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How did the audience guess the pentatonic scale in Bobby McFerrin's presentation?



Announcing the arrival of Valued Associate #679: Cesar Manara
Planned maintenance scheduled April 23, 2019 at 23:30 UTC (7:30pm US/Eastern)Pentatonic scale chordsHow major pentatonic scale is built?The notes outside the major scale form a pentatonic scaleWhat is this scale?How do I manage internalizing foundation for chords, scales, hamonies and voicingSo… 84 modal scales vs actual practice and usageHalf-diminished pentatonic scale?Is the melodic minor scale use as the basis of chord progressions in modern jazz?How to turn each chord in a progression into separate scales?Can each chord in a progression create its own key?










19















The video below is entitled "The Power of the Pentatonic Scale". And from the video you'd think that people are inherently tuned to the pentatonic scale. But I was wondering if they're really inherently tuned or did Bobby tune them? Could they have been just as easily tuned to the major scale (or even minor scale)?



In the video the C# pentatonic consists of the notes C# D# F (aka E#) G# A#



at 0:19 he jumps on the note of C# a few times to establish the root

at 0:33 he jumps on the note of D#

at 0:42 the crowd correctly guesses the E♯. which is kind of cool but it makes sense since it could be the major scale.
at 1:06 he jumps on the pitch of A#

he then plays on A#, C#, D#, E♯ for a while

at 1:56 the crowd correctly guesses G# (which is amazing)
at 2:02 the crowd correctly guesses E♯ (which is super amazing bc they figured out it was pentatonic)

at 2:05 the crowd correctly guesses D#

at 2:07 the crowd correctly guesses the tonic of C#



So my question is if at 1:06 had he jumped to the seventh of the scale (C) instead of A#, would that have made the crowd guess the major scale instead of pentatonic? It's not like humans are just about pentatonic right?



At 2:38 Bobby says, "What's interesting to me about that is regardless of where I am. Anywhere. Every audience gets that... It's just the pentatonic scale for some reason". I wish I could ask him if he tried major or minor. If it's really just pentatonic I'd be surprised.















share|improve this question



















  • 2





    My take on this is that his whole point was that everyone knows the pentatonic scale because they’ve heard it so many times. It’s a universal thing that spans cultures.

    – Todd Wilcox
    Apr 12 at 21:55






  • 1





    @foreyez Never apologise for good questions! +1

    – user45266
    Apr 13 at 6:20















19















The video below is entitled "The Power of the Pentatonic Scale". And from the video you'd think that people are inherently tuned to the pentatonic scale. But I was wondering if they're really inherently tuned or did Bobby tune them? Could they have been just as easily tuned to the major scale (or even minor scale)?



In the video the C# pentatonic consists of the notes C# D# F (aka E#) G# A#



at 0:19 he jumps on the note of C# a few times to establish the root

at 0:33 he jumps on the note of D#

at 0:42 the crowd correctly guesses the E♯. which is kind of cool but it makes sense since it could be the major scale.
at 1:06 he jumps on the pitch of A#

he then plays on A#, C#, D#, E♯ for a while

at 1:56 the crowd correctly guesses G# (which is amazing)
at 2:02 the crowd correctly guesses E♯ (which is super amazing bc they figured out it was pentatonic)

at 2:05 the crowd correctly guesses D#

at 2:07 the crowd correctly guesses the tonic of C#



So my question is if at 1:06 had he jumped to the seventh of the scale (C) instead of A#, would that have made the crowd guess the major scale instead of pentatonic? It's not like humans are just about pentatonic right?



At 2:38 Bobby says, "What's interesting to me about that is regardless of where I am. Anywhere. Every audience gets that... It's just the pentatonic scale for some reason". I wish I could ask him if he tried major or minor. If it's really just pentatonic I'd be surprised.















share|improve this question



















  • 2





    My take on this is that his whole point was that everyone knows the pentatonic scale because they’ve heard it so many times. It’s a universal thing that spans cultures.

    – Todd Wilcox
    Apr 12 at 21:55






  • 1





    @foreyez Never apologise for good questions! +1

    – user45266
    Apr 13 at 6:20













19












19








19


2






The video below is entitled "The Power of the Pentatonic Scale". And from the video you'd think that people are inherently tuned to the pentatonic scale. But I was wondering if they're really inherently tuned or did Bobby tune them? Could they have been just as easily tuned to the major scale (or even minor scale)?



In the video the C# pentatonic consists of the notes C# D# F (aka E#) G# A#



at 0:19 he jumps on the note of C# a few times to establish the root

at 0:33 he jumps on the note of D#

at 0:42 the crowd correctly guesses the E♯. which is kind of cool but it makes sense since it could be the major scale.
at 1:06 he jumps on the pitch of A#

he then plays on A#, C#, D#, E♯ for a while

at 1:56 the crowd correctly guesses G# (which is amazing)
at 2:02 the crowd correctly guesses E♯ (which is super amazing bc they figured out it was pentatonic)

at 2:05 the crowd correctly guesses D#

at 2:07 the crowd correctly guesses the tonic of C#



So my question is if at 1:06 had he jumped to the seventh of the scale (C) instead of A#, would that have made the crowd guess the major scale instead of pentatonic? It's not like humans are just about pentatonic right?



At 2:38 Bobby says, "What's interesting to me about that is regardless of where I am. Anywhere. Every audience gets that... It's just the pentatonic scale for some reason". I wish I could ask him if he tried major or minor. If it's really just pentatonic I'd be surprised.















share|improve this question
















The video below is entitled "The Power of the Pentatonic Scale". And from the video you'd think that people are inherently tuned to the pentatonic scale. But I was wondering if they're really inherently tuned or did Bobby tune them? Could they have been just as easily tuned to the major scale (or even minor scale)?



In the video the C# pentatonic consists of the notes C# D# F (aka E#) G# A#



at 0:19 he jumps on the note of C# a few times to establish the root

at 0:33 he jumps on the note of D#

at 0:42 the crowd correctly guesses the E♯. which is kind of cool but it makes sense since it could be the major scale.
at 1:06 he jumps on the pitch of A#

he then plays on A#, C#, D#, E♯ for a while

at 1:56 the crowd correctly guesses G# (which is amazing)
at 2:02 the crowd correctly guesses E♯ (which is super amazing bc they figured out it was pentatonic)

at 2:05 the crowd correctly guesses D#

at 2:07 the crowd correctly guesses the tonic of C#



So my question is if at 1:06 had he jumped to the seventh of the scale (C) instead of A#, would that have made the crowd guess the major scale instead of pentatonic? It's not like humans are just about pentatonic right?



At 2:38 Bobby says, "What's interesting to me about that is regardless of where I am. Anywhere. Every audience gets that... It's just the pentatonic scale for some reason". I wish I could ask him if he tried major or minor. If it's really just pentatonic I'd be surprised.




















scales psychoacoustics






share|improve this question















share|improve this question













share|improve this question




share|improve this question








edited Apr 13 at 6:18









user45266

4,5301835




4,5301835










asked Apr 12 at 21:21









foreyezforeyez

5,73342690




5,73342690







  • 2





    My take on this is that his whole point was that everyone knows the pentatonic scale because they’ve heard it so many times. It’s a universal thing that spans cultures.

    – Todd Wilcox
    Apr 12 at 21:55






  • 1





    @foreyez Never apologise for good questions! +1

    – user45266
    Apr 13 at 6:20












  • 2





    My take on this is that his whole point was that everyone knows the pentatonic scale because they’ve heard it so many times. It’s a universal thing that spans cultures.

    – Todd Wilcox
    Apr 12 at 21:55






  • 1





    @foreyez Never apologise for good questions! +1

    – user45266
    Apr 13 at 6:20







2




2





My take on this is that his whole point was that everyone knows the pentatonic scale because they’ve heard it so many times. It’s a universal thing that spans cultures.

– Todd Wilcox
Apr 12 at 21:55





My take on this is that his whole point was that everyone knows the pentatonic scale because they’ve heard it so many times. It’s a universal thing that spans cultures.

– Todd Wilcox
Apr 12 at 21:55




1




1





@foreyez Never apologise for good questions! +1

– user45266
Apr 13 at 6:20





@foreyez Never apologise for good questions! +1

– user45266
Apr 13 at 6:20










2 Answers
2






active

oldest

votes


















17














Humans are pattern-seeking primates. And within Western culture, we have all internalized, consciously or not, the patterns of the major scale and pentatonic scale, because they're commonly used in folk songs and children's tunes.



Once Bobby sings that A♯ at 1:06, the audience recognizes the pitches not as the entire major scale, but as the specific subset of it known as the pentatonic collection. (Again, this recognition can be conscious or subconscious.) From there, the audience is able to guess G♯ as the next lowest note, followed by E♯ below that.



Had he jumped to a B♯ at 1:06 instead, their brains would have recognized it as the major scale, and they would have almost certainly sung down that scale, instead.



It is cool that the crowd "guesses" G♯ at 1:56, but it's to be expected. With what we know of our brains' key-finding algorithms, it's one of the few choices available to us. We want to sing something that "fits" with the pitches already presented, and we tend to favor smaller steps instead of larger leaps. And since the audience has been primed to accept C♯ as tonic, they wouldn't have sung a G♮ or A♮, because those don't fit into any common scale patterns built on C♯ (and certainly none built on C♯ that also include E♯ and A♯).



And Todd makes a great point in the comments: once Bobby starts singing his melody above the audience at 1:18, he sings a G♯ as the second pitch!



Keep in mind too that there may be some strength in numbers here. Audience members with more musical education probably sang more confidently than those that view themselves as "tone deaf." So when a new pitch came, I would bet some audience members suddenly went very quiet until they heard what their neighbors were singing. But that's just speculation.






share|improve this answer




















  • 6





    One thing missed here is that he sings some of the “guessed” pitches first when he is singing along above the crowd.

    – Todd Wilcox
    Apr 12 at 22:00


















8














The crowd catch on quickly. But he cues them pretty strongly by singing the notes while setting up the pentatonic scale, and at 1'06" he definitely teaches the crowd what he wants. There's a similar demonstration online where he has to insist strongly that he wants a ♭7 rather than a leading note - the crowd definately prefer the latter :-)



He's got a point. He's got a lot of charisma. But yes, I think he could have done a similar demonstration (to a Western audience, at any rate) with a major scale.






share|improve this answer

























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    2 Answers
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    2 Answers
    2






    active

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    active

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    active

    oldest

    votes









    17














    Humans are pattern-seeking primates. And within Western culture, we have all internalized, consciously or not, the patterns of the major scale and pentatonic scale, because they're commonly used in folk songs and children's tunes.



    Once Bobby sings that A♯ at 1:06, the audience recognizes the pitches not as the entire major scale, but as the specific subset of it known as the pentatonic collection. (Again, this recognition can be conscious or subconscious.) From there, the audience is able to guess G♯ as the next lowest note, followed by E♯ below that.



    Had he jumped to a B♯ at 1:06 instead, their brains would have recognized it as the major scale, and they would have almost certainly sung down that scale, instead.



    It is cool that the crowd "guesses" G♯ at 1:56, but it's to be expected. With what we know of our brains' key-finding algorithms, it's one of the few choices available to us. We want to sing something that "fits" with the pitches already presented, and we tend to favor smaller steps instead of larger leaps. And since the audience has been primed to accept C♯ as tonic, they wouldn't have sung a G♮ or A♮, because those don't fit into any common scale patterns built on C♯ (and certainly none built on C♯ that also include E♯ and A♯).



    And Todd makes a great point in the comments: once Bobby starts singing his melody above the audience at 1:18, he sings a G♯ as the second pitch!



    Keep in mind too that there may be some strength in numbers here. Audience members with more musical education probably sang more confidently than those that view themselves as "tone deaf." So when a new pitch came, I would bet some audience members suddenly went very quiet until they heard what their neighbors were singing. But that's just speculation.






    share|improve this answer




















    • 6





      One thing missed here is that he sings some of the “guessed” pitches first when he is singing along above the crowd.

      – Todd Wilcox
      Apr 12 at 22:00















    17














    Humans are pattern-seeking primates. And within Western culture, we have all internalized, consciously or not, the patterns of the major scale and pentatonic scale, because they're commonly used in folk songs and children's tunes.



    Once Bobby sings that A♯ at 1:06, the audience recognizes the pitches not as the entire major scale, but as the specific subset of it known as the pentatonic collection. (Again, this recognition can be conscious or subconscious.) From there, the audience is able to guess G♯ as the next lowest note, followed by E♯ below that.



    Had he jumped to a B♯ at 1:06 instead, their brains would have recognized it as the major scale, and they would have almost certainly sung down that scale, instead.



    It is cool that the crowd "guesses" G♯ at 1:56, but it's to be expected. With what we know of our brains' key-finding algorithms, it's one of the few choices available to us. We want to sing something that "fits" with the pitches already presented, and we tend to favor smaller steps instead of larger leaps. And since the audience has been primed to accept C♯ as tonic, they wouldn't have sung a G♮ or A♮, because those don't fit into any common scale patterns built on C♯ (and certainly none built on C♯ that also include E♯ and A♯).



    And Todd makes a great point in the comments: once Bobby starts singing his melody above the audience at 1:18, he sings a G♯ as the second pitch!



    Keep in mind too that there may be some strength in numbers here. Audience members with more musical education probably sang more confidently than those that view themselves as "tone deaf." So when a new pitch came, I would bet some audience members suddenly went very quiet until they heard what their neighbors were singing. But that's just speculation.






    share|improve this answer




















    • 6





      One thing missed here is that he sings some of the “guessed” pitches first when he is singing along above the crowd.

      – Todd Wilcox
      Apr 12 at 22:00













    17












    17








    17







    Humans are pattern-seeking primates. And within Western culture, we have all internalized, consciously or not, the patterns of the major scale and pentatonic scale, because they're commonly used in folk songs and children's tunes.



    Once Bobby sings that A♯ at 1:06, the audience recognizes the pitches not as the entire major scale, but as the specific subset of it known as the pentatonic collection. (Again, this recognition can be conscious or subconscious.) From there, the audience is able to guess G♯ as the next lowest note, followed by E♯ below that.



    Had he jumped to a B♯ at 1:06 instead, their brains would have recognized it as the major scale, and they would have almost certainly sung down that scale, instead.



    It is cool that the crowd "guesses" G♯ at 1:56, but it's to be expected. With what we know of our brains' key-finding algorithms, it's one of the few choices available to us. We want to sing something that "fits" with the pitches already presented, and we tend to favor smaller steps instead of larger leaps. And since the audience has been primed to accept C♯ as tonic, they wouldn't have sung a G♮ or A♮, because those don't fit into any common scale patterns built on C♯ (and certainly none built on C♯ that also include E♯ and A♯).



    And Todd makes a great point in the comments: once Bobby starts singing his melody above the audience at 1:18, he sings a G♯ as the second pitch!



    Keep in mind too that there may be some strength in numbers here. Audience members with more musical education probably sang more confidently than those that view themselves as "tone deaf." So when a new pitch came, I would bet some audience members suddenly went very quiet until they heard what their neighbors were singing. But that's just speculation.






    share|improve this answer















    Humans are pattern-seeking primates. And within Western culture, we have all internalized, consciously or not, the patterns of the major scale and pentatonic scale, because they're commonly used in folk songs and children's tunes.



    Once Bobby sings that A♯ at 1:06, the audience recognizes the pitches not as the entire major scale, but as the specific subset of it known as the pentatonic collection. (Again, this recognition can be conscious or subconscious.) From there, the audience is able to guess G♯ as the next lowest note, followed by E♯ below that.



    Had he jumped to a B♯ at 1:06 instead, their brains would have recognized it as the major scale, and they would have almost certainly sung down that scale, instead.



    It is cool that the crowd "guesses" G♯ at 1:56, but it's to be expected. With what we know of our brains' key-finding algorithms, it's one of the few choices available to us. We want to sing something that "fits" with the pitches already presented, and we tend to favor smaller steps instead of larger leaps. And since the audience has been primed to accept C♯ as tonic, they wouldn't have sung a G♮ or A♮, because those don't fit into any common scale patterns built on C♯ (and certainly none built on C♯ that also include E♯ and A♯).



    And Todd makes a great point in the comments: once Bobby starts singing his melody above the audience at 1:18, he sings a G♯ as the second pitch!



    Keep in mind too that there may be some strength in numbers here. Audience members with more musical education probably sang more confidently than those that view themselves as "tone deaf." So when a new pitch came, I would bet some audience members suddenly went very quiet until they heard what their neighbors were singing. But that's just speculation.







    share|improve this answer














    share|improve this answer



    share|improve this answer








    edited Apr 13 at 15:18

























    answered Apr 12 at 21:33









    RichardRichard

    46.3k7112199




    46.3k7112199







    • 6





      One thing missed here is that he sings some of the “guessed” pitches first when he is singing along above the crowd.

      – Todd Wilcox
      Apr 12 at 22:00












    • 6





      One thing missed here is that he sings some of the “guessed” pitches first when he is singing along above the crowd.

      – Todd Wilcox
      Apr 12 at 22:00







    6




    6





    One thing missed here is that he sings some of the “guessed” pitches first when he is singing along above the crowd.

    – Todd Wilcox
    Apr 12 at 22:00





    One thing missed here is that he sings some of the “guessed” pitches first when he is singing along above the crowd.

    – Todd Wilcox
    Apr 12 at 22:00











    8














    The crowd catch on quickly. But he cues them pretty strongly by singing the notes while setting up the pentatonic scale, and at 1'06" he definitely teaches the crowd what he wants. There's a similar demonstration online where he has to insist strongly that he wants a ♭7 rather than a leading note - the crowd definately prefer the latter :-)



    He's got a point. He's got a lot of charisma. But yes, I think he could have done a similar demonstration (to a Western audience, at any rate) with a major scale.






    share|improve this answer





























      8














      The crowd catch on quickly. But he cues them pretty strongly by singing the notes while setting up the pentatonic scale, and at 1'06" he definitely teaches the crowd what he wants. There's a similar demonstration online where he has to insist strongly that he wants a ♭7 rather than a leading note - the crowd definately prefer the latter :-)



      He's got a point. He's got a lot of charisma. But yes, I think he could have done a similar demonstration (to a Western audience, at any rate) with a major scale.






      share|improve this answer



























        8












        8








        8







        The crowd catch on quickly. But he cues them pretty strongly by singing the notes while setting up the pentatonic scale, and at 1'06" he definitely teaches the crowd what he wants. There's a similar demonstration online where he has to insist strongly that he wants a ♭7 rather than a leading note - the crowd definately prefer the latter :-)



        He's got a point. He's got a lot of charisma. But yes, I think he could have done a similar demonstration (to a Western audience, at any rate) with a major scale.






        share|improve this answer















        The crowd catch on quickly. But he cues them pretty strongly by singing the notes while setting up the pentatonic scale, and at 1'06" he definitely teaches the crowd what he wants. There's a similar demonstration online where he has to insist strongly that he wants a ♭7 rather than a leading note - the crowd definately prefer the latter :-)



        He's got a point. He's got a lot of charisma. But yes, I think he could have done a similar demonstration (to a Western audience, at any rate) with a major scale.







        share|improve this answer














        share|improve this answer



        share|improve this answer








        edited Apr 13 at 15:28

























        answered Apr 12 at 22:08









        Laurence PayneLaurence Payne

        37.8k1872




        37.8k1872



























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            Romeo and Juliet ContentsCharactersSynopsisSourcesDate and textThemes and motifsCriticism and interpretationLegacyScene by sceneSee alsoNotes and referencesSourcesExternal linksNavigation menu"Consumer Price Index (estimate) 1800–"10.2307/28710160037-3222287101610.1093/res/II.5.31910.2307/45967845967810.2307/2869925286992510.1525/jams.1982.35.3.03a00050"Dada Masilo: South African dancer who breaks the rules"10.1093/res/os-XV.57.1610.2307/28680942868094"Sweet Sorrow: Mann-Korman's Romeo and Juliet Closes Sept. 5 at MN's Ordway"the original10.2307/45957745957710.1017/CCOL0521570476.009"Ram Leela box office collections hit massive Rs 100 crore, pulverises prediction"Archived"Broadway Revival of Romeo and Juliet, Starring Orlando Bloom and Condola Rashad, Will Close Dec. 8"Archived10.1075/jhp.7.1.04hon"Wherefore art thou, Romeo? To make us laugh at Navy Pier"the original10.1093/gmo/9781561592630.article.O006772"Ram-leela Review Roundup: Critics Hail Film as Best Adaptation of Romeo and Juliet"Archived10.2307/31946310047-77293194631"Romeo and Juliet get Twitter treatment""Juliet's Nurse by Lois Leveen""Romeo and Juliet: Orlando Bloom's Broadway Debut Released in Theaters for Valentine's Day"Archived"Romeo and Juliet Has No Balcony"10.1093/gmo/9781561592630.article.O00778110.2307/2867423286742310.1076/enst.82.2.115.959510.1080/00138380601042675"A plague o' both your houses: error in GCSE exam paper forces apology""Juliet of the Five O'Clock Shadow, and Other Wonders"10.2307/33912430027-4321339124310.2307/28487440038-7134284874410.2307/29123140149-661129123144728341M"Weekender Guide: Shakespeare on The Drive""balcony"UK public library membership"romeo"UK public library membership10.1017/CCOL9780521844291"Post-Zionist Critique on Israel and the Palestinians Part III: Popular Culture"10.2307/25379071533-86140377-919X2537907"Capulets and Montagues: UK exam board admit mixing names up in Romeo and Juliet paper"Istoria Novellamente Ritrovata di Due Nobili Amanti2027/mdp.390150822329610820-750X"GCSE exam error: Board accidentally rewrites Shakespeare"10.2307/29176390149-66112917639"Exam board apologises after error in English GCSE paper which confused characters in Shakespeare's Romeo and Juliet""From Mariotto and Ganozza to Romeo and Guilietta: Metamorphoses of a Renaissance Tale"10.2307/37323537323510.2307/2867455286745510.2307/28678912867891"10 Questions for Taylor Swift"10.2307/28680922868092"Haymarket Theatre""The Zeffirelli Way: Revealing Talk by Florentine Director""Michael Smuin: 1938-2007 / Prolific dance director had showy career"The Life and Art of Edwin BoothRomeo and JulietRomeo and JulietRomeo and JulietRomeo and JulietEasy Read Romeo and JulietRomeo and Julieteeecb12003684p(data)4099369-3n8211610759dbe00d-a9e2-41a3-b2c1-977dd692899302814385X313670221313670221