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id stringlengths 4 9	title stringlengths 1 124	content stringlengths 0 26k	contents stringlengths 4 26k	wiki_id stringlengths 2 7
AA_700	Aristotle	seder tra filosofica famiglia.	Aristotle. seder tra filosofica famiglia.	308
AA_701	Aristotle	Tutti lo miran, tutti onor li fanno:	Aristotle. Tutti lo miran, tutti onor li fanno:	308
AA_702	Aristotle	quivi vid'ïo Socrate e Platone	Aristotle. quivi vid'ïo Socrate e Platone	308
AA_703	Aristotle	che 'nnanzi a li altri più presso li stanno;</poem>	Aristotle. che 'nnanzi a li altri più presso li stanno;</poem>	308
AA_704	Aristotle	<poem>I saw the Master there of those who know,	Aristotle. <poem>I saw the Master there of those who know,	308
AA_705	Aristotle	Amid the philosophic family,	Aristotle. Amid the philosophic family,	308
AA_706	Aristotle	By all admired, and by all reverenced;	Aristotle. By all admired, and by all reverenced;	308
AA_707	Aristotle	There Plato too I saw, and Socrates,	Aristotle. There Plato too I saw, and Socrates,	308
AA_708	Aristotle	Who stood beside him closer than the rest.	Aristotle. Who stood beside him closer than the rest.	308
AA_709	Aristotle	The German philosopher Friedrich Nietzsche has been said to have taken nearly all of his political philosophy from Aristotle. However debatable this is, Aristotle rigidly separated action from production, and argued for the deserved subservience of some people ("natural slaves"), and the natural superiority (virtue, "arete") of others. It is Martin Heidegger, not Nietzsche, who elaborated a new interpretation of Aristotle, intended to warrant his deconstruction of scholastic and philosophical tradition. Ayn Rand accredited Aristotle as "the greatest philosopher in history" and cited him as a major influence on her thinking. More recently, Alasdair MacIntyre has attempted to reform what he calls the Aristotelian tradition in a way that is anti-elitist and capable of disputing the claims of both liberals and Nietzscheans.	Aristotle. The German philosopher Friedrich Nietzsche has been said to have taken nearly all of his political philosophy from Aristotle. However debatable this is, Aristotle rigidly separated action from production, and argued for the deserved subservience of some people ("natural slaves"), and the natural superiority (virtue, "arete") of others. It is Martin Heidegger, not Nietzsche, who elaborated a new interpretation of Aristotle, intended to warrant his deconstruction of scholastic and philosophical tradition. Ayn Rand accredited Aristotle as "the greatest philosopher in history" and cited him as a major influence on her thinking. More recently, Alasdair MacIntyre has attempted to reform what he calls the Aristotelian tradition in a way that is anti-elitist and capable of disputing the claims of both liberals and Nietzscheans.	308
AA_710	Aristotle	The works of Aristotle that have survived from antiquity through medieval manuscript transmission are collected in the Corpus Aristotelicum. These texts, as opposed to Aristotle's lost works, are technical philosophical treatises from within Aristotle's school. Reference to them is made according to the organization of Immanuel Bekker's Royal Prussian Academy edition ("Aristotelis Opera edidit Academia Regia Borussica", Berlin, 1831–1870), which in turn is based on ancient classifications of these works.	Aristotle. The works of Aristotle that have survived from antiquity through medieval manuscript transmission are collected in the Corpus Aristotelicum. These texts, as opposed to Aristotle's lost works, are technical philosophical treatises from within Aristotle's school. Reference to them is made according to the organization of Immanuel Bekker's Royal Prussian Academy edition ("Aristotelis Opera edidit Academia Regia Borussica", Berlin, 1831–1870), which in turn is based on ancient classifications of these works.	308
AA_711	Aristotle	The Aristotle Mountains along the Oscar II Coast of Graham Land, Antarctica, are named after Aristotle. He was the first person known to conjecture, in his book "Meteorology", the existence of a landmass in the southern high-latitude region and call it "Antarctica".	Aristotle. The Aristotle Mountains along the Oscar II Coast of Graham Land, Antarctica, are named after Aristotle. He was the first person known to conjecture, in his book "Meteorology", the existence of a landmass in the southern high-latitude region and call it "Antarctica".	308
AA_712	Aristotle	Aristoteles is a crater on the Moon bearing the classical form of Aristotle's name.	Aristotle. Aristoteles is a crater on the Moon bearing the classical form of Aristotle's name.	308
AA_713	Aristotle	The secondary literature on Aristotle is vast. The following references are only a small selection.	Aristotle. The secondary literature on Aristotle is vast. The following references are only a small selection.	308
AA_714	Aristotle	Perseus Project at Tufts University.	Aristotle. Perseus Project at Tufts University.	308
AA_715	Aristotle	P. Remacle	Aristotle. P. Remacle	308
AA_716	Aristotle	Aristotle Collection (translation).	Aristotle. Aristotle Collection (translation).	308
AA_717	An American in Paris	An American in Paris	An American in Paris. An American in Paris	309
AA_718	An American in Paris	An American in Paris is a jazz-influenced orchestral piece by the American composer George Gershwin, written in 1928. Inspired by the time Gershwin had spent in Paris, it evokes the sights and energy of the French capital in the 1920s and is one of his best-known compositions.	An American in Paris. An American in Paris is a jazz-influenced orchestral piece by the American composer George Gershwin, written in 1928. Inspired by the time Gershwin had spent in Paris, it evokes the sights and energy of the French capital in the 1920s and is one of his best-known compositions.	309
AA_719	An American in Paris	Gershwin composed "An American in Paris" on commission from the conductor Walter Damrosch. He scored the piece for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. He brought back some Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928, in Carnegie Hall, with Damrosch conducting the New York Philharmonic. Gershwin completed the orchestration on November 18, less than four weeks before the work's premiere.	An American in Paris. Gershwin composed "An American in Paris" on commission from the conductor Walter Damrosch. He scored the piece for the standard instruments of the symphony orchestra plus celesta, saxophones, and automobile horns. He brought back some Parisian taxi horns for the New York premiere of the composition, which took place on December 13, 1928, in Carnegie Hall, with Damrosch conducting the New York Philharmonic. Gershwin completed the orchestration on November 18, less than four weeks before the work's premiere.	309
AA_720	An American in Paris	Gershwin collaborated on the original program notes with the critic and composer Deems Taylor, noting that: "My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere." When the tone poem moves into the blues, "our American friend ... has succumbed to a spasm of homesickness." But, "nostalgia is not a fatal disease." The American visitor "once again is an alert spectator of Parisian life" and "the street noises and French atmosphere are triumphant."	An American in Paris. Gershwin collaborated on the original program notes with the critic and composer Deems Taylor, noting that: "My purpose here is to portray the impression of an American visitor in Paris as he strolls about the city and listens to various street noises and absorbs the French atmosphere." When the tone poem moves into the blues, "our American friend ... has succumbed to a spasm of homesickness." But, "nostalgia is not a fatal disease." The American visitor "once again is an alert spectator of Parisian life" and "the street noises and French atmosphere are triumphant."	309
AA_721	An American in Paris	Gershwin was attracted by Maurice Ravel's unusual chords. Upon Gershwin's request, Ravel accepted him as a student, and Gershwin went on his first trip to Paris in 1926 ready to study. After his initial student audition with Ravel turned into a sharing of musical theories, Ravel said he couldn't teach him but he would send a letter referring him to Nadia Boulanger. While the studies were cut short, that 1926 trip resulted in the initial version of An American in Paris written as a 'thank you note' to Gershwin's hosts, Robert and Mabel Shirmer. Gershwin called it "a rhapsodic ballet"; it is written freely and in a much more modern idiom than his prior works.	An American in Paris. Gershwin was attracted by Maurice Ravel's unusual chords. Upon Gershwin's request, Ravel accepted him as a student, and Gershwin went on his first trip to Paris in 1926 ready to study. After his initial student audition with Ravel turned into a sharing of musical theories, Ravel said he couldn't teach him but he would send a letter referring him to Nadia Boulanger. While the studies were cut short, that 1926 trip resulted in the initial version of An American in Paris written as a 'thank you note' to Gershwin's hosts, Robert and Mabel Shirmer. Gershwin called it "a rhapsodic ballet"; it is written freely and in a much more modern idiom than his prior works.	309
AA_722	An American in Paris	Gershwin strongly encouraged Ravel to come to the United States for a tour. To this end, upon his return to New York, Gershwin joined the efforts of Ravel's friend Robert Schmitz, a pianist Ravel had met during the War, to urge Ravel to tour the U.S. Schmitz was the head of Pro Musica, promoting Franco-American musical relations, and was able to offer Ravel a $12,000 fee for the tour, an enticement Gershwin knew would be important to Ravel.	An American in Paris. Gershwin strongly encouraged Ravel to come to the United States for a tour. To this end, upon his return to New York, Gershwin joined the efforts of Ravel's friend Robert Schmitz, a pianist Ravel had met during the War, to urge Ravel to tour the U.S. Schmitz was the head of Pro Musica, promoting Franco-American musical relations, and was able to offer Ravel a $12,000 fee for the tour, an enticement Gershwin knew would be important to Ravel.	309
AA_723	An American in Paris	Gershwin greeted Ravel in New York in February 1928 at the start of Ravel's U.S. Tour, and joined Ravel again later in the tour in Los Angeles. After a lunch together with Chaplin in Beverly Hills, Ravel was persuaded to perform an unscheduled 'house concert' in a friend's music salon, performing among kindred spirits.	An American in Paris. Gershwin greeted Ravel in New York in February 1928 at the start of Ravel's U.S. Tour, and joined Ravel again later in the tour in Los Angeles. After a lunch together with Chaplin in Beverly Hills, Ravel was persuaded to perform an unscheduled 'house concert' in a friend's music salon, performing among kindred spirits.	309
AA_724	An American in Paris	Ravel's tour reignited Gershwin's desire to return to Paris which he did in March 1928. Ravel's high praise of Gershwin in an introductory letter to Boulanger caused Gershwin to seriously consider taking much more time to study abroad in Paris. Yet after playing for her, she told him she could not teach him. Nadia Boulanger gave Gershwin basically the same advice she gave all of her accomplished master students "Don't copy others; be yourself." In this case "Why try to be a second rate Ravel when you are already a first rate Gershwin?" This did not set Gershwin back, as his real intent abroad was to complete a new work based on Paris and perhaps a second rhapsody for piano and orchestra to follow his "Rhapsody in Blue". Paris at this time hosted many expatriate writers: among them Ezra Pound, W. B. Yeats, Ernest Hemingway; and artist Pablo Picasso.	An American in Paris. Ravel's tour reignited Gershwin's desire to return to Paris which he did in March 1928. Ravel's high praise of Gershwin in an introductory letter to Boulanger caused Gershwin to seriously consider taking much more time to study abroad in Paris. Yet after playing for her, she told him she could not teach him. Nadia Boulanger gave Gershwin basically the same advice she gave all of her accomplished master students "Don't copy others; be yourself." In this case "Why try to be a second rate Ravel when you are already a first rate Gershwin?" This did not set Gershwin back, as his real intent abroad was to complete a new work based on Paris and perhaps a second rhapsody for piano and orchestra to follow his "Rhapsody in Blue". Paris at this time hosted many expatriate writers: among them Ezra Pound, W. B. Yeats, Ernest Hemingway; and artist Pablo Picasso.	309
AA_725	An American in Paris	Gershwin based "An American in Paris" on a melodic fragment called "Very Parisienne", written in 1926 on his first visit to Paris as a gift to his hosts, Robert and Mabel Schirmer. He described the piece as a "rhapsodic ballet" because it was written freely and is more modern than his previous works. Gershwin explained in "Musical America", "My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere."	An American in Paris. Gershwin based "An American in Paris" on a melodic fragment called "Very Parisienne", written in 1926 on his first visit to Paris as a gift to his hosts, Robert and Mabel Schirmer. He described the piece as a "rhapsodic ballet" because it was written freely and is more modern than his previous works. Gershwin explained in "Musical America", "My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere."	309
AA_726	An American in Paris	The piece is structured into five sections, which culminate in a loose ABA format. Gershwin's first A episode introduces the two main "walking" themes in the "Allegretto grazioso" and develops a third theme in the "Subito con brio". The style of this A section is written in the typical French style of composers Claude Debussy and Les Six. This A section featured duple meter, singsong rhythms, and diatonic melodies with the sounds of oboe, English horn, and taxi horns. The B section's "Andante ma con ritmo deciso" introduces the American Blues and spasms of homesickness. The "Allegro" that follows continues to express homesickness in a faster twelve-bar blues. In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum. "Moderato con grazia" is the last A section that returns to the themes set in A. After recapitulating the "walking" themes, Gershwin overlays the slow blues theme from section B in the final “Grandioso.”	An American in Paris. The piece is structured into five sections, which culminate in a loose ABA format. Gershwin's first A episode introduces the two main "walking" themes in the "Allegretto grazioso" and develops a third theme in the "Subito con brio". The style of this A section is written in the typical French style of composers Claude Debussy and Les Six. This A section featured duple meter, singsong rhythms, and diatonic melodies with the sounds of oboe, English horn, and taxi horns. The B section's "Andante ma con ritmo deciso" introduces the American Blues and spasms of homesickness. The "Allegro" that follows continues to express homesickness in a faster twelve-bar blues. In the B section, Gershwin uses common time, syncopated rhythms, and bluesy melodies with the sounds of trumpet, saxophone, and snare drum. "Moderato con grazia" is the last A section that returns to the themes set in A. After recapitulating the "walking" themes, Gershwin overlays the slow blues theme from section B in the final “Grandioso.”	309
AA_727	An American in Paris	"An American in Paris" is scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani, snare drum, bass drum, triangle, wood block, cymbals, low and high tom-toms, xylophone, glockenspiel, celesta, 4 taxi horns labeled as A, B, C and D with circles around them, alto saxophone/soprano saxophone, tenor saxophone/soprano saxophone/alto saxophone, baritone saxophone/soprano saxophone/alto saxophone, and strings. Although most modern audiences have heard the taxi horns using the notes A, B, C and D, it has recently come to light that Gershwin's intention was to have used the notes A♭ , B♭ , D, and A. It is likely that in labeling the taxi horns as A, B, C and D with circles, he may have been referring to the use of the four different horns and not the notes that they played.	An American in Paris. "An American in Paris" is scored for 3 flutes (3rd doubling on piccolo), 2 oboes, English horn, 2 clarinets in B-flat, bass clarinet in B-flat, 2 bassoons, 4 horns in F, 3 trumpets in B-flat, 3 trombones, tuba, timpani, snare drum, bass drum, triangle, wood block, cymbals, low and high tom-toms, xylophone, glockenspiel, celesta, 4 taxi horns labeled as A, B, C and D with circles around them, alto saxophone/soprano saxophone, tenor saxophone/soprano saxophone/alto saxophone, baritone saxophone/soprano saxophone/alto saxophone, and strings. Although most modern audiences have heard the taxi horns using the notes A, B, C and D, it has recently come to light that Gershwin's intention was to have used the notes A♭ , B♭ , D, and A. It is likely that in labeling the taxi horns as A, B, C and D with circles, he may have been referring to the use of the four different horns and not the notes that they played.	309
AA_728	An American in Paris	The revised edition by F. Campbell-Watson calls for three saxophones, alto, tenor and baritone. In this arrangement the soprano and alto doublings have been rewritten to avoid changing instruments. In 2000 Gershwin specialist Jack Gibbons made his own restoration of the original orchestration of An American in Paris, working directly from Gershwin's original manuscript, including the restoration of Gershwin's soprano saxophone parts removed in F. Campbell-Watson's revision; Gibbons' restored orchestration of An American in Paris was performed at London's Queen Elizabeth Hall on July 9, 2000 by the City of Oxford Orchestra conducted by Levon Parikian	An American in Paris. The revised edition by F. Campbell-Watson calls for three saxophones, alto, tenor and baritone. In this arrangement the soprano and alto doublings have been rewritten to avoid changing instruments. In 2000 Gershwin specialist Jack Gibbons made his own restoration of the original orchestration of An American in Paris, working directly from Gershwin's original manuscript, including the restoration of Gershwin's soprano saxophone parts removed in F. Campbell-Watson's revision; Gibbons' restored orchestration of An American in Paris was performed at London's Queen Elizabeth Hall on July 9, 2000 by the City of Oxford Orchestra conducted by Levon Parikian	309
AA_729	An American in Paris	William Daly arranged the score for piano solo which was published by New World Music in 1929.	An American in Paris. William Daly arranged the score for piano solo which was published by New World Music in 1929.	309
AA_730	An American in Paris	Gershwin did not particularly like Walter Damrosch's interpretation at the world premiere of "An American in Paris". He stated that Damrosch's sluggish, dragging tempo caused him to walk out of the hall during a matinee performance of this work. The audience, according to Edward Cushing, responded with "a demonstration of enthusiasm impressively genuine in contrast to the conventional applause which new music, good and bad, ordinarily arouses." Critics believed that "An American in Paris" was better crafted than his lukewarm Concerto in F. Some did not think it belonged in a program with classical composers César Franck, Richard Wagner, or Guillaume Lekeu on its premiere. Gershwin responded to the critics, "It's not a Beethoven Symphony, you know... It's a humorous piece, nothing solemn about it. It's not intended to draw tears. If it pleases symphony audiences as a light, jolly piece, a series of impressions musically expressed, it succeeds."	An American in Paris. Gershwin did not particularly like Walter Damrosch's interpretation at the world premiere of "An American in Paris". He stated that Damrosch's sluggish, dragging tempo caused him to walk out of the hall during a matinee performance of this work. The audience, according to Edward Cushing, responded with "a demonstration of enthusiasm impressively genuine in contrast to the conventional applause which new music, good and bad, ordinarily arouses." Critics believed that "An American in Paris" was better crafted than his lukewarm Concerto in F. Some did not think it belonged in a program with classical composers César Franck, Richard Wagner, or Guillaume Lekeu on its premiere. Gershwin responded to the critics, "It's not a Beethoven Symphony, you know... It's a humorous piece, nothing solemn about it. It's not intended to draw tears. If it pleases symphony audiences as a light, jolly piece, a series of impressions musically expressed, it succeeds."	309
AA_731	An American in Paris	On September 22, 2013, it was announced that a musicological critical edition of the full orchestral score will be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michigan, are working to make scores available to the public that represent Gershwin's true intent. It is unknown if the critical score will include the four minutes of material Gershwin later deleted from the work (such as the restatement of the blues theme after the faster 12 bar blues section), or if the score will document changes in the orchestration during Gershwin's composition process.	An American in Paris. On September 22, 2013, it was announced that a musicological critical edition of the full orchestral score will be eventually released. The Gershwin family, working in conjunction with the Library of Congress and the University of Michigan, are working to make scores available to the public that represent Gershwin's true intent. It is unknown if the critical score will include the four minutes of material Gershwin later deleted from the work (such as the restatement of the blues theme after the faster 12 bar blues section), or if the score will document changes in the orchestration during Gershwin's composition process.	309
AA_732	An American in Paris	The score to "An American in Paris" is currently scheduled to be issued first in a series of scores to be released. The entire project may take 30 to 40 years to complete, but "An American in Paris" will be an early volume in the series.	An American in Paris. The score to "An American in Paris" is currently scheduled to be issued first in a series of scores to be released. The entire project may take 30 to 40 years to complete, but "An American in Paris" will be an early volume in the series.	309
AA_733	An American in Paris	Two urtext editions of the work have been published by the German publisher B-Note Music in 2015. The changes made by Campbell-Watson have been withdrawn in both editions. In the extended urtext, 120 bars of music have been re-integrated. Conductor Walter Damrosch had cut them shortly before the first performance.	An American in Paris. Two urtext editions of the work have been published by the German publisher B-Note Music in 2015. The changes made by Campbell-Watson have been withdrawn in both editions. In the extended urtext, 120 bars of music have been re-integrated. Conductor Walter Damrosch had cut them shortly before the first performance.	309
AA_734	An American in Paris	"An American in Paris" has been frequently recorded. The first recording was made for RCA Victor in 1929 with Nathaniel Shilkret conducting the RCA Victor Symphony Orchestra, drawn from members of the Philadelphia Orchestra. Gershwin was on hand to "supervise" the recording; however, Shilkret was reported to be in charge and eventually asked the composer to leave the recording studio. Then, a little later, Shilkret discovered there was no one to play the brief celesta solo during the slow section, so he hastily asked Gershwin if he might play the solo; Gershwin said he could and so he briefly participated in the actual recording. This recording is believed to use the taxi horns in the way that Gershwin had intended using the notes A flat, B flat, a higher C and a lower D. The radio broadcast of the September 8, 1937 Hollywood Bowl George Gershwin Memorial Concert, in which "An American in Paris," also conducted by Shilkret, was second on the program, was recorded and was released in 1998 in a two-CD set. Arthur Fiedler and the Boston Pops Orchestra recorded the work for RCA Victor, including one of the first stereo recordings of the music. In 1945, Arturo Toscanini conducting the NBC Symphony Orchestra recorded the piece for RCA Victor, one of the few commercial recordings Toscanini made of music by an American composer. The Seattle Symphony also recorded a version in 1990 of Gershwin's original score, before he made numerous edits resulting in the score as we hear it today. Harry James released a version of the blues section on his 1953 album "One Night Stand," recorded live at the Aragon Ballroom in Chicago (Columbia GL 522 and CL 522). Conductor Steven Richman and Harmonie Ensemble, New York released a recording of Gershwin's original orchestrations in 2016 on Harmonia Mundi.	An American in Paris. "An American in Paris" has been frequently recorded. The first recording was made for RCA Victor in 1929 with Nathaniel Shilkret conducting the RCA Victor Symphony Orchestra, drawn from members of the Philadelphia Orchestra. Gershwin was on hand to "supervise" the recording; however, Shilkret was reported to be in charge and eventually asked the composer to leave the recording studio. Then, a little later, Shilkret discovered there was no one to play the brief celesta solo during the slow section, so he hastily asked Gershwin if he might play the solo; Gershwin said he could and so he briefly participated in the actual recording. This recording is believed to use the taxi horns in the way that Gershwin had intended using the notes A flat, B flat, a higher C and a lower D. The radio broadcast of the September 8, 1937 Hollywood Bowl George Gershwin Memorial Concert, in which "An American in Paris," also conducted by Shilkret, was second on the program, was recorded and was released in 1998 in a two-CD set. Arthur Fiedler and the Boston Pops Orchestra recorded the work for RCA Victor, including one of the first stereo recordings of the music. In 1945, Arturo Toscanini conducting the NBC Symphony Orchestra recorded the piece for RCA Victor, one of the few commercial recordings Toscanini made of music by an American composer. The Seattle Symphony also recorded a version in 1990 of Gershwin's original score, before he made numerous edits resulting in the score as we hear it today. Harry James released a version of the blues section on his 1953 album "One Night Stand," recorded live at the Aragon Ballroom in Chicago (Columbia GL 522 and CL 522). Conductor Steven Richman and Harmonie Ensemble, New York released a recording of Gershwin's original orchestrations in 2016 on Harmonia Mundi.	309
AA_735	An American in Paris	In 1951, Metro-Goldwyn-Mayer released the musical film "An American in Paris", featuring Gene Kelly and Leslie Caron. Winning the 1951 Best Picture Oscar and numerous other awards, the film was directed by Vincente Minnelli, featured many tunes of Gershwin, and concluded with an extensive, elaborate dance sequence built around the "An American in Paris" symphonic poem (arranged for the film by Johnny Green), costing $500,000.	An American in Paris. In 1951, Metro-Goldwyn-Mayer released the musical film "An American in Paris", featuring Gene Kelly and Leslie Caron. Winning the 1951 Best Picture Oscar and numerous other awards, the film was directed by Vincente Minnelli, featured many tunes of Gershwin, and concluded with an extensive, elaborate dance sequence built around the "An American in Paris" symphonic poem (arranged for the film by Johnny Green), costing $500,000.	309
AA_736	Academy Award for Best Production Design	Academy Award for Best Production Design	Academy Award for Best Production Design. Academy Award for Best Production Design	316
AA_737	Academy Award for Best Production Design	The Academy Award for Best Production Design recognizes achievement for art direction in film. The category's original name was Best Art Direction, but was changed to its current name in 2012 for the 85th Academy Awards. This change resulted from the Art Director's branch of the Academy of Motion Picture Arts and Sciences (AMPAS) being renamed the Designer's branch. Since 1947, the award is shared with the set decorator(s). It is awarded to the best interior design in a film.	Academy Award for Best Production Design. The Academy Award for Best Production Design recognizes achievement for art direction in film. The category's original name was Best Art Direction, but was changed to its current name in 2012 for the 85th Academy Awards. This change resulted from the Art Director's branch of the Academy of Motion Picture Arts and Sciences (AMPAS) being renamed the Designer's branch. Since 1947, the award is shared with the set decorator(s). It is awarded to the best interior design in a film.	316
AA_738	Academy Award for Best Production Design	The films below are listed with their production year (for example, the 2000 Academy Award for Best Art Direction is given to a film from 1999). In the lists below, the winner of the award for each year is shown first, followed by the other nominees.	Academy Award for Best Production Design. The films below are listed with their production year (for example, the 2000 Academy Award for Best Art Direction is given to a film from 1999). In the lists below, the winner of the award for each year is shown first, followed by the other nominees.	316
AA_739	Academy Awards	Academy Awards	Academy Awards. Academy Awards	324