Religion, the long-stubborn source of our national ills, is finally dying away.
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"Older parties are dying away," reckons Andrew MacGregor Marshall of Edinburgh Napier University in Scotland.
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In today's world, big one-off purchases are increasingly dying away and being replaced by incremental payments.
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The music stopped abruptly—a major chord, dying away—and a door opened, hidden behind the whiteboard.
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The reports, and the debates, tuck doctor-assisted dying away inside a broader discussion of end-of-life care.
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"The fishing industry has been suffering for 20 years now and has been slowly dying away," said Michael Maxim, the manager of Abacus, a craft shop in adjacent Boothbay Harbor.
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With your father on one shoulder and your uncle on the other, and with the lights of the Soviet gunfire dying away at the outer edges of your vision, you trudge deeper into the darkness of the cave, and though you cannot be sure that your father and his brother are still alive, that they haven't been shot in the chaos, that they are not, now, corpses, you feel compelled to keep moving into a darkness so complete that your reflection becomes visible on the screen of the television in front of you, and it is as if the figures in the image were journeying inside you, delving into your flesh.
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This coda plays with the semitonal relationship between B and B, and briefly returns to the first theme before dying away.
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In 2011, about two percent of women reported to have undergone female genital mutilation, a practice that is dying away in the areas where it was more frequently practiced.
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But Mozart's contribution to opera seria was more mixed; by his time it was dying away, and in spite of such fine works as Idomeneo and La clemenza di Tito, he would not succeed in bringing the art form back to life again.
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The kin of a woman dying away from home could also demand burial permission and heavy payment from the husband. The Tonga in Chintheche are known by the surname Chirwa; some other names in Tonga are Kaunda, Ngema, Longwe, Ng'oma, Manda, Mzumala and Mhone.
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The similarly sized and-engined Suzuki Fronte 800 was discontinued without replacement around the same time; these were the last Japanese two-strokes bigger than a Kei car. In general, the 700-800 cc class was dying away in Japan at this time, being replaced by 1000 cc cars.
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In the Island of Malaita in Solomon Islands the big man system is dying away as westernization is influencing the people, but the big man system can be seen at the political level. Every four years in Solomon Islands' National Elections the system can be clearly seen among the people, especially in the Melanesian Islands.
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Under cover of darkness, the colonial force closed the fort to within shouting distance. Both sides shouted and sang to encourage themselves until at 3 am the fighting reached a peak, gradually dying away until daybreak. At dawn, the army noticed the pa had gone very quiet. Three men approached the pa with great caution and found it deserted.
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But Mozart's contribution to opera seria was more mixed; by his time it was dying away, and in spite of such fine works as Idomeneo and La clemenza di Tito, he would not succeed in bringing the art form back to life again.Man and Music: the Classical Era, ed. Neal Zaslaw (Macmillan, 1989); entries on Gluck and Mozart in The Viking Opera Guide.
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375 Numerous accusations of wrongdoing were made against Bernevall,Griffiths, Ralph A. The Reign of Henry VI-the Exercise of Royal Authority Ernest Benn Ltd. 1981 p.417 but no action was taken, either because he enjoyed the confidence of the Crown, or because the Ormond–Talbot feud was at last dying away. Bernevall died two years later, still in office.
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It is a measure of the elastic reaction of the Earth. It is also the explanation for the deviation of the Chandler period from the Euler period. However, rather than dying away, the Chandler wobble, continuously observed for more than 100 years, varies in amplitude and shows a sometimes rapid frequency shift within a few years.Guinot, B., The Chandlerian wobble from 1900 to 1970, Astron. Astrophys.
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The shoots and leaves are deciduous, dying away during harsh highveld winters, when the plant survives as an extensive woody, tuberous rootstock. The upright inflorescences appear in summer, with the leaves, from October to January. The drooping scarlet, or rarely white flowers, are capped by a red calyxes. Their fruit are smooth black pods when mature, each containing a few large (1.0 to 1.7 cm long) seeds.
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This building up and dying away is reflected in the text, which reflects on how the thriving can quickly expire due to the rigors of the world. #"Ende des Herbstes" (End of Autumn) (Stanza 3)—Poem by Rainer Maria Rilke. The tenth movement begins with the chorus than gradually builds up to a climax. The conclusion of the movement features a bass trumpet solo.
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In 1985 German economist Werner Obst published a book entitled Der Rote Stern verglüht. Moskaus Abstieg - Deutschlands Chance (The Red Star is Dying Away. Moscow's Decline - Germany's Chance), Munich: Wirtschaftsverlag Langen-Müller/Herbig, third edition in 1987, in which he predicted the collapse of the Soviet bloc and the reunification of Germany within the immediate future for about 1990, based on the analysis of economical statistics and trends.
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The second section, labelled doppio movimento (double speed), resembles a scherzo with dotted quaver-semi quaver melody, semiquavers in a lower voice in the right hand, and large jumps in the bass. The final section is a shortened version of the first (14 bars rather than 24) with characteristic cadenzas and elaboration, finishing with an arpeggio on F major, falling at first, then dying away. Second theme from No. 2 in F major.
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A large courtyard outside Lavatte’s house, the moon rising. Madeleine comes out, unhappy because Hector has not been invited, but he, in disguise reveals himself and they ecstatically proclaim their love. There are cries from the house as Mercury comes out, and casts a spell on the lovers, who fall asleep. Guests emerge from the house and hear Diana sing of the joy of the hunt, then leading some off with her voice dying away in the distance.
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The Stećci (singular: Stećak) are monumental medieval tombstones that lie scattered across the landscape of Bosnia and Herzegovina. They are the country’s most legendary symbol. Although many of them are found in Serbia and Croatia, the vast majority are found within the borders of Bosnia and Herzegovina – 60,000 in all, of which approximately 10,000 are decorated (and sometimes inscribed). Appearing in the 12th century, the stećci reached their peak in the late 14th to 15th centuries, before dying away during the Ottoman occupation.
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South Korea's funeral arrangements have drastically changed in the course of only two decades according to Chang-Won Park. Park states that around the 1980s at home funeral ceremonies were the general norm, straying away from anywhere that was not a family home. Dying close to home, with friends and family, was considered a 'good death', while dying away from home was considered a 'bad death'. This gradually changed as the upper and middle class started holding funerals in the mortuaries of hospitals.
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As the human population progresses, cultures and traditions change with it. Evolution is generally slow, sometimes more rapid. South Korea's funeral arrangements have drastically changed in the course of only two decades according to Chang-Won Park. Around the 1980s at home funeral ceremonies were the general norm, straying away from anywhere that was not a family home. Dying close to home, with friends and family, was considered a ‘good death’, while dying away from home was considered a ‘bad death’.
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The Stećci (singular: Stećak) are monumental medieval tombstones that lie scattered across the landscape of Bosnia and Herzegovina. They are the country's most legendary symbol. Although many of them are found in Serbia and Croatia, the vast majority are found within the borders of Bosnia and Herzegovina – 60,000 in all, of which approximately 10,000 are decorated (and sometimes inscribed). Appearing in the 12th century, the stećci reached their peak in the late 14th to 15th centuries, before dying away during the Ottoman occupation.
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A last repeat is carried by "bells ringing out joyously and then gradually dying away in the distance". In 1993 music critic Tim McDonald described Bells Across the Meadows as "unashamedly sentimental", adding that it offers modern audiences evocations of "by-gone scenes" reminiscent of nostalgic and idealised Victorian-era illustrations of the English countryside. The piece is in E-flat major and common time, and is marked "Moderato". The entry of the melody is marked "Melodia con espressione", and the final entry of the bells is marked "Bells (joyously)".
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The assumption that design styles follow a bell curve of popularity - starting slowly, growing to a peak and then dying away as another style becomes popular - provides the basis for frequency seriation. It also assumes that design popularity will be broadly similar from site to site within the same culture. In addition, it is vital that the lifespans of the different design styles overlap. Following these rules, an assemblage of objects can be placed into sequence so that sites with the most similar proportions of certain styles are always together (Lock 2003, p. 125).
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The second melody follows in the woodwinds with violins and bass accompaniment, this in turn followed by a theme reminiscent of the "Dresden Amen" in a long tremolo, the trumpets giving out their original theme, to full accompaniment. After recapitulation the main theme appears in the horns, the violins in agitated accompaniment. The close of the section is vehement, gradually dying away and leading to the second movement without halt. A slow, tender melody appears in the woodwinds and horns and later in the strings, the trumpets repeating their call in the first movement.
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The second theme has a section that is notably marked perdendosi ("dying away") which Sisman associates with the absent-mindedness of the main character of the play. In the development section, the falling arpeggio motif that opens the Farewell Symphony is quoted and repeated at different pitches. According to Giovanni Antonini, a conductor who has recorded the symphony, this quotation is Haydn portraying the orchestra performing the incorrect composition due to distraction. The slow movement features an alternation between a lyrical string motif and an oboe/horn fanfare.
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Tuohy then ordered everyone out of the reactor building except himself and the Fire Chief in order to shut off all cooling and ventilating air entering the reactor. By this time, an evacuation of the local area was being considered, and Tuohy's action was the worker's last gamble. Tuohy climbed up several times and reported watching the flames leaping from the discharge face slowly dying away. During one of the inspections, he found that the inspection plates—which were removed with a metal hook to facilitate viewing of the discharge face of the core—were stuck fast.
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The nave is long by wide at the east end and at the west. Remnants of 13th-century paintings The nave is separated from the south aisle by a two-bay arcade, built into the existing walls in the early 14th century, with a single octagonal pier and wide double-chamfered arches. The pier has a square base and an "undersized" moulded impost and is slightly higher than the responds, which are square, with the arches "dying away" into them at a low level. Above the western arch is the remains of an 11th-century window.
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Tchaikovsky's draft of the Sixth Symphony Tchaikovsky critic Richard Taruskin writes: > Suicide theories were much stimulated by the Sixth Symphony, which was first > performed under the composer's baton only nine days before his demise, with > its lugubrious finale (ending morendo, 'dying away'), its brief but > conspicuous allusion to the Orthodox requiem liturgy in the first movement > and above all its easily misread subtitle. ... When the symphony was done > again a couple of weeks later, in memoriam and with subtitle in place, > everyone listened hard for portents, and that is how the symphony became a > transparent suicide note. Depression was the first diagnosis. 'Homosexual > tragedy' came later.
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The calls of the grey-headed fish eagle include a gurgling awh-awhr and chee-warr repeated 5–6 times, an owlish ooo-wok, ooo-wok, ooo-wok, a nasally honking uh-wuk and a loud high pitched scream. These begin as subdued low short notes each succeeding one more strongly upturned and more strident then previous then dying away again and are uttered from a perch or on the wing. Fledglings give a longer nasal uuuw-whaar that starts low and subdued then becomes, louder and higher and strident. During the breeding season becomes quite vocal, with calls being loud and far carrying, often calling also at night.
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Fraticelli's parting words as she left Studio D was to warn that the NFB was "slowly dying away." It was left to Ginny Stikeman, one of the original members of Studio D, to oversee the long decline and eventual closure of the women's unit as the last of its Executive Producers. Fraticelli had laid the groundwork for some of the Studio's most ambitious films and Stikeman's experience as an editor and producer helped shepherd them to completion. In particular, Stikeman played an instrumental role in seeing two controversial feature-length films completed: Forbidden Love: The Unashamed Stories of Lesbian Lives and Studio D's only dramatic feature, Skin Deep, about a transman's obsessive relationship with a lesbian filmmaker.
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The song was first time released in the United Kingdom on 3 September 1994, going straight in at number 18 in the UK Singles Chart. It had a slow and steady decline down the charts shortly after, slipping from its number 18 debut down to 67, exiting the top 100 the following week. On 22 October 1994, it returned to the UK charts after a few weeks out of the top 100, coming straight back in at number 85 before sliding to number 97 and then exiting the top 100 once more. The record seemed to show no signs of dying away as once more it re-entered the UK top 100 (on 12 November 1994) at number 99.
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According to the ancient Greek biographer Plutarch, on the eve of the consummation of her marriage to Philip, Olympias dreamed that her womb was struck by a thunderbolt that caused a flame to spread "far and wide" before dying away. Sometime after the wedding, Philip is said to have seen himself, in a dream, securing his wife's womb with a seal engraved with a lion's image. Plutarch offered a variety of interpretations of these dreams: that Olympias was pregnant before her marriage, indicated by the sealing of her womb; or that Alexander's father was Zeus. Ancient commentators were divided about whether the ambitious Olympias promulgated the story of Alexander's divine parentage, variously claiming that she had told Alexander, or that she dismissed the suggestion as impious.
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He decided not to rescind this order and replace it with one for all his ships to tack together, reversing the order of sailing, as this might cause confusion. This gave Albemarle a four or five mile head start, too much for the Dutch to overtake him before nightfall, as the sun had almost set and the wind was dying away. During his retreat, Albemarle placed 15 of his strongest and least damaged ships including his Royal Charles in line abreast as a rear-guard, and ordered the six most badly damaged to make their own way to port. The St Paul (the former Dutch Sint Paulus) had taken on too much water to keep with the other ships and was burned to prevent capture after its crew had been taken off.
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Elgar quotes Polish patriotic songs, the Polish National Anthem, and themes by Chopin and Paderewski, integrating with them a theme of his own, said to be the motive of his admiration for the Polish people. The first theme that Elgar uses is heard, after an introductory flourish, played by the bassoons. It is a quote from the Warszawianka, which has the words "Śmiało podnieśmy sztandar nasz w górę" ("Bravely let us raise our flag"). This is immediately followed by a Nobilmente theme (Elgar's own), broadly stated then dying away to lead to the second national theme which is the dignified "Chorał" or "Z dymem pożarów" ("With the smoke of fires"), first played simply by the cellos (with a cor anglais) and a harp, later by the woodwind with a violin countermelody, before being played by the full orchestra.
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As his death approaches, and Gilgamesh is oppressed with his own mortality, the gods remind him of his great feats: "…having fetched cedar, the unique tree, from its mountains, having killed Humbaba in the forest…""The death of Gilgamesh" Segment F from Me-Turan The iconography of the apotropaic severed head of Humbaba, with staring eyes, flowing beard and wild hair, is well documented from the First Babylonian dynasty, continuing into Neo-Assyrian art and dying away during the Achaemenid rule. The severed head of the monstrous Humbaba found a Greek parallel in the myth of PerseusNoted at an early date by Clark Hopkins, "Assyrian elements in the Perseus–Gorgon story," American Journal of Archaeology 38 (1934:341-ff). and the similarly employed head of Medusa, which Perseus placed in his leather sack.Judith McKenzie, A.T. Reyes and A. Schmidt- Colinet, "Faces in the rock at Petra and Medain Saleh," Palestine Exploration Quarterly 130 (1998) 37, 39 with references.
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29, and the interludes of his Third Symphony. There is an A pedal in the left hand of the piano for much of the song, though at the beginning of the piece it is embellished by a G minor triad, and at the end by a repeated chromatic motive alternated with an octave E in the right hand, ‘dying away to an open fifth, leaving an abiding impression of near stasis,’ thus placing little emphasis on structural tonality.Wightman, 102. The climax of this piece occurs on a G# resolving briefly to an A, suggesting a turning point in the structure of the cycle itself, as the past three songs have peaked at G, G# and A, respectively. Also, this text is the most descriptively ‘exotic’ in its illustration of a tribal dance in which some only wear shoes and some are naked. To Szymanowski, who was seeking freedom of expression himself, the taboo of nudity was a tangible element of those pleasures forbidden to the Europeans yet allowed to the ‘heathens’ of the far East.
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It introduces the first theme, which is picked up by the voices on "In convertendo Dominus", reappearing slightly changed in B on "Converte, Domine" and again in unison of all voices, marked fff, at the beginning of A'. A solo section of the organ leads from a climax reached at the end of B to the tranquil beginning of C. In parts A and C the tenors begin singing, whereas the altos begin part B. The "carrying of the sheaves" is expressed by a divided choir, alternating in singing the same pattern higher and higher, choir 1 a four-part female choir, choir 2 the altos and a four-part men's choir, ending the section in eight parts. A reviewer of a recording summarized in 1967: > Van Nuffel was a completely new name to me — a Belgian contemporary of > Kodály who died in 1953 at the age of 70 — but I certainly want to hear more > of his music: his setting … is in the traditional nineteenth-century idiom > with a touch of modality suggesting certain passages in Puccini and early > Vaughan Williams, but it is a powerful and moving piece, rising out of a > brooding darkness to a big impassioned outburst, and dying away again.
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