Hosseini's "Monodies" dedicated to Italian 20th-century composer Luciano Berio. The name "Monodies" has been used quite often in the composer's works, he is devoting a significant amount of attention to the embodiment of his musical ideas into a single-voiced style, using the sounds of the traditional music of Persia and mixing them with western trends. > Hosseini often uses the word monodies not only as the title of his > composition, but also as a musical term; by which he means the > characteristics of single voice structures, adapting themselves to any > musical texture. " Mehdi Hosseini's "Monodies" in concert POST SCRIPTUM" Payvand Iran News.
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The Monodies by Iranian composer Mehdi Hosseini was completed in 2011. The work is scored for flute, clarinet, piano, violin and violoncello. The world premiere of Hosseini's composition "Monodies" was on 21 November 2011 as part of the opening day of the 23rd Annual International New Music Festival "Sound Ways", in the Glinka Hall of the St. Petersburg Philharmonic Orchestra. The work performed by the Sound Ways New Music Ensemble under the direction of conductor Brad Cawyer.
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One of the dialogues, Anima mia che pensi, uses a segment of text from Cavalieri's Rappresentatione di Anima, et di Corpo (Act 1 scene iv). Lastly, Sacre laudi (1613) contains 23 monodies with Latin texts.
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John Eugenikos was a prolific writer, from polemical writings attacking the Union to rhetorical ekphraseis and monodies, prayers, hymns and sermons, including an ekphrasis of Trebizond and a lament on the Fall of Constantinople. Thirty-six of his letters survive, but most of his corpus remains unpublished.
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Accompanying instruments could be lute, chitarrone, theorbo, harpsichord, organ, and even on occasion guitar. While some monodies were arrangements for smaller forces of the music for large ensembles which was common at the end of the 16th century, especially in the Venetian School, most monodies were composed independently. The development of monody was one of the defining characteristics of early Baroque practice, as opposed to late Renaissance style, in which groups of voices sang independently and with a greater balance between parts. Other musical streams which came together in the monody were the madrigal and the motet, both of which developed into solo forms after 1600 and borrowed ideas from the monody.
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Italian ars nova music: a bibliographic guide to modern editions (1973), p. 36. "Lacking the international flavor of other European lyric monodies, the Italian lauda in its simplicity more nearly resembles improvisation and reflects the popular oral tradition."Thomas Gibson Duncan. A companion to the Middle English lyric (2005), p. 166.
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In this third book, he includes music that can be performed either by voices only, or voices and instruments; and he also includes a basso continuo, which evolves from a mere duplication of the bass line in some of the pieces, to an independent part over which solos, duets, and other ensembles perform, often in an antiphonal style.James Haar, Anthony Newcomb, Grove (1980) Priuli's sacred music includes masses, motets, and sacred monodies. His masses include examples in the already archaic stile antico of the 16th century, akin to the music of Palestrina, as well as others in the developing concertato style which helped define the beginning of the Baroque era. His motets and monodies are in general more progressive, having features in common with other early Baroque composers influenced by the Venetians.
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Virginia Radley claims that the poem "contain faults similar to those manifest in the Chatterton monodies: an abundance of personification, forced diction, contrived rhymes, sentimentality, and lack of unity. within the greater context of the Romantic point of view, however, Coleridge's 'Maid' is important. Isolation, loneliness, a feeling of alienation—all characterize the Harolds, Manfreds, Lucys, Michaels, and Mariners of a later-day Romanticism."Radley 1966 p.
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In 1620 Lukačić published his only collection of motets Sacrae cantiones. According to the title page and dedication, Giacomo Finetti, at that time maestro di cappella at the church dei Frari in Venice, handed them to the Archbishop of Split. A total of 27 motets were probably written during Lukačić’s long stay in Italy. Characteristic of his monodies are clear melodic lines and the simplicity of harmonic flow.
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Andronikos is also reported as the father of another son, John Doukas, who is mentioned only in a list of participants for a Church synod on 6 March 1166. He is also recorded as having a daughter Maria, and possibly a second daughter Anna. If their mother was Irene, the absence of both daughters from the monodies may possibly be due to either the poets' emphasizing male descent, or to their death in early infancy.
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Honegger was also interested in 20th-century music, notably that of Georges Migot (1891–1976) who was his teacher and whose work he wanted to make known. He became secretary-general of the association of friends of the work and thought of Georges Migot. He published the Catalogue des œuvres musicales de Georges Migot in 1977. He helped publish musical scores such as 26 Monodies permodales in 1990 and L'Annonciation, an oratorio for two soloists, three-part female chorus and string orchestra (1993).
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Giovanni Artusi, Seconda Parte dell'Artusi, overo Delle imperfettioni della moderna musica, p. 16, Venice (1603) Monteverdi adopted the term to distance some of his music from that of e.g. Giovanni Pierluigi da Palestrina and Gioseffo Zarlino and to describe early music of the Baroque period which encouraged more freedom from the rigorous limitations of dissonances and counterpoint characteristic of the prima pratica. Stile moderno was coined as an expression by Giulio Caccini in his 1602 work Le nuove musiche which contained numerous monodies.
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New for Caccini's songs were that the accompaniment was completely submissive in contrast to the lyric; hence, more precisely, Caccini's Stile moderno-monodies have ornamentations spelled out in the score, which earlier had been up to the performer to supply. Also this marks the starting point of basso continuo which also was a feature in Caccini's work. In the preface of his 5th Book of Madrigals (1605) Monteverdi announced a book of his own: Seconda pratica, overo perfettione della moderna musica. Such a book is not extant.
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Of his music, 133 songs have survived, and all are monodies--secular compositions for solo voice, generally sung in a highly ornamented style, with instrumental accompaniment. All but one are in Italian, and encompass a wide range of texts, including serious, humorous, and erotic. His style varies from diatonic to chromatic, and is comparable to that of contemporary monodist Sigismondo d'India in its experimental qualities. A unique feature of Saracini's compositions is the occasional influence of folk music, including that of the Balkans, an extreme rarity in early Italian Baroque music.
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He was an exponent of mannerism and set to music verses major poets such as Torquato Tasso and Gabriello Chiabrera in addition to the major poets of the period. He often utilised melodies of other composers, modifying their style but not distorting their compositional integrity. In the 1591 Second Book of ricercars, Verso based his ricercars on the models of his teacher Vinci. Between 1590 and 1619 Verso composed at least 15 books of madrigals for 5 voices, and additional books for 3 and 4 voices and monodies.
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Contrasting passages in monodies could be more melodic or more declamatory: these two styles of presentation eventually developed into the aria and the recitative, and the overall form merged with the cantata by about 1635. The parallel development of solo song with accompaniment in France was called the air de cour: the term monody is not normally applied to these more conservative songs, however, which retained many musical characteristics of the Renaissance chanson. An important early treatise on monody is contained in Giulio Caccini's song collection, Le nuove musiche (Florence, 1601).
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Like many Medicis, Anna was a great lover and patron of the arts. For instance, a collection of monodies by Pietro Antonio Giramo, entitled Hospedale degli Infermi d'amore, was dedicated to Anna in Naples in the mid- seventeenth century (the specific date is unknown); it humorously presented the various forms of insanity caused by love.Arias, p. 137. In the collection, Giramo's dedication to Anna seemingly referred to a flirtatious young lady when he mentions "the powerful glances of Anna's eyes which can cure all these infirmities of imaginative madnesses and vain desires of human hearts".
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For five years, ending in 2015, the press conducted an annual competition open to poets and fiction writers with some significant connection to the Buffalo-Niagara Falls area. The winners of this competition were Jeremiah Rush Bowen (2011); Jerry McGuire (2012), Jacob Schepers and Linda Zisquit (co-winners 2014); and Edric Mesmer, Of Monodies and Homophony (2015). Beginning in 2016, authors are encouraged to submit unsolicited manuscript during the annual reading period from January 1 to April 15. Additional books may occasionally be directly solicited by Outriders from selected authors.
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Many sources recount his virtuosity as a theorbo player. None of his operatic music survives. Extant works include libretti, an oratorio, and three books of monodies under the title Musiche varie a voce sola (Venice 1633, 1637, 1641). Though the last were composed within a relatively short time span, they reflect the changing style of accompanied monody, from the emergence of recitar cantando (midway between song and speech) to the vocal style that is typical of mid-17th century opera, with a more distinctive melody and a clearer rhythm.
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Giovanni Anerio was a much more progressive composer than his brother, and in the conservative environment of Rome in the early 17th century, this was progressive indeed. Many of his madrigals were monodies, borrowing a style which came from Florence and other locations to the north; his motets and masses, on the other hand, are conservative and use the Palestrina style, though the motets include figured bass, another innovation from the first decade of the 17th century. Some influence from Viadana is evident in these pieces. Some of his masses are polychoral, a technique which involved multiple, spatially separated groups of singers.
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Aeschylus mocks Euripides' verse as predictable and formulaic by having Euripides quote lines from many of his prologues, each time interrupting the declamation with the same phrase "" ("... lost his little flask of oil"). (The passage has given rise to the term lekythion for this type of rhythmic group in poetry.) Euripides counters by demonstrating the alleged monotony of Aeschylus' choral songs, parodying excerpts from his works and having each citation end in the same refrain ("oh, what a stroke, won't you come to the rescue?", from Aeschylus' lost play Myrmidons). Aeschylus retorts to this by mocking Euripides' choral meters and lyric monodies with castanets.
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Although it is often considered the first published collection of monodies, it was actually preceded by the first collection by Domenico Melli published in Venice in March 1602 (stile veneto, in which the new year began on 1 March). In fact, the collection was Caccini's attempt, evidently successful, to situate himself as the inventor and codifier of monody and basso continuo. Although the collection was not published until July 1602, Caccini's dedication of the collection to Signor Lorenzo Salviati is dated February 1601, in the stile fiorentino, when the new year began on 25 March. This likely explains why the collection is often dated to 1601.
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91 Euripides' use of lyrics in sung parts shows the influence of Timotheus of Miletus in the later playsthe individual singer gained prominence, and was given additional scope to demonstrate his virtuosity in lyrical duets, as well as replacing some of the chorus's functions with monodies. At the same time, choral odes began to take on something of the form of dithyrambs reminiscent of the poetry of Bacchylides, featuring elaborate treatment of myths.Justina Gregory, 'Euripidean Tragedy', in A Companion to Greek Tragedy, Justina Gregory (ed.), Blackwell Publishing Ltd (2005), p. 258 Sometimes these later choral odes seem to have only a tenuous connection with the plot, linked to the action only in their mood.
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Sometime before 1166, he was appointed as the metropolitan bishop of Neopatras. He was related to the Tornikios family, and became closely connected to the intellectual circles of the Patriarchal School of Constantinople, as well as to such prominent scholar-bishops of the late Komnenian period as the Archbishop Eustathius of Thessalonica and Michael Choniates. His main works were rhetorical speeches, chiefly in honour of Emperor Manuel I Komnenos and his general, Alexios Kontostephanos, as well as monodies for his friends, including Eustathius. He may also be the original author of a further three speeches published by Euthymios Tornikes, who was Malakes' closest friend and who wrote a monody in his honour.
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The main Western musical trends have marked these productions, medieval monodies or polyphonies, with the work of Abbot Oliba in the eleventh century or the compilation Llibre Vermell de Montserrat ("Red Book of Montserrat") from the fourteenth century. Through the Renaissance there were authors such as Pere Albert Vila, Joan Brudieu or the two Mateu Fletxa ("The Old" and "The Young"). Baroque had composers like Joan Cererols. The Romantic music was represented by composers such as Fernando Sor, Josep Anselm Clavé (father of choir movement in Catalonia and responsible of the music folk reviving) or Felip Pedrell. Modernisme also expressed in musical terms from the end of the 19th century onwards, mixing folkloric and post-romantic influences, through the works of Isaac Albéniz and Enric Granados.
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The stile recitativo, as the newly created style of monody was called, proved to be popular not only in Florence, but elsewhere in Italy. Florence and Venice were the two most progressive musical centers in Europe at the end of the 16th century, and the combination of musical innovations from each place resulted in the development of what came to be known as the Baroque style. Caccini's achievement was to create a type of direct musical expression, as easily understood as speech, which later developed into the operatic recitative, and which influenced numerous other stylistic and textural elements in Baroque music. Caccini's most influential work was a collection of monodies and songs for solo voice and basso continuo, published in 1602, called Le nuove musiche.
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Baroque vocal music explored dramatic implications in the realm of solo vocal music such as the monodies of the Florentine Camerata and the development of early opera. This innovation was in fact an extension of established practice of accompanying choral music at the organ, either from a skeletal reduced score (from which otherwise lost pieces can sometimes be reconstructed) or from a basso seguente, a part on a single staff containing the lowest sounding part (the bass part). A new genre was the vocal concertato, combining voices and instruments; its origins may be sought in the polychoral music of the Venetian school. Claudio Monteverdi (1567–1643) brought it to perfection with his Vespers and his Eighth Book of Madrigals, which call for great virtuosity on the part of singers and instruments alike.
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The background story to the canons’ visit is described in Monodies (Book 3), a contemporary document written by Guibert de Nogent. This mentions the fund-raising journeys undertaken by the canons of Laon after the cathedral of Notre-Dame was badly damaged by fire during a civil uprising at Easter in 1112. In Chapter XIII Guibert refers to the burning of an unnamed English town visited by the canons, but he ascribes this to lightning heaven-sent as a punishment for the ungodly behaviour of the inhabitants and makes no mention of a dragon. In the mid-12th century, Herman de Laon, otherwise Hermann de Tournai, a retired Flemish Abbot, elaborated on the canons’ English journey in De Miraculis Sanctae Mariae Laudunensis (Of the Miracles of St Mary of Laon).
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Peri indicated that Gagliano's way of setting text to music came closer to actual speech than any other, therefore accomplishing the aim of the Florentine Camerata of decades before, who sought to recapture that (supposed) aspect of ancient Greek music. Other music by Gagliano includes secular monodies and numerous madrigals. While the monody was a Baroque stylistic innovation, most of the madrigals are a cappella, and written in a style reminiscent of the late Renaissance (in the first decades of the 17th century, the continuo madrigal was becoming predominant; for example, in the works of Monteverdi). This mix of progressive and conservative trends can be seen throughout his music: some of his sacred music is a cappella, again in the prima prattica style of the previous century, while other pieces show influence of the Venetian School.
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Music and theatre have had a close relationship since ancient times—Athenian tragedy, for example, was a form of dance-drama that employed a chorus whose parts were sung (to the accompaniment of an aulos—an instrument comparable to the modern clarinet), as were some of the actors' responses and their 'solo songs' (monodies). Modern musical theatre is a form of theatre that also combines music, spoken dialogue, and dance. It emerged from comic opera (especially Gilbert and Sullivan), variety, vaudeville, and music hall genres of the late 19th and early 20th century. After the Edwardian musical comedy that began in the 1890s, the Princess Theatre musicals of the early 20th century, and comedies in the 1920s and 1930s (such as the works of Rodgers and Hammerstein), with Oklahoma! (1943), musicals moved in a more dramatic direction.
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His music during this period was influenced by the other composers working in Ferrara, including Luzzasco Luzzaschi, and his favorite poets of the time were those most closely associated with Ferrara – Tasso and Guarini. In his tenth book of madrigals (1591), six of the compositions may have been intended for a solo singer with instrumental accompaniment, in the manner of the monodies which were one of the forerunners of opera. The late music is tonal, anticipating the changes in musical language of the early Baroque, during which functional tonality crystallized out of the pre-tonal universe of the late Renaissance; in addition these late compositions are mainly homophonic, with only occasional polyphonic passages appearing as an animating contrast. An influence from the Venetians is his occasional use of the concertato style, with groups of voices in dialogue.
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Thereafter he concentrated on symphonic poems, chamber and instrumental works. After World War I his continuing devotion to the symphonic poem and the large orchestra at a period when neoclassicism and small ensembles were more fashionable may have discouraged performance and acceptance of his works. His compositions include the four symphonic poems and three orchestral songs making up Livre de la jungle after Rudyard Kipling; many other symphonic poems including Le Buisson Ardent after Romain Rolland (this is a diptych of two orchestral poems, performable separately) and Le Docteur Fabricius after a novel by his uncle Charles Dollfus; three string quartets; five symphonies including a Seven Stars Symphony inspired by Hollywood; sonatas for flute, oboe, clarinet, bassoon, horn, violin, viola and cello, and much other chamber music; many songs, over two hundred opus numbers in all; and a vast number of monodies, fugal studies, chorale harmonizations and other educational pieces. Many works remain unpublished, however.
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It was shown at the Opéra national de Lorraine in Nancy on 29 October 1996, with the baritone François Le Roux in a lead role. It was given a reprise in 2003 at in Marseille with a new staging by . Among his latest works are a string quartet created by the Parisii Quartet, Orbes for 12 strings, premiered by the Orchestre royal de Wallonie, Septimo (1998) for vibraphone and bells, recorded by Frédéric Daumas (Fragrance, 1999), Le Prophète, based on a text by Stéphane Mallarmé, for baritone and piano (1998), premiered by François Le Roux and Alexandre Tharaud at the François Mitterrand Library, Solitaire Vigie for large orchestra and choir (poem by Mallarmé) premiered in Nancy in January 2000, Variasix for instrumental ensemble created by the Télémaque ensemble (Aix-en-Provence, 2001), Koré ou L'Oubli for keyboard-percussion quartet in 2002, created by the Symblêma ensemble, Sonata for violin created by Nicolas Miribel, Six Monodies de l'absence for tenor saxophone, created by Joël Versavaud, Dans le bruit du monde for choir, created by the contemporary Roland Hayrabedian Choir, Messe des cendres. Georges Bœuf died in Marseille on 25 August 2020 at the age of 82.
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