Flute

Flute (pronounced floot)

(1) A woodwind instrument consisting of a tube with a row of finger-holes (or keys) which produce sound through vibrations caused by air blown across the edge of the holes, often tuned by plugging one or more holes with a finger; the Western concert flute, a transverse side-blown flute of European origin (in colloquial use, a recorder, also a woodwind instrument).

(2) An organ stop with wide flue pipes, having a flutelike tone.

(3) In architecture or engineering (particularly the manufacture of firearms), a semi-cylindrical vertical channel, groove or furrow, as on the shaft of a column, in a pillar, in plaited cloth, or in a rifle barrel to cut down the weight.

(4) Any groove or furrow, as in a ruffle of cloth or on a piecrust.

(5) One of the helical grooves of a twist drill.

(6) A slender, footed wineglass with a tall, conical bowl.

(7) A similar stemmed glass, used especially for champagne and often styled as "champagne flute".

(8) In steel fabrication, to kink or break in bending.

(9) In various fields of design, to form longitudinal flutes or furrows.

(10) A long bread roll of French origin; a baguette.

(11) A shuttle in weaving, tapestry etc.

(12) To play on a flute; to make or utter a flutelike sound. 

(13) To form flutes or channels in (as in a column, a ruffle etc); to cut a semi-cylindrical vertical groove in (as in a pillar etc).

1350-1400; From the Middle English floute, floute & flote, from the Middle French flaüte, flahute & fleüte, from the twelfth century Old French flaute (musical), from the Old Provençal flaüt (thought an alteration of flaujol or flauja) of uncertain origin but may be either (1) a blend of the Provencal flaut or  flaujol (flageolet) + laut (lute) or (2) from the Classical Latin flātus (blowing), from flāre (to blow) although there is support among etymologists for the notion of it being a doublet of flauta & fluyt.  In other languages, the variations include the Irish fliúit and the Welsh ffliwt.  The form in Vulgar Latin has been cited as flabeolum but evidence is scant and all forms are thought imitative of the Classical Latin flāre and other Germanic words (eg flöte) are borrowings from French.

Portrait of Archduchess Maria Antonia of Austria (later Queen Marie Antoinette of France (1774-1792)), circa 1768, oil on canvas by Martin van Meytens  (1695–1770).

Fluted & fluting both date from the 1610 while the verb (in the sense of "to play upon a flute" emerged in the late fourteenth century and the use to describe grooves in engineering dates from 1570s and the tall, slender wine glass, almost a century later although the term "champagne flute" didn't enter popular use until the 1950s.  The champagne flute is preferred by many to the coupé (or saucer) even though it lacks the (since unfortunately debunked) legend that the shape of the latter was modelled on Marie Antoinette’s (1754-1793) left breast.  Elegant though it is, the advantages of the flute are entirely functional, the design providing for less spillage than a coupé, something which comes to be more valued as lunch progresses and the slender, tapered shape is claimed better to preserved the integrity of the bubbles, the smaller surface area and thus reduced oxygen-to-wine ratio maintaining the aroma and taste.

Grand Cru's guide to the shape of champagne glasses.

Among musical instruments, there are a dozen or more distinct types of flute.  Early French flutes differed greatly from modern instruments in having a separate mouthpiece and were called flûte-a-bec (literally "flute with a beak").  The ancient devices were played directly, blown straight through a mouthpiece but held away from the player's mouth, the modern transverse (or "German") flute not appearing until the eighteenth century and the familiar modern design and key system of the concert flute were perfected 1834 by Bavarian court musician & virtuoso flautist Theobald Boehm (1794–1881), the fingering system known to this day as "Boehm system").  The architectural sense of "furrow in a pillar" dates from the mid-seventeenth century and was derived from the vague resemblance to the inside of a flute split down the middle.  One imaginative linguistic adoption was the use (apparently only in US) of "playing the skin flute" in the 1940s to describe gay men (the metaphor of flute based on male anatomy) on the basis of those who play the skin flute.  Use shifted to fruit, either by virtue of use at the time being almost exclusively oral rather than written (linguistically, that’s classified as an example of an imperfect echoic) or because "fruit" was then in use as a gay slur.  Flute is a noun, fluting is a noun, verb & adjective and fluted is a verb & adjective; the noun plural is flutes.

Fluted grill on 1972 Series 1, 4.2 Litre Daimler Sovereign.

In British use, one who plays the flute is a flautist (pronounced flaw-tist (U) or flou-tist (non-U)), from the Italian flautista, the construct being flauto (flute) +‎ -ista.  The -ist suffix was from the Middle English -ist & -iste, from the Old French -iste and the Latin -ista, from the Ancient Greek -ιστής (-istḗs), from -ίζω (-ízō) (the -ize & -ise verbal suffix) and -τής (-tḗs) (the agent-noun suffix).  It was added to nouns to denote various senses of association such as (1) a person who studies or practices a particular discipline, (2), one who uses a device of some kind, (3) one who engages in a particular type of activity, (4) one who suffers from a specific condition or syndrome, (5) one who subscribes to a particular theological doctrine or religious denomination, (6) one who has a certain ideology or set of beliefs, (7) one who owns or manages something and (8), a person who holds very particular views (often applied to those thought most offensive).  The alternative forms are the unimaginative (though descriptive) flute-player and the clumsy pair fluter although the odd historian or music critic will use aulete, from the Ancient Greek αὐλητής (aulētḗs), from αὐλέω (auléō) (I play the flute), from αὐλός (aulós) (flute).  The spelling flutist is preferred in the US and it's actually an old form, dating from circa 1600 and probably from the French flûtiste and it replaced the early thirteenth century Middle English flouter (from the Old French flauteor).

Daimler, the fluted grill and US trademark law

1972 Daimler Double-Six Vanden Plas.

Vanden Plas completed only 342 of the Series 1 (1972-1973) Daimler Double Sixes, the later Series 2 (1973-1979) & 3 (1979-1992) being more numerous.  The flutes atop the grill date from the early twentieth-century and were originally a functional addition to the radiator to assist heat-dissipation but later became a mere styling embellishment.  Although some sources claim there were 351 of the Series 1 Double-Six Vanden Plas, the factory insists the total was 342.  British Leyland and its successor companies would continue to use the Vanden Plas name for some of the more highly-specified Daimlers but applied it also to Jaguars because in some markets the trademark to the Daimler name came to be held by Daimler-Benz AG (since 2022 Mercedes-Benz Group AG), a legacy from the earliest days of motor-car manufacturing and despite the English middle class always pronouncing the name van-dem-plarr, it's correctly pronounced van-dem-plass.

1976 Daimler Double-Six Vanden Plas two door.

The rarest Double-Six Vanden Plas was a genuine one-off, a two door built reputedly using one of the early prototypes, a regular production version contemplated but cancelled after the first was built.  Jaguar would once have called such things fixed head coupés (FHC) but labelled the XJ derivatives as "two door saloons" and always referred to them thus, presumably as a point of differentiation with the XJ-S produced at the same time.  Despite the corporate linguistic nudge, everybody seems always to have called them coupés.  Why the project was cancelled isn't known but it was a time of industrial and financial turmoil for the company and distractions, however minor, may have been thought unwelcome.  Although fully-finished, apart from the VDP-specific trim, it includes also some detail mechanical differences from the regular production two-door Double-Six although both use the distinctive fluted finish on both the grill and trunk (boot) lid trim.  The car still exists.  The two-door XJs (1975-1978) rank with the earliest versions (1961-1967) of the E-Type (XKE; 1961-1974) as the finest styling Jaguar ever achieved and were it not for the unfortunate vinyl roof (a necessity imposed by the inability of the paint of the era to cope with the slight flexing of the roof), it would visually be as close to perfect as any machine ever made.

Using one of his trademark outdoor settings, Norman Parkinson (1913-1990) photographed model Suzanne Kinnear (b 1935) adorning a Daimler SP250, wearing a Kashmoor coat and Otto Lucas beret with jewels by Cartier.  The image was published on the cover of Vogue's UK edition in November 1959.

Although Daimlers had, in small numbers, been imported into US for decades, after Jaguar purchased the company in 1960, there was renewed interest and the first model used to test the market was the small, fibreglass-bodied roadster, probably the most improbable Daimler ever and one destined to fail, doomed by (1) the quirky styling and (2) the lack of product development.  It was a shame because what made it truly unique was the hemi-headed 2.5 litre (155 cubic inch) V8 which was one of the best engines of the era and remembered still for the intoxicating exhaust note.  The SP250 was first shown to the public at the 1959 New York Motor Show and there the problems began.  Aware the small sports car was quite a departure from the luxurious but rather staid line-up Daimler had for years offered, the company had chosen the pleasingly alliterative “Dart” as its name, hoping it would convey the sense of something agile and fast.  Unfortunately, Chrysler’s lawyers were faster still, objecting that they had already registered Dart as the name for a full-sized Dodge so Daimler needed a new name and quickly; the big Dodge would never be confused with the little Daimler but the lawyers insisted.  Imagination apparently exhausted, Daimler’s management reverted to the engineering project name and thus the car became the SP250 which was innocuous enough even for Chrysler's attorneys and it could have been worse.  Dodge had submitted their Dart proposal to Chrysler for approval and while the car found favor, the name did not and the marketing department was told to conduct research and come up with something the public would like.  From this the marketing types gleaned that “Dodge Zipp” would be popular and to be fair, dart and zip(p) do imply much the same thing but ultimately the original was preferred and Darts remained in Dodge’s lineup until 1976, for most of that time one of the corporation's best-selling and most profitable lines.  The name was revived between 2012-2016 for an unsuccessful and unlamented compact sedan.

US market 2001 Jaguar Vanden Plas (X308).  These were the only Jaguars factory-fitted with the fluted trim.

Decades later, US trademark law would again intrude on Jaguar’s Daimler business in the US.  The company had stopped selling Daimlers in the US with the coming of January 1968 when the first trickle (soon to be a flood) of safety & emission regulations came into force, the explanation being the need to devote and increasing amount of by then scarce capital to compliance, meaning the marketing budget could no longer sustain small-volume brands & models.  In Stuttgart, the Daimler-Benz lawyers took note and decided to reclaim the name, eventually managing to secure registration of the trademark and Daimlers have not since been available in the US.  However, there was still clearly demand for an up-market Jaguar and so the Sovereign name (used on Daimlers between 1966-1983) was applied to Jaguar XJ sedans which although mechanically unchanged were equipped with more elaborate appointments.  Sales were good so the US market also received some even more luxurious Vanden Plas models and during the XJ’s X308 model run (1997-2003), the VDP cars were fitted with the fluted grill and trunk-lid trim as an additional means of product differentiation.  It would be the last appearance of the flutes in North America.

Pim Fortuyn in Daimler V8, February 2002 (left), paramedics attending to him at the scene of his assassination a few paces from the Daimler, 6 May 2002 (he died at the scene) (centre) and the car when on sale, Amsterdam, June 2018 (right). 

Jaguar became aware the allure of the flutes was real when it emerged a small but profitable industry had emerged in the wake of the company also ceasing to use the Daimler name in European markets; by the 1990s, it was only in the UK, Australia & New Zealand that they were available.  However, enterprising types armed with nothing more than a list of Jaguar part-numbers had created kits containing the fluted trim parts and the Daimler-specific badges, these shipped to dealers or private buyers on the continent so Jaguar XJs could become “Daimlers”.  The company took note and re-introduced the range to Europe, Germany a particularly receptive market.  One notable owner of a real long wheelbase (LWB) Daimler V8 (X308) was the Dutch academic and politician Pim Fortuyn (1948-2002), assassinated during the 2002 national election campaign, by a left-wing environmentalist and animal rights activist.

Lindsay Lohan with stainless steel Rolex Datejust (Roman numeral dial) with fluted white gold bezel.

Litotes, meiosis & paradiastole

Litotes (pronounced lahy-tuh-teez, lit-uh-teez or lahy-toh-teez)

In formal rhetoric, a figure of speech whereby something is stated by denying its opposite, especially (though not of necessity) one in which an affirmative is expressed by the negative of its contrary (a certain class of understatement).

1650–1660: A learned borrowing from the Late Latin lītotēs, from the Ancient Greek λιτότης (litótēs) (literally “plainness” and used in the sense also of “simplicity, understatement”), from λιτός (litós) (smooth, plain, simple).  In the rules and conventions of classical rhetoric, litotes was known also as moderatour or antenantiosis; it was a device to achieve a ironic effect, emphasizing a point by stating a negative further to affirm a positive, often by the use of a double negatives.  Litotes is a noun, litotical is an adjective and litotically is an adverb; the noun plural is litotes.

Meiosis (pronounced mahy-oh-sis)

(1) In cell biology, part of the process of gamete formation, consisting of chromosome conjugation and two cell divisions, in the course of which the diploid chromosome number becomes reduced to the haploid

(2) In formal rhetoric, belittlement or notably expressive understatement.

1580–1590: From the Ancient Greek meíōsis (a lessening), the construct being meiō-, (a variant stem of meioûn (to lessen) from meíōn (less)) + -sis.  The –sis suffix was from the Ancient Greek -σις (-sis) and was used to forms noun of action), often via Latin but increasingly also from French; it had exactly the same effect as the Latin –entia and the English -ing.  Historically, the use in terms borrowed from Ancient Greek was comparatively rare but there are many modern coinages based on Ancient Greek roots, reflecting to ongoing reverence for the ancient languages.  Meiosis is a noun, meiotic is an adjective and meiotically is an adverb.

Paradiastole (pronounced par-uh-die-ast-oh-lee

In formal rhetoric, a form of euphemism in which a positive synonym is substituted for a negative word.

Circa 1640: From the Ancient Greek παραδιαστολή (paradiastolḗ), the construct being παρα- (para-) (next to, alongside) + διαστολή (diastolḗ) (separation, distinction).  Paradiastole is a noun, paradiastolic is an adjective and paradiastolically is an adverb; the noun plural is paradiastoles.

Hirohito saluting on white horse at an army parade, Yoyogi Parade Ground, Tokyo, 1933.

The use of understatement is cross-cultural and is identifiable in many languages and the English upper classes made it something of a tradition; it was never unexpected to hear some grandee refer to his forty-room country house as “the cottage” but for sheer scale, few can match Emperor Hirohito (1901-1989; Emperor (昭和天皇 (Shōwa-tennō) of Japan 1926-1989).   Having endured hearing a long succession of bad news about the state of Japanese military affairs, he learned of the defeat of his axis partner, Nazi Germany and then, the dropping of atomic bombs on Hiroshima and Nagasaki.  Unlike some of the generals, admirals and politicians advising him, the emperor accepted the inevitable and on 14 August 1945, delivered a speech effectively accepting the terms of the Potsdam Declaration (26 July 1945), the Allies' demand of unconditional surrender.  It had taken two A-Bombs to summon the most memorable understatement of World War II (1939-1945):  “…the war situation has developed not necessarily to Japan's advantage...”  So, if the word “understatement” is well understood and widely practiced, why the need for “litotes”, “meiosis” & “paradiastole”, all figures of speech which are a form of understatement.  For what most people do, most of the time, there’s really no need at all and “understatement” is better because its meaning isn’t obscure, unlike the classical trio.  However, in the arcane world of literary theory and textual deconstruction, the words do have some utility to convey subtle or nuanced meanings.

Lindsay Lohan and her lawyer in court, Los Angeles, December, 2011.

A litotes is a form of understatement in which a double negative or a negation is used to affirm something positive, usually with some implication of restraint in the expression, a familiar example being “he’s not the most intelligent person I know” which people understand as “he’s a bit dim” without brutal edge and in that it’s also an applied euphemism.  It can also be used to create ambiguities in meaning, illustrated in the BBC TV comedy series Yes Minister (1980-1984) when the minister discovers his performance in office is in many places being described as “not bad” and he’s troubled because the mere phrase does not convey the meaning.  Without the context in which the words were uttered and the various non-verbal clues attached to the delivery, he has no idea whether he’s being regarded “quite good” or “not quite good enough”.  It does seem “litotes” is sometimes applied to what are, strictly speaking, an example of “meiosis”, usually in instances where what’s being described is apparently “weak or understated” but having the effect of intensification.

Boris Johnson (b 1964; UK prime-minister 2019-2022) with champagne flute (image digitally altered by In Defence of Marxism).

The nuance attached to a meiosis was it was a type of understatement downplaying the significance of something, often with the hope of creating the impression things are not as bad as they seem.  Done well, it can work:  When Harold Macmillan (1894–1986; UK prime-minister 1957-1963) casually alluded to a few “local difficulties” (the crisis engendered by the resignation of his entire team of Treasury ministers) before flying off for a tour of the Commonwealth, his words did the trick and the ructions almost immediately subsided.  Unlike litotes, the meiosis is not so associated with double negatives but is characterized by “minimizing language”.  In politics, the paradiastole is perhaps the highest form of the understatement because it’s of such utility in the deployment of that standard tool of the politician: the lie.

Donald Trump (b 1946; US president 2017-2021) on the hustings, Trump National Golf Club, Bedminster, New Jersey, August, 2024.

The paradiastole is a rhetorical device used to reframe something negative or morally questionable as something positive or at least neutral and there’s some connection with the mechanics of “Newspeak” described by George Orwell (1903-1950) in Nineteen Eighty-Four (1949) while in structural linguistics it’s defined as the “rhetorical technique of evaluative redescription”.  While most of us relate to that as “euphemism”, the paradiastole differs in that instead of being a “polite” way of referring to something, it’s used in an attempt to shift the perception of meaning.  Some paradiastoles are themselves ironic such as the use in IT to describe bugs in software as “undocumented features” but often it’s an attempt to deceive or manipulate by seeking to recast something unpleasant as favorable.

Appoggiatura

Appoggiatura (pronounced uh-poj-uh-too-r-uh or uh-poj-uh-tyoo- r-uh or ahp-pawd-jah-too-rah (Italian))

In musical composition, an ornament consisting of a non-harmonic note (short or long) preceding a harmonic one either before or on the stress (a note of embellishment preceding another note and taking a portion of its time).

1745-1755: From the Italian appoggiatura, from appoggiare (to lean; to prop; to support) from the Vulgar Latin appodiāre (present active infinitive of appodiō, from the Classical Latin podium) and related to the French appuyer, the Spanish apoyar and the Portuguese apoiar.  The meaning in music is for the sense of one note “propping up” another.

The Appoggiatura

As in many fields, fashions in music change.  There was a period, during the sixteenth century, when the rules of counterpoint were strict and discords permissible only if they were prepared and resolved in ways used in the previous sections; the only discord normally allowed on the strong beat was the suspension.  There the discord is prepared by the note being tied across from a weak to a strong beat and resolved onto the next weak beat; a type of syncopation.  In the mid-century however, there was a relaxation of the rules of voice leading which included experimentation with unprepared discords, the most important of which was the appoggiatura.  The appoggiatura started as a decorative note which displaced the first part of a note of a melody.  It occurred on the strong beat of the bar and could be either dissonant or consonant but in either case, the appoggiatura resolved (upwards or downwards) onto a consonance but, unlike the suspension, did not require to be prepared or tied from a previous note.  In order to overcome the earlier rule that all discords had to be prepared, the appoggiatura was originally shown as an ornament but later was written out in full.

An ornament: Bach, Orchestral Suite in B minor for flute and strings: Menuet.

That was just a fudge, a composer paying respect to a rule while breaking it because, as played, an appoggiatura is not a short ornament, it takes usually up a full half of the length of the note that it resolves onto and if resolved onto a note three beats long, it takes up a third or two thirds the length.  The appoggiatura is usually connected with the main harmony note by a slur and is normally played with a small degree of emphasis.

Haydn: Sonata in G major XVI:27 Allegro con Brio.

Haydn shows appoggiaturas at *1, *2 and *3, now written out in-full as was normal practice in the classical period. Their identity as elaborating notes is given away by the presence of the slurs.

The two superstars of the 1950s.  Maria Callas (1923-1977)  and Marilyn Monroe (1926-1962), back-stage after the "Happy Birthday Mr President" performance, Madison Square Garden, New York, 19 May 1962.  Within three months, Marilyn Monroe would be dead.

December 2 2023 marked the hundredth anniversary of the birth of the singer Maria Callas, the soprano who remains still more famous than any other and the subject of a cult, something attributable certainly to her art but the tempestuous life she led off the stage attracted many; in the very modern sense of the word, Callas was a celebrity.  What Callas is in 2023 is thus a construct, a mix of myth, discography, and public persona although it’s more correct to say she’s a number of constructs; the criteria of trained musicians and critics likely to differ from those who just listen.  She was neither the most technically accomplished nor the most refined singer and yet, as Sir Rudolf Bing (1902–1997; General Manager of the Metropolitan Opera in New York (the Met)) famously noted, “having once heard Callas, it was difficult to listen to anyone else sing the same music”.  That was because whatever the technical flaws or deliberate departures from what had become the accepted techniques of the mid-twentieth century, Callas brought to every performance a thrilling intensity which made the characters come alive in a way even the most virtuosic of her contemporaries couldn’t quite match.

The critics impressed only by technical ecstasy liked to label Callas a “singing actress” and there’s something in that but not in the way they mean; the “acting” wasn’t there to compensate for the voice, it was a part of the voice.  There are several recordings of the “madness” scene in Gaetano Donizetti's (1797–1848) Lucia di Lammermoor (1835) in which, as an exercise in singing, the performances are more accomplished yet it’s the Callas version which is the definitive because only she can send a shiver down the spine.  It was in the interpretation, just as it was when, in Giuseppe Verdi’s (1813–1901) Otello (1886), she played with layers of vocal tones variously to convey feelings of warm nostalgia, paranoia, depression and impending death.  Whatever was in the score to be expressed, it’s there but it wasn’t done with vocal pyrotechnics, indeed Callas, in both studio recordings and live performances often eschewed the cadential trills and appoggiature which, although unwritten, had entered Opera in the seventeenth century and become a signature of sopranos since at least the early nineteenth.  What she did with her voice has been called a kind of “operatic word-painting”, a lending of emotional depth which enabled her, more than any other to transcend the theatrical artificiality of opera and it’s this quality which means even roles for which she seemed an improbable choice (such as Giacomo Puccini’s (1858–1924) Madam Butterfly (1904)) demand attention.