Cursive

All Music Guide:

As early as 1995, the original members of Cursive -- Tim Kasher on guitar and vocals, Clint Schnase on drums, Matt Maginn on bass, and Stephen Pederson on guitar -- began work on their newly christened project, experimenting with elements of indie rock and eclectic post-hardcore to fashion a unique sound. The Omaha, NE-based four-piece came out of existing friendships and some of the members' previous work together in Slowdown Virginia, making the musical partnership a logical idea from the start. They debuted with the Disruption 7" on the local friend-run label Saddle Creek and shortly released a second 7", Sucker and Dry, on New York-based Zero Hour. Both recordings spotlighted Kasher's uniquely powerful voice along with the group's consistently thundering rhythm section and jagged guitars. Cursive went even further on their debut full-length, Such Blinding Stars for Starving Eyes. Split-released by Crank! A Record Company and New York's Interplanetary Truckers Union in 1997, the LP received high acclaim and put the band on the musical map.

Over the next year, Cursive released both a split 10" with Austin's Silver Scooter (also on Crank!) and yet another 7" entitled Disruption. The latter record began the band's extensive future with Saddle Creek, and in November of 1998, the label released the group's second full-length, The Storms of Early Summer: Semantics of Song. The LP saw the band's first real attempt at incorporating linked lyrical concepts, as Kasher's lyrics told the tale of a man's complete breakdown over the aggressive song structures. Unfortunately for their growing fan base, the record didn't even yield a tour and instead saw the members disband to work on other projects, with no mention of a reunion at some later date.

After the temporary split, the members of Cursive explored a number of different outlets (including Commander Venus and Bright Eyes). After a failed marriage and some real introspection, however, the group decided to give things another shot, a fortunate conclusion that in June of 2000 resulted in the realization of Domestica. Full of fractured rhythms and lyrical examinations of a couple's crumbling relationship, the album spun a story that carried an odd familiarity to the real life experiences of Kasher. Domestica also introduced a new Cursive member, vocalist/guitarist/songwriter Ted Stevens, formerly of Lullaby for the Working Class. (Pederson bowed out of the group to continue his education at Duke University; he later formed White Octave.)

Novena on a Nocturn, the debut of Kasher's solo project, the Good Life, was released in 2001. Also notable was the release of another Cursive EP, Burst and Bloom, which added cellist Gretta Cohn to the band's lineup. Meanwhile, Cursive were featured on the first 7" in Makato Recordings' yearlong monthly 7" series, and the quintet returned in 2003 with The Ugly Organ. Their most ambitious album to date, The Ugly Organ was hailed for its challenging songwriting, obtuse conceptual scope, and serious lyrical turns. As the band readied a worthy follow-up album, Saddle Creek issued Difference Between Houses and Homes in August 2005, assembling Cursive's out of print 7"s (including two unreleased songs) into a stopgap compilation. Happy Hollow ultimately arrived in 2006, marking the departure of Cohn but also the inclusion of a brass section, which the band utilized to explore religious contradictions within the context of a fictional Western town. The following year, founding drummer Clint Schnase left Cursive on good terms and was replaced by touring drummer Cornbread Compton, and the band continued onward with its revised lineup, ringing in 2009 with the release of Mama, I'm Swollen.

Wikipedia:

Cursive, also known in British English as joined-up writing, joint writing, linking, running writing, or handwriting is any style of penmanship in which the symbols of the language are written in a conjoined and/or flowing manner, generally for the purpose of making writing faster. In the Arabic, Latin, and Cyrillic alphabets, many or all letters in a word are connected, sometimes making a word one single complex stroke.

While the term cursive is popular in the United States for describing this style of writing the Latin script, this term is not used elsewhere. Joined-up writing is more popular in the United Kingdom, double writing and and cursive is popular with Australian schoolchildren, and linking is more popular in New Zealand. The term handwriting is common in the United States, Canada, Australia and New Zealand.

Cursive is considered distinct from the so-called block letter, print-script or printing method of writing, in which the letters of a word are unconnected. A distinction is sometimes made between cursive hand(writing), such as the D'Nealian method, in which the risers of the letters are slanted loops, and letters such as f, r, s, z, D, F, G, L, Q are quite distinct in shape from their printed counterparts, and italic hand(writing), such as the Getty-Dubay (also called print-writing) or Barchowsky Fluent Handwriting methods, which eliminates loops. There are no joins from j, q or y, and a few other joins are discouraged.

In Hebrew cursive and Roman cursive, the letters are not connected. In the research domain of handwriting recognition, this writing style is called connected cursive, to indicate the difference between the phenomenon of italic and sloppy appearance of individual letters (cursive) and the phenomenon of connecting strokes between letters, i. e., a letter-to-letter transition without a pen lift (connected cursive).

The cursive that developed in the fifteenth century, Italian Renaissance is generally referred to as "italic" or "cursive italic." The term "italic" as it relates to handwriting is not to be confused with typed letters that slant forward. Many, but not all letters in the handwriting of the Renaissance were joined, as they are today in cursive italic.

The origin of the cursive method is associated with practical advantages of writing speed and infrequent pen lifting to accommodate the limitations of the quill. Quills are fragile, easily broken, and will spatter unless used properly. Steel dip pens followed quills; they were sturdier, but still had some limitations. The individuality of the provenance of a document was a factor also, as opposed to machine font.

Etymology

The term cursive derives from the 18th century French cursif from Medieval Latin cursivus, which means literally running. This term in turn derives from Latin currere ("to run, hasten").

Cursive Arabic

In the Classical Arabic script, letters of any given word are joined to one another by a continuous flowing line. This flowing script inspired the cursive of Medieval Latin, which in turn developed into the longhand script of English.

Roman Cursive

Roman cursive is a form of handwriting (or a script) used in ancient Rome and to some extent into the Middle Ages. It is customarily divided into old (or ancient) cursive, and new cursive. Old Roman cursive, also called majuscule cursive and capitalis cursive, was the everyday form of handwriting used for writing letters, by merchants writing business accounts, by schoolchildren learning the Latin alphabet, and even by emperors issuing commands. New Roman cursive, also called minuscule cursive or later Roman cursive, developed from old Roman cursive. It was used from approximately the 3rd century to the 7th century, and uses letter forms that are more recognizable to modern eyes; "a", "b", "d", and "e" have taken a more familiar shape, and the other letters are proportionate to each other rather than varying wildly in size and placement on a line.

Cursive Greek

The Greek alphabet has had several cursive forms in the course of its development. In antiquity, a cursive form of handwriting was used in writing on papyrus. It employed slanted and partly connected letter forms as well as many ligatures. Some features of this handwriting were later adopted into Greek minuscule, the dominant form of handwriting in the medieval and early modern era. In the 19th and 20th centuries, an entirely new form of cursive Greek, more similar to contemporary Western European cursive scripts, was developed.

English cursive

Cursive writing was used in English before the Norman conquest. Anglo-Saxon Charters typically include a boundary clause written in Old English in a cursive script. A cursive handwriting style—secretary hand—was widely used for both personal correspondence and official documents in England from early in the 16th century.

Cursive handwriting developed into something approximating its current form from the 17th century, but its use was neither uniform, nor standardised either in England itself or elsewhere in the British Empire. In the English colonies of the early 17th century, most of the letters are clearly separated in the handwriting of William Bradford, though a few were joined as in a cursive hand. In England itself, Edward Cocker had begun to introduce a version of the French rhonde style, which was then further developed and popularised throughout the British Empire in the 17th and 18th centuries as round hand by John Ayers and William Banson.

Back in the American colonies, on the eve of their independence from the Kingdom of Great Britain, it is notable that Thomas Jefferson joined most, but not all of the letters when drafting the United States Declaration of Independence. However, a few days later, Timothy Matlack professionally re-wrote the presentation copy of the Declaration in a fully joined, cursive hand. Eighty-seven years later, in the middle of the 19th century, Abraham Lincoln drafted the Gettysburg Address in a cursive hand that would not look out of place today.

Note that not all such cursive, then or now, joined all of the letters within a word. 

In both the British Empire and the United States in the 18th and 19th centuries, before the typewriter, professionals used cursive for their correspondence. This was called a "fair hand", meaning it looked good, and firms trained their clerks to write in exactly the same script.

In the early days of the post office, letters were written in cursive — and to fit more text on a single sheet, the text was continued in lines crossing at 90 degrees from the original text, see Crossed letter. Block letters were not suitable for this.

Although women's handwriting had noticeably different particulars from men's, the general forms were not prone to rapid change. In the mid-19th century, comparatively few children were not taught the contemporary cursive; in the United States, this usually occurred in second or third grade (around ages seven to nine). Few simplifications appeared as the middle of the 20th century approached.

After the 1960s, there arose an argument that cursive instruction was more difficult than it needed to be: that conventional cursive was unnecessary, and it was easier to write forms of simply slanted characters called italic. Because of this, a number of various new forms of cursive appeared in the late 20th century, including D'Nealian, Getty-Dubay, and Barchowsky Fluent Handwriting.Most of these models lacked the craftsmanship of earlier styles such as Spencerian Script, Zaner-Bloser, and the Palmer Method, but almost all were less demanding. With the range of options available, handwriting became non-standardized across different school systems in different English-speaking countries.

With the advent of typewriters and computers, cursive as a way of formalizing correspondence has fallen out of favor. Most tasks which would have once required a "fair hand" are now done using word processing and a printer. However, western etiquette advocates the use of longhand in personal notes (e.g., thank-you notes) to provide a sense that a real person is involved in the correspondence.

The teaching of cursive has been de-emphasized in many public schools, but is still used occasionally for situations such as timed tests with large writing portions, where it is considered faster by some. Also being able to write in a fair-hand is still looked upon as a sign of literacy in many countries. In some countries, the quality of one's cursive is used to determine the appointment of public office.

English cursive in education

In one academic study, first graders who could write only 10 to 12 letters per minute were given 45 minutes of handwriting instruction for nine weeks; their writing speed doubled, their expressed thoughts became more complex, and their sentence construction skills increased. This study is sometimes cited as support for teaching cursive. However, the style of handwriting used in this research was not a cursive style.

On the 2006 SAT, a United States post-secondary education entrance exam, only 15 percent of the students wrote their essay answers in cursive.

In a 2007 survey of 200 teachers of first through third grades in all 50 American states, ninety percent of respondents said their schools required the teaching of cursive.

A 2008 nationwide survey found elementary school teachers lacking formal training in teaching handwriting to students. Only 12 percent of teachers reported having taken a course in how to teach it. 

In 2011, the American states of Indiana and Hawaii announced that their schools will no longer be required to teach cursive (but will still be permitted to), and instead will be required to teach "keyboard proficiency". As of 2011 the same was true of Illinois. Since the nation-wide proposal of the Common Core State Standards in 2009, which do not include instruction in cursive, the standards have been adopted by 44 states as of July 2011, all of which have debated whether to augment them with cursive.

Cursive Russian

The Russian Cursive Cyrillic alphabet is used (instead of the block letters) when handwriting the modern Russian language. While several letters resemble their Latin counterparts, many of them represent different sounds. Most handwritten Russian, especially personal letters and schoolwork, uses the cursive Russian (Cyrillic) alphabet. Most children in Russian schools are taught by 1st grade how to write using this Russian script.

Cursive Chinese

Cursive forms of Chinese characters are used in calligraphy; "running script" is the semi-cursive form and "grass script" is the cursive. The running aspect of this script has more to do with the formation and connectedness of strokes within an individual character than with connections between characters as in Western connected cursive. The latter are rare in Hanzi and the derived Japanese Kanji characters which are usually well separated by the writer.

Semi-cursive style Calligraphy of Chinese poem by Mo Ruzheng

classical poem in cursive script at Treasures of Ancient China exhibit

8 cursive characters for dragon

Calligraphy of both cursive and semi-cursive by Dong Qichang

Four columns in cursive script quatrain poem, Quatrain on Heavenly Mountain. Attributed to Emperor Gaozong of Song, the tenth Chinese Emperor of the Song Dynasty

Chinese poem in cursive

One page of the album "Thousand Character classic in formal and Cursive script" attributed to Zhi Yong

Gallery

Example of classic American business handwriting known as Spencerian script from 1884.

Table of 19th-century Greek cursive letter forms

United States Declaration of Independence