davidanugraha/M4-RAG huggingface dataset:
Guitarra rítmica

La guitarra rítmica es una guitarra que se usa para mantener el acompañamiento rítmico y armónico, principalmente de un cantante, o para otros instrumentos en un conjunto. El término se refiere al uso del instrumento y no a su construcción. El papel de la guitarra rítmica puede considerarse como el complemento de la guitarra líder.
Como dato curioso no siempre los guitarristas rítmicos usan una guitarra distinta a la del guitarrista líder.
El papel de una guitarra rítmica es mantener el pulso o ritmo de una canción, y proporcionar armonía que apoya a los otros instrumentos o voces, en contraste con la guitarra solista que proporciona la melodía. Una parte de la guitarra puede ser clasificada así como una parte de guitarra rítmica siempre que su función sea principalmente rítmica o armónica en lugar de melódica. No puede hacerse una distinción estricta entre el ritmo y la guitarra solista; sin embargo, los guitarristas rítmicos buenos a menudo incorporan los elementos melódicos mientras tocan y pueden hacer un sonido fuerte en sus solos. Un guitarrista rítmico proporciona la capa de ritmo encima de la melodía tocada por otro instrumento o cantada por una persona.
Habitualmente el guitarrista rítmico toca una sucesión de acordes en la música, llamada "progresión de acordes", alrededor de la que la canción se construye. A menudo este acompañamiento se simplifica a una frase de varias notas, a veces llamada "riff", que se repite.
No hay una línea definida entre el guitarrista rítmico y el solista, y si hay solo un guitarrista, o si las canciones lo requieren, el guitarrista puede tener que tocar solos y ritmo en los momentos diferentes. Pero estos apenas dependen de las partes tocadas en cada canción, y la capacidad de ese guitarrista.
Los guitarristas rítmicos normalmente apuntan a generar un tono más fuerte, el armónico. En contraste con la meta de los guitarristas solistas de producir una melodía cortante que puede oírse a través del sonido del resto del grupo. Como resultado, el ritmo y los solos pueden ser tocados con guitarras diferentes. Estos guitarristas pueden emplear una guitarra electroacústica o una guitarra eléctrica para un mejor rendimiento. También pueden usar cuerdas de un calibre mayor que el de las usadas por guitarristas solistas.
Guitarra líder

La guitarra líder, primera guitarra o guitarra melódica ("Lead guitar", en inglés) cumple la función de "adornar" con motivos, ejecutar líneas melódicas, punteos y, principalmente, solos (por lo cual se estila rotularla "guitarra solista"). La tendencia se inclina a sacar mayor provecho del registro alto del instrumento, con un tono mordiente que suele imitar la expresividad de la voz humana.
El término se refiere al uso en particular de la guitarra y no a su construcción (depende del rol del músico la función que adoptará la guitarra). Es complemento de la guitarra rítmica.
Cuxirimay Ocllo

Cuxirimay Ocllo (Classical Quechua: Kuši Rimay Uqllu) (born before 1532–d. after 1576), also known as Doña Angelina Yupanqui, was a princess and consort of the Inca Empire by marriage to her cousin, the Sapa Inca Atahualpa (r. 1532–1533).
She played a discreet but important political role in the environment of the Spanish conquest of the Inca Empire, first as wife of Atahualpa and later by becoming a concubine to Francisco Pizarro. Historian Néstor Taboada describes her as "mysterious, seductive, impudent, deceptive, tough and independent" and compared her role to that of La Malinche during the conquest of the Aztec Empire.
She was born to Yamque Yupangue and Paccha Duchicela. She was selected by her uncle Huayna Capac to become one of the consorts of his son, prince Atahualpa, because she was Atahualpa's cousin. She was not the only consort of Atahualpa, who was also married to Coya Asarpay, who became his sister-queen. Cuxirimay Ocllo was not queen but had the title of ñusta or secondary consort.
Her spouse became Inca in 1532. In 1533, Atahualpa was deposed and executed by the Spaniards. He was succeeded by Manco Inca Yupanqui, who was basically a prisoner of the Spaniards. During this time period, the Spaniards abducted and raped many women in Cuzco, including princesses, noblewomen, priestesses, and the aclla, many of which they kept as concubines and later baptized and married. According to Fernández de Oviedo, Hernando Pizarro, Juan Pizarro and Gonzalo Pizarro "left no one single women or sister of his [Manco's] unviolated", and had taken the Inca princesses as concubines. The abduction and rape of queen Cura Ocllo (the wife and full sister of the Inca emperor Manco Inca Yupanqui) also happened during this period.
Cuxirimay Ocllo herself was made the concubine of Francisco Pizarro. She was converted to Catholicism, baptized and given the name Angelina Yupanqui. She lived with Pizarro in Lima between 1538 and 1541. She had two sons with Pizarro, Francisco Pizarro (b. 1539) and Juan Pizarro (b. 1540). After the death of Francisco Pizarro, she married Juan de Betanzos. Her last marriage is described as a happy one, and the couple lived together in Cuzco. Juan de Betanzos learned Quechua, and wrote the Narrative of the Incas with her as a source. She is last noted to be alive in 1576.
She had six children with Atahualpa:
Máximo Diego Pujol

Máximo Diego Pujol (born 7 December 1957) is an Argentine classical guitarist and composer.
He was born in Buenos Aires and graduated from the Juan José Castro Provincial Conservatory. Pujol undertook his instrumental studies with Gaspar Navarro, Alfredo Vincente, Gascón and Horacio Ceballos, Abel Carlevaro, Liliana Ardissone and Miguel Angel Girollet. He also studied harmony and composition under the guidance of Leónidas Arnedo and participated in master classes and seminars directed by Antonio de Raco, Abel Carlevaro, and Leo Brouwer.
Pujol has been awarded numerous prizes in Argentine and international competitions. In 1989 he was awarded the Argentine Composers' Union prize as 'Best Composer of Classical Music'. His compositions reflect the influence of Ástor Piazzolla and similarly use the tango as a basic style.
Pujol's music is published exclusively with Éditions Henry Lemoine, Paris.
Classical Gas

"Classical Gas" is an instrumental musical piece composed and originally performed by American guitarist Mason Williams with instrumental backing by members of the Wrecking Crew. Originally released in 1968 on the album The Mason Williams Phonograph Record, it has been rerecorded and rereleased numerous times since by Williams. One later version served as the title track of a 1987 album by Williams and the band Mannheim Steamroller.
Originally named "Classical Gasoline", the tune was envisioned to be "fuel" for the classical guitar repertoire. The title was later inadvertently shortened by a music copyist. Mike Post, later famous for television theme music, was a producer and arranger for the song.
Williams was the head writer for The Smothers Brothers Comedy Hour at the time of the piece's release and premiered the composition on the show. Williams performed it several times over several episodes.
After the piece had reached the Top 10, Williams asked an experimental filmmaker named Dan McLaughlin to adjust a student video montage that he had created of classical art works using Beethoven's 5th Symphony and edit it in time to "Classical Gas", using the visual effect now known as kinestasis. The work, 3000 Years of Art, premiered in 1968 on an episode of the Smothers Brothers Comedy Hour. The song peaked at number two for two weeks in August that year, behind "Hello, I Love You" by The Doors. On the US Easy Listening chart, it went to number one for three weeks.
"Classical Gas" is sometimes erroneously thought to have been performed, or even composed, by Eric Clapton, because Clapton was the musical director of, and played much of the guitar music for, the feature film The Story of Us, in which Williams' own recording of it from his album Handmade appeared.
Williams re-recorded "Classical Gas" as a solo guitar piece on his 1970 album Handmade. This version was re-released by Sony in 2003, after being featured in the film Cheaper by the Dozen, which starred Williams' Smothers Brothers protégé, actor/comedian/musician Steve Martin.
Williams’ original version of “Classical Gas” was also used on the soundtrack of the popular 2000 Australian movie The Dish.
In the mid-to-late 1970s and early 1980s Williams' version of "Classical Gas" was used by television stations across the United States as their opening news themes. News music company Telesound followed with an identically-named and quicker-tempo version of the song for television stations to use.
American classical guitar music

American classical guitar music refers to the evolution of the classical guitar tradition in the United States, where techniques from European classical music merged with American cultural influences to create a unique approach in performance, composition and pedagogy. Over the past two centuries, American guitarists have adapted, expanded and redefined classical guitar music—transforming the instrument from a domestic salon favorite into a concert and academic staple.
In the 19th century, the classical guitar entered American middle-class culture as an accessible alternative to the Piano. Early method books and arrangements by pioneering musicians helped disseminate European techniques while incorporating local popular melodies and elements of American folk music. Throughout the 19th and early 20th centuries, the instrument evolved from a domestic salon favorite to a concert instrument, aided by community clubs and later formal academic programs. This evolution was driven not only by technical innovation but also by changing social dynamics such as European immigration and the growth of educational institutions.
American classical guitar music has been shaped by influential figures across different eras:
The growth of American classical guitar music is inseparable from its educational infrastructure. Organizations such as the Guitar Foundation of America have spurred the formation of competitions and master classes that promote excellence in performance and teaching. Major academic institutions—including the Yale School of Music, Manhattan School of Music, Pepperdine University, and the Curtis Institute of Music—have established dedicated guitar departments, often under the guidance of pioneers like Aaron Shearer.
American classical guitarists have significantly enriched the instrument's repertoire. Early arrangements of European works gradually gave way to original compositions reflecting diverse influences—from American folk music and blues to jazz and contemporary minimalism. Landmark recordings and live recitals have demonstrated the classical guitar's capacity for both virtuosic display and profound expressivity, as noted in reviews by publications such as The New York Times and Acoustic Guitar Magazine.
The legacy of American classical guitar music is evident in its enduring influence on performance, recording, and education. Early pioneers adapted European models to suit American tastes, while later generations introduced innovative techniques and original works that continue to inspire musicians worldwide. Advances in recording technology and the proliferation of digital media have further amplified this legacy, making historically significant performances and modern interpretations accessible globally.
Contemporary classical guitarists are integrating digital technology, interdisciplinary collaborations, and global musical influences to push the genre's boundaries. Emerging trends include:
These trends suggest that American classical guitar music will continue to evolve while honoring its rich historical roots.
Outline of guitars

The following outline is provided as an overview of and topical guide to guitars:
A guitar is a plucked string instrument, usually played with fingers or a pick. The guitar consists of a body with a rigid neck to which the strings, generally six in number, are attached. Most guitar necks have metal frets attached (the exception is fretless bass guitars). Guitars are traditionally constructed of various woods and strung with animal gut or, more recently, with either nylon or steel strings. Some modern 2010-era guitars are made of polycarbonate materials. Guitars are made and repaired by luthiers. There are two primary families of guitars: acoustic and electric. An acoustic guitar has a wooden top and a hollow body. An electric guitar may be a solid-body or hollow body instrument, which is made louder by using a pickup and plugging it into a guitar amplifier and speaker. Another type of guitar is the low-pitched bass guitar.
A guitar can be described as all of the following:
Bass guitars are also called "electric basses".
Guitar amplifier
Effects unit (also known as "Stomp Box")
See Guitar tunings and List of guitar tunings.
The difference between guitar playing styles and guitar techniques (below) is that a style is a collection of techniques
Main Category: Category:Guitar performance techniques
See also the following from List of musical terminology: sul porticello (plucking/strumming near the bridge), sul tasto (plucking/strumming above the fingerboard)
Guitar harmonic
Guitar manufacturers
Mercedes Sosa en Argentina

Mercedes Sosa en Argentina is a double album by Argentine singer Mercedes Sosa. It was recorded live at the Teatro Opera de Buenos Aires in February 1982 and released on the Philips label. In a 2024 ranking of the 600 greatest Latin American albums compiled by music critics, Mercedes Sosa en Argentina was ranked No. 12. In 2017, it was selected by NPR as one of the "150 Greatest Albums by Women".
Side A
Side B
Side C
Side D
Eduardo Falú

Eduardo Falú (July 7, 1923 – August 9, 2013) was an Argentine folk music guitarist and composer.
Eduardo Falú was born in El Galpón, a village near San José de Metán in the province of Salta, in 1923. His parents, Fada and Juan Falú, were Syrian immigrants. Raised in rural surroundings, he was strongly influenced by the folk traditions of Salta (which remain, in Falú's words, "something lively, dynamic and evolutionary").
Falú was given his first guitar as a gift during childhood, and he began to perform traditional folk tunes of the Argentine Northwest as a troubadour. He formed a duo with César Perdiguero, and became well known in the region during the 1940s. Largely self-taught, Falú deepened his knowledge of the guitar through the study of the 19th century masters and was trained in harmony and theory by the prominent Argentine composer Carlos Guastavino.
His increasing renown brought him to Buenos Aires in 1945, and he recorded his first album there in 1950. Among the volume of collaborations with many of the leading Argentine poets, perhaps the best-known are his compositions for lyrics written by Jaime Dávalos, among which some of the most popular are Zamba de la Candelaria, Trago de sombra, and Canción del jangadero. Falú wrote music for a number of Argentine historical epics, as well, including Romance de la Muerte de Juan Lavalle (written by Ernesto Sábato) and José Hernández (by Jorge Luis Borges).
He performed overseas for the first time in Paris, in 1959. This was followed by performances in Rome, Los Angeles, Madrid, and numerous other cultural capitals. He was particularly popular in Japan, where from 1963 to 1973, he gave over 200 performances; in subsequent years, he also performed regularly in duos with his nephew, Juan Falú.
Arguably the creator of Argentina's modern folk song movement, Falú has set over 150 poems to music. These have included Borges' and Dávalos', as well as those by León Benarós, Manuel J. Castilla, and Alberico Mansilla. Known for his Chamamé, Chacarera and Zamba compositions, Falú more recently composed two suites, Primera Suite Argentina (1996) and Segunda Suite Argentina (1999).
The Government of Peru bestowed on him a Distinguished Service Award, and Falú's work earned him important recognition by his Argentine colleagues in 1985, when he received the highest honor in the Argentine cultural realm, the Konex Award, as well as a Grand Prize by the Argentine Society of Music Composers (SADAIC).
Falú's last album as a performer, published in 2009, was a tribute to classical Spanish guitarist Andrés Segovia. He died on August 9, 2013, at his home in the city of Buenos Aires, Argentina; he was 90.
Titu Cusi

Don Diego de Castro Titu Kusi Yupanki (Spanish: [ˈdjeɣo ðe ˈkastɾo ˈtitu ˈkusi ʝuˈpaŋki]; Quechua: Titu Kusi Yupanki [ˈtɪtʊ ˈkʊsɪ jʊˈpæŋkɪ]) (1529 – 1571) was an Inca ruler of Vilcabamba and the penultimate leader of the Neo-Inca State. He was a son of Manco Inca Yupanqui, He was crowned in 1563, after the death of his half brother, Sayri Tupac. He ruled until his death in 1571, probably of pneumonia.
During his rule at Vilcabamba, the provisional governor-general Lope Garcia de Castro wanted to negotiate with him. The negotiations were about Cusi leaving the Vilcabamba and accepting a Crown pension. After negotiations escalated, around 1568, Titu Cusi was baptized into the Roman Catholic Church, as Diego de Castro.
Titu Cusi made Túpac Amaru a priest and custodian of Manco Inca's body in Vilcabamba.
Túpac Amaru became the Inca ruler after Titu Cusi's death in 1571. Titu Cusi's close companion Martín de Pando, who had worked as a scribe for the Inca for over ten years and Augustinian Friar Diego Ortiz were blamed for killing Titu Cusi by poisoning him. Both were killed.
Cusi is the "narrator" and source of An Inca Account of the Conquest of Peru, a firsthand account of the Spanish invasion, narrated by him in 1570 to Spanish missionary Fray Marcos García and transcribed by Martín de Pando, his mestizo assistant.
The resulting hybrid document offers a unique Inca perspective on the conquest. The confusion and misunderstandings of first contact are described in the account, including beliefs that the Spaniards were gods. The section that describes the moment when Manco Inca, the father of the author and the brother of Atahualpa, receives the first news of the Spaniards' arrival from coastal tribesman is of particular note.
Stasion Kaliwedi

Stasion Kaliwedi (KLW) nyaéta stasion karéta api non-aktip kelas III/leutik anu perenahna di Kaliwedi Lor, Kaliwedi, Cirebon. Stasion anu aya dina tingkat kaluhuran +6 m ieu kaasup ka Daérah Operasi III Cirebon. Stasion ieu miboga tilu jalur kalawan jalur 2 jeung 3 minangka jalur lurus.
Wangunan stasion ieu masih kénéh aya, malahan papan ngaranna ogé masih kénéh kapasang. Saacan ditutup di taun 2002 lantaran aya pangwangunan jalur ganda, stasion ieu ngalayanan pasilangan jeung pasusulan antarkaréta.
Di tanggal 15 Nopémber 2011, Karéta api Argo Jati nabrak minibus APV di palintasan anu teu dipalangan di Désa Ujungsemi, Kaliwedi, Cirebon, anu jaraknya 500 méter ti stasion ieu. Lima urang tiwas dina kacilakaan ieu.
Karéta api
(id) Situs Resmi PT Kereta Api Indonesia Archived 2019-06-20 di Wayback Machine
Beus

Beus nyaéta kandaraan gedé nu rodaan, dipaké keur mawa panumpang nu jumlahna loba. Istilah beus ieu asalna tina basa Latén, omnibus, nu hartina keur sakabéh jalma.
Sababaraha rupa beus dijieun dumasar kana jauh deukeutna jarak nu dijugjug. Sababaraha beus husus dijieun ogé keur kagunaan husus. Rupa-rupa beus éta di antarana:
Stasion Purwokerto

Stasion Purwokerto (PWT) nyaéta stasion karéta api kelas gedé tipeu A anu perenahna di gigireun Kota Purwokerto, Kabupatén Banyumas, pasna di Kober, Purwokerto Kulon, Banyumas. Stasion anu aya dina tingkat kaluhuran +75 m ieu mangrupa stasion panggedéna anu dikokolakeun ku PT Kereta Api Indonesia (Persero) Daérah Operasi V Purwokerto. Minangka stasion gedé, sakabéh lalampahan karéta api penumpang anu ngaliwatan jalur karéta api Prupuk-Kroya pasti eureun di stasion ieu.
Stasion Purwokerto mangrupa stasion anu kakara diresmikeun di tanggal 1 Juli 1916 ku pausahaan karéta api Staatsspoorwegen (SS). Stasion anu leuwih heubeul di Purwokerto aya di tengah kota Purwokerto, anu diwangun ku Serajoedal Stoomtram Maatschappij di taun 1893-1896.
Stasion ieu diwangun di jalur Cirebon-Kroya anu dipiboga ku SS. Jalurna tuluy diwangun ka Stasion Purwokerto Timur anu matak lalampahan karéta ti Jakarta bisa langsung ka Wonosobo atawa Purbalingga jeung sabalikna, ngan di taun 1978 jalur anu ka Wonosobo geus dinonaktipkeun. Kiwari dina urut jalur éta geus dilayanan ku angkutan minibus mimiti 23 Nopémber 2018.
Stasion ieu miboga tujuh jalur aktip kalawan jalur 2 jeung jalur 3 minangka sepur lurus pikeun jalur utama kadatangan jeung kaberangkatan KA, sedengkeun jalur 1 dipaké mun di jalur 2 jeung jalur 3 aya KA, sarta jalur 4-6 biasana dipaké pikeun parkir lokomotip jeung rangkéan KA. Ti jalur 7 aya tilu jalur tambahan pikeun langsiran KA ka dipo lokomotip jeung ka dipo karéta api anu perenahna di beulah kalér-kulon stasion. Sakabéh jalur salian ti jalur-jalur anu ngarah ka dipo éta, kahubung langsung jeung jalur utama.
Di kiduleun stasion aya dipo lokomotip anu kacida beresihna, anu matak ngajadikeun dipo ieu minangka dipo panghadéna di Jawa Tengah. Salian ti éta, aya ogé dipo karéta pikeun nyimpen sarta ngarawat rangkéan KA, hususnya nu Daop V éta sorangan.
Kiwari jalur di stasion ieu geus mangrupa jalur ganda. Ku sabab ayana jalur ganda, ruteu Jakarta-Purwokerto liwat Cirebon atawa sabalikna kiwari bisa ditempuh ngan 5–5,5 jam.
Keunikan anu dipiboga ieu stasion nyaéta sok disetél lagu "Di Tepinya Sungai Serayu" minangka lagu keroncong anu jadi bél kedatangan karéta api panumpang.
Sawunggalih Tambahan, jurusan Jakarta liwat Cirebon jeung jurusan Kutoarjo (kadang ditambahan kelas éksekutip)
Ieu jadwal karéta api panumpang anu eureun di Stasion Purwokerto per 1 Juni 2019 (révisi Gapéka 2017).
Keterangan: = biasanya hanya dijalankan di akhir pekan-pekan tertentu dan libur nasional. lebih-lebih saat lebaran, natal, dan tahun baru.
(id) Situs resmi KAI dan jadwal kereta api tahun 2017 Archived 2023-08-15 di Wayback Machine
Badak heuay

Badak heuay mangrupa salah sahiji suhunan imah tradisional di tatar Sunda, Jawa Barat. Suhunan imah badak heuay remen kapanggih di wewengkon Sukabumi, Jawa Barat. Suhunan ieu ogé remen dipikawanoh ku sabab katingali tina tampilanna nu ngirut mirip jeung badak nu keur calangap heuay. Suhunan imah badak heuay ngagambarkeun konsép-konsép filosofis anu jero dina kabudayaan Sunda, hususna ti wewengkon Sukabumi, Jawa Barat. Istilah ieu lain ngan ukur nuduhkeun fisik jeung wangunan struktur tapi ogé ngawengku ajén-inajén spiritual jeung budaya nu diwakilan, némbongkeun jero tur kompleksitas budaya Sunda..
Sacara umum, wangun suhunan imah badak heuay mirip jeung suhunan imah tagog anjing, bedana mung dina widang suhunan tukangna. Suhunan imah badak heuay dijieun tina awi. Suhunan imah dirarancang kalawan sisi panjang nu miring ka tukang jeung sisi pondok ka hareup. Tuluy, umumna suhunan imah badak heuay miboga design suhunan nu luhur, nepi ka 0,5 - 1,8 meter, nu bisa nyadiakeun rohangan anu cukup pikeun sasatoan hirup jeung neundeun pakakas tatanén. Sanajan basajan, Imah Badak Heuay tetep jadi bagian penting masarakat Sukabumi jeung tetep jadi wangun utama perumahan di daérah dinya.
Gedong-gedong nu pakait jeung suhunan badak heuay ngagambarkeun filosofi Sunda ngeunaan harmonisasi jeung lingkungan. jeung nganut jatidiri budaya. Sababaraha ciri arsitéktur jeung desain nu nonjol diantarana:
Suhunan Imah Sunda Badak Heuay miboga makna budaya anu jero pikeun urang Sunda. Ieu hal ngagambarkeun hubungan maranéhanana jeung karuhun sarta simbol ketahanan dina nyanghareupan modernisasi jeung pangaruh éksternal. Istilah ieu ngagambarkeun perhatian urang Sunda pikeun ngajaga harmoni antara manusa jeung alam, kitu deui kateguhan kana tradisi jeung ajén-inajén budaya anu mekar sapanjang jaman.
Ku kituna, Suhunan Imah Sunda Badak Heuay lain ngan saukur istilah anu ngagambarkeun struktur arsitéktur tapi ogé mangrupa lambang identitas budaya Sunda anu kuat sarta lestari. Ieu Istilah nunjukkeun kumaha budaya Sunda ngahargaan jeung ngajaga nilai spiritual jeung budaya ngaliwatan arsitektur, nyieun hubungan kuat antara masarakat jeung lingkunganana.
Jalur Utama Kagoshima

Jalur Utama Kagoshima (鹿児島本線) nyaéta bagéan utama tina jaringan utama kareta JR Kyūshū tur manjang antara Mojikō di Kitakyūshū, nepi ka Kagoshima Station di Kagoshima City, di tungtung kidul Kyūshū. Until March 13 2004, it covered 393 kilométers between its two termini; however, with the opening of the Kyūshū Shinkansen on March 13, the section between Yatsushiro and Sendai was transferred to the third-sector Hisatsu Orange Railway Company. The line is the most important line in Kyūshū, connecting Fukuoka (Hakata Station) to many other major cities. It is the main line through the Fukuoka urban district, and as such many long-distance express trains from all parts of Kyūshū utilize the section of line between Kokura Station (Kitakyūshū) and Tosu Station, where the main line to Nagasaki meets the Kagoshima Main Line.
This section was transferred to Hisatsu Orange Railway Line on March 13, 2004.
Yatsushiro - Higo-Kōda - Hinagu (Hinagu-Onsen) - Higo-Futami - Kami-Tanoura - (Tanoura-​Otachimisaki-​Kōen) - Higo-Tanoura - Uminoura - Sashiki - Yunoura - Tsunagi - Hatsuno S.B. (Shin-Minamata) - Minamata - Fukuro - Komenotsu - Izumi - Nishi-Izumi - Takaono - Nodagō - Origuchi - Akasegawa S.B. - Akune - Ushinohama - Satsuma-Ōkawa - Nishikata - Satsuma-Taki - Kusamichi - Kami-Sendai - Sendai
Jakarta Outer Ring Road

The Jakarta Outer Ring Road (Indonesian: Jalan Tol Lingkar Luar Jakarta, abbreviated JORR) is a tolled ring road encircling Jakarta, Indonesia. It is divided into 7 sections, totalling up to 65 kilometres (40 mi). The JORR is managed by four toll road companies: Jakarta Lingkar Baratsatu, Marga Lingkar Jakarta, Hutama Karya and Jalantol Lingkarluar Jakarta.
Notes: Direction of the toll road is in looping manner.
List of state highways in California

This is a list of state highways in the U.S. state of California that have existed since the 1964 renumbering. It includes routes that were defined by the California State Legislature but never built, as well as routes that have been entirely relinquished to local governments. It does not include the few routes that were relinquished before 1964 or the larger number of sign routes that were renumbered in or before 1964.
Each state highway in California is maintained by the California Department of Transportation (Caltrans) and is assigned a Route (officially State Highway Route) number in the Streets and Highways Code (Sections 300-635). Under the code, the state assigns a unique Route X to each highway, and does not differentiate between state, US, or Interstate highways.
Spanish Transportation

Spanish Transportation, officially Spanish Transportation Service Corporation, and operating under the name Express Service, is a privately operated bus company, which leases minibuses to individual operators, who provide service in and between various communities in northeastern New Jersey and to Manhattan in New York City. The fleet consists mostly of jitneys, often called "the Spanish bus" or "dollar vans" by their English-speaking users, or guaguas by their majority-Spanish clientele.
The company started in 1993, and carries up to 40,000 passengers per day. It has several routes that parallel New Jersey Transit bus routes, both competing with them and supplementing them. Unlike NJ Transit's similarly operating routes, Spanish Transportation services:
The company's primary routes are:
The Paterson route goes: inbound (Eastbound) primary route on Broadway from its Southwest corner with Washington Street (one block East of Main Street), Paterson; continuing on Broadway as changes name to Martin Luther King Jr. Way and the designation at the western terminus, which turns back into Broadway; crossing the Passaic River and all of Bergen County starting at the Paramus border where Broadway loses the name, as it becomes NJ Highway Route 4 (with a small detour to and from the northern bus stop near Entrance 10 to the Westfield Garden State Plaza mall in Paramus during mall and theater operating hours except on Sundays), losing the designation Route 4 at the eastern terminus; merging with Interstate 95 and the George Washington Bridge (over the Hudson River) and approaches in Fort Lee and Manhattan; to George Washington Bridge Bus Terminal identical to NJT's #171 route; the outbound (Westbound) return route is very similar, but its last stop is one block West, on West Broadway at its five-way corner with Broadway and Main Street in Paterson. Buses traveling the Broadway route do not stop adjacent to Eastside Park in Paterson (East of 32nd Street) because NJ Transit Bus 770 detours two blocks North on 11th Avenue from 33rd Street to 43rd Street and Paterson has not seen fit to post bus stop signs there; thus there are no bus stops at which to stop.
The company rents space across Broadway from Broadway Bus Terminal in Paterson and in Port Authority Bus Terminal (PABT) on 42nd Street and George Washington Bridge Bus Terminal in Manhattan
In addition to Spanish Transportation owned vehicles, numerous other jitneys provide service in North Jersey, particularly Hudson County along Bergenline Avenue, Boulevard East, and Palisade Avenue. Studies were conducted to better regulate and incorporate the jitney system, which has grown since 2000. Legislation to regulate them has been introduced in the New Jersey Legislature.
Many jitneys, including some of those owned by Spanish Transportation, use local streets in the vicinity of the PABT, namely 42nd Street, as a drop-off and pick-up point for passengers and parking, which has led to congestion and complaints.
&https://jerseydigs.com/beginners-guide-riding-jitney-new-jerseys-private-transit-system/
Telematic control unit

A telematic control unit (TCU) in the automobile industry is the embedded system on board a vehicle that wirelessly connects the vehicle to cloud services or other vehicles via V2X standards over a cellular network. The TCU collects telemetry data from the vehicle, such as position, speed, engine data, connectivity quality, etc., from various sub-systems over data and control busses. It may also provide in-vehicle connectivity via Wifi and Bluetooth and implements the eCall function when applicable.
In the automotive domain, a TCU can also be a transmission control unit.
A TCU consists of:
Idler arm

An idler arm is a pivoting support for a conventional parallelogram steering linkage on some cars and trucks.
The idler arm supports the end of the center link on the passenger's side of the vehicle. The idler arm bolts to the vehicle's frame or subframe. Generally, an idler arm is attached between the opposite side of the center link from the Pitman arm and the vehicle's frame to hold the center link at the proper height. Idler arms are generally more vulnerable to wear than Pitman arms because of the pivot function built into them. If the idler arm is fitted with grease fittings, these should be lubricated with a grease gun at each oil change.
Shota Rustaveli

Shota Rustaveli (1172 - 1216) alikuwa mshairi nchini Georgia wakati wa karne ya 12. Hutazamwa kama mwanzilishi wa fasihi ya Kigeorgia isiyo ya kidini.
Utenzi wake unaojulikana zaidi ni "Shujaa anayevaa ngozi ya chui"; ni utenzi wenye beti 1,550 uliosimuliwa tangu siku za mshairi mwenyewe na Wageorgia wakiwa na sherehe au sikukuu.
Hakuna uhakika juu ya maisha yake lakini habari za kale kutoka Georgia zasema kwamba alipata elimu nzuri nchini Georgia na baadaye Ugiriki yaani katika Milki ya Bizanti. Anaaminiwa alikuwa waziri wa malkia wa Georgia hata mpenzi wake alipaswa kuondoka nchini wakati malkia alipoolewa akahamia Yerusalemu. Huko alijitolea kupamba na kutengeneza monasteri ya Msalaba Mtakatifu mjini Yerusalemu alikozikwa. Uchoraji wa ukutani unamkumbuka hadi leo.
"Shujaa anayevaa ngozi ya chui" imetafsiriwa katika lugha nyingi. Ilichapishwa mara ya kwanza mjini Tbilisi mwaka 1712.
Mnyamapochi

Wanyamapochi ni wanyama wa ngeli ya chini Marsupialia ambao wanazaa wadogo wao katika hali changa sana yaani baada ya muda mfupi wa mimba. Baada ya kuzaa wanaendelea kubeba wadogo ndani ya pochi au mbeleko ya ngozi iliyopo nje ya mwili juu ya tumbo. Humo kuna maziwa ambako wadogo wanaweza kunywa ilhali wanatunzwa vizuri na kukaa joto. Kadri wadogo wanavyokua wanaanza kutazama mazingira kutoka mbeleko na pia wanaanza kutembea nje wakirudi tena mbelekoni hadi wamefika umri wa kutosha wanaondoka.
Spishi zilizo nyingi ziko Australia na visiwa vya karibu kama Nyugini. Nyingine zinatokea Amerika ya Kusini. Wanyamapochi wanaojulikana zaidi ni kangaruu.
Reptilia

Reptilia (kutoka Kilatini "reptilis" mwenye kutambaa; pia: mtambaazi, mtambaachi, mnyama mtambaaji) ni kundi la wanyama wenye damu baridi, ngozi ya magamba badala ya nywele au manyoya wakipumua kwa mapafu. Siku hizi wataalamu hupendelea jina Sauropsida.
Wanazaa kwa njia ya mayai; wengine wanataga mayai na wadogo wanatoka nje bila ngazi ya kiluwiluwi au kwa spishi kadhaa mayai yanaiva ndani ya tumbo la mama na wadogo wanazaliwa hai.
Kibiolojia ni ngeli ya vertebrata. Jina limetokana na maumbile yao maana wanatambaa na tumbo juu ya ardhi; ama kwa miguu mifupi kama mijusi au bila miguu kama nyoka.
Dinosauria wa kale walikuwa reptilia wakubwa sana walikwisha miaka milioni 65 iliyopita. Kufuatana na vumbuzi za hivi karibuni ndege hufikiriwa kuwa na nasaba na dinosauri (kutoka kwa nusuoda ya Theropoda).
Kobe

Makobe ni wanyama wadogo hadi wakubwa wa oda Testudines katika ngeli Reptilia. Spishi zinazoishi baharini huitwa kasa.
Kiwiliwili chao kimefunikwa kwa gamba gumu liitwalo galili. Kwa kawaida galili hii ni yabisi, lakini kuna spishi zilizo na galili nyumbufu, zote spishi za maji. Kichwa, miguu na mkia inachomoza kutoka galili lakini katika spishi nyingi inaweza kuvutwa ndani, spishi za nchi kavu hasa.
Cryptodira
Familia Dermochelyidae
Familia Testudinidae
Familia Trionychidae
Cryptodira
Maeneo ya hifadhi

Maeneo ya hifadhi ni maeneo yanayopata ulinzi kwa sababu ya maadili yanayotambulika ya asili, kiikolojia au kitamaduni.
Kuna aina kadhaa za maeneo yaliyohifadhiwa, ambayo hutofautiana kwa kiwango cha ulinzi kulingana na sheria wezeshi za kila nchi au kanuni za mashirika ya kimataifa yanayohusika. Ingawa kwa ujumla, maeneo yaliyohifadhiwa yanaeleweka kuwa yale ambayo uwepo wa binadamu au angalau unyonyaji wa maliasili ni mdogo.
Nchi nyingi sasa zimetenga maeneo makubwa kuwa mbuga za wanyama, mapori ya akiba, au hifadhi za misitu. Kati ya mbuga hizi, ni baadhi tu ambazo ni kubwa vya kutosha kuwa na mifumo ya ikolojia inayojitosheleza, na nyingi zimetengwa ili kubeba mamalia wakubwa.
Katika Afrika ya Mashariki pia kuna hifadhi za ndege na viumbe vya baharini. Uhifadhi wa uoto unafanywa hasa katika hifadhi za misitu lakini pia katika hifadhi ya taifa. Kwa kuongezea, nchi kadhaa zinajaribu kuhifadhi wanyamapori kwa kukataa leseni za kuuza nje aina fulani za ngozi, haswa zile za chui, duma na punda milia.
Vimbai Zimuto

Vimbai Zimuto Amezaliwa 19 Oktoba 1983 huko Chitungwiza) ni Mzimbabwe, mwanamuziki, mnenguaji na mwandishi wa chore anayeishi Uholanzi Zimuto hupiga mbira na marimba, ala za muziki za kitamaduni za Zimbabwe na pia mdundo wa kitamaduni wa Wazimbabwe. Yeye ni mama wa watoto wawili wa kike na aliwahi kuolewa na raia wa Uholanzi
Vimbai Zimuto alianza kupiga mbira akiwa na umri wa miaka 12. Alipiga tari katika bendi ya midundo ya shule yake akiwa na umri wa miaka sita na pia alijiunga na kikundi cha ngoma za kitamaduni. Akisoma muziki katika shule ya sekondari, Zimuto aliimba katika kwaya ya shule, ambapo walirekodi albamu ya muziki, Kengele za Harusi. Zimuto alifanya kazi katika miradi kadhaa na kushiriki katika programu za muziki. Alijiunga na Oliver Mtukudzi na Black Spirits yake, aliofanya nao ziara nchini Uingereza, Marekani na Kanada. Pamoja na onyesho la maigizo la muziki la Mabinti wa Africa pia alitembelea Uholanzi.
Zimuto ana albamu mbili; Muziki wake mara nyingi huambatana na video, ambayo huiweka kwenye chaneli yake ya Youtube.
Mwaka 2020, Zimuto aliteuliwa kwa Tuzo za Muziki za Zimbabwe chini ya kitengo Bora cha Mbadala.
Amezua mijadala nchini Zimbabwe kwa kuchapisha picha zake akiwa uchi kwenye mitandao ya kijamii huku akisema uchi ni aina yake ya sanaa. Mwaka 2018, baada ya ndege ya Ethiopia Airlines iliyokuwa inaelekea Kenya kutoka Ethiopia kuanguka dakika sita baada ya kupaa mjini Addis Ababa na kuwaua wote waliokuwa ndani ya ndege, Zimuto alichapisha picha yake akiwa uchi na kuandika picha hiyo: 'Jivu kwa majivu, vumbi hadi vumbi. Watu wote walioangamia kwenye mashirika ya ndege ya Ethiopia wapumzike kwa amani.' Alipokea chuki, na akajibu kwa picha nyingine ya uchi yake.
Abbi

Absalomu Nyinza, maarufu Abbi, ni mwanamuziki wa mtindo wa Afro-jazz na Afro-fusion kutoka Kenya. Yeye huambatana na bendi ya Kikwetu . Huimba katika lugha kadhaa, ikiwa ni pamoja na Kiswahili, Kiingereza, Kifaransa, lugha yake ya mama Kiluhya na lugha za makabila mengine.
Abbi ilianza kazi yake mwaka wa 1993 akiwa mwanachama wa kundi la injili la a cappella la The Boyz ambalo baadaye lilibadili jina hadi Safari . Alizuru Uingereza na Ujerumani akiwa na hiyo bendi. Baadaye alijunga na bendi ya Achieng Abura , na kuzuru Uhispania wakati huo .
Solo albamu yake, Mudunia ilitolewa mwaka 2003. Katika Tuzo za Muziki za Kisima za 2004, alishinda katika vitengo viwili: Msanii Bora wa Kiume na Msanii bora anayechipuka . Albamu yake ya pili Indigo ilitolewa mwezi Agosti 2007. Ametumbuiza katika tamasha za Festival Mundial na North Sea Jazz nchini Uholanzi na kuzuru nchi nyingine pia. Muziki wake hutayarishwa na Tedd Josiah wa Blu Zebra studio .
Amekampeinia kundi la Global Call to Action Against Poverty . Yeye ni miongoni mwa wasanii wa Kenya ambao wamefadhiliwa na Alliance Française mjini Nairobi .
Boomba music

Boomba music, also referred to as kapuka (due to the beat pattern; not to be confused with kapuka rap), is a form of hip pop music popular in Kenya. It incorporates hip hop, reggae and African traditional musical styles. The lyrics are in Swahili, Sheng or local dialects. It is associated with the Ogopa Deejays and is believed to have originated in the late 1990s with artists such as Redsan, Bebe Cool and Chameleone. It went on to dominate East African airwaves (especially Kenya and Uganda) after the release of the Ogopa Deejays' first album in 2001, which included artists such as the late E-Sir, Nameless, Mr. Lenny, Amani, Mr. Googz and Vinnie Banton amongst others.
The over-saturation of playlists with this music style caused some to criticise it, including the artists K-South who had a hit titled "Kapuka This, Kapuka That". This also led to other styles such as genge music being formed by producer Clemo to diversify the market. Despite the critics the music continues to be very popular in Kenya although more so now in Uganda. Of late, "genge" has also come to refer more generally to boomba and "kapuka" music.
Vegatone, Riftsyde flava or Naxvegas muzik is a genre of hip hop/Afro Dancehall music that originated from the town of Nakuru or colloquially Naks/NaxVegas as many youths call it. The music is a blend of indigenous kapuka mixed with a reggae baseline. It is characterized by very flashy Musicians who mainly rap and sing about their sexual escapades and the number of women that they keep, but cipher their language to avoid being explicit. Vegatone has evolved in recent times.
Artists in this genre include award-winning artist Teferah who has numerous hits having worked with Nyanda from Brick and Lace on the song "Put It On Me" produced in Romania by Tommo records, and getting signed to an American music label Mpact Muzik in 2017. Teferah is seen as a break-through artist in this genre. Other Vegatone artists are Rhonda Bwoy, Skymer, Juss Nera, Hush BK, Avril, Vivian, K-FRESH, Igiza, Obako, Mavo, 77 and many more. Nakuru is credit for creating the viral sounds of Gengetone which uses the slang used in Nakuru and most Gengetone producers are from Nakuru Sadafa, Mavo on the beat, Duboiz, Samba on the beat, Andah water, Magix Enga and other creatives that fuse Vegatone arrangements. Vegatone is a common sound especially on Kenyan and local nakuru radios highly popularized by Radio presenter Caleb Koyo.
Kapuka rap is a genre of hip hop music that is derived from Boomba music, but incorporates more dance-pop, synthpop and electronic music than reggae and ragga but still incorporates some hip hop. Artists such as Collo and Camp Mulla incorporate kapuka rap in some of their songs.
Hosho (instrument)

The hosho are Zimbabwean musical instruments consisting of a pair of maranka (mapudzi) gourds with seeds. They are used as major instruments in many traditional Shona music genres, such as in mbira ensembles and in mhande. They typically contain hota (Canna indica) seeds inside them. Before the hota seeds are added, the hosho is boiled in salted water and the inside is scraped out with a corncob, newspaper plug, or woven wire. Removing the debris inside the hosho allows for a more sharp and percussive tone.
The hosho are used to accompany Shona music, especially mbira music. Hosho plays several key roles in Zimbabwean music. Oliver Mtukudzi insists that it’s what keeps musicians on the same page. Hosho doesn't add thickness to mbira performance all due to its dense sound quality. It is also a good start in learning Mbira. This is because it helps beginners to observe patterns and learn from mbira masters by looking over their shoulders. Moreover, hosho has acted as a way for women to join mbira performance.
Hosho make a rattling sound that western ears may be unaccustomed to hearing. However, this accompaniment is essential when playing mbira and/or marimba music. So essential, in fact, that extra vibrating elements such as mirlitons (buzzing membranes made from spider webs) are attached to the resonating tubes of marimbas and machachara (miniature Hosho made from seashells or bottle caps) are attached to the mbira and its deze. Mbiras and marimbas from Africa; and even other instruments, such as drums, will have some kind of rattles associated with their use.
Many hosho styles emphasize the second pulse of the triplet. This creates an off beat articulation that follows the bass notes of the mbira's kutsihnira part.
From a western perspective the hosho are seen as accompanying instruments to mbira, when in actuality they are seen as the lead instruments by the mbira players. Hosho goes well too with Makwa. Makwa clapping is a very common aspect of musical practices but very often underlooked or rather not discussed as much. Whistling is one other feature that’s usually distinctive, common but rarely talked about. Makwa plays significant roles in Zimbabwe Ngoma and mbira ensembles. It adds that sharpness that’s usually heard over other instruments. This adds that the timbral element to many musical forms giving room for alterations hence more musical creations
A smaller version of the hosho is made of a wild orange called a damba, tied together with sticks and filled with hota seeds or pebbles.
Other related percussion instruments from Zimbabwe include the magavhu (leg rattle) and ngoma (drum).
One of Zimbabwes most respected Hosho players is Tendai Kazuru from Mbira deNharira.
Jean Bosco Mwenda

Jean-Bosco Mwenda, also known as Mwenda wa Bayeke (1930 – September 1990), was a pioneer of Congolese fingerstyle acoustic guitar music. He was also popular in other African countries, particularly in East Africa, and in the late 1950s and early 1960s was briefly based in Nairobi, Kenya, where he had a regular radio show and became a profound influence on a generation of Kenyan guitarists.
Jean-Bosco Mwenda was born in 1930 at Bunkeya (now part of Lualaba Province) in what was then the Belgian Congo, but lived most of his life in Lubumbashi, where in addition to playing music he had a job in a bank and with the local mining company, managed other bands, and owned a hotel on the Zambian border. He died in September 1990 in a car accident in Zambia.
Mwenda used the name Mwenda wa Bayeke, claiming descent from the Sanga noble clan of Bayeke. His music draws on various sources including the traditional music of his Luba/Sanga people. He was one of the few Congolese to obtain a Western education during the colonial era due to his father's position in the Catholic Church. Mwenda worked at first as a clerk for the Likasi administration but soon achieved huge success as a guitarist, issuing his first recordings in 1952.
Along with his friend and sometime partner Losta Abelo, and his cousin Edouard Masengo, Bosco defined the Congolese acoustic guitar style. His song "Masanga", recorded by Hugh Tracey, became particularly influential, because of its complex and varied guitar part. His own influences included traditional music of Zambia and the Eastern Congo, Cuban groups such as the Trio Matamoros, and cowboy movies.
A 1982 video field recording by Gerhard Kubik exists in a compilation of influential African guitarists artists entitled Native African Guitar. A 1982 CD with booklet (text by Gerhard Kubik, also in English, including the Kiswahili song texts), is available from the Museum für Völkerkunde, Berlin. The recordings include the complete concert Bosco gave at June 30, 1982, at the Museum für Völkerkunde, Berlin. In 1988 Cape Town-based record label Mountain Records recorded a studio album of Mwenda's music and issued it in 1994. The album is entitled Mwenda wa Bayeke - African guitar legend.
Ibanez Talman

The Ibanez Talman series of guitars consists of various electric and acoustic models. Introduced in 1994, initial production of the electric guitar models ended in 1998. In 2003, the first in a line of a group of acoustic and acoustic-electric guitars debuted. Other than the Noodles Signature Models of electric guitar, Ibanez introduced a new line of Talman electric guitar models in November 2015, including Standard and Prestige versions.
This series has been in production since 2003.
Artists known playing an Ibanez Talman are:
Singeli

Singeli or sometimes called Sengeli is a Tanzanian music genre that originated with the Zaramo in the Mtogole neighborhood of the Tandale ward in Kinondoni District of Dar es Salaam Region around the mid-2000s. The genre has since the late 2010s spread throughout Tanzania, and since 2020 the surrounding Great Lakes. This is purely Tanzanian music. It is not Soukous (Congolese music) or Taarab (Arabic music). Singeli is a ngoma music and dance where an MC performs over fast tempo taarab music, often at between 200 and 300 beats per minute (BPM), while women dance. Male and female MCs are near equally common, however styles between MC gender typically differ significantly. Male MCs usually perform in fast-paced rap, while female MCs usually perform kwaya.
In the early 2000s vigodoro, meaning all night parties, began being organized by Zaramo women for their other female family and friends particularly Manzese and Tandale wards. However the latter is considered the birthplace of the genre. The parties involved playing cassette tapes of taarab music that other women would come and dance to. As vigodoro parties grew MCs would be invited to come and perform over the cassettes. Msaga Sumu was one such MC and is considered one of the early founders of Singeli.