The President didn't join in in any chant like that.
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The song is explosive and chant-like, propelled by funky dance tunes, some nasty trumpet horn samples and a fleeting but strong scratch effect.
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"We Are Starzz" is smoky and spiritual, slowly unfolding with Elmore's chant-like vocals, whereas the aforementioned "Capetown" is a dizzying 15-minute collaboration between her and South African drummer Asher Simiso Gamedze.
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" U.S. Representative Justin Amash, a longtime Trump critic who left the Republican Party this month to become an independent, tweeted: "A chant like 'Send her back!' is ugly and dangerous, and it is the inevitable consequence of President Trump's demagoguery.
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He's a musical trailblazer whose use of chant-like hooks and ambient production has seeped into the sound of mainstream rap, directly influencing prominent young artists like A$AP Rocky, Vince Staples, and Lil Yachty while indirectly impacting the sounds of countless others.
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Other tracks on the album treat drone warfare, government and corporate surveillance, and state-sanctioned execution with the same jarring plainspokenness; there's even a chant-like dirge called "Obama," where she outlines all the ways she perceives that the president has failed to live up to his campaign promises.
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" When a Trump supporter taunted him online earlier this summer, saying Mr. Kristol never made a crowd chant like the president, Mr. Kristol fired back on Twitter: "I'd normally be too modest to report this, but crowd WAS chanting 'Kristol Kristol Kristol' as I boarded Acela this a.m.
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And she stays within a narrower range in her vocal melodies, sticking to chant-like choruses and sometimes obscuring her voice with a vocoder or burying it deep in the mix—another way that "Reputation" has ceded Swift's ownership of her sound to a force bigger than her, if there is such a thing.
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The movement is closed by a chant- like accompanied Sanctus, taken from the .
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It centers around a chant-like melody, with soft orchestration, choral backing and climactic orchestration. The song was featured on The Florin Street Band's 2015 DVD release.
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The melody of Notre Pére is chant-like, although not original Gregorian chant. Like chant, it is in free motion and with narrow ambitus, and the beginning uses the same notes as the chant melody. It is written in reverential approach to the prayer, with a subtle treatment of harmony used to interpret the significant text in homophony. The composition is in F major, mostly in triple meter but shifting to 2/4 time when the natural flow of the text demands it.
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In the score are featured exotic-sounding percussion, gongs and flutes contrasted with synthesizer and orchestral sounds. It also features Chinese huqin, Vietnamese folk tunes and chant-like vocal textures. It is additionally filled with rich orchestral timbres, and earth-shaking taiko drums.
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"Till the World Ends" is an uptempo dance-pop and electropop song with an electro beat. It opens with sirens, and has elements of trance and Eurodance. The song features a chant-like chorus, and lyrics in which Spears sings about dancing until the end of the world.
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Although beginning a new set of text, Benedictus is a continuation of Sanctus. This semi-movement proceeds to use the same structural format laid out in Sanctus. Much of it involves the countertenor soloist performing a chant-like recitative followed by a choral response on the text "osanna in excelsis". The dynamics could be described as explosively contrasting.
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Difela are vastly different from Dithoka and the latter are primarily declaratory in delivery while Difela are said in a soft, chant-like fashion. Diboko are like ‘family-odes’ and have existed since the beginning of know Basotho history. This form of poetry allows for different families and clans to be able to distinguish themselves from other groups.
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Individual variations unfold, taking up characters of song, dance, capriccio and march. By the end, the ground bass is reduced to chant-like reminiscences; the orchestra leaves hints of an unmistakable D major chord, while the soloist is left undecided in a trill between the notes F-natural and G flat.Paul Kildea, ed. (2008). Britten on Music, p. 365.
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Two examples are in the baritone in the Lento section beginning at measure 123 and in the final Molto Lento section in the upper instruments of the orchestra beginning in measure 541. The repetitive nature of the melodic writing throughout the Beatus Vir Psalm is a direct descendant of the chant- like responses sung in Catholic churches.
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Armenian chant (, sharakan) is the melismatic monophonic chant used in the liturgy of the Armenian Apostolic Church. Armenian chant, like Byzantine chant, consists mainly of hymns. The chants are grouped in a system of eight modes called oktoechos. The oldest hymns were in prose, but later versified hymns, such as those by Nerses Shnorhali, became more prominent.
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"Of course that didn't bother us at all." Shorter explained that the lesson he had taken from Davis was to focus on his performance and "don't give too much away."Lewens, at 46:28. Shorter "play[ed] to the homonymic meaning of the tune's title ... with a certain chant-like quality resonant of the Orient," wrote his biographer Michelle Mercer.
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Phallus Dei () is the debut album by German band Amon Düül II. The album was the result of the Amon Düül commune in Munich splitting. The album features layered guitars, abstract percussion, and chant-like vocals. It is often cited (alongside Can's Monster Movie) as the original Krautrock album. It was first issued on CD in 1988 by the Mantra label.
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The folksy track "Ko Ṣ'aya Mi" features a chant-like chorus and timed interludes that is reminiscent of spoken word. In "Let's Make Love", Brymo reflects on his greed and sins. Michael Kolawole described the song as "a moment of reflection disguised as lovemaking". Kolawole also likened "Let's Make Love" to "Naked" and said both songs are "moments of clarity, self- consciousness and discovery for Brymo".
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Unlike the chant-like verses, the antiphon is more like a short hymn-verse in a regular metre. The tempo of the antiphon is directly related to that of the verse: the one-beat-in-the-bar verse equals the beat unit, typically crotchet (quarter note) or dotted crotchet, of the antiphon. There should be no break between psalm and antiphon: each should follow the other without interruption.
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For example, there are chants – especially from German sources – whose neumes suggest a warbling of pitches between the notes E and F, outside the hexachord system, or in other words, employing a form of chromatism.Wilson, Music of the Middle Ages p. 22. Early Gregorian chant, like Ambrosian and Old Roman chant, whose melodies are most closely related to Gregorian, did not use the modal system.Apel, Gregorian Chant pp.
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However, after cowriting the song, Frischmann convinced M.I.A. to record "Galang" herself, complimenting the piece's lyrical narrative and music direction. Musically, "Galang" is a dance- oriented midtempo song, combining elements of dancehall, electro, jungle, and world music. M.I.A.'s voice is heard in a whooping chant-like rap over polyrhythmic Roland MC-505 arrangements of beats, drums, claps and synths along the song's bassline. The word 'galang' comes from Caribbean slang word for 'go along'.
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The original composition was in D major for men's choir, with a four-part choir TTBB and a three-part choir TTB. When it was published, it was transposed to B-flat major. The verses from the Angelus are recited by one voice in chant-like fashion in free tempo. The refrain is sung by the choirs, with the four-part choir beginning and the three-part choir following one measure later, in an alternating pattern kept throughout the piece.
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For example, La Caña: > "[A]n ancient cante with religious overtones and chant-like passages that > have made it a popular vehicle for the misa flamenca--the catholic mass > performed to flamenco music. La Caña had all but disappeared by the > twentieth century, but was partially revived after the Granada contest of > 1922, when it was recorded by the contest winner, El Tenazas."Paco Sevilla, > Queen of the Gypsies. The Life and Legend of Carmen Amaya (San Diego 1999) > at 197.
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Marnie Stern sometimes maneuvers against her instrument in the same way, and James Blackshaw explores the same nebulous majesty. But Robbie Basho’s music mostly remains a pan-everything oddball, and Visions of the Country is, at last, once again living proof." The general inaccessibility of the music was again echoed by Spectrum Culture's Mike Randall, who wrote that "his use of obscure modes and his chant-like voice (almost a cross between Antony and Israel Kamakawiwo’ole) tends to skirt any sort of beaten path.
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Gulistān is written in Sorabji's "tropical nocturne" genre, which is often described as evoking a hothouse, rainforest or tropical heat.Roberge, pp. 22, 90 The opening of the piece introduces a sinuous, chromatic melody that reoccurs in various guises. Much of the piece uses series of diatonic chords (usually broken and heard in the lower registers), with the main ones having F, F-sharp, A or C as the root note, while the middle voices present chant-like melodies and the upper ones use chromatic figurations.
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Wilderness is an American, Baltimore-based indie rock, band currently signed to Jagjaguwar. Led by the theatrical, chant-like vocal style and lyrical presence of James Johnson, they are known to create a complex brand of post- punk that heavily recalls mantra-punk pioneers Lungfish and more closely Public Image Limited. Their debut full-length was recorded, mixed and mastered in May and June 2004, by Chad Clark and T.J. Lipple at Silver Sonya in Arlington, Virginia. It was released in July 2005 and has been widely celebrated in indie music circles.
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The album featured songs such as the chant-like theme "Another Day, Another Time," "Sweet December," "Now to You," "So Much More," and "Time M." In 1968 the band played at the Miss Teen Screen Magazine pageant held at the Hollywood Palladium and in the local TV documentary Gramophone to Groovy. Shortly thereafter they released a back-to-basics single "I'm Not Alone" b/w "Sweet December" on VMC Records. The band would continue for a few more years but broke up in the early 1970s. Bassist Chuck Spieth, died in a house fire at the age of 21.
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The production of cloud rap music has been described as "hazy", often including "ethereal vocal samples" and the "aesthetics of bedroom electronic producers". In a 2010 article, Walker Chambliss presumed that the term was invented by music writer Noz while interviewing rapper Lil B, but the interview in question did not actually include the phrase. Cloud rap artists have been noted to employ "chant-like" vocal samples, as to create a "surreal" effect. According to Nico Amarca of Highsnobiety, the genre was initially defined by the use of "nonsensical catchphrases and Twitter baits", as to parody and embrace internet culture, from which it was created.
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The following year the Lithuanian broadcaster Lietuvos Nacionalinis Radijas ir Televizija (LRT) sent LT United to the 2006 contest with the football chant-like song "We Are the Winners". They took Lithuania to the final for the first time since 2002, coming sixth in the final with 162 points, Lithuania's best placing as of 2019. The following year Lithuania automatically qualified for the final, however 4Fun could not replicate LT United's success, coming 21st with only 28 points, 12 of which came from Ireland. In 2008 Jeronimas Milius failed to reach the final, coming 16th of 19 competing nations in the second semi-final.
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The standard, used for most haftarot, is nearly identical with that of the Moroccan nusach. A distinctly more somber melody is used for the three haftarot preceding the ninth of Ab (the "three weeks".) On the morning of the Ninth of Ab a third melody is used for the Haftarah—although this melody is borrowed from the melody for the Book of Ruth. There is a special melody used for the Book of Esther: in London it is a cantillation system in the normal sense, while in New York and Amsterdam it is chant-like and does not depend on the Masoretic symbols. The books of Ruth, read on Shavuot, and Lamentations, read on the Ninth of Ab, have their own cantillation melodies as well.
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The most-prominent hymn version of the prayer is "Make Me a Channel of Your Peace", or simply "Prayer of St. Francis", adapted and set to a chant-like melody in 1967 by South African songwriter Sebastian Temple (Johann Sebastian von Tempelhoff, 1928–1997), who had become a third order Franciscan. The hymn is an anthem of the Royal British Legion and is usually sung at its annual Festival of Remembrance. In 1997 it was part of the Funeral of Diana, Princess of Wales, and was performed by the Irish singer Sinéad O'Connor on the Princess Diana tribute album. The hymn was also sung for the religious wedding ceremony of Prince Albert II of Monaco to South African Charlene Wittstock in 2011.
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" Activist Phyllis Schlafly interprets these lines as encouraging suicide since "life is not worth living after a loved one has gone." The melody uses an unconventional style, but according to Guarisco the music "retains the emotional tone of the lyrics as it marries chant-like verses to a bridge built on ascending phrases that tug at the heart." According to the liner notes of Just What I Needed: The Cars Anthology, "Since You're Gone" is an example of "[a] more playful quality ... in Ocasek's writing", with a Bob Dylan impersonation "adopt[ed] when delivering [the line 'You're so trachea-ress!]'" San Francisco Examiner contributor Michael Goldberg notes that despite the emotional theme of the song, Ocasek's vocal tone is detached, "almost as if he's discussing a computer that doesn't work anymore.
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Programme for the original 1967 production of Zigger Zagger by the National Youth Theatre Zigger Zagger is a 1967 play by Peter Terson which was the first work to be commissioned by the National Youth Theatre who revived it at Wilton’s Music Hall in 2017 for its 50th anniversary.Zigger Zagger - National Youth Theatre website Described as a "football opera" in which the cast sing and chant like a Greek chorus,Review: Zigger Zagger at Wilton’s Music Hall - A Younger Theatre, 17 September 2017 the play was an instant success.September 1967: A new playwright scores with a tale of the terraces - The GuardianMartin Banham and James R. Brandon (editors), The Cambridge Guide to Theatre, Cambridge University Press (1995) - Google Books pg. 1073 The production was directed by Michael Croft while the Musical Director was Colin Farrell.
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"Walk Right Now" is a 1981 song written, produced and performed by the Jacksons and issued as the fourth and final single from the group's popular album, Triumph. The song was written by Michael Jackson, Jackie Jackson and Randy Jackson and is a song in which a man is fed up with his lover's excuses about how they can resolve their relationship despite the woman's acts of infidelity towards him, therefore delivering the message, "walk right now/I'm not playing" in a chant-like phrase. When released, the song performed only modestly on US pop radio, peaking at a number seventy-three, but the song became a hit in the UK, where it peaked at number seven on the UK pop charts. The song was performed live, during the Jackson's Triumph Tour in 1981, but only for the first few shows, meaning a performance of the song is very hard to track down.
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Known as "the poet Rigby" (el poeta Rigby), Rigby is often cited with David McField as the most important poets of Nicaragua's Atlantic coast. Rigby's work particularly focuses on the oral poetic tradition, and incorporates a variety of languages including English, Spanish and Creole. One of Rigby's translators, Stephen Henighan, notes that for Rigby as for many Nicaraguans of West Indian descent living on the country's Caribbean coast (and in contrast to Nicaraguans from the western part of the country), English was the language Rigby spoke at home, while Spanish was the language of his formal education and eventually the primary language for his poetry, though his poems also involve "Spanish-English puns and [are] interspersed with chant-like refrains in Native American languages" spoken in areas surrounding where he grew up. Henighan writes: > As his translator, I found myself with the bizarre task of restoring Rigby's > poetry to his mother tongue, which, through a fluke of history, is not his > literary language.
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