The score's repeating figurations were propelled forward but never pushed.
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It must complexify and extra-dimensionalize, obscuring the dangers in steadying figurations.
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Krasner pushes her life drawings from virtuosic classical studies to geometric figurations.
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With similar color palettes, Herzbrun's dimensional studies complement Hartigan's busy figurations in unusual ways.
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The first movement courses by in a wash of splashing runs and whirling figurations.
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Singh did justice to the most layered and dense figurations of his Indian homeland.
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In intricate, incredibly detailed geometric figurations, Fake renders structures that are analogies for the body and sexuality.
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There are stretches of misty orchestral sonorities in which fidgety figurations get batted around over dense harmonies.
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McNeely's strength pours in from the glimpses of blue and yellow that punctuate her figurations like skylights.
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One is sculptor Glenys Barton, known for classically inflected figurations that complicate the individualizing aims of monumental portraiture.
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Mr. Hough brought impish charm to the gurgling figurations and splashy outbursts that suggest "Goldfish," the title of the third piece.
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The most extravagant figurations of the body are Ebony G. Patterson's paired pieces "A View Out" and "A View In" (both 2015).
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In the diptych, a pink, semi-circular shape that resembles one of Philip Guston's loosely defined figurations is topped with a halo.
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Ms. Rana made these awkward figurations come across delicately; the melodic line had the grace of the bel canto opera arias Chopin adored.
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Through this unorthodox strategy, he guides the otherwise unpredictable oxidation process as the rust stains the canvases in rhythmic and melancholic figurations and patterns.
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Viruses are more than occasional threatening eruptions on the seemingly calm global horizons; they are also figurations of the contemporary social and political world.
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The photographer himself was blasé about this skill, which enabled him to do justice to the most layered and dense figurations of his Indian homeland.
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The viewer inevitably homes in on the content like a cryptologist, imaginatively decoding Pousette-Dart's gnomic figurations, pulsating color patterns, and heavily painted, three-dimensional textures.
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The two genres have a lot in common — for instance, deriving many of their most striking effects from recurring, recombinable figurations — and I'm sure both would gain a lot from the crossover.
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The first begins with manic bursts of arpeggios that sweep up the keyboard and cascade down in crystalline riffs, finally breaking into a restless melodic line that unfurls amid rustling figurations and teeming chords.
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Throughout the 1960s and 1970s, he brought this poignant and hushed lyricism to bear on a series of vibrantly contemplative paintings, many densely packed with compressed, circular figurations reminiscent of indigenous Australian dot paintings.
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As a stately yet smile-inducing bass theme was played over and over on various tubular instruments, the violinist Krista Bennion Feeney spun out beguiling figurations and subtle melodic twists, supported by an increasingly animated chorus of percussion sounds.
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In New Babylon, a video performance by Gi that was written and directed by Jonas Hegi, she contorts her arms and angles her head in figurations that aren't beautiful examples of dancerly poise, but discomfiting examples of our bodies' capacity to contain tension.
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The bold primary colors and the sacred-and-profane mélange of transhistorical figurations of Marc Chagall's dream-like "L'exode du village au ciel vert" (1969) might remind the viewer of Moreau's innovations, but they more likely derive from Chagall's childhood experiences in Russian villages, as well as his student encounters in Paris with the works of Vincent Van Gogh and Paul Gauguin.
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The monochromatic drawings and paintings in this exhibition, like the toothy ghoul in "Beast Head" (1958) and the stampeding "Winged Beast" (1961), parallel the tormented and tormenting figures of Brits like Francis Bacon and Lucien Freud, as well as similar figurations, bristling with existential dread, by New York-based contemporaries like Robert Beauchamp, Bob Thompson, Lester Johnson, and Joan Herbst — images that cropped up repeatedly two years ago in Grey Art Gallery's Inventing Downtown 1952-1965.
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The competition of Time and Divine Providence is expressed in virtuoso singing and illustrated by figurations in the first violins.
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It is an alphabet which embraces ornamental colour blends, figurations, primaeval symbols and cryptic signs and combines them into a homogenous whole.
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Barasch, Moshe, Visual Syncretism: A Case Study, pp. 39–43 in Budick, Stanford & Iser, Wolfgang, eds., The Translatability of cultures: figurations of the space between, Stanford University Press, 1996, ().
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The only surviving toccata by Cornet consists entirely of various figurations, including among them the then-fashinable echo effect, frequently used by Sweelinck but only encountered here in Cornet's oeuvre.Apel, 341–342.
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Nolte 1954, pp. 173–74. In any case, these fanciful figurations, together with the compound meter, suggest a pastoral mood.Welter, p. 146. First bars of Von Himmel hoch, da komm' ich her.
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Watercolours (also involving ink draughtsmanship) constituted an important second sphere of activity which, while present since the fifties, intensified after 1970. The watercolours are chiefly depicting landscapes, but run the gamut from “real” landscape drawing to imaginative scenarios exploiting surreal figurations.
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Giuseppe Ferdinando Brivio (c. 1699, Milan - c. 1758, Milan) was an Italian composer, conductor, violinist, and singing teacher who is chiefly known for his operas. His work displays a natural expression and uses figurations similar to that of Antonio Vivaldi.
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Three footnotes in the score deal with the exact execution of arpeggios and grace note figurations. The fourth footnote instructs the pianist to play the cluster chord E, F, F, G, G, A, B, C with the palm of the hand.
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There are several purposes for vocal exercises, including: # Warming up the voice # Extending the vocal range # "Lining up" the voice horizontally and vertically # Acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to comfortably sing wide intervals, and correcting vocal faults.
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The soloist gets scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads right back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note.
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Instead, it employs the patterns, figurations, and simple structure characteristic of the improvised music of such celebrated chorões of the late- nineteenth and early twentieth centuries as Zequinha de Abreu, , Chiquinha Gonzaga, and This simplicity and the beauty of its composition have made it a favourite with professional guitarists .
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According to Leslie Hearnshaw, he belonged to the loose school of psychology around W. B. Carpenter. The work Civilisation and Cerebral Development has been discussed as a representative example of the progression of the period from craniometry to conclusions on race.Claudia Castañeda, Figurations: child, bodies, worlds (2002), p. 33; Google Books.
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Johannes may have been a composer, though no music attributed to him has survived. His directions for composing melody, with their careful and practical instructions involving pacing, position of high and low notes, and use of recognizable figurations at different pitch levels seem to imply that he may have had some experience himself.
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Latin Beat Magazine. v. 2 n. 9: 8. p. 11. This aspect of the son's modernization can be thought of as a matter of "re-Africanizing" the music. Helio Orovio recalls: "Arsenio once said his trumpets played figurations the 'Oriente' tres-guitarists played during the improvisational part of el son" (1992: 11).
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A 2005 review in Neue Musikzeitung, comparing newly published music for pianists, described the piece as "a dramatic concert piece with gushing figurations, lyrical insertions, polyphonic elements, harmonic refinement and a purposefully intensified enormous conclusion" ("... dramatisches Konzertstück mit sprudelnden Figurationen, lyrischen Einschüben, polyphonen Elementen, harmonischen Raffinessen und einem zielstrebig gesteigerten, enormen Schluss").
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Gabriele Rosenthal (born 19 April 1954 in Schwenningen am Neckar, Germany) is a German sociologist and head of Department for Qualitative Methods of the Center for Methods in Social Sciences (Methodenzentrum Sozialwissenschaften) of the University of Göttingen, Germany.Prof. Dr. Gabriele Rosenthal, homepage at Göttingen University, retrieved May 7, 2014 Rosenthal is recognized for the introduction of the method of biographical case reconstruction using biographical narrative interviews (Fritz Schütze). She is known for systemizing the influences of the Gestalt theory (Aron Gurwitsch and Kurt Koffka), the sociology of knowledge (Karl Mannheim, Alfred Schütz, Thomas Luckmann and Peter L. Berger), and the sociology of figurations and processes (Norbert Elias) to explain the interrelationship between experience, memory and narrative, as well as how social figurations intertwine with individual biographies.
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The opening chorus is dominated by the concertante flauto traverso in figurations reminiscent of a flute concerto. Bach wrote virtuoso music for flute here for the first time in a cantata for Leipzig. Probably an excellent flute player was available. Bach seems to have written again for him in Herr Christ, der einge Gottessohn, BWV 96.
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The last movement (Uccelli sulle passioni) opens with a subdued interplay between piano, castanets, and pizzicato strings. The rippling piano figurations and passionate string theme from the first movement return, with added "bird sounds" from the highest registers of the piano and also low woodwinds. The passion dissipates into silence after the clarinets give out their last "bird- calls".
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After the mid 1970s he turned to seemingly traditional landscapes, deconstructing the conventions of romantic painting. Later on, he also examined colours and light in abstract paintings. In the 1990s he presented a series of red-surfaced paintings, which at first sight give the impression of something abstract, after which the underlying pictures slowly emerge, like "suppressed figurations".
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LaMonte describes her Nocturnes series as “A new body of work inspired by the beauty of night . . . dark, seductive, and sublime. They are absent of female forms – rising from penumbral garments as figurations of dusk. They build on the tradition of the female nude and probe the tension between humanism and eroticism, the physical and the ethereal, the body and the spirit.
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Notably, lions that would subsequently appear in 12th- century coats of arms of European nobility have pre-figurations in the animal style of ancient art (specifically the style of Scythian art as it developed from c. the 7th century BC)."significant pre-figuration of medieval heraldry" John Onians, Atlas of World Art (2004), p. 58. Western heraldry is an innovation of the 12th century.
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Only once, shortly before the end, does the bass change. Zdzisław Jachimecki described the composition as follows: Jean-Jacques Eigeldinger sees the Berceuse as a "late lyrical piece", together with the Barcarolle, Op. 60, and the Nocturne, Op. 62, No. 1, all of them full of "pianistic figurations" reminiscent of his early "brilliant" style. Eigeldinger has suggested that Chopin's style in these pieces "approaches that of musical symbolism/impressionism".
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Wilhelm Kempff described it as "the most magnificent monologue Beethoven ever wrote".Schumann, Karl. Beethoven's Viceroy at the Keyboard In Celebration of Wilhelm Kempff's Centenary: His 1951–1956 Recordings of Beethoven's 32 Piano Sonatas. Structurally, it follows traditional Classical-era sonata form, but the recapitulation of the main theme is varied to include extensive figurations in the right hand that anticipate some of the techniques of Romantic piano music.
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Though Theyyam had been used a motif in his paintings in the 1980s, he has made a significant move as his recent works show a different context. He is emphasizing more on figurations. His paintings are also sensitive to the social environment and they empathize with human beings in distress. Though he was adept in perpetually changing trends of art, he maintains a very exceptional and captivating style of his own.
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Even Mendelssohn enjoys a passing compliment." After stating that the work glittered "with innumerable stock trills and figurations" and the orchestration was as "rich as nougot", he called the music itself "now weepily sentimental, now of an elfin prettiness, now swelling toward bombast in a fluent orotundity. It is neither futuristic music nor music of the future. Its past was a present in Continental capitals half a century ago.
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The most popular one that he was involved with, the most well known, was Experencias '68, but he was also shown in From Figurations to System Art in London in 1971, as well as Otra Fotografia in Buenos Aires in 1997. Bony's work was the subject of a retrospective, "Oscar Bony: el Mago," at the Museo de Arte Latinoamericano de Buenos Aires from November 2007 to February 2008.
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In these social choreographies the social becomes apparent. Dance studies thus become on the one hand a research field for the sociology of the body and social choreography on the other an important aspect of social figurations. Gabriele Klein has influenced considerably the contours of this social-scientific discipline with her research and is member of the board of directors of the Society of Dance History Scholars (Dance Studies Association).
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This new ideal of love called for a new ideal of language, according to Chrétien, and so, translations from old, dead Latin into French, or romanz, began. It is this language that replaces Latin as a new and lasting period of high culture, and, in so doing, becomes the real language or medium of translatio studii.Budick, Sanford, and Wolfgang Isen, eds. The Translatability of Cultures: Figurations of the Space Between.
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Arsenio Rodríguez revolutionized the son montuno. For example, he introduced the idea of layered guajeos (typical Cuban ostinato melodies)—an interlocking structure consisting of multiple contrapuntal parts. This aspect of the son's modernization can be thought of as a matter of "re-Africanizing" the music. Helio Orovio recalls: "Arsenio once said his trumpets played figurations the 'Oriente' tres-guitarists played during the improvisational part of el son" (1992: 11).
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Rodríguez introduced the idea of layered guajeos (typical Cuban ostinato melodies)—an interlocking structure consisting of multiple contrapuntal parts. This aspect of the son's modernization can be thought of as a matter of "re-Africanizing" the music. Helio Orovio recalls: "Arsenio once said his trumpets played figurations the 'Oriente' tres-guitarists played during the improvisational part of el son" (1992: 11).Helio Orovio quoted by Max Salazar 1992.
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Barry Brenesal noted in Fanfare about this only recording of the music: "Frühwirth has a lean, sleekly attractive tone. He negotiates Rakov’s moderate figurations without problems, and demonstrates a convincing grasp of Rakov’s phrasing and big-hearted manner." In 2015, he participated in a concert in Landsberg am Lech of English chamber music, including the String Sextet, Op. 1, by Graham Waterhouse. Frühwirth has given master classes internationally, including the UCSI University in Manila.
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The first movement (In Viaggio) opens with the pianist playing soft, rippling figurations, accompanied by fragmentary calls by woodwinds. The strings then introduce a passionate theme, but the piano soon takes over the theme, which rises higher and higher. The passionate strings re-enter, with rhythmic interjections from brass and percussion, and the music rises to a climax. The piano lunges into the lowest registers, linking into the slow movement (Sognando e libero).
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The general effect is that music achieves an immediately open expression, without being constrained by tonal limitations, rhythmic pre-determination, or harmonic rules. Ronald Radano suggests that Coleman's concepts of harmonic unison and harmolodics were influenced by Pierre Boulez's theory of aleatory while Gunther Schuller suggested that harmolodics is based on the superimposition of the same or similar phrases, thus creating polytonality and heterophony.Ronald M. Radano (1994). New Musical Figurations: Anthony Braxton's Cultural Critique, pp.
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At the beginning of the 1960s, he created abstract paintings, graphics and drawings with typographic and handwritten signs as symbols of the unpredictability of everyday reality. The theme of a modern person participating in social life is an essential part of his work. In the following years Balcar reduces further to monochrome, dark images with pasty applied colour. In his prints, he reflected the impulses of American Pop Art and the new European figurations.
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Plantinga (1984), pp. 107–117 Autograph of Die Nebensonnen (The Sun dogs) from Winterreise Among Schubert's treatments of the poetry of Goethe, his settings of "Gretchen am Spinnrade" (D. 118) and "Der Erlkönig" (D. 328) are particularly striking for their dramatic content, forward-looking uses of harmony, and their use of eloquent pictorial keyboard figurations, such as the depiction of the spinning wheel and treadle in the piano in "Gretchen" and the furious and ceaseless gallop in "".
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Here, abstraction was the predominant form of expression, although Poon deferred in being more conceptual, analytical and controlled as compared to his contemporaries. His early works, although containing figurations instructive of the formal teachings of NAFA, already showed signs of semi-abstraction. He quickly developed a unique style, centred on his interest in the spatial relationship between line and colour. This was evident in the Kite series of geometric abstractions and aerodynamic shapes on shaped canvas, developed just before his return to Singapore.
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The piece is in 6/4 time, with a key signature of G major and a tempo marking andantino grazioso. The slow cello melody is accompanied by almost constant broken chord figurations on the pianos. When performed as a separate movement, not in the context of The Carnival, The Swan is frequently played with accompaniment on only one piano. This is the only movement from The Carnival of the Animals that the composer allowed to be played in public during his lifetime.
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The ceiling of the room, known as Sala a Fogliami or "Room of Foliage," was painted in the 1560s by Camillo Mantovano. It owes its name to a luxurious decoration of the ceiling with trees, plants and flowers: a forest inhabited by numerous animals, frequently with predatory attitudes, and rich in symbolic meanings. In the lunettes surmounted by grotesques, complex figurations in the form of a rebus possibly allude to the long and troubled heresy trial suffered by the patriarch Giovanni Grimani.
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Instead, it calls on collective and individual imagination to find such links apart from those based on age, type, size, or origin. In historian Kurt Forster's words, "it exerts its control over existing figurations in a way that endows them with new, 'sign-giving' qualities." The art historian Ernst Gombrich, described pathosformel as "the primeval reaction of man to the universal hardships of his existence [that] underlies all his attempts at mental orientation". Botticelli's The Birth of Venus c. 1486.
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However, the layout of the drawing was too idealistic to be specific to the reality of the time. However, the drawing is accurate as to the layout of the main and even secondary buildings. In 1695, François Roger de Gaignières came to Le Mans in search of old tombs and cellars. He stops at the Couture and draws the facade of the abbey church with precision and with equal accuracy the figurations of the abbots engraved on the funeral slabs or sculpted on the mausoleums.
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In the development section, these sets are explored melodically, while the dotted rhythm figure gains even more importance. In the recapitulation, the chord progression of the first thematic complex is brought to the higher registers, preparing the coda based on secondary theme cantabile element, which gradually broadens. The second movement shifts to a different expressive world. A simple ternary form with a cadenza–AB (cadenza) A, the B section represents an acoustic departure as the chromatic figurations in the left hand, originating in section A, are muted.
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Most of his symphonies are written in a single movement, making them all the more demanding. Overwhelmingly serious in tone, often dissonant, his music rises to ferocious climaxes, relieved, especially in his later works, by lyrical oases. Pettersson's music has a very distinctive sound and can hardly be confused with that of any other 20th-century composer. His symphonies, which range in length from 22 to 70 minutes, are typically one-movement works made up of successive stretches of music of varying rhythms and figurations.
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For the last piece of the collection Pachelbel chose Martin Luther's famous Christmas hymn "Vom Himmel hoch, da komm ich her." He sets it as a three-voice piece with the chorale in the bass. Unlike Wie schön leuchtet der Morgenstern which uses the same arrangement, the upper voices do not provide mere fore-imitation, but engage in highly original figurations. Pachelbel scholar Ewald Nolte suggested that these were probably intended as imitations of birdsong, a somewhat popular phenomenon in the instrumental music of the 17th century.
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It is perhaps best to view a figure as a motif when it has special importance in a piece. According to White, motives are, "significant in the structure of the work," while figures or figurations are not and, "may often occur in accompaniment passages or in transitional or connective material designed to link two sections together," with the former being more common. Minimalist music may be constructed entirely from figures. Scruton describes music by Philip Glass such as Akhnaten as "nothing but figures...endless daisy-chains".
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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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Figurations on Plastic (Figuraciones sobre Plástico in Spanish) is an exhibition by two artists in the field of post-modern surrealist figuration, Rafael Trelles in conjunction with María Antonieta Ordóñez. According to Manuel Alvarez Lezama, Trelles and Ordóñez have accepted the challenge to turn the human figure into poetry by using plastic as their support to let us see ourselves on plastic, an everyday reality for millions in this technology-oriented society of ours.Lezama MA, Landmark exhibition: Ordóñez and Trelles in 'Figuraciones sobre plástico', San Juan Star Document ID: 11D0D6F57A88C590, November 18, 2007.
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The piano makes a full return, in particular in two very successful suites-poems written in 1973 – Intimacies and Echoes. Individual movements in these suites are written in free forms, and they are so intertwined and mutually dependent that they cannot be performed as separate character pieces. Therefore, the genre of suite is transformed into a single-movement poem. Suite-poem Intimacies is created in the shape of a massive arch, starting from the timid quasi-improvisational neo-impressionistic figurations in the first movement (paired with a quotation of Josip Slavenski's song “Water Springs”).
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In addition to a basic melody (the "nuclear" version of the formula), each line is also interrupted at intervals by inserted ornamental figurations, including soft noises called "coloured silences". These strands are superimposed to form a contrapuntal web which Stockhausen calls the "superformula" . The superformula is used at all levels of the composition, from the background structure of the entire cycle down to the details of individual scenes . The structure and character of the Klavierstücke derived from the Licht operas are therefore dependent on the particular configuration of the segments to which they correspond.
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Liner notes by Gilles Cantagrel. Like the other harpsichord concertos, BWV 1052 is generally believed to be a transcription of a lost concerto composed in Cöthen or Weimar. Beginning with Wilhelm Rust and Philipp Spitta, many scholars suggested that the original melody instrument was probably the violin, because of the many violinistic figurations in the solo part—string-crossing, open string techniques—all highly virtuosic. has speculated that the copies of the orchestral parts made in 1734 (BWV 1052a) might have been used for a performance of the concerto with Carl Philipp Emanuel as soloist.
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The prelude to Richard Wagner's Das Rheingold is a famous piece of drone music that begin with a low E flat and builds to more and more elaborate figurations of the chord of E flat major. It is used in this opera to portray the motion of the river Rhine.Erickson, Robert, Sound Structure in Music, p. 94. University of California Press, 1975 Beethoven's Piano Concerto No. 5 (also known as The Emperor) and Symphony No. 3 (also known as the Eroica) are two more well-known piece set in the key of E-flat major.
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The starting point for this approach is the understanding of an individual biography in terms of its social constitution. The biographical approach was influenced by the symbolic interactionism, the phenomenological sociology of knowledge (Alfred Schütz, Peter L. Berger, and Thomas Luckmann), and ethnomethodology (Harold Garfinkel). Therefore, biography is understood in terms of a social construct and the reconstruction of biographies can give insight on social processes and figurations (as in Norbert Elias), thus helping to bridge the gap between micro-, meso-, and macro- levels of analysis. The biographical approach is particularly important in German sociology.
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The two canons framing Variatio II and III are similar, the suspensions developing in the same way. In contrast the musical material in the cantabile passagework contains a remarkable range of expressive figures typical of the modern galante style, with elaborate ornamentation, melismatic episodes and occasional dissonant appoggiaturas, resembles the solo part in an aria. It also has similarities with the figurations in the solo line of the slow movement of the F minor harpsichord concerto, BWV 1056. Amongst the notable ornamentation are the "sighing" suspensions and the syncopated anapaests (played rapidly on the beat).
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Singing is a skill that requires highly developed muscle reflexes. Singing does not require much muscle strength but it does require a high degree of muscle coordination. Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Vocal exercises have several purposes, including warming up the voice; extending the vocal range; "lining up" the voice horizontally and vertically; and acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to sing wide intervals comfortably, singing trills, singing melismas and correcting vocal faults.
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Marked Andante, the second movement is an eloquent, nocturne-like effusion, of which the principal thematic element is the expressive subject given out softly at the commencement by the clarinet, and bassoons, staccato, and the strings, pizzicato - this being taken up shortly and carried on by the solo instrument. An agreeably contrasting intermediary section follows, after which the expressive first theme returns - now in the harp and strings against flowing figurations in the solo instrument. And lastly, a free short conclusion passage that takes us to the third movement.
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The contrasting, middle section of the movement is a mournful one, characterized by short-long figurations. This is the only Hungarian melody used in either of the two rhapsodies, a Transylvanian fiddle tune called the Lament of Árvátfalva recorded by Béla Vikár and later transcribed by Bartók . The coda briefly returns to a fragment of this lament, ending with the marking Fermata breve; poi attacca ("pause briefly, then connect to the next movement") . The second movement is in "chain form", featuring a succession of five independent melodies with "no attempt whatever to create structure or integration"—apart from an overall accelerando .
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The book argues both for the specificity of the person and fictional character, and for the ways in which each of them depends upon and informs our understanding of the other. Its concepts are "formal enough to bring us back to history," Rachel Malik, Figurations, "New Left Review" 94 (July-August 2015), p. 157. and develop "an unprecedentedly systematic model for understanding both literary character and social person, which are always defined in relation to one another." Mark Steven, Review of John Frow, "The Practice of Value" and "Character and Person," "Affirmations: of the modern" 2: 1 (Winter 2014), p. 180.
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The concerto's recurring moto perpetuo, modally inflected figurations are clearly inspired by Poulenc's encounter with a Balinese gamelan at the 1931 Exposition Coloniale de Paris.Carl B. Schmidt, Entrancing Muse: A Documented Biography of Francis Poulenc (Pendragon Press, November 2001), p. 196. Additionally, the work's instrumentation and "jazzy" effects are reminiscent of Ravel's G major Concerto, which was premiered at Paris in January 1932. Inevitably, comparisons have been drawn with Mozart's Concerto in E-flat for two pianos, K. 365, but the Larghetto's graceful, classically simple melody and gentle, regular accompaniment is reminiscent of the Andante of Mozart's C major Piano Concerto, K. 467.
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First published 24 October 1956 in The New York Times. Fava and Vigano, 76 For John Simon, Nino Rota's music was one "of the most brilliant features of the film... The first [of its two main themes] is a soaring, romantic melody that can be made to express nostalgia, love, and the pathos of existence... Slowed down, [the second main theme] becomes lugubrious; with eerie figurations in the woodwinds it turns sinister. The quicksilver changes in the music support the changing moods of the story".Alpert, 87 The film was re-released internationally on the tenth anniversary of Fellini's death in 2003.
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Friedrich August Belcke (1795–1874) was a celebrated trombonist in Berlin in the 19th century. In 1815, after two solos with the Leipzig Gewandhaus Orchestra, Belcke had a 30-year career as a trombone soloist. In 1819 a critic admired a concert given by Belcke in Leipzig for its "clarity and precision, distinctness and pleasing sound, plus something truly noble in the imposing trombonistic figurations, as well as astonishing skill in that which is not idiomatic to the instrument - for example, rapid passages, cantabile, trills, etc." [1] The other well-known trombonist of his time was Carl Traugott Queisser.
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Klavierstück V was originally a study concentrating on flamboyantly spaced groups of grace notes centred around long "central tones". Stockhausen drastically revised and expanded this early version, bringing the grace-note groups into less extreme registers, then using the result as a background for an entirely new set of superimposed figurations based on series quite unrelated to the original material . This final version was premiered in Darmstadt by Marcelle Mercenier, together with the Klavierstücke I–IV, on 21 August 1954 . The piece is in six sections, each in a different tempo, with the fastest tempos in the middle and the slowest at the end.
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By way of contrast with the works of his Portuguese contemporary, Coelho, Correa's works are considerably shorter and show a stronger tendency towards monothematicism. He employs virtuosic figurations (the so-called glosa) in his works to a much greater extent, often at the expense of contrapuntal development; after the initial exposition, restatements of the theme are rare, and thematic development and use of contrapuntal devices such as inversion or augmentation are almost non- existent. Correa's harmonic language, while not devoid of tonally suggestive progressions, is quite distinctly modal and represents a continuation of the idiom established by Cabezón and Aguilera de Heredia. The music of Correa is not devoid of innovation.
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The sound here, while focused on a particular tonality, has ideas of chromaticism. Two sequences of pianistic figurations lead to a placid, orchestral reinstatement of the first theme in the dominant 7th key of G. The development furthers with motifs from the previous themes, climaxing towards a B major "piu vivo" section. A triplet arpeggio section leads into the accelerando section, with the accompanying piano playing chords in both hands, and the string section providing the melody reminiscent of the second theme. The piece reaches a climax with the piano playing dissonant fortississimo (fff) chords, and with the horns and trumpets providing the syncopated melody.
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Among the numerous figures within Jain texts, an important discussion is to be had regarding the 19th Tīrthaṅkara Mallinātha, who represents a unique case study in the debates and figurations of Jain women. For Śvetāmbara Jains, Mallinātha represents the capacity of women to achieve spiritual liberation, given that Mallinātha is depicted as a woman known as Mallī Devi. Mallī was a king in her previous life known as Mahā-bala, who, along with his six friends, decided to become a mendicant after hearing an ascetic preach. They all agreed to fast together, but Mahā-bala secretly desired to outperform his friends in their fasts.
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Sothebys, 14 November 2014. Retrieved 12 June 2017 Moraes and Bacon were drinking friends, she was a favourite model and he depicted her over a dozen times in a variety of forms, including single panel portraits, triptych portraits, and as part of larger scale figurations such as this panel. They knew each other from Soho's Colony Club, where they often met with John Deakin, another close friend, and a photographer whom Bacon commission to take the photographs on which the painting is based.Russell, 100 Moraes was a noted beauty and an artists model in 1960s London, and a muse to Bacon, Lucian Freud and later to Maggi Hambling.
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Adriana Cavarero’s Inclinations critiques the characterization of the human being as upright, erect—in philosophy, psychoanalysis, anthropological writings, literature and artworks. Her aim is to illuminate "the effects of this figuration, the 'truths' and 'power-relations' that these discursive or artistic figurations produce and install…[and to tally] the costs of depicting the human being as upright when it comes to our view of women, our overall understanding and collective self-conception."Paul A. Kottman, Series Editor Preface to Cavarero, Inclinations, translated by Amanda Minervini and Adam Sitze (Stanford: Stanford University Press, 2016), vii. The figuration of the human being as 'upright,' Cavarero suggests, obscures a more natural figuration: Inclination.
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The second section of the movement is marked Lamentoso and its agonizing figurations are in marked contrast to the beatific music of the opening section. The muted violas introduce the principal theme, which comprises a series of agitated fragments in B minor. The music graphically reflects the pleading and suffering of the penitents before it breaks up into flowing triplets:Jean-Pierre Barricelli (1982) suggests that the liturgical music of the first part represents the collective suffering of the penitents, while the "introspective fugue" suggests individual meditation on one's sins. center This theme is taken up by the other strings and a five-part fugue ensues.
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The final movement is nearly as long as the first two combined. The woodwind figurations from the second movement become increasingly significant before the music breaks down in a similar way to the music of the first movement and finale of the previous year's sixth symphony. A melody in the horns, invoking Bruckner, suddenly breaks through in an attempt to give the movement some direction, but the music soon breaks down again, becoming stuttering and texturally thinner. Finally, the Bruckner-like horn theme returns on tuba, contrabassoon and double bass but this time in the guise of a funereal waltz and the symphony comes to a close.
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Eikon Internationale Zeitschrift für Photographie und Medienkunst, Nr. 52, 2005-12, p.8-15 ‘Nin Brudermann. Adventurous Entanglements’, Simone Subal The work was acquired by the Austrian National Collection, Arthotek at Belvedere. Das Patent (2008) In Das Patent Brudermann's practice is that of the conceptual artist as inventor with a patented unitard that separates into two sections without the use of hooks or buttons and that art critic Jerry Saltz compared to a M.C. Escher impossible object.New York Magazine, 2008-07-10, ‘Critics’ Pick: Some Thing Else’, (illustrated), Jerry Saltz The figurations of Das Patent were live performed at Peter Blum Gallery in New York.
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The bleak, dramatic third variation is in the parallel minor, with a remarkable use of dissonance and a focus on the minor second Db. This note prepares the key change to the submediant Ab major in variation four, a virtuosic run of fast 32nd notes that makes heavy use of chromaticism and idiomatic pianistic figurations. The final variation, back in C major, is comparatively simple, with repeated chords in eighth note triplets and a pastoral quality. It retains the focus on Db from the previous variation, as well as minor key sections, tying together the movement. The piece ends with a brief coda and a plagal cadence.
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He actively contributed to the city's cultural life, thereby becoming a friend and collaborator to such writers and poets as Mario Luzi, Alessandro Parronchi, Elvio Natali, Piero Santi, Elio Filippo Accrocca, Enzo Carli, Alfonso Gatto, Giulio Guberti, Franco Solmi, Carlo Segala, and Claudio Spadoni. He achieved fame throughout Italy and internationally. Italian poet Mario Luzi opined that the "intense figurations of extraneousness and undeception" of Lusini's earlier work allowed the viewer to "let us know him". Luzi contrasted this with some of Lusini's later work, which he thought carried with it "a new utmost feeling of expectation and perhaps even something more... the very acute sense of the imminence of a final event".
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Selmer trumpet, given as a gift by King George V of the United Kingdom to Louis Armstrong in 1933 In his early years, Armstrong was best known for his virtuosity with the cornet and trumpet. Along with his "clarinet-like figurations and high notes in his cornet solos", he was also known for his "intense rhythmic 'swing', a complex conception involving ... accented upbeats, upbeat to downbeat slurring, and complementary relations among rhythmic patterns." The most lauded recordings on which Armstrong plays trumpet include the Hot Five and Hot Seven sessions, as well as those of the Red Onion Jazz Babies. Armstrong's improvisations, while unconventionally sophisticated for that era, were also subtle and highly melodic.
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The fantasias use the Italian ricercare structure, with its imitative treatment of the subjects in several sections. However, Cornet prefers to use a large number of subjects (up to six) or relies on a double subject (a subject the two halves of which can be used as separate subjects); consequently, most of the fantasias are rather large works. The style shows the influence of English virginal music, with unexpected fast runs and characteristic figurations (in some fantasias ornaments are even notated using the English symbol: two oblique bars), with the exception of wide skips, broken octaves, and other virtuosic figures such as those found in Bull's and Farnaby's music. A characteristic feature is Cornet's use of rhythmic changes.
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The surviving published version of the musical score appears in the format of a simplified keyboard transcription using a two-staff system (treble and bass). It includes only occasional notations about the instruments used in the original full orchestral score, which has not survived. Therefore, musical elements from the original production such as inner harmonic parts, countermelodies, and accompaniment figurations are no longer known. Based on records of payments made to musicians at The Chestnut Street Theatre at the time of the premiere, it was likely that the production employed approximately 25 pieces, which may have consisted of pairs of woodwinds (flutes, oboes, clarinets, and bassoons) and brasses (horns and trumpets) as well as some timpani and strings.
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Richard Wagner stated that his 1843 opera The Flying Dutchman was inspired by a memorable sea crossing from Riga to London, his ship being delayed in the Norwegian fjords at Tvedestrand for two weeks by storms. The French composer Claude Debussy's 1903–05 work La mer (The Sea), completed at Eastbourne on the English Channel coast, evokes the sea with "a multitude of water figurations". Other works composed at about this time include Charles Villiers Stanford's Songs of the Sea (1904) and Songs of the Fleet (1910), Edward Elgar's Sea Pictures (1899) and Ralph Vaughan Williams' choral work, A Sea Symphony (1903–1909). The English composer Frank Bridge wrote an orchestral suite called The Sea in 1911, also completed at Eastbourne.
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Earlier on, temporal order is maintained, if only in a general way. His early Three Pieces for Clarinet (1958), for example, present metronomically specified, but flexible and varied rhythmic structures without bar lines, which nevertheless are carefully measured rhythmically . However, by the mid-sixties—for example in Pour faire chanter la polonaise (1965)—rhythmic control is almost completely abandoned so far as notation is concerned, while pitch and dynamics continue to be exactly prescribed . By the early seventies, Bois had begun to incorporate quotations from earlier music, as in the Concerto pour Hrisanide (1971), or just generally familiar material, such as suddenly breaking into "traditional" melody-and-accompaniment figurations in Fusion pour deux (1971) and New Pieces for piano (1972).
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According to Pinker, rape, murder, warfare and animal cruelty have all seen drastic declines in the 20th century. Pinker's analyses have also been criticized, concerning the statistical question of how to measure violence and whether it is in fact declining. Pinker's observation of the decline in interpersonal violence echoes the work of Norbert Elias, who attributes the decline to a "civilizing process", in which the state's monopolization of violence, the maintenance of socioeconomic interdependencies or "figurations", and the maintenance of behavioural codes in culture all contribute to the development of individual sensibilities, which increase the repugnance of individuals towards violent acts. Some scholars disagree with the argument that all violence is decreasing arguing that not all types of violent behaviour are lower now than in the past.
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With the increasing pluralization of life-worlds, modernization, and differentiation in Postmodern societies, the dissolution of traditional values and the conference of meaning, the biographical approach proved useful to study these social phenomena of the turn of the millennium. The actor became an intersection of different and sometimes divergent determinants, logics, expectations, normative models, and institutionalized mechanisms of control (see Georg Simmel's chapter "The Intersection of Social Circles"). The "normal biography" broke up and prompted the individual to manage his life course on his own and to find solutions amongst different and contradictory influencing factors and figurations. In this situation, the self-discovered biographical identity with its endangered transitions, breaks, and status changes becomes a conflict between institutional control and individual strategy.
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Both of these positions have been challenged. While it is conceded to be Villa-Lobos's most dissonant work, analysis shows this is a case of polytonality, rather than atonality, and while the use of short repeated motifs with variations and rhythmic transformations are the essence of primitivist rhythmic animation, these procedures are also the very definition of symphonic thematic development . The composer characterised the work as the "Dance Chôros", and construed the fragmented and contrapuntally intertwined opening themes as "sensually complex and atonal in order to deliberately give the feeling of nervousness of a crowd that is gathering to dance" . The work appears to be conceived as an exploration of the possibilities of concatenation of sound blocks assembled from ostinato figurations.
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Elias' theory focused on the relationship between power, behavior, emotion, and knowledge over time. He significantly shaped what is called process or figurational sociology. Due to historical circumstances, Elias had long remained a marginal author, until being rediscovered by a new generation of scholars in the 1970s, when he eventually became one of the most influential sociologists in the history of the field. Interest in his work can be partly attributed to the fact that his concept of large social figurations or networks of interdependencies between people explains the emergence and function of large societal structures without neglecting the aspect of individual agency. In the 1960s and 1970s, the overemphasis of structure over agency was heavily criticized about the then-dominant school of structural functionalism.
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The opening recitative, speaking of longing and waiting, expands expressively on a throbbing pedal point of 11 measures, moving only on the words "" mentioning "joy" (the lack of joy, though), only to sink back for the final "" (almost all my confidence has drained away). In the following duet, an unusual obbligato bassoon plays virtuoso figurations in a wide range of two and one half octaves (including a truly remarkable G0), whereas the voices sing together, for most of the time in homophony. Movement 3 speaks words of consolation. Bach chose the bass as the (voice of Christ) to deliver them, almost as an arioso on the words "" (so that the light of His grace might shine on you all the more brightly).
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48–49 Caroline Potter, in The Cambridge Companion to Debussy, comments that Debussy's depiction of the sea "avoids monotony by using a multitude of water figurations that could be classified as musical onomatopoeia: they evoke the sensation of swaying movement of waves and suggest the pitter-patter of falling droplets of spray" (and so forth), and – significantly – avoid the arpeggiated triads used by Schubert and Wagner to evoke the movement of water.Potter, p. 149 In The Cambridge Companion to Debussy, Mark DeVoto describes La mer as "much more complex than anything Debussy had written earlier", particularly the Nocturnes: The author, musicologist and pianist Roy Howat has observed, in his book Debussy in Proportion, that the formal boundaries of La mer correspond exactly to the mathematical ratios called the Golden Section.Howat, pp.
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As an artist, Francis Bacon was a late starter. He painted sporadically and without commitment during the late 1920s and early 1930s, when he worked as an interior decorator and designer of furniture and rugs. He later admitted that his career was delayed because he had spent so long looking for a subject that would sustain his interest.Schmied (1996), 121 He began to paint images based on the Crucifixion in 1933, when his then-patron Eric Hall commissioned a series of three paintings based on the subject.Davies, Yard (1986), 12 These abstract figurations contain formal elements typical of their time, including diaphanous forms, flat backgrounds,Gale, Matthew. "Three Studies for Figures at the Base of a Crucifixion, circa 1944". Tate Gallery Online, November 1998. Retrieved on 7 April 2007.
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The subject of this fugue is eight measures long and consists of tight figurations encompassing an entire octave. Bach takes this subject firstly through the relative minor and then the mediant minor, and then to the minor harmony of the leading tone and the major harmony on the supertonic. After this progression we enter an episode with a flurry of figures on the dominant and then a full entry of the subject on the tonic that works to resolve the preceding tension so well that the eventual coda almost has the nature of an afterthought. The Fugue's subject, showing a turn-like motif followed by a falling sequence The subjects of both the BWV 532a and 532 fugues are identical, as well are the counter-subject introduction in the alto voice, and then also in the tenor voice.
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The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. It is in four movements: # Allegro vivace (A major) # Andante con moto (D minor) # Con moto moderato (A major) # Presto and Finale: Saltarello (A minor) The joyful first movement, in sonata form, is followed by an impression in the subdominant minor of D minor of a religious procession the composer witnessed in Naples. The third movement is a minuet in which French horns are introduced in the trio, while the final movement (which is in the minor key throughout) incorporates dance figurations from the Roman saltarello and the Neapolitan tarantella. It is among the first large multi- movement works to begin in a major key and end in the tonic minor, another example being Brahms's first piano trio.
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Dionysus Sardanaplus from the National Roman Museum The Dionysus Sardanapalus is an uncommon Hellenistic-Roman Neo Attic sculpture-type of the god Dionysus, misnamed after the king Sardanapalus. Unlike most contemporary figurations of Dionysus as a lithe youth, the self-consciously archaising god is heavily draped, with an ivy wreath and a long archaic-style beard; probably he bore a thyrsos in a raised right hand, now missing.K.A. McDowall, "The so-called 'Sardanapalus'", Journal of Hellenic Studies, 1904; Bernard Ashmole, "The so- called 'Sardanapalus'", The Annual of the British School at Athens, 1919. The misidentification with Sardanapalus was erroneously confirmed in the example in the Vatican Museums, which was provided with a 17th-century restorer's inscription on a band across its chest with ϹΑΡΔΑΝΑΠΑΛΛΟϹ (Sardanapalus), giving the type its erroneous name (it has no true association with this legendary king).
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Gabriele Klein’s research is concentrated on body, human movement and dance studies, as well as on pop culture, performance studies, gender studies and urban studies. The social- anthropological and gender-theoretical perspectives that she has developed, and for which she has received international awards (Curriculum Vitae), were expanded in subsequent research, in particular in studies of popular dance forms in the youth scene and in popular culture, especially techno and hip-hop culture, Latin American dances and cultural performances, which she examined primarily in everyday life, sport and the arts. Her focus in recent research has lain in the globalization and transnationalization of dance cultures and the appropriation of dance and movement patterns and their contexts of meaning in different local and urban cultures. Gabriele Klein considers dance figurations to be a special manner of social interaction.
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310 Nevertheless, there are many indicators of the sources and elements of Debussy's idiom. Writing in 1958, the critic Rudolph Reti summarised six features of Debussy's music, which he asserted "established a new concept of tonality in European music": the frequent use of lengthy pedal points – "not merely bass pedals in the actual sense of the term, but sustained 'pedals' in any voice"; glittering passages and webs of figurations which distract from occasional absence of tonality; frequent use of parallel chords which are "in essence not harmonies at all, but rather 'chordal melodies', enriched unisons", described by some writers as non- functional harmonies; bitonality, or at least bitonal chords; use of the whole-tone and pentatonic scales; and unprepared modulations, "without any harmonic bridge". Reti concludes that Debussy's achievement was the synthesis of monophonic based "melodic tonality" with harmonies, albeit different from those of "harmonic tonality".
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This leads into what is perhaps the most recognizable pianistic feat of the first movement: several lines of octaves interspersed with close tones either above or below (in a triplet rhythm), moving up and down the keyboard with the hands usually on top of one another. This is followed by a restatement of the opening clarinet theme, played loudly in the full orchestra, which transitions to a haunting variation of the theme by the solo piano. A quick, scalar passage from the movement's beginning is now taken up by the piano, in what is arguably the most difficult passage in the first movement for its challenges of fingering and phrasing. This leads into an exact recapitulation of the piano's entrance, which now leads into a brilliant coda involving various figurations of the octave-triplet idea, as well as runs on the piano consisting entirely of ascending parallel triads and glissandi.
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These somewhat abrupt changes in tonality convey the spirit of a more ancient modal type of music. In both movements the A sections are fairly closely tied to the ritornello material which is interspersed with brief episodes for the harpsichord. The central B sections of both movements are freely developed and highly virtuosic; they are filled with violinistic figurations including keyboard reworkings of bariolage, a technique that relies on the use of the violin's open strings. The B section in the first movement starts with repeated note bariolage figures: 400px which, when they recur later, become increasingly virtuosic and eventually merge into brilliant filigree semidemiquaver figures—typical of the harpsichord—in the final extended cadenza-like episode before the concluding ritornello. 800px Throughout the first movement the harpsichord part also has several episodes with "perfidia"—the same half bar semiquaver patterns repeated over a prolonged period.
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So, when the new organ was inaugurated in 1992 at the same time as the 100th anniversary of St. Matthew's Church, it would be showcased in all its splendor with a newly written symphony. Professor Hans Fagius played a shortened Festival Toccata from the Fourth symphony during the music festival The Sound of Norrköping (Norrköpingsljud) 2015 and described the music as follows: "The movement begins as a typical French organ toccata with figurations in the hands over a pedal theme that is subject to an extensive variation. In contrast, in the middle comes a more quiet section with clear features of Swedish national romantic music. The main theme emerges in different polyphonic ways, then the initial toccata returns, now followed by a short canon between the pedal and the manual before the piece ends with a lavish tutti" The symphony is 45 minutes long and has also been played on radio.
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"Chandarlapaty, Raj, Indian Journals and Allen Ginsberg's Revival as Prophet of Social Revolution, ariel: a review of international english literature, Vol. 41 No. 2 Pages 113–138, 2011 Gayathri Prabhu wrote that Journals recorded a period of transcendental experience for Ginsberg as a Westerner, "pushing the boundaries of his tourist persona, throwing himself into the most alien and morbid and then staying immersed in it till he can glean some form of personal truth" and functioned as a "brilliant evocation of transnationalism". He also sees Ginsberg's journey as different from the "earlier Western project of 'saving' India from its squalor" in which "Ginsberg attempts to pay more attention to Indian poverty without simply condemning it" and called Ginsberg's depiction of poverty a "profound, ambivalent experience".Prabhu, Gayathri, "Figurations of the Spiritual Squalid in Allen Ginsberg's Indian Journals: Transformation of India in Post-War Beat and American Imagination.
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As with vocal score (below), it takes considerable skill to reduce an orchestral score to such smaller forms because the reduction needs to be not only playable on the keyboard but also thorough enough in its presentation of the intended harmonies, textures, figurations, etc. Sometimes markings are included to show which instruments are playing at given points. While piano scores are usually not meant for performance outside of study and pleasure (Franz Liszt's concert transcriptions of Beethoven's symphonies being one group of notable exceptions), ballets get the most practical benefit from piano scores because with one or two pianists they allow the ballet to do many rehearsals at a much lower cost, before an orchestra has to be hired for the final rehearsals. Piano scores can also be used to train beginning conductors, who can conduct a pianist playing a piano reduction of a symphony; this is much less costly than conducting a full orchestra.
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The rehabilitation of the Royal Hawaiian Hotel was one of his first jobs and many more followed. His work is typified by the use of local materials such as coral stone, lava rock, wood beams, thatch, bamboo, and glass; local "forms" such as flowing indoor/outdoor open spaces sheltered by big dramatic roofs with big eaves; and "liberal use of figurations, patterns and motifs derived from the cultures of the Pacific". An article in Honolulu Weekly said Wimberly "established himself as perhaps the most successful resort architect in the world" and that his "Honolulu—based firm of Wimberly Allison Tong & Goo,also known as WATG, designed many of the Pacific Rim's pace-setting hotels and is now the world's largest "niche" architecture firm, specializing in the $4-trillion-dollar travel industry." He did numerous small scale projects on the Hawaiian islands until after 1960 when tourism and travel greatly expanded tourism and he started working on larger projects, a "construction boom that... led to the demolition of" many buildings Wimberly designed.
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In Jubiläum, Stockhausen composed an orchestral sound event with superimposed layers of different speeds, degrees of noise, degrees of indeterminacy and integration, and simultaneous transitions from ordered to disordered and back . The work is built upon a formula, announced at the beginning as a massive hymn-like chant in the brass and low strings. The harmonic language of Jubiläum is reminiscent of the music of Stockhausen's teacher Olivier Messiaen, and the dramatic use of space recalls Hector Berlioz. The formula is presented mainly in a series of dense textures overlaid with shimmering glissandos and rapid melodic figurations, in a "mix of majestic confidence and restless activity" that produces a quality of "breathtaking splendour that is Stockhausen's alone" . The formula of Jubiläum is in the guise of a chorale with a melody containing 15 pitches grouped into five segments of 1 + 2 + 3 + 4 + 5 tones: (C) + (F F) + (G D A) + (C B A E) + (G E B D G). The five segments have durations of 2, 3 (1 + 2), 6 (3 + 1 + 2), 10 (2 + 4 +1 + 3), and 15 (4 + 1 + 2 + 3 + 5) crotchets, and each is followed by a "coloured silence" of 2, 3, 4, 6, and 9 crotchets.
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