Please answer this: Found the following article online, use it to answer the question: What types of music is Deja Vu influenced by? "Deja Vu" is a contemporary R&B song, performed in a moderate hip hop groove. It is also influenced by late-1970s funk music, and it contains elements of soul music as well as dance-pop music. According to the sheet music published at Musicnotes.com by EMI Music Publishing, the song is composed in the key of G minor with a time signature in common time, and a moderate groove of 106 beats per minute. Beyonce's vocals range from the note of D4 to F5. The music is largely based on live instrumentation, including a bass guitar, conga, hi-hat, and horns. A non-live instrument, the Roland TR-808 drum machine, provides the song's heavy and energetic disco beat. Spence D. of IGN Music commented that Beyonce's vocals on the song are "silky smooth" and that her vocal range leans toward the high end, hence contrasting to the song's low-end construction. Mike Joseph of PopMatters noted that "Deja Vu" is reminiscent of Michael Jackson's "Off the Wall" (1980). The title refers to the deja vu phenomenon. The lyrics to "Deja Vu" follow the versepre-choruschorus pattern, and feature two rap verses. It is hook-laden, similar in this respect to "Crazy in Love". The lyrics detail a woman being constantly reminded of a past lover, shown in the lines, "Is it because I'm missing you that I'm having deja vu?" As the song opens, Beyonce introduces the bass, hi-hat and Roland TR-808 by name. The sounds of the instruments blend as they are being mentioned one after the other; the horns are only audible in the pre-chorus and hook sections, and a short section in the second rap. The bass guitar, which is the first instrument to enter, slides into the main two-bar ostinato. Following the repeated bass slides, the hi-hat and the Roland TR-808 begin playing.After that Beyonce mentions Jay-Z, the bass glides up for a vibrato-rich fill, giving way to the first rap. Backgrounded with a repeating groove, Beyonce starts the first verse. The pre-chorus follows, for which the bass changes to a more melodic tone "to play something more singing",...
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Answer: late-1970s funk music

Please answer this: Found the following article online, use it to answer the question: What is the first name of the person who began to develop arthritis in his hands and his playing deteriorated? During the 1950s, Szigeti began to develop arthritis in his hands and his playing deteriorated. Despite his weakened technical mastery, his intellect and musical expression were still strong, and he continued to draw large audiences to his concerts. In Naples, Italy, in November 1956, just after the Soviets crushed the Hungarian uprising, as soon as he walked onto the stage the audience burst into wild applause and shouts of Viva l'Ungheria! (Italian for "Long live Hungary!"), delaying the concert for nearly fifteen minutes.In 1960 Szigeti officially retired from performing, and returned to Switzerland with his wife. There he devoted himself primarily to teaching, although he still traveled regularly to judge international violin competitions. Top-class students from all over Europe and the United States came to study under him. One of these students was Arnold Steinhardt, who spent the summer of 1962 with Szigeti. He came to the conclusion that "Joseph Szigeti was a template for the musician I would like to become: inquisitive, innovative, sensitive, feeling, informed".Toward the end of his life, Szigeti suffered from frail health. He was put on strict diets and had several stays in hospital, but his friends asserted that this did nothing to dampen his characteristic cheerfulness. He died in Lucerne, Switzerland on February 19, 1973, at the age of 80. The New York Times ran a front-page obituary that ended with this 1966 quote from violinist Yehudi Menuhin: We must be humbly grateful that the breed of cultured and chivalrous violin virtuosos, aristocrats as human beings and as musicians, has survived into our hostile age in the person of Joseph Szigeti.
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Answer: Joseph

Please answer this: Found the following article online, use it to answer the question: What is the last name of the person whose posthumously published accounts suggested he was a full collaborator? While Raff was able to offer "practical suggestions [in orchestration] which were of great value to Liszt", there may have been "a basic misunderstanding" of the nature of their collaboration. Liszt wanted to learn more about instrumentation and acknowledged Raff's greater expertise in this area. Hence, he gave Raff piano sketches to orchestrate, just as he had done earlier with Conradi"so that he might rehearse them, reflect on them, and then, as his confidence in the orchestra grew, change them." Raff disagreed, having the impression that Liszt wanted him on equal terms as a full collaborator. While attending an 1850 rehearsal of Prometheus, he told Bernhard Cossmann, who sat next to him, "Listen to the instrumentation. It is by me."Raff continued making such claims about his role in Liszt's compositional process. Some of these accounts, published posthumously by Die Musik in 1902 and 1903, suggest that he was an equal collaborator with Liszt. Raff's assertions were supported by Joachim, who had been active in Weimar at approximately the same time as Raff. Walker writes that Joachim later recalled to Raff's widow "that he had seen Raff 'produce full orchestral scores from piano sketches.'" Joachim also told Raff's biographer Andreas Moser that "the E-flat-major Piano Concerto was orchestrated from beginning to end by Raff." Raff's and Joachim's statements effectively questioned the authorship of Liszt's orchestral music, especially the symphonic poems. This speculation was debased when composer and Liszt scholar Peter Raabe carefully compared all sketches then known of Liszt's orchestral works with the published versions of the same works. Raabe demonstrated that, regardless of the position with first drafts, or of how much assistance Liszt may have received from Raff or Conradi at that point, every note of the final versions represents Liszt's intentions.
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Answer:
Raff