killed by a cave lion and suffering from starvation, exhaustion, and infection of her wounds, she collapses, on the verge of death.
The narrative switches to a group of people who call themselves "The Clan" and who we come to understand are Neanderthal, whose cave was destroyed in the earthquake and who are searching for a new home. The medicine woman of the group, Iza, discovers the girl and asks permission from Brun, the head of the Clan, to help the ailing child, despite the child being clearly a member of "the Others", the distrusted antagonists of the Clan. The child is adopted by Iza and her brother Creb. Creb is this group's "Mog-ur" or shaman, despite being deformed as a result of the difficult birth resulting from his abnormally large head and the later loss of an arm and eye after being attacked by a cave bear. The clan call her Ayla, the closest they can come to saying her "strange" name. After traveling with them for a while and starting to heal, Ayla wanders away from the group when they stop to discuss what they should do since they haven't found a new home and she discovers a huge, beautiful cave, perfect for them; many of the people begin to regard Ayla as lucky, especially since good fortune continues to come their way as she lives among them.
In Auel's books, the Neanderthal possess only limited vocal apparatus and rarely speak, but have a highly developed sign language. They do not laugh or even smile, and they do not cry; when Ayla weeps, Iza thinks she has an eye disease.
Ayla's different thought processes lead her to break important Clan customs, particularly the taboo against females handling weapons. She is self-willed and spirited, but tries hard to fit in with the Neanderthals, although she has to learn everything first-hand; she does not possess the ancestral memories of the Clan which enable them to do certain tasks after being shown only once.
Iza trains Ayla as a medicine woman "of her line", the most prestigious line of medicine women out of all of the Clans. It takes her much longer to train Ayla than it will her own daughter, Uba, since Ayla does not possess the memories of the Clan. When Ayla grows up, Iza is concerned she will never find a mate and no one will want her, making her a burden to the Clan, so she trains her to be a highly respected medicine woman so she will have her own "status" and will not have to rely on the status of a possibly lowly mate.
Ayla's main antagonist is Broud, son of the leader, an egomaniac who feels that she takes credit and attention away from him. As the two mature, the hatred between them festers. When they are young adults, Broud rapes Ayla, but she becomes pregnant, and rejoices in the birth of a son. Her son is almost taken away from her because he seems deformed to the Clan, since he does not look like them and, in the beginning, cannot hold up his head.
The book ends with Creb's death, Broud's succession to the leadership, and his banishment of Ayla, who sets off to find other people of her own kind. She is not allowed to take her son with her.
Sequels[edit]
The sequel, The Valley of Horses, continues Ayla's story, which is further developed in other books of the Earth's Children series, which include The Mammoth Hunters; The Plains of Passage; The Shelters of Stone; and the sixth and final installment in the series, The Land of Painted Caves.
Background[edit]
The archaeological and paleontological research for this book was carried out by Auel from her public library, by attending archaeological conventions, and touring extensively on sites with briefings by working field archaeologists.[2] Some of the descriptions are based on the first adult Neanderthal skeletons found in Iraq from the cave burial at Shanidar, dating between 60-80,000 years BP. Other data is clearly linked to the widespread Aurignacian culture and Gravettian culture, and their tell-tale Venus figurines which Auel uses as one center of her Cro-Magnon religious practices.[3]
Film and television adaptations[edit]
In 1986, the novel was adapted into a film directed by Michael Chapman and starring Daryl Hannah.
In 2014, the Lifetime television network ordered a pilot episode, based on the series of novels. Ron Howard, Brian Grazer, Jean M. Auel, and Linda Woolverton are executive producers, with Woolverton writing the teleplay. The launch was slated for some time in 2015.[4] The Pilot was canceled by Lifetime and has been shopped around to various networks with no luck, and presumed to be dead, as of March 2016.
The filming of a pilot for a series is due to start in 2016, with Ireland as one location.[citation needed]
See also[edit]
Anthropology portal
Archaeology portal
Novels portal
Speculative fiction portal
The Clan of the Cave Bear (film)
Earth's Children (novel series)
Use of animals during the Gravettian period
Aurignacian culture
Gravettian culture
Neanderthal extinction hypotheses
The Inheritors
Venus figurines
References[edit]
Jump up ^ "Books by Jean M. Auel". Jeanauel.com. Retrieved 23 November 2016.
Jump up ^ Auel, various Series forwards, appreciations and credits, esp. "The Shelters of Stone" appreciations make it plain she'd outlined six book series in detail and visited digs in the various locales before this first book, and reprised such visits at various times since.
Jump up ^ Tools and carvings characteristic of these cultures and maps delineating the actual basis dig sites are located within the inside cover art of most of the sequels.
Jump up ^ Lifetime Orders Drama Pilot 'The Clan of the Cave Bear'
External links[edit]
Library resources about
The Clan of the Cave Bear
Resources in your library
Resources in other libraries
Jean M. Auel Official web site
The Clan of the Cave Bear title listing at the Internet Speculative Fiction Database
Photos of the first edition of The Clan of the Cave Bear
[hide]
v
t
e
Jean M. Auel's Earth's Children
Volumes
The Clan of the Cave Bear
The Valley of Horses
The Mammoth Hunters
The Plains of Passage
The Shelters of Stone
The Land of Painted Caves
Adaptations
The Clan of the Cave Bear
Characters
Ayla
Jondalar
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Clan_of_the_Cave_Bear&oldid=825047086"
Categories:
Earth's Children
1980 American novels
American novels adapted into films
Neanderthals in fiction
Novels set in prehistory
Hidden categories:
Wikipedia articles needing rewrite from June 2009
All articles needing rewrite
Pages to import images to Wikidata
All articles with unsourced statements
Articles with unsourced statements from August 2017
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Български
Español
Français
Galego
Italiano
עברית
Nederlands
Türkçe
中文
Edit links
This page was last edited on 11 February 2018, at 04:44.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

values: mw-page-base noprint

values: mw-head-base noprint

values: firstHeading firstHeading en

values: siteSub noprint

values: jump-to-nav mw-jump

attrs: role class

values:
note
hatnote navigation-not-searchable

attrs: href class

values:
plainlinks metadata ambox ambox-content
presentation

values:
/wiki/Historical_novel
mw-redirect
Historical novel

values:
nofollow
external text
https://www.worldcat.org/oclc/6277166

values:
/wiki/Homo_(genus)
mw-redirect
Homo (genus)

values: Edit section: Film and television adaptations

values: This claim needs references to reliable sources. (August 2017)

values:
noprint Inline-Template Template-Fact
white-space:nowrap;

values: display:table-cell;padding:0.2em 0.2em 0.2em 0.3em;vertical-align:middle

values: margin:0.5em 0 0.5em 1em;border:solid #aaa 1px

values:
/wiki/Neanderthal_extinction_hypotheses
mw-redirect
Neanderthal extinction hypotheses

values:
nofollow
external text
http://www.jeanauel.com/books.php

values:
reflist mw-references-wrap
list-style-type: decimal;

values:
plainlist
padding:0 0.1em 0.4em;text-align:left;

values: float:right;clear:right;width:auto;margin:0 0 1.0em 1.0em;background:#f9f9f9;border:1px solid #aaa;padding:0.2em;border-spacing:0.4em 0;text-align:center;line-height:1.4em;font-size:88%

values: nowraplinks collapsible autocollapse navbox-inner

values: Category:American novels adapted into films

values: Category:Wikipedia articles needing rewrite from June 2009

values: Category:Pages to import images to Wikidata

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from August 2017

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/The_Clan_of_the_Cave_Bear
View the content page [ctrl-alt-c]
c

values: Discussion about the content page [ctrl-alt-t]

values: p-namespaces navigation vectorTabs p-namespaces-label

values:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

values: Past revisions of this page [ctrl-alt-h]

values: p-views navigation vectorTabs p-views-label

values:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

values:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

values:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

values: Featured content – the best of Wikipedia

values: Find background information on current events

values:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

values: portal navigation p-interaction p-interaction-label

values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

values: Recent changes in pages linked from this page [ctrl-alt-k]

values:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

values: A list of all special pages [ctrl-alt-q]

values: Permanent link to this revision of the page

values: Link to connected data repository item [ctrl-alt-g]

values: Printable version of this page [ctrl-alt-p]

values: Кланът на пещерната мечка (роман) – Bulgarian

values: שבט דוב המערות – Hebrew

values: Yeryüzü Çocukları 1: Mağara Ayısı Klanı – Turkish

values: 愛拉與穴熊族 – Chinese

values: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

values: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

values:
suggestions
display: none; font-size: 13px;

values: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-The_Clan_of_the_Cave_Bear rootpage-The_Clan_of_the_Cave_Bear skin-vector action-view