What effect has such beautiful and rhythmical writing had upon us as journalists?
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There's almost nothing to it beyond its tight, rhythmical action and throwback level design.
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Joining forces on an outside court in Greenwich, New York, the two sides play some rhythmical basketball beats.
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"The S&P is in a very pretty, beautiful, rhythmical, symmetrical uptrend that we've just broken through," TradingAnalysis.
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I love the idea of pinning the sound of my solo music on more structured rhythmical, genre-based ideas.
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As the rhythmical music plays, the pitch rises, the song speeds up, and the music spins you around and around.
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"Kammermusik," set to Paul Hindemith's Kammermusik No. 2 (1925), for piano and orchestra, is uncompromising modernism, intensely rhythmical and abounding in deliberate oddities.
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Her movements are in no way rhythmical; they are the movements of someone who has no audience and no self-consciousness to shackle them.
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" Ms. Ferri said the work was "a real departure from the rhythmical atmosphere and group dances that we're accustomed to seeing in 'Rite of Spring.
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"I love what he has to say, I love how he says it, I love his sort of rhythmical experimentation and diversity," Bailey Rae told Reuters.
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But with this, I wanted to explore rhythmical ideas that fit more into a sense of pace or movement, as opposed to fitting them around club ideas.
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"I was trying to create music based on the last two years of my live shows that were getting, from gig to gig, more experimental and more rhythmical," Hauschka explains.
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"I often advise people to examine the rhythmical patterns of the activity that they are undertaking and to then emulate these rhythms in the music that they listen to," he says.
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They gather around to admire this alluring new figure, who, they soon learn, is in trouble with the college authorities for the "rhythmical creaking" that has been coming from his room.
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It did however usher in a new rhythmical "herky jerky funk" as Byrne describes it, and was a serious declaration of intent, to eschew their white punk roots and embrace black funk wholesale.
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"First of all, just the process of being on the board is very rhythmical, and that can be very comforting for a child," says Healy, who created a nonprofit surf therapy program in California called Surfing the Spectrum.
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She studied Terpsichore rhythmical dancing from the age of 3 and performed in her first film, "Cavalier of the West" (1931), with Harry Carey Sr. She finished high school with tutors on the 20th Century Fox studio lot.
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Rhythmical Aesthetics is a combination of aesthetics and Rhythmical Interpretation. It is very soft, flowing and graceful but must included elevated movements.
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Principally a literary term denoting a rhythmical pause and break in a line of verse. In poetry, the caesura is used to diversify rhythmical progress and thereby enrich accentual verse.
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The ornamental patterns are clear-cut, expressive, varied and unconstrainedly rhythmical.
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Tagore was also a traveller. He was in Ghazipur when he wrote most of the poems of Manasi.Rabindranath Tagore 159 Birthday 2020, May 07, 2020 – News Forever The natural environment helped Tagore to write the complete rhythmical work. It was his first matured work where he did different types of rhythmical experiments.
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The song was given mixed reviews by music critics. "Captive Heart" is an electropop song performed in a rhythmical pop groove.
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The rhyming and rhythmical scheme used, as well as some archaisms and syntactical turns, are those of the traditional English ballad.
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After writing the predominantly rhythmical Double Sextet, Reich was interested in writing a similar composition in a similar style for rock instruments.
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Kellman is the originator of the Barbados poetic form Tuk Verse, derived from melodic and rhythmical patterns of Barbados' indigenous folk music.
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However, all the mugham compositions arranged by Mahmud Salah usually include his own pieces or rhythmical melodic episodes within canonized mugham improvisations.
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In this context, 'semiology' is understood as 'the study of musical signs'. Text and neumatic notation, together with significative letters adjoined to the neumes, presents an effective and integrated mnemonic for the rhythmical interpretation and the melody. While Gregorian palaeography offers a description of the various neumes and their rhythmical and melodic values, Gregorian semiology explains their meaning for practical interpretation.
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Jorrín, Enrique 1971. Origen del chachachá. Signos 3, 49. Styles of cha-cha-cha dance may differ in the place of the chasse in the rhythmical structure.
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Jhaptal is a tala of Hindustani music. It presents quite a different rhythmical structure from Teental, unlike which it is not symmetrical. It is used in madhyalay (medium-tempo) Khyal.
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The term first gained significance in motion-picture art through the editing experiments of Sergei Eisenstein. In applying his concept of montage as the "collision of shots", Eisenstein often included caesuras – rhythmical breaks – in his films. The acts of The Battleship Potemkin (1925) are separated by caesuras that provide a rhythmical contrast to the preceding action. The intense, frenetic action of the mutiny, for example, is followed by the lyrical journey of a dinghy to the shore.
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He also opened a school for literature (poetry, rhythmical prose and worship rituals) and a school to teach martial arts/the art of war. Thousands of local students joined his two schools.
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Elsewhere these two women also do some real dancing, through the whole body, as vividly and connectedly rhythmical in its use of feet and legs as in its gestures and torso movement.
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It is difficult to verbally describe these noises, but they range from hisses and explosive cries when threatened to rhythmical braying and trumpeting sounds that can be heard from long distances at sea.
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They performed a very swift and rhythmical choreography, the same as for the promotion of the song. After the song, the chorus was sung a cappella several times by the audience and Farmer.
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Cantastoria is a form of visual storytelling in which a puppet, illustration, painting, or other visual medium is accompanied by rhythmical speech or song that describes or reenacts events to tell a story.
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As a child, Zegers was fascinated by the rhythmic phases of church-bells, which never ring in time. When he began to compose, he noticed that even pieces of music with minimal rhythmical differences are sometimes subject to these phases. It is this 'weakness' (which often appears just by playing) that is the strongest element of pianophasing, making rhythmical variations possible despite the piece being fully composed and notated. 50 pianists and 25 pianos come together in this large-scale performance.
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In the 21st century, the term juggling usually refers to toss juggling, where objects are continuously thrown into the air and caught again, repeating in a rhythmical pattern."Juggle", OxfordDictionaries.com."Juggle", Merriam-Webster.com.(1983).
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The dancers wear clothes associated with Krishna, ghagudi (small bells as girdles), and peacock feathers. Each dancer carries two sticks, striking each other's sticks in a rhythmical manner. Singha (buffalo's horn) and flute usually accompany the dance.
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A mixing of hexameters, of rhythmical stanzas, and of stanzas formed by unequal lines in rhymed prose is shown in the old Office of Rictrudis, composed by Hucbald about 907 (Anal. Hymn., XIII, no. 87). By the side of regular hexameters, as in the Invitatorium: :Rictrudis sponso sit laus et gloria, Christo, :Pro cuius merito iubilemus ei vigilando. we find rhythmical stanzas, like the first antiphon to Lauds: :Beata Dei famula :Rictrudis, adhuc posita :In terris, mente devota :Christo hærebat in æhra; or stanzas in very free rhythm, as e. g.
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April 1998. Her doctoral dissertation Die Gesänge von Hildegard von Bingen is a standard work of music related Hildegard-research. For the first time, it proves that the diastematic Neume script (written on staves) is of rhythmical significance.
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The only recitative, "" (We pray at your temple), is first accompanied by the strings, a second part is secco but arioso. The second part develops the idea of "von seinen Wundern lallen" (chatter about His wonders) in coloraturas of rhythmical complexity.
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Nobody has the right to be lonely. The whole community enjoys to perform rhythmical music and to dance. According to the tradition, the Kumpo is not a person but a ghost. There is a strong relationship with the bois sacré.
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Górecki's music covers a variety of styles, but tends towards relative harmonic and rhythmical simplicity. He is considered to be a founder of the so-called New Polish School.Thomas 2005, 159"Górecki, Henryk Biography". Naxos Records. Retrieved on 1 June 2009.
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The hymns of the Office, which is taken from the seventeenth- century Gallican Breviary of Paris, were composed by Habert. The Analecta hymnica of Dreves and Blume contains a large number of rhythmical offices, hymns, and sequences for this feast.
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Rhymed prose was a characteristic feature of the Divine Office until the end of the 12th century. A type of the "rhymed office" were offices in rhymed prose, i.e., in irregular rhythm. Later it was gradually replaced by rhythmical office.
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Gandini Juggling returned to the London International Mime Festival in 2008 with Downfall. This was an exploration of light and dark, and contained a number of glow juggling sequences. It also featured further experiments with the rhythmical sounds of bounce juggling.
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The string layout is compressed to the central inch of the fingerboard to allow rapid rhythmical strumming. Recent musicians make more harmonic changes than in the past, but still use only major chords. The word zongora is also Hungarian for piano.
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Synchronous music is described as the synchronization between tempo and human movement in terms responding to the rhythmical qualities of music.Lucaccini, L.F., & Kreit, L.H. (1972). Music. In W.P. Morgan (Ed.), Ergogenic aids and muscular performance (pp. 240–245). New York: Academic Press.
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"Rhythmical Office" They were popular in France and Germany, and a number of prominent composers of rhymed offices are known. A kind of jesting rhymed prose in Russian culture is known as rayok. Rhymed prose is present in many books for small children.
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The Clionidae use winglike flaps for rhythmical locomotion, as if flying in the sea. These "wings" are attached to the anterior part of the body. The posterior part is gelatinous and mostly transparent. The orange visceral sac is confined to the anterior part.
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Due to rhythmical complexity ("off-time chugs"), the use of extended range guitars, and the general "vibe", their music is often ascribed to be djent despite much of their material being "clean channel" which contradicts the early onomatopoeic etymology of the genre's name.
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Laudi Khela is a traditional dance of the Gaudas (Gopalas), which is performed during Dola Purnima. In this dance the young Gopala boys wearing a special clothes, dance with striking each other's stick in a rhythmical manner in front of the Palanquin of Radha Krishna.
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It has two main stages, namely the Ata Paliya and Daha Ata Sanniya.Moore and Myerhoff (1977), p. 108 The dancers are dressed in colourful attire and masks, and perform swift and complex dance steps and spins accompanied by rhythmical drum beats.Moore and Myerhoff (1977), p.
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Parisiana poetria is a work by the medieval English grammarian Johannes de Garlandia or John of Garland. Written about 1240, it is a textbook of the writing of Latin prose, classical verse and medieval (rhythmical) verse, aimed at his students at the University of Paris.
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Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables).Viswanathan & Cormack (1998), p219 Like niraval,Viswanathan & Cormack (1998), p232 kalpanaswaras are sung to end on a particular swara in the raga of the melody and at a specific place (idam) in the tala cycle.Viswanathan & Cormack (1998), p221 Kalpanaswaras have a somewhat predictable rhythmical structure;Solis & Nettl (2009), p188 the swaras are sung to end on the samam (the first beat of the rhythmical cycle). The swaras can also be sung at the same speed or double the speed of the melody that is being sung, though some artists sing triple-speed phrases too.
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A central trait of African dance is that it is polycentric. This means that - unlike many other regions of the world - the body is not treated as a "stiff" unit but is segmented into several centers of movement (shoulders, chest, pelvis, arms, legs etc.) that may be moved according to different rhythmical components of the music or even add rhythmical components of their own. This may result in very complex movements "inside" the body, as opposed to the movement through space of the whole body that plays the most important role in many European choreographies. ;Music The music of Africa is one of its most dynamic art forms.
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Sarkia's translation of Baudelaire's Les Fleurs du mal has been praised of its rich imagery and rhythmical experimentations. Another famous translation is the Finnish version of Rimbaud's Le Bateau ivre, which is considered ″brilliant″. Sarkia's poems have never been published as a separate book in English.
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The first line (as do some others) has an initial reversal: / × × / × / × / × / Sin of self-love possesseth all mine eye, (62.1) Reversals can be used to bring special emphasis to words — especially action verbs, as in line ten's "beated" and line fourteen's "painting" — a practice Marina Tarlinskaja calls rhythmical italics.
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Hearing Nelepp sing, director Alexander Glazunov appraised the untrained tenor's potential as follows: "Superb material (dramatic tenor). His voice is fully blended throughout the registers, metallic, exceptionally beautiful timbre, natural resonance, pure intonation, good musical and rhythmical ability, appearance on stage: promising."Malisch, Kurt. Georgi Nelepp: Lebendige Vergangenheit (1993).
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Written around 393, St. Augustine's well-known abecedarian psalm against the Donatists is the earliest known example of medieval rhythmical verse. Another example is Old Polish poem Skarga umierającegoFull text in Polish at Staropolska.pl. (A Dying Man Complaint). Such poems are important historical sources for development of orthography.
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A good trot and canter are rhythmical and never disconnected. The stride is long, the horse swings through a relaxed topline. The trot and canter are elastic and give the impression that the horse is pushing from the rear. In particular, the canter must have a distinct uphill tendency.
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W. & R. Elwes 1935, 138-139. Kiddle's association with Elwes naturally brought him closely into the world of Roger Quilter's music, which he played with great verve and rhythmical insight. Quilter dedicated one of his Nora Hopper songs, 'Blossom-time', to Kiddle in 1914.V. Langfield 2002, 190.
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The song is rhythmical, with an electronic melody and simple lyrics. Baltimora are often considered a one-hit wonder due to the success they experienced with "Tarzan Boy". It features what was later named the millennial whoop. The music video for the song does not feature either Bassi or Hackett.
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Basler, Roy P. and Carl Sandberg. Abraham Lincoln: his speeches and writings. New York: De Capo Press, 2001: 185. . "The Raven" was praised by fellow writers William Gilmore Simms and Margaret Fuller,Meyers, 184 though it was denounced by William Butler Yeats, who called it "insincere and vulgar ... its execution a rhythmical trick".
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The mini album contains six tracks. The promotional track, "Cupid", was described as a rhythmical track with shuffle elements and is a fun, flirtatious song about a girl wanting to capture the heart of her love interest. It was produced by e.one, who previously worked with Rain, EXO, Shinhwa and A Pink.
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Ancient Greeks believed that training and music should be experienced together because they both pleased man's spirit. Music was used both in training and in competition. Each gymnasium had at least one aulos player. The aulos player's job was to produce rhythmical music in order to help the athletes, particularly when warming up.
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Despite Zahrtmann's influence, Jensen had a much freer approach to colour. His colourful brushstrokes, even in the shady areas of his paintings, are close to Impressionism. Unlike Rude and Scharff, he was not attracted to Cubism. Inspired by Van Gogh, he later developed tightly knit, rhythmical brushstrokes, producing a distinctly decorative effect.
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His power shows itself in his "Song on Zion" ("Ha-Meassef," 1810, iv. 37), which is considered the best of his poems. In German, too, Fürstenthal showed talent in his rhythmical translations of various piyyuṭim, as, for example, his translation of the pizmon in the minḥah prayer for the Day of Atonement.
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676 He distinguished several types of rhythm (sčasovka): "znící" (sounding) – meaning any rhythm, "čítací" (counting) – meaning smaller units measuring the course of rhythm; and "scelovací" (summing) – a long value comprising the length of a rhythmical unit.Teoretické dílo, pp. 676–77. Janáček used the combination of their mutual action widely in his own works.
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The pivotal character in the performance is the "Bhagat", after whom the art form is named. He is the prime dancer, the storyteller, and the soul of the performance. The others are the "Boldias" (supporting players) and also the players of musical instruments such as harmonium, tabla, dholak, khanjri, etc., simple rhythmical instruments.
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Her repertoire includes lyrical compositions, but she has also performed rhythmical compositions. Her beauty and charm with her splendid voice appealed to everyone all over Soviet countries. She frequently gave concerts, mostly in Moscow where the audience regularly gave her standing ovation. By the mid-1960s, she started to sing rock and jazz style songs.
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A reworked version of this song, with the alternative refrain "Russia Never Sleeps", accompanied the Russian bid presentation for the 2018 FIFA World Cup. The melody and rhythmical base of the song is very close to "Move on Baby" by the Italian group Cappella, though it is unknown if the similarity is occasional or intended.
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Supraphon, p2004. Liner notes by Aleš Březina. The music involves complex time schemes – for example the Final, which involves an opening piano solo marked "Tempo di marcia". This section switches between 2/4, 3/8 and 4/8 in an almost unpredictable fashion, generating the desired rhythmical offbeats typical of the jazz of the period.
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The two main characters are Grandma Poss and Hush. Hush has been made invisible by Grandma to protect her from Australian bush dangers. The story details the duo's adventures as they tour Australia searching for the secret to Hush's visibility. It is a rhythmical story of Australia's varied landscapes and the animals in them.
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The rhythmical facade comprises vertical elements that repeat outwards from the centre. Like the exterior, the interior is finished with rough concrete; the idea was to keep the surfaces plain so that nothing could distract the visitor from the contents of the exhibits.Kulterman (1970), p. 18 The Peace Plaza is the backdrop for the museum.
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Rhythmical application delivers a dynamic sense of movement while maintaining a harmonious and expressive style.Ploeg, Evert (2005). 3H Painting Method. International Artists Magazine43 (June/July), pages 24-34. A dominant feature in Ploeg’s work is thereby the aesthetic rendition of hands, with their shape and posture rounding compositions and giving them their signature look.
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The cover of the album shows a photograph of a raw pig's heart pierced by a samurai sword. The picture is a work of Dutch photographer Egon Notermans. Hart Gore consists of 10 extremely reduced, repetitive, rhythmical and riff- dominated songs. The tracks lack almost all melody but are interspersed by tempo and rhythm changes.
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A complete chord of sixteen notes presents sixteen rhythmical figures > in sixteen harmonics within the range of four octaves. All sixteen notes > coincide, with the beginning of each period, thus producing a synthetic > harmonic series of tones.Slonimsky, quoted in Leta E. Miller, Fredric > Lieberm, Composing a world: Lou Harrison, musical wayfarer. University of > Illinois Press, 2004, p. 12.
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His books Minúsculas (1901) and Exóticas (1911) are often considered as modernista although his work transcends the scope of that movement. Some critics have suggested that his poetry is pre-proletarian. Baladas peruanas (1935), perhaps his best book, is a vindication of the Indian. His metrical and rhythmical innovations and experiments are remarkable in Spanish-American poetry.
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Recording sessions had taken nearly less than a week to complete the song.EMI Telvisia (1994) Selena – Captive Heart – Single – (Liner Notes) EMI Records "Captive Heart" is an electropop song performed in a rhythmical R&B; pop groove. It draws influences from synthpop, fast rock, dance-pop and electronic dance music. According to the sheet music published at Musicnotes.
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From 2003 onward he began a pugilistic painting project with numerous boxing scenes in which a rhythmical movement between individual figures and the presence of physical bodies are in constant dialogue with the baroque. He also began a series of portraits of well known figures who he admires including Ingres and the Belgian cyclist Eddy Merckx.
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These include biographical counselling, eurythmy therapy, rhythmical massage (developed by Ita Wegman) or art therapy. Therapies are offered at the discretion of the doctor. It provides the usual family doctor services for around 7,200 people and is a GP training practice. Blackthorn Trust rents its premises via the NHS to the primary care team and the complementary practitioners.
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Manaw dance is the rhythmical dance. Manaw Dance is performed by all various tribes of Kachin lead by two chiefs ( Naushawng ) leading. Behind the chiefs, fellow members of various tribes of Kachin follow the moves, dance steps and they have to change the rhythm and footsteps when the chiefs do. In the beginning, men and women are dance separately.
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The opening chorale fantasia is marked vivace (lively). Bach begins the movement with an instrumental introduction that is unrelated to the psalm tone. It is a trio of the violins and the continuo, with the oboes doubling the violin, and the viola filling the harmony. The main motif stands for joy and is set in "rhythmical propulsion".
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Verbal/ Linguistic is another way that the students' strengths are with words and language. Another type is visual/spatial in which a student would rather use graphs, charts and drawings. Students who enjoy sound, rhymes, and music are musical/rhythmical learners. Bodily/kinesthetic learners are better with their hands and have better control over their bodily motions.
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Musically, The Best Man is an R&B; record. It opens with "Best Man", a "rhythmical" track where he sings his desires as a man as opposed to a singer. "I Like the Song" begins with the tune of a "tranquil" piano. "Night and Day" is an R&B; and pop song accompanied by an electric guitar.
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They also published versions in German, 20 Responsorien, in five volumes of four each, and additional single copies. A critical edition was published by Carus-Verlag in 2007, edited by Andreas Becker. In English it is based on Reger's manuscript, and in German it has slight melismas and rhythmical subdivisions. In 2013, the responsories were published by Nabu Press.
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"Mazurek Dąbrowskiego" played by a music box. The melody of the Polish anthem is a lively and rhythmical mazurka. Mazurka as a musical form derives from the stylization of traditional melodies for the folk dances of Mazovia, a region in central Poland. It is characterized by a triple meter and strong accents placed irregularly on the second or third beat.
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Yarmouth Common with Bouldnor Cliffs in the background The basal, 20 to 23 metres, exceptionally-35 metres-thick Bembridge Marls Member is mainly composed of blueish to greenish-gray clays and marls. Interlaced are several mollusc-bearing horizons. The clays show a rhythmical, varve-like layering. The member overlies the summital mudcracks of the Bembridge Limestone Formation without any discontinuity.
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Waddington's bowling action was noted for its excellence and perfection. Neville Cardus, the journalist and cricket writer, described it as "gloriously rhythmical",Cardus, p. 54. and "so lovely that one simply cannot deny he is a good bowler." But too often, Cardus suggested, he was "ever raising hopes that real greatness will come from him, only to disappoint again and again".
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While being influenced by Fresedo early on, he soon established his own way. A talented piano player, he directed his orchestra from behind his own instrument. His recordings do not feature significant instrumental solos; the bandoneóns at times carry the melody but essentially play a rhythmical, milonguero role. Only the violins stand out, playing a short solo or a counterpoint melody.
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These findings helped formulate bootstrapping accounts of language acquisition. Rhythmical computations became a central topic of his subsequent research. Further, he and his students explored the brain structures involved in language processing using brain-imaging devices – PET, MRI, and eventually Near-Infrared Spectroscopy. One of their early results was to demonstrate a left-lateralized response to speech over backward-speech in newborns.
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The jarana huasteca, jarana de son huasteco or jaranita is a string instrument. It is most often called simply jarana. It is a guitar-like chordophone with 5 strings. It is smaller than the guitarra huapanguera and usually forms part of the trío huasteco ensemble, along with the quinta huapanguera and violin, taking on the role of the rhythmical accompaniment to the ensemble.
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Produced by Styalz Fuego, "Ko Ko Bop" is described as an energetic reggae song with rhythmical reggae and bass guitar sounds. "Ko Ko Bop" was co-written by Exo members Chen, Chanyeol and Baekhyun. It was digitally released on July 18, 2017 and physically on July 19 along with the album. According to Chanyeol, the term "Ko Ko Bop" means "Fun Dancing".
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117 in D minor; op. 120 in D major - and one piano quintet.op. 118 in B minor - In contrast to his brother's very extroverted compositions, Philipp's many-sided works have dreamlike and thoroughly moody inflections. His best-liked works are the chamber works beginning in 1896, which maintain traditional formal models and show considerable variety of melodic and rhythmical invention.
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University Press of New England, p. 54 The publisher of the book 'Ripostes' (to which Pound appended the 'complete' poetical works of T. E. Hulme) spoke in that book of Hulme 'the meta- physician, who achieves great rhythmical beauty in curious verse-forms.' Appendix to Ripostes, Stephen Swift & Co., Ltd., 1912. In his critical writings Hulme distinguished between Romanticism,Krieger, Murray (1953).
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Julio Le Parc: The Low-Tech, High-Magic of Light Works. Art Nexus, 4(58), 102-105. A projector displays light on a wall and changes pattern in a rhythmical way that appears to be a vibration. This piece was placed in a separate room by itself away from the other artworks to help the viewer enjoy the experiences of light and sound.
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The story inspired elements in the 1891 novel The Picture of Dorian Gray by Oscar Wilde. Five years before the novel's publication, Wilde had praised Poe's rhythmical expression.Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Cooper Square Press, 2001: 178. In Wilde's novel, the portrait gradually reveals the evil of its subject rather than that of its artist.
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The Lyon Block is a historic building located in Maquoketa, Iowa, United States. Built in 1900, the significance in this building is found in its use of brick. with It introduced the use of warm brown into the downtown color scheme. Brick is also the main design element of the building as found in the rhythmical arches above the second floor windows.
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These were now not just limited to using drum patterns, but could also consist of other sounds – the ultimate aim being to create a new rhythm out of the pre-recorded existing ones. While beat juggling is not as popular as scratching due to the more demanding rhythmical knowledge it requires, it has proved popular within DJ battles and in certain compositional situations.
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As well as the Canary Islands, whistled speech occurs in some parts of Southern Africa and Eastern Africa. Most whistle languages, of which there are several hundred, are based on tonal languages. Only the tone of the speech is saved in the whistle, while aspects as articulation and phonation are eliminated. These are replaced by other features such as stress and rhythmical variations.
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"Jekyll" is a dance pop song with heavy drums, 808 bass along with dynamic vocal composition and transformation. The song's lyrics express an internal conflict with one's alter ego in an impactful way. "Groove" is a song about lovers sharing affectionate feelings as if they were crossing reality & dream through dancing. The song features strings and flute instrumentation with a rhythmical chorus.
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The two main characters in Possum Magic are Grandma Poss and Hush. Hush has been made invisible by her Grandma to protect her from the dangers of the Australian bush. The story details the duo's adventures as they tour Australia searching for the secret to Hush's visibility. It is a rhythmical story of Australia's varied landscapes and the animals that live in them.
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It is a guitar-like chordophone with 5 strings. It is smaller than the guitarra huapanguera and usually forms part of the trío huasteco ensemble, along with the quinta huapanguera and violin, taking on the role of the rhythmical accompaniment to the ensemble. This type of guitar is tuned in thirds. It is higher in pitch than the guitarra huapanguera.
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Travellers is a card game of the patience genre which uses a single card pack of either 52 or 32 playing cards. It is also known as All Fours, Clock, Four of a Kind, Hidden Cards, Hunt, Sundial or Watch. Parlett notes that the game has a "rhythmical feature that might be called 'shuttling'", as in the game of Weavers.
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In the liturgy of the Roman Catholic Church, a rhythmical office is a section of or a whole religious service, in which not only the hymns are regulated by a certain rhythm, but where, with the exception of the psalms and lessons, practically all the other parts show metre, rhythm, or rhyme. They are also known as versified office or, if appropriate, rhymed office. The usual examples are liturgical horary prayer, the canonical hours of the priest, or an office of the Breviary. The rhythmical parts will be, for instance: the antiphons to each psalm; to the Magnificat, Invitatorium, and Benedictus; likewise the responses and versicles to the prayers, and after each of the nine lessons; quite often also the benedictions before the lessons; and the antiphons to the minor Horœ (Prime, Terce, Sext, and None).
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Keiko Abe, Billy Hart, Dave Weckl, Billy Cobham, Ed Thigpen, David Liebman/Richard Beirach, and Reinhard Flatischler. Dahms’ playing, which is famous for its beautiful tone and atmosphere, besides accurate tempo and rhythm, has been remarked as: “Stars and angels - extraordinary sense for moods and colors“,Die Rheinpfalz - No. 121. May 26, 2003. "Rhythmical percussionism together with classical dream, Matthias Dahms created a music that conquers all".
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On Rose Monday there is the traditional Elfimess (carnival speeches and drinks) for men. Among the customs of the Fasnet in Waldkirch is also the "Kläppere" (a type of wooden musical instrument), in which two "Kläpperli" are used to make music by rhythmical flapping. There are regular cultural events in the AJZ Waldkirch e. V. as well as the municipal cinema of "Flap 11".
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It contains music for solo piano, solo violin, and violin-piano duet. In this work, Otero's compositions reflect once again his style in terms of melodic, harmonic and rhythmical language, while the pianism exposes the need for technical proficiency. Many of his compositions require alternating left- and right-hand notes and chords, similar to a paradiddle, creating patterns with two or more melodies complementing each other.
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The shahed moves when we modulate between principal , and this movement creates a new sonic space. Rhythm in these melodies takes three different forms: symmetric, asymmetric (lang), and free form. The rhythm is greatly influenced by the rhythm and meter of the Persian poetry. The instrumental and vocal radif are different from the rhythmical point of view; however, their melodic structures are the same.
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India has notably influenced Indonesian songs and movies. A popular type of song is the Indian-rhythmical dangdut, which is often mixed with Arab and Malay folk music. Despite the influences of foreign culture, some remote Indonesian regions still preserve uniquely indigenous culture. Indigenous ethnic groups Mentawai, Asmat, Dani, Dayak, Toraja and many others are still practising their ethnic rituals, customs and wearing traditional clothes.
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66: 1209-1212. Oxygen consumption increases with activity and is subject to rhythmical cycles of activity exhibited in cockroaches. Because cockroaches do not have lungs to breathe, they take in air through small holes on the sides of their bodies known as spiracles. Attached to these spiracles are tubes called tracheae that branch throughout the body of the cockroach until they associate with each cell.
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The first movement opens in the calm mood of the first violin; only in the middle part is the expression more passionate. The movement is accompanied with a rhythmical ostinato in the second violin and with a "bass" accompaniment in the viola. The second movement is written in an optimistic mood, with simple harmonic variations. It also contains some reminiscences of folk music, particularly at the end.
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Workers laughing in a clothing factory. Laughter is a physical reaction in humans consisting usually of rhythmical, often audible contractions of the diaphragm and other parts of the respiratory system resulting most commonly in forms of "hee-hee" or "ha-ha". It is a response to certain external or internal stimuli. Laughter can arise from such activities as being tickled, or from humorous stories or thoughts.
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Rai discovered the motion of venous valves in human beings i.e. its rhythmical opening and closing during each cardiac beat. This new information on venous valves comes almost 500 years after discovery by Fabricus Acquapedente of Padua University that venous valves are one way doors allowing blood to go towards the heart.Interview: The functioning of the Heart: Dr. Dinker Rai’s Discovery- Bhavan’s Journal VOL .5:9&10\.
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"Buenos Amigos" is a Spanish-language, down-tempo pop ballad. It makes use of orchestra instruments including strings, flute, French horn, percussion, a brass section, and bass drum performed in a rhythmical beat. Torres sings the first verse, telling his friend she is an unreachable dream and that he loves her. His friend Selena replies, telling him how she does not feel the same way.
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His intention was to provide a corrected melody in rhythmic notation but above all – he was also a choirmaster – suited for practical use, therefore a simplex, integrated notation. Although fully admitting the importance of Hakkennes' melodic revisions, the rhythmical solution suggested in the Graduale Lagal was actually found by Van Kampen (see above) to be rather modestly related to the text of the chant.
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At the same time, several other rhythmical inventions came to notice: the dengue, the jala-jala and the shing-a-ling were all offshoots of the mambo and chachachá. The older generation of Latin musicians have been accused of using their influence to repress the young movement, for commercial reasons. There was certainly pressure on booking agents by the established bands.Roberts, John Storm. 1979.
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The knotwork symbol of Guitar Craft Fripp began playing guitar at the age of eleven. When he started, he was tone deaf and had no rhythmical sense, weaknesses which led him later to comment "Music so wishes to be heard that it sometimes calls on unlikely characters to give it voice." He was also naturally left-handed but opted to play the guitar right-handed.Sid Smith.
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In general, she created the images by altering the form of lines. In the case of Nadar the details appear to cluster or cling to the rhythmical vertical lines creating convincingly attractive abstract shapes. In the later 1970s she wove small 7" or 8" lustrous silk portraits framed by dark brown raw silk borders. During the decade, she wove at least 13 portraits, many as private commissions.
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His first album Ulay Ze Ani ("Maybe It's Me") was released in 2004. Most of the songs were published earlier in the website Bama Hadasha. The musical style of the album is melodic rock, and the songs moved from rhythmical songs to calm and quiet ones. The songs were written in a humorous ambiance, which was expressed either in the lyrics or in the melody.
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Schulze, Franz. The Art in Main Bank of Chicago (catalogue essay), Chicago: Main Bank, 1975. They further characterize this work as featuring forceful drawing and rhythmical design that suggests coiled energy, subtle wet-on-wet modeling, cross-hatched brushwork and active surfaces, luminous color, and glowing ethereal light.Schulze, Franz. "February farrago in galleries," Chicago Daily News, February 1972.Adrian, Dennis. The Chicago Style: Painting (catalogue essay), Chicago: University of Chicago, 1974.
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Belgian band Triggerfinger covered "I Follow Rivers" during Giel Beelen's show on the Dutch radio station 3FM in what was called "a fragile version". They used glasses, cups and knives to create a rhythmical background section. Triggerfinger's version was released as a single on 24 February 2012, topping the singles chart in Austria, Belgium and the Netherlands, while reaching number nine in Germany and number seventeen in Switzerland.
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Hokama Shuzen hypothesized that the etymology of kuichaa was kui (voice, Standard Japanese koe) and ʧaːsu̥ (to combine, Standard Japanese uchi- awasu). As the etymology suggests, kuichaa is characterized by group singing. A group of young men and women forms a circle. The dance is a rhythmical and vigorous one, with arms shaking to and fro and left and right, legs stamping on the ground, dancing high and with hands clapping.
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Traditional poi performance using short style poi Poi refers to both a style of performing art and the equipment used for engaging in poi performance. As a performance art, poi involves swinging tethered weights through a variety of rhythmical and geometric patterns. Poi artists may also sing or dance while swinging their poi. Poi can be made from various materials with different handles, weights, and effects (such as fire).
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A certain number of medieval Serbian manuscripts record the neumatic note signs. Their author was probably Stefan. His works reveal common melodic-rhythmical characteristics; these short, single voice liturgical songs of graduated steps (larger jumps between notes indicate important words) make up an inseparable whole with the text. They are based on a few fundamental nuclei which consistently appear in the songs, with variations or in individual fragments.
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Early mediaeval Tamil religious poems were written in a language and style that followed the pattern of classical Tamil literature. The Thiruppugazh, in contrast, was written in a form of Tamil that was quite different from pure classical Tamil. Its metres, too, are more obviously rhythmical than the stylised classical metres. The Thiruppugazh makes extensive and deliberate use of the imagery associated with the five landscapes of classical akam poetry.
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Cha-cha-cha is danced to authentic Cuban music, although in ballroom competitions it is often danced to Latin pop or Latin rock. The music for the international ballroom cha-cha-cha is energetic and with a steady beat. The music may involve complex polyrhythms. A cha-cha- cha dance video Styles of cha-cha-cha dance may differ in the place of the chasse in the rhythmical structure.
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Despite its reputation for nonsense language, much of the dialogue in Absurdist plays is naturalistic. The moments when characters resort to nonsense language or clichés—when words appear to have lost their denotative function, thus creating misunderstanding among the characters—make the Theatre of the Absurd distinctive.Esslin, p. 26 Language frequently gains a certain phonetic, rhythmical, almost musical quality, opening up a wide range of often comedic playfulness.
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In dancing, the term syncopation has two meanings. The first one is similar to the musical terminology: stepping on an unstressed musical beat. The second one is making more (and/or different) steps than required by the standard description of a figure, to address more rhythmical nuances of the music. The latter usage is considered incorrect by many dance instructors, but it is still in circulation, a better term lacking.
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Her son, Alex Kusturok is also a champion fiddler. Kusturok began playing fiddle at age four according to the Suzuki Method. Her playing is characterized by a pulsating, rhythmical lilt and often referred to as one the "smoothest fiddle players in North America." Patti has attributed her playing style to having a loose bowing wrist and allowing her fingers to move on the bow as she is playing.
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The book is part of Tolkien's Middle-earth legendarium. The volume includes The Sea-Bell, subtitled Frodos Dreme, which W. H. Auden considered Tolkien's best poem. It is a piece of metrical and rhythmical complexity that recounts a journey to a strange land beyond the sea. Drawing on medieval 'dream vision' poetry and Irish immram poems the piece is markedly melancholic and the final note is one of alienation and disillusion.
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Peristalsis of the smooth muscle originating in pace-maker cells originating in the walls of the calyces propels urine through the renal pelvis and ureters to the bladder. The initiation is caused by the increase in volume that stretches the walls of the calyces. This causes them to fire impulses which stimulate rhythmical contraction and relaxation, called peristalsis. Parasympathetic innervation enhances the peristalsis while sympathetic innervation inhibits it.
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Later in 1984 Zeena Parkins, playing electric harp and keyboards, joined the band and remained until the end. As a trio, they made their second studio album The Country of Blinds in 1986 (again in Switzerland and produced by ex-Henry Cow member Tim Hodgkinson). Here the music was richer and more rhythmical than their first album. The songs were more developed but the cynical edge of the first album remained.
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Pérotin, "Alleluia nativitas", in the third rhythmic mode. Concerning rhythm, this period had several dramatic changes in both its conception and notation. During the early Medieval period there was no method to notate rhythm, and thus the rhythmical practice of this early music is subject to debate among scholars. The first kind of written rhythmic system developed during the 13th century and was based on a series of modes.
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Euphony is the effect of sounds being perceived as pleasant, rhythmical, lyrical, or harmonious. Cacophony is the effect of sounds being perceived as harsh, unpleasant, chaotic, and often discordant; these sounds are perhaps meaningless and jumbled together. Compare with consonance and dissonance in music. In poetry, for example, euphony may be used deliberately to convey comfort, peace, or serenity, while cacophony may be used to convey discomfort, pain, or disorder.
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It is used for rhythmical accompaniment during dances, soloist or choral singing. Buben is often used by some folk and professional bands, as well as orchestras. The name is related to Greek language βόμβος (low and hollow sound) and βομβύλη (a breed of bees) and related to Indo-Aryan bambharas (bee) and English bee. Buben is known to have existed in many countries since time immemorial, especially in the East.
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Berlioz wrote in 1844: > Notwithstanding the real loftiness and distinguished nature of its quality > of tone, there are few instruments that have been more degraded (than the > trumpet). Down to Beethoven and Weber, every composer – not excepting Mozart > – persisted in confining it to the unworthy function of filling up, or in > causing it to sound two or three commonplace rhythmical formulae.Berlioz, > Hector (1844). Treatise on modern Instrumentation and Orchestration.
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Voznesensky's style was considered different from his contemporaries in the Soviet Union. His first poems were published in 1958, and these immediately reflected his unique style. His lyrics are characterized by his tendency "to measure" the contemporary person by modern categories and images, by the eccentricity of metaphors, by the complex rhythmical system and sound effects. Vladimir Mayakovsky and Pablo Neruda have been cited among the poets who influenced him most.
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Lúnasa was founded in 1997 when Sean Smyth, John McSherry and Steve Cooney teamed up to tour Smyth's solo album, The Blue Fiddle. They called in Mike McGoldrick, a friend of McSherry's, and toured as a four-piece. As the band was taking off, Cooney bowed out. In the meantime, Smyth was touring in Scandinavia with the rhythmical duo Donogh Hennessy and Trevor Hutchinson, and recruited them to join the band.
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P. 23. Under the Northern Sky (Под северным небом) came out in 1894 and marked the starting point in his literary career, several critics praising the young author's originality and versatility. The second collection, In Boundlessness (В безбрежности, 1895) saw Balmont starting to experiment with the Russian language's musical and rhythmical structures. Mainstream critics reacted coolly, but the Russian cultural elite of the time hailed the author as gifted innovator.
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However, because of the crooked hock on his left hind, Dan Patch would initially "cross fire", meaning his left hind leg would sometimes hit his right fore. A special horseshoe was used on his left hind to stabilize the leg, resulting in a smooth, rhythmical stride. The left leg would still sometimes "paddle" wide though, striking the wheel of the training cart. Wattles resolved this problem by designing a wider sulky.
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At the beginning of 2013, she released the song "Miracle of Love"radiodeea.ro, Adena is giving us the Miracle of Love la Radio DEEA, February 28, 2013 produced by Mario Morreti. Because she likes the challenges, in the fall of the same year, Adena started a new project alongside Dj Take. This is how "Party Machines" appeared, a rhythmical and cheerful song, dedicated to her clubbing and dance music fans.
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On 17 December, Spinvis performed with an orchestra in Vredenburg, Utrecht. In early 2004, Spinvis won two Dutch awards, the Silver Harp and the Annie M.G. Schmidt prize. In honour of the fourth edition of the Cross-Linx festival De Jong composed a musical piece that consists of three rhythmical monologues. Actress Roos Ouwehand, opera singer Lucia Meeuwsen and actor Hans Dagelet performed the pieces together with Spinvis.
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Chèo belongs to the genre of drama, with ancillary music including rhythmical music, evocative music, background music, and dance music. Hát chèo's is the stage singing, it can be sung by one person or many people on chorus. The melody of the Chèo tune is very suitable for the Vietnamese natural voice language. Hát chèo's is derived from folk melodies, the lyrics of Chèo are derived from folk-literary works in the Northern Delta.
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Even among warmbloods, most Oldenburgers have expressive, elastic gaits with a great deal of suspension. The quality of the walk, trot, or canter is highly individual, but their gaits are selected to be suitable for sport. All three gaits are straight when viewed from the front or back, and rhythmical at all times. The walk is diligent and open, the trot is active and elastic, and the canter is uphill and adjustable.
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Seated figure by Franz Metzner above the main entrance of the Cines Nollendorf-Theater, c.1913. In later years it was usually hidden behind a large advertising poster. According to one contemporary critic, the building exhibited "the gracefully ironic pathos, the erotically overloaded sacrilege, the rhythmical dissonance of solemnity and dance", which became the key formal elements of the 'Ufa style.', citing Brennicke & Hembus, Klassiker des deutschen Stummfilms, 1910–1930 (Munich, 1983), p.
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Since early sequences were written in rhythmical prose, they were also called proses (Latin: prosae). Notker's texts were meant to be sung. In the Latin Mass of the Middle Ages, it became customary to prolong the last syllable of the Alleluia, while the deacon was ascending from the altar to the ambo, to sing or chant the Gospel. This prolonged melisma was called the jubilus, jubilatio, or laudes, because of its jubilant tone.
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Józef Święcicki's mural at Cieszkowskiego street Święcicki was rather a conservative creator. Most of his projects have dominantly an eclectic style, mostly prominent in its tenement houses, where one can perceive patterned detail arrangements with a forms of Historicism. He boldly exploited elements of Renaissance, Mannerism and Baroque architecture. Święcicki's style is characterized by a passion for symmetry, rhythmical vertical divisions, accentuated by the arrangement of windows, pilasters and a multitude of stucco ornaments.
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The ending motifs of theme 2 expand into a loud exciting march-like development section with the snare drum that contrasts with both themes in that it is very rhythmical. This section leads right back to theme 2, but this time in a minor key. The minor key gives this section a much more longing and lamenting feeling. The lamenting mood does not last very long, as theme 1 returns shortly after, ending the movement.
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Boy groups such as SM's H.O.T. and DSP's Sechs Kies arose, both of which made their debuts with songs about social criticism and became popular for their rhythmical dance music. SHINHWA maintained the group's identity with its masculine visual appeal and strong audience reception, while g.o.d built a friendly image by appearing on entertainment shows and producing songs that many generations could relate to. Meanwhile, girl groups such as SM's S.E.S. and DSP's Fin.
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It was Fruhtrunk who transformed the ideas of Constructivism to a colorful rhythmical pictorial world, by creating a dynamic language of form with vector-like diagonal lines arranged strictly rhythmically according to their alternating colors. His most conspicuous work was the plastic shopping bag he designed in the early 1970s for Aldi Nord; its use was discontinued in late 2018. Fruhtrunk committed suicide at the age of 59 in his studio on 12 December 1982.
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The album contains only one song with vocals ("Eres La Luz"). The track "Mr. Szabo" is a homage to the Hungarian guitarist Gábor Szabó, one of Carlos Santana's early idols, who released a series of 8 albums for Impulse Records between 1966 and 1967; the track features a similar rhythmical and harmonic structure to "Gypsy Queen", a Szabó recording from 1966 covered by Santana in 1970 as a medley with Fleetwood Mac's "Black Magic Woman".
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According to Fisher, "Poetry is a rhythmical piece of writing that leaves the reader feeling that life is a little richer than before, a little more full of wonder, beauty, or just plain delight." And, despite the great variety found in her writing, she thought of herself primarily as a poet. "My first and chief love in writing is writing children's verse." The first work she sold, to Child Life magazine in 1927, was "Otherwise".
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In 1942 he drew up a plan of the "main lines by which the town would develop after the war", for the Planning and Reconstruction Committee of Walthamstow borough. Among his notable designs for the borough was the Countess Road development of 19 blocks of flats (1946), and Central Parade, Walthamstow, (1958) described by Historic England as embodying "the Festival style, blending pattern and colour, surface decoration, slender detailing and lively rhythmical modelling with conviction and élan".
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If we restrict ourselves to what is 'given', appealing to the poem as a 'whole', we shall fail probably to resolves its various cruxes. Hence, there is a temptation to look for 'external' influences ... The trouble with all these approaches is that they tend finally to lead away from the poem itself."Yarlott 1967 pp. 127–128 When describing specifics, he argued, "The rhythmical development of the stanza, too, though technically brilliant, evokes admiration rather than delight.
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Early observations of weight or heaviness have been credited to a rhythmical feel that unconsciously takes shape in languages, that is, the tendency of growth, to go from shorter to longer elements within a phrase. In these early observations, it was noted that when there are two constituents differing in size, the smaller constituent usually precedes the longer one Wasow, T. and Arnold, J., 2003. Post-verbal constituent ordering in English. Topics in English Linguistics, 43, pp.
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In traditional Indian astronomy, Alcor was known as Arundhati, wife of one of the Saptarishi. In Arabic Al- Sahja was the rhythmical form of the usual Suhā/Sohā. It appears as , 'the Faint One', list of Arabic star names, published in Popular Astronomy, January 1895, by Professor Robert H. West, of the Syrian Protestant College at Beirut. In the Mi'kmaq myth of the great bear and the seven hunters, Mizar is Chickadee and Alcor is his cooking pot.
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Readers were exhorted not to participate, because the idols were created by men, without the powers of speech, hearing, or self-preservation. Then follows a satirical denunciation of the idols. As Gifford explains, in this folly of idolatry "there is no clear logical arrangement of the thought, but the divisions are marked by the recurrence of a refrain, which is apparently intended to give a sort of rhythmical air to the whole composition."Gifford 1888, 287.
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The spinal cord executes rhythmical and sequential activation of muscles in locomotion. The central pattern generator (CPG) provides the basic locomotor rhythm and synergies by integrating commands from various sources that serve to initiate or modulate its output to meet the requirements of the environment. CPG within the lumbosacral spinal cord segments represent an important component of the total circuitry that generates and controls posture and locomotion.Dietz 2003. Spinal cord pattern generators for locomotion. Clin. Neurophysiol. 114:1379–89.
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E. soleae consist of two hatching strategies: quick hatching in the presence of sole skin mucus and spontaneous hatching in the absence of the host. During the natural cycle of illumination, egg hatching is rhythmical: most larvae emerge a few hours after dawn. When fully developed eggs are in contact with sole body mucus during the illumination cycle, hatching is enhanced. The enhanced egg hatching indicates that the sole body mucus contains a potent hatching stimulant.
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A sequence of the rhythmical markings could be defined using the writings similar to a cue sheet type strip of film. This was the future innovation for composers. With Kendal's grease pencil, the composer could draw the grooves, run it through the Composer-Tron and can ensure that all written music was listened to first, before symphony orchestra’s played the music. Before the Composer-Tron composers would have to wait years just to listen if their work was complete.
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When these styles are sung as a basis for the dance, they are known as martinetes, even when they include other styles of this group. There is, therefore, a reversible tendency in flamenco: many styles that originally started as rhythmical and dance-oriented were later slowed- down and eventually lost their link to dance and their metre subjection, while other styles, originated as free songs, were later adapted to a rhythm to make them apt for dancing.
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Yakshagana Tala (Kannada:ಯಕ್ಷಗಾನ ತಾಳ, pronounced as yaksha-gaana taala), is a rhythmical pattern in Yakshagana that is determined by a composition called Yakshagana Padya. Tala also decides how a composition is enacted by dancers. It is similar to Tala in other forms of Indian music, but is structurally different from them. Each composition is set to one or more talas, and as a composition is rendered by Himmela, the percussion artist(s) play supporting the dance performance.Prof.
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He is best known for songs about sailors, ballads about Argentina, and songs about the Swedish countryside.Nöjets estradörer, Lönnroth L., in Lönnroth, Delblanc & Göransson (ed.), vol 3, pp.275-297 Ole Paus A poet who is known for songs is Nils Ferlin (1898-1961) who published six collection of poetry between 1930 and 1957. Ferlin melancholic but with a stinging irony, and very rhythmical which made them easy for friends and colleagues to put music to.
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A dance album, it opens with the title track, a newtro funk and dance song. It incorporates a "rhythmical" bassline, a funky guitar, and synthesizers. The lyrics revolve around a woman the narrator loves. It was penned by Kim Ki-beom, who had previously worked with Jung when writing songs for B.A.P. The single's choreography was conceived by choreographer Waackxxxy and Jung, which consists of waacking, slow motion, and dancing which simulates zero-gravity walking on an alien planet.
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A diagnosis of a functional neurological disorder is dependent on positive features from the history and examination. Positive features of functional weakness on examination include Hoover’s sign, when there is weakness of hip extension which normalises with contralateral hip flexion, and thigh abductor sign, weakness of thigh abduction which normalises with contralateral thigh abduction. Signs of functional tremor include entrainment and distractibility. The patient with tremor should be asked to copy rhythmical movements with one hand or foot.
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At present, Kegalle being one of the most hospitable and cozy district it has become one of the profitable tourist attractions of the country.The rhythmical plummet of waterfalls of Asupini Ella,the shabby of Kurulu Kelaya with the lengthiest fungi tree of Sri Lanka, Pinnawala elephant orphanage and the Pinnawala Open Air zoo (First Open Air Zoo in Sri Lanka) and pool resources into be another dynamic co -hand of the economy, culture and society of Sri Lanka .
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The office is written in Vietnamese language and composed of a meditation on the mysteries of the Passion in fifteen ngam (meditations). The meditations are cantillated, according to the rules of Đọc kinh, from the foot of the sanctuary by one, three, or up to fifteen cantors. The cantor bows his head at the name of Jesus or Mary and kneels at his death. A drum and gong serve as a rhythmical base, while the faithful stand in prayer.
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Besides the vernacular songs based on ecclesiastical sources, the first uses of counterpoint were created, an example of the transmission of the development of music from secular songs into sacred music. Most of the time the melody was taken over and the text was reworked or rewritten. Another ninth century development was the rhythmical office, and it was around this time in the East that idiomelon (a type of sticheron) began to be written down with musical notation.
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In Roman rhetoric, a /'klɔːzi̯ʊlə/ (Latin "little close or conclusion"; plural /'klɔːzi̯ʊli/) was a rhythmic figure used to add finesse and finality to the end of a sentence or phrase. There was a large range of popular clausulae. Most well known is the classically Ciceronian type. Every long sentence can be divided into rhythmical cola (singular colon), in Latin (singular ), and the last few syllables of every colon tend to conform to certain favourite rhythmic patterns, which are known as clausulae.
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Zakharov preserved this old spire by Korobov and flanked it with two new neoclassical wings. The composition of twin winged facades with smooth walls, strongly protruding porticoes, and deep loggias is symmetrically located along the sides of the tower, creating a complex rhythmical alternation of simple and clear volumes. The building's sculptures added additional value and significance. Decorative reliefs were integrated organically with the large architectural volumes, sculptural groups along the walls emphasise the human scale in contrast to the immensely expanded facades.
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Voyage is the only release by In Fear and Faith to feature vocalist, Tyler Smith before his departure from the group within the following year. 2008 also marks the year that the band were signed to Rise Records after their attention caught onto Voyage. Its rhythmical melodies and harsh parts impressed the label. The two songs "Live Love Die" and "The Taste of Regret" were re-recorded for their debut full-length, Your World on Fire, which was released in 2009.
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Central Parade Plaque marking the V1 attack in 1944. Central Parade, on the corner of Hoe Street and Church Hill, Walthamstow, is a shopping parade with offices and flats above that is Grade II listed by Historic England. It was designed in 1954 by F. G. Southgate, the borough surveyor, and built in 1957–58. Historic England says that it "embodies the Festival [of Britain] style, blending pattern and colour, surface decoration, slender detailing and lively rhythmical modelling with conviction and élan".
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For example, Spin bowlers tend to have very short run-ups, some even approach the bowling crease at a walking pace. Medium bowlers tend to run up off a short run-up of about 10 paces or so. Fast bowlers tend to have long, rhythmical run-ups to allow them to develop momentum which adds to their ability to bowl the ball at high speeds. The term "run-up" can also refer to the area where the bowler runs during his run-up.
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The huapanguera, guitarra quinta huapanguera or guitarra huapanguera is a Mexican guitar-like instrument that usually forms part of a conjunto huasteco ensemble, along with the jarana huasteca guitar and violin. Because of its large body and deeper structure, the huapanguera is able provide a much deeper sound compared to a regular acoustic guitar. Here it takes on the role of the bass instrument using a rhythmical strumming technique. Its physical construction features a large resonating body with a short neck.
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The huapanguera, guitarra quinta huapanguera or guitarra huapanguera is a Mexican guitar-like instrument that usually forms part of a conjunto huasteco ensemble, along with the jarana huasteca guitar and violin. Because of its large body and deeper structure, the huapanguera is able provide a much deeper sound compared to a regular acoustic guitar. Here it takes on the role of the bass instrument using a rhythmical strumming technique. Its physical construction features a large resonating body with a short neck.
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Lefteris Bournias was born in Queens, New York, and grew up there as well as in Greece. His parents came to America from the Greek island of Chios. Lefteri has played the clarinet since age 11, strongly influenced by his father, Elias Bournias, a Greek floghera player, who introduced him to the music of his ancestors from Asia minor in modern day Tsesme (Çeşme). Lefteris’ style combines Greek traditional, Gypsy, Classical, Turkish Gypsy, and elements of Jazz (rhythmical and harmonic).
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Dancers form a circle and dance, arm in arm, hand in hand, with the left foot put forward, while making rhythmical, graceful movements with their bodies, legs, feet and arms. A lead singer improvises the lyrics and the other dancers repeat them. This Ohuokhai leader has a special talent not only for singing but also, what is more important, for poetic improvisation. There song leaders compete at the national Yhyakh festival for the best poetic expression, best song and biggest circle.
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Oxford Music Online, (accessed July 28, 2008) e.g., in accelerando, rallentando, or in musical expression as in phrasing (rubato, etc.). Some argue that a metronomic performance stands in conflict with an expressive culturally-aware performance of music, so that a metronome a very limited tool in this respect. Even such highly rhythmical musical forms as samba, if performed in correct cultural style, cannot be captured with the beats of a metronome; the steady beat of a metronome neglects the characteristic swing of samba.
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After his time as band leader of the DR Big Band, Moseholm went on to work for the DR, including as the administrative leader of the big band. From 1992 to 1997 he was principal of the Rhythmic Music Conservatory in Copenhagen. From his various platforms, Moseholm has been a driving force behind numerous initiatives in the Danish rhythmical music environment. These include: orchestra tours to schools, various workshops and the foundation of organisations such as DJBFA, DJF, and FaJaBeFa.
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The term pattu is also used for solo instrumental genres, with instruments like kuzhal (oboe) and kombu pattu (horn). Percussion domination means that the musical framework of the pieces is not determined by a melody or raga, but consists of a very sophisticated rhythmical structure and content. The ‘melody’ of a piece is formed through a prominent rhythmic sound. Depending on the ritual this rhythm melody is more or less elaborated, and more or fewer compositional or improvisational elements are employed.
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Cambridge University Press, 2002. p. 79. Basil Rathbone narrated the story in the Caedmon audio collection Edgar Allan Poe: The Edgar Allan Poe Audio Collection, Caedmon Records – CD 4148(5), released on CD in 2000. The German metal band The Ocean used "The City in the Sea" as lyrics, only swapping a few lines to fit rhythmical patterns of the song. It was used both due to the band's love of Poe, and the themes common to both poem and band.
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The effect produced by the sistrum in music – when shaken in short, sharp, rhythmic pulses – is to arouse movement and activity. The rhythmical shaking of the sistrum, like the tambourine, is associated with religious or ecstatic events, whether shaken as a sacred rattle in the worship of Hathor of ancient Egypt, or, in the strident jangling of the tambourine in modern-day Evangelicalism, in Romani song and dance, on stage at a rock concert, or to heighten a large-scale orchestral tutti.
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The Queen Hall is primarily intended as a venue for classical, particularly chamber music, but also jazz and other forms of rhythmical music is played there. The Library has its own resident chamber music ensemble known as the Diamond Ensemble which is frequently joined by international guest musicians. The repertoire includes "exhibition concerts" of musical works from the Royal Library's music archives which are the largest in the Nordic Countries. Other concerts have been with Trio con Brio and Niels Lan Doky.
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Simmons' two novels paint a vivid picture of life in the black ghetto prior to the civil rights movement. The protagonists are young black men drifting between a career in music and street life. Simmons's plots contain elements of naturalism as well as of hardboiled crime fiction. The language and rhythms of Simmons' novels has been compared to Bebop and Cool Jazz, and especially in Man Walking on Eggshells the prose is very rhythmical, following the forms and improvisational patterns of jazz.
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Among people who experience more severe tics, complex tics may develop, including "arm straightening, touching, tapping, jumping, hopping and twirling". There are different movements in contrasting disorders (for example, the autism spectrum disorders), such as self-stimulation and stereotypies. These stereotyped movements typically have an earlier age of onset; are more symmetrical, rhythmical and bilateral; and involve the extremities (for example, flapping the hands). The severity of symptoms varies widely among people with Tourette's, and many cases may be undetected.
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In terms of traditional Chinese literary genres, the Caigentan is a yulu 語錄 (lit. "recorded sayings") "quotations; aphorisms", a subtype of shanshu 善書 ("good book") "moral-instruction; morality" book category. The individual entries are predominantly written in pianwen 駢文 "parallel style", an ornate rhythmical prose marked by parallelism or chiasmus. For instance, > 口乃心之門, 守口不密, 洩盡真機; 意乃心之足, 防意不嚴, 走盡邪蹊.
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Postle's early, unsuccessful, attempts in the Stawell Gift in 1901 and 1903 garnered for him some local notoriety, and he became a professional runner in 1902. His training focused largely on his technique at the start of his run. He used an unusual starting technique, with his left side prominent and his fingers spread wide. He "emphasised rhythmical breathing during springing, followed his sessions with cold showers, employed an experienced masseur who used oil... and took iron tonic occasionally and castor oil".
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Carsten Wicke is today one of the few international rudra veena performers. His Raga presentation unites the meditative depth in the Alap (introduction) – the unparalleled fortitude of the Dagarbani Dhrupad – with the dynamic interpretation of the faster performance stages (Jor, Jhala), a distinguished characteristic of the Khandarbani style. Combining subtle melodic variations with complex rhythmical finger stroke techniques his veena playing creates a unique listening experience that is appreciated by Indian music lovers as well as by the international audience. .
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His "Pángǔ" was performed in October by the Pittsburgh Symphony Orchestra, and then Tao joined the orchestra to give a "not only thrillingly rhythmical, but extraordinarily sensitive" account of Gershwin's Concerto in F.Kanny, Mark. "America stars in composer's thrilling music", Triblive.com, October 31, 2015Bloom, Elizabeth. "Pianist captures Gershwin's charisma in Pittsburgh Symphony debut", Pittsburgh Post-Gazette, November 2, 2015 Tao then made stops in Brazil and returned to the US to play a recital based on his newest album, Pictures.
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Moreover, Thomas Bredehoft has argued that an alternative system of non- classical Old English poetry with looser constraints existed alongside this classical verse. In Bredehoft's reading, this poetry is epitomized by the homilies of Ælfric of Eynsham traditionally described as being in 'rhythmical prose'.Bredehoft, Thomas A. 'Ælfric and Late Old English Verse', Anglo-Saxon England, 33 (2004), 77–107; Thomas A. Bredehoft, Early English Metre (Toronto: University of Toronto Press, 2005). This section of the article, however, focuses on the classical form.
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Fredriksen is known from collaborations in a series of settings for many years. He studied music at the Agder University College with a Performing Masters in Rhythmical Music, and he has focused his research on sound, how different electric guitarists create their sound. He is a guitarist and composer with a distinctive sound and an ability to tell stories through his music. In 2011 he released his first solo album Urban Country, with saxophonist Bendik Hofseth (Steps Ahead) as featured artist.
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They were well suited to the Functionalist furniture of the times. Her designs became more rhythmical and less naturalistic than those taught at the Arts and Crafts School, eventually becoming almost entirely abstract, while displaying intricate detail. As a teacher (1952–70), she encouraged hundreds of students to experiment with new designs, colour combinations and materials. She also played an important part in Denmark's cultural sector, serving in a number of administrative positions where she emphasized the importance of developing textile arts.
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Casablancas's inspiration in paintings by artists like Paul Klee, Mark Rothko or Pablo Picasso is also one of his personal aims, in his search of creative feed-back between different artistic fields. At the same time, he attains a new kind of rhythmical freedom and formal fluidity, close to the character of free improvisation, together with a new sense of harmonic brightness, in such pianistic works like the three "Haiku" (2007) or the "Impromptu" (2009), commissioned by the Finnish pianist Kristiina Junttu.
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In DELUSIONS II, through the use of a 3D audio system, Christian Steinhäuser composed auditory perceptual disturbances confronting the audience's hearing habits with their boundaries. The composition consisted of one single recording; a field recording from the live audience space. From this sample Steinhäuser created a partly distorted and partly rhythmical soundscape. The three-dimensional sound system by IOSONO was used as a new instrument, giving sound an illusionary power and ability to reach the listener on an immediate emotional level.
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Capturing all of this in 30–45 seconds was not easy however I believe that we eventually found the right path for this game's soundtrack." Zur described the composing process, "After learning the storyboard and getting additional insight from the producers/music supervisor I'll start to compose. The thematic idea (main melody or rhythmical groove) comes first. Then comes the accompaniment followed by the orchestration," and that, "each piece should have its own unique flavour so every step is carefully examined.
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He also creates unique rhythmical and chromatic consonances throughout these motifs. Pontet's early series share outstanding traits characterized by accomplished drawing, well thought-out compositions, mathematically precise structures, distortions and deliberate elongations, as well as the use of a rich polychrome palette of tones and hues. Today, immersed in a new plastic period called “Metamorphosis,” Pontet is re-creating part of an enigmatic world of symbols. From realism to abstraction, Pontet's current work – teeming with feelings, thoughts, meditations, and not lacking in lyricism - is eminently plastic.
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Describing Rowe's "masterly" multifigured works from 1980 and 1981, Kogan notes that "figures generally interact and merge organically; negative space often invites other forms, and every available space is occupied either by images or decorative patterning or both. The viewer's eye literally dances around the composition at a lively, rhythmical pace."Lee Kogan, The Art of Nellie Mae Rowe: Ninety Nine and a Half Won’t Do (New York: Museum of American Folk Art, 1998), 26. Throughout her body of work is an unflagging focus on narrative.
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Metafonik was released in October 2013 at MKC Maribor. Their music is still based on expressive and complex rhythmical structures, as well as typical percussion instruments and sound devices, made by Oberžan, but is now complemented by electronically manipulated field recordings, various electronic devices and odd electromechanical equipment. In Oktober 2014 TV Slovenia presented one hour production with The Stroj's live performance and interview with members of the collective. In addition to their recent repertoire, they also performed a remake of Terminator theme with LadyBird on vocals.
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"So Good" was characterized as a future bass track with an R&B; base that features a piano melody and rhythmical drums in the instrumental. "Sassy Me" is an urban pop dance track that ranges from low to high notes that allow the group to show off their vocal ability. "Taste" is an old-school dance-pop song with lyrics that talk about the choices a person makes and not listening to others' opinions, following their heart instead. It features a narration written by member Wendy.
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Bruckner's Symphony No. 1 in C minor – sometimes called by Bruckner "" (roughly translated as "the saucy maid"),Hans-Hubert Schönzeler (1970): 67. "No. 1 he always called 'das kecke Beserl' (impossible to translate into English—perhaps 'the cheeky brat')." – was completed in 1866, but the original manuscript of this symphony was not reconstructed until 1998. Instead, it is commonly known in two versions, the so-called Linz Version – based mainly on rhythmical revisions made in Vienna in 1877 – and the completely revised Vienna Version of 1891.
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Mr. II was the first Tanzanian rap artist to have major success with his music. Through his music and language he express and addresses politics, social inequalities and other problems that affected Tanzanians. Most would consider his music as a voice for the voiceless, his brand of rap is soulful, lyrical, rhythmical and from the heart. This is because Mr. II is not afraid to tell it like it is, undertaking sensitive issues of concern to many Tanzanians such as democracy, child prostitution, police brutality and corruption.
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Petrissage (from French pétrir, "to knead") are massage movements with applied pressure which are deep and compress the underlying muscles. Kneading, wringing, skin rolling and pick-up-and-squeeze are the petrissage movements. They are all performed with the padded palmar surface of the hand, the surface of the finger and also the thumbs. During kneading, the hands should be moulded to the area and the movements should be slow and rhythmical, with the tissue between the hands as the focus of the work.
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Discussion of the separation of microrhythm and macrorhythm may be found in Nikolska (1994), p. 77; more detailed discussion of these rhythmic processes can be found in both Rae (1994), p. 106 and Nikolska (1994), p. 140. This process pushes to the climax of the movement and the symphony as a whole, which occurs > When the simple rhythm, which has been achieved gradually over a > considerable period, is transformed suddenly into an extremely complex > rhythmical structure when the whole orchestra begins to play ad libitum.
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Cricket writer E. W. Swanton described how Rhodes had "a beautifully controlled, economical and rhythmical action which ensured supreme accuracy of length and direction. He was a master of the stock left-hander's spin and could vary it with the ball that came on with the arm."Swanton, pp. 14–5. In his early years as a bowler, Rhodes was able to spin the ball very sharply, and while this ability decreased in later years, he became expert at working out a batsman's weaknesses.
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Other colors, and later, filled-in notes, were used routinely as well, mainly to enforce the aforementioned imperfections or alterations and to call for other temporary rhythmical changes. Accidentals (e.g., added sharps, flats and naturals that change the notes) were not always specified, somewhat as in certain fingering notations for guitar-family instruments (tablatures) today. However, Renaissance musicians would have been highly trained in dyadic counterpoint and thus possessed this and other information necessary to read a score correctly, even if the accidentals were not written in.
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Apollonius was afterward appointed by the emperor to the chair of rhetoric, with a salary of one talent. He held several high offices in his native place, and distinguished himself no less as a statesman and diplomatist than as a rhetorician. Apollonius cultivated chiefly political oratory, and used to spend a great deal of time upon preparing his speeches in retirement. His declamations are said to have excelled those of many of his predecessors in dignity, beauty, and propriety; but he was often vehement and rhythmical.
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After the music video was released, she posted a Facebook status "My recent works are inspired by the Armenian beats. The folk dance "Yerek Votk of Lori" both with its rhythmical structure and the dance steps, is used as a basis on which we created a completely new song and dance. Throughout our history, even in the most difficult times, we were able to find strength and courage through singing and dancing. This is a characteristic of a strong nation, which i'm very proud of".
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The Country of Blinds is a studio album by United States experimental rock and jazz band Skeleton Crew, recorded at Sunrise Studio, Kirchberg, Switzerland, December 1985 and January 1986. It was their second and final album and was released in 1986. Skeleton Crew had become the trio of Fred Frith, Tom Cora and Zeena Parkins when this album was made. The music here is richer, more rhythmical and the songs more developed than on their first album, and this ultimately led to the band's break-up.
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The responsories were published in 1914 by Luther D. Reed and The Church Music and Liturgical Art Society of Philadelphia. Compared to the manuscript, the printing has several changes concerning rhythmical details and the distribution of words to the music. Reger probably never obtained a copy; at least none was found in his possession when he died. In 1961, Hermann Grabner (1886-1969) edited a critical edition for the complete edition of Reger's works, volume 27 of Max Reger: Sämtliche Werke, printed in Wiesbaden by Breitkopf & Härtel.
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"Johnny, Johnny" was written and produced by Romano Musumarra, who also composed successful songs in the 1980s for many artists such as Princess Stéphanie of Monaco, Elsa Lunghini, Demis Roussos and Céline Dion.Romano Musumarra's compositions / productions Lescharts.com (Retrieved 21 April 2008) The song, which deals with a man named Johnny who bears very badly a break-up, was recorded in French-language, but also in English-language and Spanish- language. The song is characterized by "melodious and sweet synthetic notes, with a rhythmical bass and lively percussion".
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Throughout the album, Doom uses a number of literary devices, including multi-syllable rhymes, internal rhymes, alliteration, assonance, and holorimes. Music critics also noted extensive use of wordplay and double entendres. PopMatters wrote, "You can spend hours poring over the lyric sheet and attempting to grok Doom’s infinitely dense verbiage. If language is arbitrary, then many of Doom’s verses exploit the essence of words stripped of meaning, random conglomerations of syllables assembled in an order that only makes sense from a rhythmical standpoint", the critic added.
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Dunstan and Æthelwold of Winchester, the leading ecclesiastical proponents of reform, were associated with Athelstan's court, and Dunstan would eventually succeed Koenwald. Several charters witnessed by Koenwald also describe him as monk, as well as bishop, "suggesting a respect for the condition which set him apart from other bishops". Koenwald appears to have been responsible for the "alliterative charters" which were issued between 940 and 956. These are described as "drawn up in a self-consciously 'literary' style (replete with alliterative and rhythmical phrases)".
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The piece has a mixture of frantic, rhythmical sections and sections of "black-magical stasis". The piece uses novel sound combinations and effects: the opening of the first door is depicted with strumming of piano strings, and the forbidden door opens to the sound of rasping strings and a huge creak in the percussion section. There is then a nightmarish reel from a violinist, representing the memories of Ireland; the violinist at the first performance was positioned at the back of the Royal Albert Hall.
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However even the most advanced practitioners still use prayer ropes. The Jesus Prayer may be practiced under the guidance and supervision of a spiritual guide (pneumatikos, ), and or Starets, especially when psychosomatic techniques (like rhythmical breath) are incorporated. A person that acts as a spiritual "father" and advisor may be an official certified by the Church Confessor (Pneumatikos Exolmologitis) or sometimes a spiritually experienced monk (called in Greek Gerontas (Elder) or in Russian Starets). It is possible for that person to be a layperson, usually a "practical theologician" (i.e.
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Oom-pah played by accordion on C major chord with alternate bass . Oom-pah, Oompah or Umpapa is the rhythmical sound of a deep brass instrument in a band, a form of background ostinato.Oompah, The Oxford Pocket Dictionary of Current English, 2008 The oom-pah sound is usually made by the tuba alternating between the root (tonic) of the chord and the 5th (dominant) — this sound is said to be the oom. The pah is played on the off-beats by higher-pitched instruments such as the clarinet, accordion or trombone.
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The group debuted on July 12, 2016, with the release of their first EP The Action and its title track "She", which they described as swing- inspired and funky. Vromance released their first digital single "Fishery Management" on September 14, 2016, which described as medium-tempo song with bright rhythmical guitar and brilliant chorus. Vromance released their second EP Romance on January 6, 2017, with the title track "I'm Fine", which has been described as heartwarming and traditional. They also held a comeback show one day before their EP released.
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Generally, the music has a very spacious and organic sound, and albums such as "Anima" feature a very simple theme repeated with an array of musical and rhythmical interjections. Ripatti releases under different names have conceptually varied, but have sonically related qualities; this may be due to Ripatti's different composition techniques. Uusitalo releases are often anchored by a house beat and highlight rhythmic variation (see 2007's Karhunainen). Vladislav Delay releases, on the other hand (see 2000's Multila), explore rhythmically sparse, experimental and ambient techno-dub soundscapes.
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In Boundlessness () is a second major poetry collection by Konstantin Balmont, first published in 1895 in Moscow. Following Under the Northern Sky, it features 95 poems, some of which bear first signs of the author's experiments with the Russian language's musical and rhythmical structures he would later become famous for. The book came with an epigraph from Fyodor Dostoyevsky's The Brothers Karamazov: "Kiss the earth and love tirelessly and insatiably; love everyone and everything, keep seeking delight and ecstasy." Balmont read Crime and Punishment at sixteen, and The Brothers Karamazov a year later.
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Generalizing: Arabian music is much more interested in rhythmical patterns that are more complex than European ones. Bashir's virtuosity of picking can easily be understood, when he shows his ability to apply the abovementioned scordatura, with its string pairs tuned in octaves, in an improvisation in the fast 10/8 metre, without the immense stopping problems of this method becoming hearable. Bashir's dealing with foreign musical forms appears also in his experiments with alternative picking techniques. He made the fingerpicking, cultivated on the guitar – especially in flamenco – to an essential attribute of his mature style.
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The following extract details a method of performing cranial auscultation: > A bruit should be listened for, in quiet surroundings, over the skull and > eyeballs, the latter situation being the most favourable for hearing the > softest ones. The patient should be asked to close both eyes gently and the > stethoscope firmly applied over one eye. During auscultation the other eye > should be opened as in this way there is considerable diminution of eyelid > flutter, which may cause confusion if rhythmical. Auscultation is then > carried out over the other eye in a similar manner.
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Typically, Halay dancers form a circle or a line, while holding each other with the little finger or shoulder to shoulder or even hand to hand with the last and first player holding a piece of cloth. The Ohuokhai is a simultaneous round dance and song. Dancers form a circle and dance, arm in arm, hand in hand, with the left foot put forward, while making rhythmical, graceful movements with their bodies, legs, feet and arms. A lead singer improvises the lyrics and the other dancers repeat them.
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Hōitsu's style shows elements of the realism of ukiyo-e, but resembles particularly the decorative style of Ogata Kōrin, which Hōitsu took major steps to revive. According to critic Robert Hughes, the core achievement in painting during the Edo period was the allusive and delicate work of the Rinpa artists; and in Hōitsu's large folding screen Flowers and Grasses of Summer and Autumn, he says, "you can almost feel the wind bending the rhythmical pattern of stems and leaves against their silver ground."Hughes, Robert. "Style Was Key," Time.
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On the wedding day, people would come to congratulate the family early in the morning, whereas in the evening, only those who were invited to the wedding would show up. The guests would bring presents with them for the couple; usually the women would bring pies, and the men, two kilograms of sugar. Among the men, various songs were sung with the cifteli and lute (traditional Albanian instruments) while comedic acts were played on one another. Among the women, two tambourine players would sing rhythmical songs to which women would dance.
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Rekukhara, also known as rekutkar (composed from the Ainu words for throat, rekut, and produce kar), was a vocal game popular amongst Sakhalin Ainu, and used throat singing techniques comparable to katajjaq, the Inuit singing style. A game was typically played by two to ten people at a time, always in pairs. At the start of each game, players take opposite places and form with their hands a closed tube between each other's mouths. One of the players starts by making a certain rhythmical motive which then resonates in the other player's mouth.
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Cory Brandan played guitar for a tour through Norway and Sweden but was then replaced by Rocky Gray (who would go on to play drums in Evanescence and We Are the Fallen and guitar in Soul Embraced.) At the end of 1999, Matthew Putman joined Living Sacrifice as a percussionist. In 2000, Living Sacrifice recorded their fifth full-length album, The Hammering Process, with a more rhythmical sound—more oriented towards groove metal. Bruce also sang in one Evanescence song, "Lies". In 2001, A Tribute to Living Sacrifice was released.
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In principle, they comport rather large usuls, yet peşrevs with shorter rhythmical patterns do exist. One rule that is never ever transgressed is that this usul may not be a compound meter of the family aksak. Some peşrevs, called batak or karabatak are so organized as to instigate a form of question and answer between instruments. If the hanes are to be marked with [A, C, D, E] and the teslim with [B], the regular structure of a peşrev would be A+B/C+B/D+B/E+B, thus always ending with the teslim.
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He also studied the microtonal systems and rhythmical complexity of South Indian Music. After graduation at highest possible level in Amsterdam, he went to France many times to study there with flute-legend Christian Lardé. Although occasionally he works for several orchestra's, his love for chamber music kept growing, especially for French chamber music. In this important repertoire for the flute, he researched several elements in notation-forms in music from 1870, connected to the famous musician Paul Taffanel, which had led to another master's degree on this topic in 2017.
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Although he was a famed printmaker, his career actually started from a sculptor, while he didn't limit his ambition concentrating not only on printworks but also on modernized masks or illustrations. Rhythmical movement of dancers were expressed under the concept of Buddhist painting, collage and mosaics to connect Korean arts further with Pop art and modernism. The works even extended to deal with Korean traditional ceremony of gut or exorcism.‘오윤’ 찢어진 눈 불같은 기운 생생 Hankyoreh One of the key images Mr.O would like to describe is Korean traditional exorcism, gut.
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The central idea of the story resides in the confusing relationship between art and life. In "The Oval Portrait", art and the addiction to it are ultimately depicted as killers, responsible for the young bride's death. In this context, one can synonymously equate art with death, whereas the relationship between art and life is consequently considered as a rivalry. It takes Poe's theory that poetry as art is the rhythmical creation of beauty, and that the most poetical topic in the world is the death of a beautiful woman (see "The Philosophy of Composition").
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The music has certain dots above it, called stigmai (), singular stigmē (), which are also found in certain other fragments of Greek music, such as the fragment from Euripides' Orestes. The meaning of these is still uncertain. According to an ancient source (known as the Anonymus Bellermanni), they represent an 'arsis', which has been taken to mean a kind of 'upbeat' ('arsis' means 'raising' in Greek); Armand D'Angour argues, however, that this does not rule out the possibility of a dynamic stress. Another view, by Solomon, is that the stigmai "signify a rhythmical emphasis".
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And he kept these moving in rhythmical tides so that they should > remain fresh when the time came for their use in the building of the > universe.Cowell (1993), 0:08–0:41. During the first two decades of his compositional career, Cowell continued often to reference Irish mythology in the titles of his piano pieces. The Harp of Life (1924), Cowell said, "is another in the suite based on the early Irish mythological opera," as, he explained, were The Voice of Lir (1920) and The Trumpet of Angus Óg (1918–24).
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A Lion in the Night has been reviewed by the School Library Journal and Kirkus Reviews that called it "A nighttime romp" and wrote "Allen's funny drawings, full of lovable characters and amusing details .. are deployed across the double spreads in a series of rhythmical dances to echo the wonderfully cadenced text. The dream-adventure makes the night exciting, but leaves baby safe and sound when the sun rises, in this fantasy that begs to be shared aloud." It has been read and taught in schools. \- and has inspired a number of theatrical productions.
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Christo is the most famous Bulgarian artist of the 21st century, known for his outdoor installations. Folk music is by far the most extensive traditional art and has slowly developed throughout the ages as a fusion of Far Eastern, Oriental, medieval Eastern Orthodox and standard Western European tonalities and modes. Bulgarian folk music has a distinctive sound and uses a wide range of traditional instruments, such as gadulka, gaida, kaval and tupan. A distinguishing feature is extended rhythmical time, which has no equivalent in the rest of European music.
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Harry Tyndale, one of Mallory's climbing partners, said of Mallory: > In watching George at work, one was conscious not so much of physical > strength as of suppleness and balance; so rhythmical and harmonious was his > progress in any steep place ... that his movements appeared almost > serpentine in their smoothness.Anker, Conrad; Roberts, David, The Lost > Explorer: Finding Mallory on Mount Everest, Simon and Schuster, 1991, p. 46 Geoffrey Winthrop Young, an accomplished mountain climber, held Mallory's ability in awe: > His movement in climbing was entirely his own. It contradicted all theory.
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Greenwood Press, 1996. Page 114. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism. At the start of 20th-century Western painting, and Initially influenced by Toulouse-Lautrec, Gauguin and other late-19th-century innovators, Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone.
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He managed to translate this structure to the whole dance simplifying it all in 'cruce adelante', 'apertura' and 'cruce atrás'. He also managed to clarify the different ways of understanding and explaining changes of directions and he also transmitted the interpretation of rhythmical patterns specially the so-called 'cincopations'. The critics in Bs. As. said: "…You could say that three stylistic tendencies contend for supremacy: Urquiza’s style, Almagro’s style and Naveira’s style …" (Clarín 8/8/99, Buenos Aires Argentina). He is also one of the main influences of Chicho Frumboli's beginnings as a tango dancer.
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Boda Dimsa is a worship dance in honour of village goddess. Men on the right and women on the left form two rows and hold one another firmly in their hands the backs. The first man in the right row with a bunch of peacock feathers in hand in rhythmical steps takes the lead while the last person in the left row joins him. Then all dancers to the sounds of anklets move zigzag in a serpent dance in a circle crying "Hari" and "Hui" return to the rows.
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Damped basses or notes plucked with the tip of the thumb (Anido did not use her thumbnail) add a special colour to the accompaniment. In Preludio Pampeano, a melody that is carried in thirds, gives way to a tempo de Vidalita. Variaciones camperas, whose rhythmical alternation between 3/4 and 6/8, represents an invitation to dance, belong to the same geographical region. Santiagueña' (dedicated to her agent Omar Buschiazzo) is a characteristic Chacarera from Santiago del Estero, and Catamarqueña, based on the Vidala that is typical of Catamarca.
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La Habana, vol 1 p63. Though they did not create the Cha-cha-cha, they were arguably the best charanga in Cuba during the 1950s and 1960s. Their trade-marks included high- class instrumentalists playing in tight ensemble style, and rhythmical innovations which kept their sound up to date. Over the years they progressed from their start as a danzoneria to play a wider variety of styles, danzón, then cha-cha-cha, then onda-cha,Onda = wave; an attempt to produce an up-tempo swinging fusion pachanga and son fusions.
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However, he felt that the song's producer, Yasutaka Nakata, was "limiting" his production skills by adding a "rhythmical hiccup" into the song. Martin had also contributed into writing the group's AllMusic biography, and listed the track as one of Perfume's best tracks from the album, and their discography. Yuki Sugioka from Hot Express was positive, commending the song's composition, Nakata's production skills, and labelled it "widely enjoyable" and "catchy". A staff editor from Channel Ai was very positive in their review, awarding the song four-and-a-half stars out of five.
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The story involves a mine that uncovers a very deep chasm, too deep for any sounding lines to hit bottom. The night after the discovery of the abyss the narrator and one of the mine's workers, a Mexican called Juan Romero, venture together inside the mine, drawn against their will by a mysterious rhythmical throbbing in the ground. Romero reaches the abyss first and is swallowed by it. The narrator peers over the edge, sees something - "but God, I dare not tell you what I saw!" and loses consciousness.
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Canadian stepdance, also known as Maritimes stepdance, is a style of stepdance in Canada, stemming from European origins including France, Scotland and Ireland. Canadian stepdancing involves fast dancing to fiddle music using shoes with taps designed to accentuate the dancer's rhythmical, drumming foot movements. Dancers generally require little dance space to perform their routines. Some styles of Canadian stepdancing include upper-body postures that are relatively relaxed compared with older stepdance styles, allowing occasional arm movements that flow with the rhythm of the dance, or hands on hips.
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Khaleegy is a joyful, lively, expressive, gestural and delicate dance performed at weddings and other events involving happiness and celebration. Women dance in complicity and it is often started with one of them standing alone on the dance floor to begin the dance, and then the others join her. The main movements of Khaleegy are done in a very feminine and rhythmical way. The main body parts involved in the dance are the hands, the head and the thobe itself; dancers move it to create undulating figures resembling the sea waves.
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Many of their photographs contained strong lighting and rhythmical patterns that emphasized the artistic quality of a scene. In 1925 the club began its own salon, which originally featured photographs by its own members but later expanded to an international field of photographers. The artistic strength of their membership is indicated by the fact that in 1926 members of the club showed a collective 589 prints in different exhibitions around the world. That same year Photo‒Era magazine offered a trophy for the photography club whose members won the most awards in the magazine's competitions.
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This riff differs significantly in its instrumental nature than the one which was finally recorded at Real World Studios. "Fashionable" was another instrumental outtake from The Vrooom Sessions that was re-recorded at Real World Studios during the recording of Thrak. Despite being reworked with various additions and refinements by the band members, the upbeat piece ended up being dropped off the final album. Vrooom Vrooom incorporates a middle section originally composed by Fripp in 1974 for Red’s instrumental title track (which is actually a rhythmical variation of Red's original middle section).
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Kalpanaswaram, also known as swarakalpana, consists of improvising melodic and rhythmic passages using swaras (solfa syllables).Viswanathan & Cormack (1998), p219 Kalpanaswaras are sung to end on a particular swara in the raga of the melody and at a specific place (idam) in the tala cycle.Viswanathan & Cormack (1998), p221 Generally, the swaras are sung to end on the samam (the first beat of the rhythmical cycle), and can be sung at the same speed or double the speed of the melody that is being sung, though some artists sing triple-speed phrases too.
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This new portable device weighed 45 pounds, and it could fit in a small plastic suitcase. Guy Knickerbocker, an electrical engineer working at Kouwenhoven's laboratory, discovered that the copper electrodes caused a rise in blood pressure in the rest of the body when they were pressed down onto a dog's chest even before the current was passed through them. He hypothesized that massaging the chest in a rhythmical manner causes the blood to circulate. This observation paved the path for the third major discovery by Kouwenhoven's team: cardiopulmonary resuscitation also known as CPR.
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10-15 The development of this concept allows a better understanding of the close link between the ability to condition and organize exchanges between an experience and its representation, and a procedure based on the rhythmical repetition of one, or several, paradigms in a determined and coherent body, which allows their reproduction and inflection 6. Serial works of art thus form a privileged field of studies since they turn this recursion and redundancy into structuring principles. This research tries to illustrate this serial conceptualization of the imaginary by analyzing serial literature, television series, comic books, serial music and dance, etc.
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In 1881, her Virginia and Other Poems appeared, published in Philadelphia, by Sherman & Co. The longer poems in this book are the weaker. The best are those of religious feeling; they are short, rhythmical and tender. According to Painter in Poets of Virginia (1907), these two volumes deal with plain, homely themes, as may be judged from such titles as "Old Letters", "Family Portraits", "To My Books", and "Summer Evening". They show a good degree of poetic feeling and literary skill; and if there is a tendency to diffuseness, it included a pure and gentle spirit.
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Mizar is known as Vashistha, one of the Saptarishi, and Alcor as Arundhati, wife of Vashistha, in traditional Indian astronomy. As a married couple, they are considered to symbolize marriage and in some Hindu communities to this day priests conducting a wedding ceremony allude to or point out the asterism as a symbol of the closeness marriage brings to a couple. Al-Sahja was the rhythmical form of the usual Suha. It appears as ', 'the Faint One', in an interesting list of Arabic star names, published in Popular Astronomy, January 1895, by Professor Robert H. West, of the Syrian Protestant College at Beirut.
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"Promised You a Miracle" has been praised by many critics as one of Simple Minds' strongest songs. Dave Thompson of Allmusic noted its "funky bass line", "bright melody", and "splashy keyboard hook". Dave Simpson in The Guardian referred to the song as a "showcase of early-80s optimism" with a "wistful edge". A feature in a 2002 edition of Uncut by David Stubbs said: "What's so great about this track, and indeed 'Big Sleep', isn't just its combination of stinging riff with delicate mosaic musical colouring, but its subtle rhythmical patterns, which are a feature of the whole album".
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In her recitals, she presents a mature and rhythmical swing succeeded by unrestrained taans in three and-a- half octaves. In the two-day celebration in honour of vocalist Kishori Amonkar in recognition of her 60 years contribution to music held at Pune on 14 February 2011, Chakraborty rendered raga Todi. Two other artists, Kalapini Komkali, daughter and disciple of Pt. Kumar Gandharva and Nandini Bedekar of the Jaipur-Atrauli gharana, also rendered bandishes in the same raga at the same venue during the morning session. Bharat Kamat on the tabla and Suyog Kundalkar on the harmonium provided support to all three artists.
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According to Dani Filth, the title "represents mankind's obsession with sin and self... an addiction to self-punishment or something equally poisonous... a mania." On the subject of the album's musical direction, Filth told Revolver magazine, "I'm not saying it's 'experimental', but we're definitely testing the limits of what we can do... A lot of the songs are really rhythmical—thrashy, almost—but they're all also really catchy." A flurry of pre-release controversy saw Samuel Araya's original cover artwork scrapped and replaced in May 2006, although numerous CD booklets had already been printed with the original image.
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Therefore, Byzantine music remained monophonic and without any form of instrumental accompaniment. As a result, and despite certain attempts by certain Greek chanters (such as Manouel Gazis, Ioannis Plousiadinos or the Cypriot Ieronimos o Tragoudistis), Byzantine music was deprived of elements of which in the West encouraged an unimpeded development of art. However, this method which kept music away from polyphony, along with centuries of continuous culture, enabled monophonic music to develop to the greatest heights of perfection. Byzantium presented the monophonic Byzantine chant; a melodic treasury of inestimable value for its rhythmical variety and expressive power.
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He earned French citizenship in 1945, and was awarded the Croix de Guerre. In 1947 in Paris he had his first solo exhibition. By the late 1950s he had achieved recognition for his gestural paintings, which were nearly monochromatic and characterized by configurations of long rhythmical brushstrokes or scratches. In 1960 he was awarded the International Grand Prix for painting at the Venice Biennale..accessed on line June 15, 2007 Hartung's freewheeling abstract paintings set influential precedents for many younger American painters of the sixties, making him an important forerunner of American Lyrical Abstraction of the 1960s and 1970s.
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The New York Critique wrote, "He is an orator by divine right, and his strong, intelligent face in its picturesque setting of yellow and orange was hardly less interesting than those earnest words, and the rich, rhythmical utterance he gave them". The New York Herald noted, "Vivekananda is undoubtedly the greatest figure in the Parliament of Religions. After hearing him we feel how foolish it is to send missionaries to this learned nation". American newspapers reported Vivekananda as "the greatest figure in the parliament of religions" and "the most popular and influential man in the parliament".
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After obtaining his Ph.D., Dorgan joined the faculty of the Department of Communication of Appalachian State University, serving there from 1971 until his retirement in 2000. A fascination with the rhythmical style of Appalachia's old-time Baptist preachers led him into more than thirty years of rhetorical and ethnographic research on religion in Appalachia, with a particular focus on traditional Baptist sub-denominations indigenous to the region. He served as editor for the religion section of the Encyclopedia of Appalachia. He received the 1993 Thomas Wolfe Literary Award for the book Airwaves of Zion: Radio Religion In Appalachia.
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Victor Avdienko, Bell Ringer & Percussionist, San Francisco Symphony, ringing bells in front of the orthodox chapel at the Fort Ross Festival 2018, Sonoma County, California The Trezvon (triple-peal) is the rhythmical ringing of multiple bells, using all the major groups of the bell scale. The trezvon is the most joyous of the various types of rings. The order of ringing the different bells is not fixed, but may be composed by the bell-ringer himself and prompted by his creativity and self- expression. For the trezvon, the elaborate pattern is repeated three times, with a short pause between each repetition.
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The Cane Ridge congregation urged Stone to organize a similar event there and in August 1801 the observance there dwarfed those of Logan County, with as many as 20,000 in attendance. Similar observances in the area also sprang up, attracting large crowds, to bring the total number of revival attendees to 100,000 by the end of the year. The instances of so-called “bodily exercises” became more widespread and dramatic. Among the other manifestations of revival fervor, people increasingly exhibited “the jerks”—convulsive or rhythmical motions of the body that continued involuntarily despite attempts to calm them.
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"Je t'aime mélancolie" was performed during the 1996 and 2006 series concerts at Bercy and was thus included on the live albums and VHS or DVD Live à Bercy and Avant que l'ombre... à Bercy. In the choreographied performance of 1996, Farmer wore a red shirt, pants and bra, the male dancers were dressed with clear pants and shirt, and the female dancers had a kimono in brown satin. During the musical bridge, all dancers performed rhythmical steps under a play of lights. At the beginning of the 2006 performance, the main stage was illuminated and had five large white borders.
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Yankel Feather's paintings all come from distinctive periods of his life and work. His early years during the Mersey Beat days in Liverpool, depict rhythmical colourful movement in crowded dancehalls at a time when he was a club owner. Inspired by the atmosphere in his Basement Club in Liverpool (set up by Feather in 1958) he painted every aspect of dance: from the Twist during World War II to Rock ‘n’ Roll, to decades of ballet shows. Feather's paintings also explore Cornish landscapes and seascapes, market scenes from Morocco and views of a crowded Brighton beach.
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Because of the 60 centimeters interior floor difference between the side entrance and the living area, also the exterior detachment of the main mass jumps out. With the repetition of the module it creates a rhythmical collective façade with two singular ends. Map of the complex Balcony on one of the houses at the opposite of the Papaverhof, also built by Jan Wils The builders used cinders concrete for the first 30 Papaverhof homes. However, the poor quality of this material and its minimal cost benefit moved them to change to brick for the remaining houses.
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Physical Education, or Movement Education as it is called in many Waldorf schools around the world, begins in the early grades with rhythmical activities, then proceeds to various games, the circus arts, the Greek pentathlon, and on to more competitive athletics and team sports as the student moves towards high school. Bothmer Gymnastics was created by Fritz von Bothmer between 1922 and 1938 out of his work as the physical education teacher at the first Waldorf School established in Stuttgart, Germany. Bothmer Gymnastics™ offers a distinctive, planar approach to age-appropriate balance and coordination exercises.
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What is most noticeable in Weiss' poems is their rhythmical harmony. The only instance in literary history in which so melodious a versification was attained under similar circumstances was that of James M. Nack, the deaf poet of New York, whose writings were published several years earlier by Prosper Montgomery Wetmore. There was not in Nack's poems, however, any single composition that could be compared with "Ennerslie", in grace, or variety of cadences. It was said that this poem, without being an imitation, would remind the reader of one of the finest productions of Alfred, Lord Tennyson.
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Morosoli began using movement as a kind of material very early in her career. Her sculptures "stylize certain movements observed in plant, animal and aquatic worlds... to express the world of the subconscious, wherein threatening emotional energies lie buried..."Elizabeth Wood in Joëlle Morosoli: Pièces/Pièges, An exhibition of sculpture in movement, Arts Atlantic, no. 42, 3, Prince Edouard Island, 1992. Whereas movement in kinetic sculptures like mobiles often originates from a natural source, such as wind or water, Morosoli equips each sculpture or installational element with a small motor that generates an even, often barely perceptible rhythmical motion.
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Motets such as Oculi mei, of ambiguous key and intercalated with numberless diminished fourths, demonstrate perfectly the expressiveness of this harmonic audacity. The alternances of this kind of intense imitative composition painstakingly elaborated with sudden twitches of rhythmical homophony are also typical of the works Versa est in luctum and Commissa mea; in fact, the work of Morago for penitential and funerary texts is extremely sensitive. The works of Morago are kept in the archives of Viseu. The Fundação Calouste Gulbenkian published most of them in the book Obras de Música Religiosa (Portugaliae Musica IV, 1961).
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Besides poetry, Andreus also wrote a large number of children's books, the best known series of which revolves around the character 'Meester Pompelmoes'. Andreus stories for children are full of fantastical themes, playful, and written in a lyrical, rhythmical style. He received a number of prizes for his children's books, including a 'Zilveren Griffel' prize for his poetry book 'De Rommeltuin' and his book 'Meester Pompelmoes en de mompelpoes' won the CNPB Children's Book of the Year award in 1969 (a predecessor of the Gouden Griffel). He also wrote a number of radio dramas, chansons, TV scripts and commercials, novels, and a novella.
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Initially he had difficulties balancing the sound of the Octeto due to the lack of strings, which meant that those he did have were required to play in an unusual way to compensate. The strings were also called upon to imitate percussion instruments and the two bandoneons had to play up to six-part harmonies. The piano and double bass provided the rhythmical force. Soon after the formation of the Octeto, Piazzolla began to wonder whether he had taken tango too far away from its roots, and called upon the highly respected Osvaldo Pugliese to adjudicate.
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He was also a good fielder and an able lower order batsman. He played 83 times taking 97 wickets between 1987 and 1992, appearing in both the 1987 and the 1992 World Cups. Taylor was noted for his deliberate approach to the wicket and the rhythmical nature of his bowling action that involved him first swinging his bowling arm, joining hands as he swung forwards then completing a loop of his joined hands before delivering the ball. He was noted as a heavy spinner of a cricket ball and comparisons were made with Ashley Mallett, the former Australian spin bowler.
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Usually found in groups of up to 15 birds, the plain chachalaca is furtive and wary and prefers to escape from danger by running swiftly on the ground or leaping and gliding through brushy tangles. The plain chachalaca feeds in trees or on the ground on fruit (figs, palms, Sapotaceae), seeds, leaves, and flowers. It is sometimes a pest of crops such as tomatoes and cucumbers. The call is a loud, raucous RAW-pa-haw or cha-cha-LAW-ka, often by several birds in a rhythmical chorus, especially in early morning and evening, usually from well up in trees.
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The All About Jazz review by Glenn Astarita states "Among other positives, Morris' quartet is a unit you can count on for extending the limits of whatever improvisational model(s) they process, coinciding with the artists' dynamic interactions and dizzying rhythmical measures."Astarita, Glenn. Balance review at All About Jazz The Down Beat review by Bradley Bambarger notes that "Maneri’s viola sings and saws through imaginative solos and commentaries, and it blends wonderfully with the guitarist’s flinty single-note lines and harmonic shards, evoking whole worlds of music—not only shades of Ornette Coleman but abstractions of Africa, India and Appalachias."Bambarger, Bradley.
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In a syllable- timed language, every syllable is perceived as taking up roughly the same amount of time, though the absolute length of time depends on the prosody. Syllable-timed languages tend to give syllables approximately equal prominence and generally lack reduced vowels. French, Italian, Spanish, Icelandic, Cantonese, Mandarin Chinese, Georgian, Romanian, Armenian, Turkish and Korean are commonly quoted as examples of syllable-timed languages. This type of rhythm was originally metaphorically referred to as "machine-gun rhythm" because each underlying rhythmical unit is of the same duration, similar to the transient bullet noise of a machine-gun.
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Transmission of a cardiac action potential through the heart's conduction system The normal rhythmical heart beat, called sinus rhythm, is established by the heart's own pacemaker, the sinoatrial node (also known as the sinus node or the SA node). Here an electrical signal is created that travels through the heart, causing the heart muscle to contract. The sinoatrial node is found in the upper part of the right atrium near to the junction with the superior vena cava. The electrical signal generated by the sinoatrial node travels through the right atrium in a radial way that is not completely understood.
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Inspired by the dramatic passion of the Old Masters and the sense of space in the work of the Abstract Expressionists, he made his so-called Splinter Paintings. For these canvases, he deconstructed the human figure in his crucifixions into black and white shapes that he arranged in rhythmical grids. His works of the subsequent years are activated by a fierce stroke of the brush and swing between expressionist figuration and abstraction. The cycle De Geboorte (Birth), painted following the birth of Mo, his son with Mieja, was exhibited in the Richard Foncke Gallery in Ghent in 1983.
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"Hurts", an eight-beat pop track, is the album's lead ballad track, with vocals directed by Eric. It was a remake of Frankie J's song with a new rap style by Eric. "Red Carpet" with a thick beat and synth vocals, is another electropop dance track. co-produced by Lee Min-woo and producer Kim Do-hyun. "Move with Me", a hip hop style track that showcases Eric’s rap-writing skills and individual members' rhythmical vocals. "Let It Go" is a special song gifted by Aziatix member Eddie Shin and Jung Jae-yoon of 1990’s group, Solid.
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In 1926 Vsevolod Meyerhold staged The Government Inspector as a "comedy of the absurd situation", revealing to his fascinated spectators a corrupt world of endless self-deception. In 1934 Andrei Bely published the most meticulous study of Gogol's literary techniques up to that date, in which he analyzed the colours prevalent in Gogol's work depending on the period, his impressionistic use of verbs, the expressive discontinuity of his syntax, the complicated rhythmical patterns of his sentences, and many other secrets of his craft. Based on this work, Vladimir Nabokov published a summary account of Gogol's masterpieces.Nabokov, Vladimir (2017) [1961].
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It was basically a two and a half minute punk/pop song with fuzzy distorted guitar and Scottish inflected vocals, but already the band was evolving with a sparser and more rhythmical sound. Bootsy Collins, George Clinton, Gang of Four, ESG, Buzzcocks, and The Clash were all filtered through three teenagers from Aberdeenshire to create a catchy, rhythmic sound. A change in their sound first became evident with their second single for Oily, "I'd Like To Shoot You Down" (1981). The single did well and sold out its first pressing, with some copies finding their way to New York City.
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It starts with approximately 4 bars of double-tracked didgeridoo drone before the original arrangement comes in and finishes with approximately 30 seconds of the same following a breakdown of the original arrangement. At the very end, Harris can be heard saying "we'll stop right there". The cover art is by Del Palmer Kate's Partner at the time and sometime bass player. Bush's rhythmical breathing, which appears at 0:29 into the song and again at 3:07-3:09, was sampled by Martin Gore for Depeche Mode's successful 1989 single "Personal Jesus", which also includes some drum samples from "The Dreaming".
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Flood beds on the Sanpoil arm of glacial Lake Columbia show episodic flood deposits as well as deposit grading and rhythmical repetition. Since Glacial Lake Columbia remained filled between Missoula floods, annual deposits (varves) can be observed between the Missoula flood deposits, they help to establish the periodicity of these major floods. The flood deposits can be distinguished from annually-deposited varves by both their thickness and the presence of materials foreign to the immediate drainage. Atwater reports from 35 to 55 annual varves between flood deposits in Lake Columbia, supporting a period of 35 to 55 years between ice dam failures.
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The versification of the Brut has proven extremely difficult to characterise. Written in a loose alliterative style, sporadically deploying rhyme as well as a caesural pause between the hemistichs of a line, it is perhaps closer to the rhythmical prose of Ælfric of Eynsham than to verse, especially in comparison with later alliterative writings such as Sir Gawain and the Green Knight and Piers Plowman. Layamon's alliterating verse is difficult to analyse, seemingly avoiding the more formalised styles of the later poets. Layamon's Middle English at times includes modern Anglo-Norman language: the scholar Roger Loomis counted 150 words derived from Anglo-Norman in its 16,000 long-lines.
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However, in a normal mammal, the lungs cannot be emptied completely. In an adult human there is always still at least 1 liter of residual air left in the lungs after maximum exhalation. The automatic rhythmical breathing in and out, can be interrupted by coughing, sneezing (forms of very forceful exhalation), by the expression of a wide range of emotions (laughing, sighing, crying out in pain, exasperated intakes of breath) and by such voluntary acts as speech, singing, whistling and the playing of wind instruments. All of these actions rely on the muscles described above, and their effects on the movement of air in and out of the lungs.
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Many of Mostad's instrumental works as well as vocal music, are inspired by Judæo- Christian texts which often influence the structuring of the music. For instance in "And the light shines in darkness" a massive dark sounding layer with much rhythmical unrest gradually gets introduced to a lighter sounding chord with notes from the harmonic series. Mostad has written chamber music, solo pieces for piano, guitar, organ and utilised electronics, both pre- recorded and live with interaction with live musicians, but his main focus has been orchestral and vocal music. His longest composition is the work "Were you there, when they crucified my Lord?" for choir, recitation, solo voices and orchestra.
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"Fly away", featuring Gaeko who also participated in composing the song, is described as an r&b; hip-hop song based on sentimental lyrical band sounds. "Nothin'", Chanyeol's solo song, in which he participated in both writing and composing, is described as a hip hop R&B; song with a harmony between the dreamy vibe electric guitar sounds and the heavy beats. The lyrics are about one's determination to go on their own way silently and without paying attention to the surroundings. "On Me", Sehun's solo, in which he participated in both writing and composing, is described as a trap hip hop song with a rhythmical bass & strong synthesizer.
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"FM", written by Shinsadong Tiger and Monster Factory, was described as a "catchy song with mysterious lyrics and rhythmical melody". "FM" stands for "field manual" and is slang for someone who is a rule follower, but not in a good way. In an interview with MTV, Ellin discussed the concept of "FM": "Unlike the cute image from 'Bar Bar Bar', we are portraying the image of a charismatic female warrior; we are mature women." "Hapataka" is written by Kim Yoo-min (who also wrote "Bar Bar Bar") and is a "mix of dance and punk sounds along with lyrics that flip the Korean alphabets backwards".
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Caroline Fischer in Concert Klassik.com, 2009: “Atmospherically dense sonority [...], marked sensibility [...] her enormous serenity which wins one over, the plasticity and precision with which she shapes chains of chords, octaval transpositions, runs and the rhythmical complexity.” Leipziger Volkszeitung, 2009: “Her approach to Liszt is shaped by the musical line, she focuses on the transparency and structure, whether it be in the magnificent transcriptions of songs by Schubert or Schumann in the dissembling Mephisto Waltz No.1.” Klassik-heute.com, 2009: “ Fischer satisfies all purity requirements, and invests drive and passion without losing that formal overview which these small, self-contained inner landscapes suggest to the interpreter.
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Based on Afrobeat, Dele's music is a blend of complex funk grooves, Nigerian traditional music, African percussion, underpinning the jazz horns and solos from other instruments, as well as rhythmical singing. His keyboard work can be heard on several of Fela's albums,Power Show, Original Sufferhead, MOP 1 (Movement of the People), Authority Stealing, Army Arrangement, ITT (International Thief Thief), and Teacher Don't Teach Me Nonsense as well as some of Femi's.No Cause for Alarm and Mind Your Own Business Dele has also performed often with Tony Allen. Following his first solo album Turbulent Times, he was invited to select the tracks for the 3-CD compilation "Essential Afrobeat" (Universal, 2004).
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Phyl Garland of Stereo Review exclaimed "On the whole, a promising debut." Leonard Pitts Jr. of LA Weekly wrote "it's a solid piece of pop craftsmanship bright and spunky and then, when you least expect it moving and poignant (just don't look for deep reflection). Barbara Weathers is pop with few illusions and fewer pretensions; it serves up sunny, unobtrusive production alongside lyrics that manage the neattrick of sounding familiar without wallowing in cliche." Carl Allen of Buffalo News wrote "On her first, solo recording she demonstrates that she can produce the catchy and rhythmical pop, as in 'Barbi Doll' or romance laced ballads, as in 'Our Love Will Last Forever'".
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The edition includes translations which were actually by Mss Gunning and Wilkinson, but they are credited only in the preface. Some of the sermons in the second series had been written in a kind of rhythmical, alliterative prose, and in the Lives of the Saints the practice is so regular that most of them are arranged as verse by their editor W. W. Skeat. Appended to the Lives of the Saints there are two homilies, On False Gods and The Twelve Abuses. The first one shows how the Church was still fighting against the ancient religion of Britain, but also against the religion of the Danish invaders.
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One strong facet of Ned's influence is the Carnatic music from South India. Over the past decade he has collaborated and performed regularly in India and Europe with Indian musicians Pravin Godkhindi, Jahnavi Jayaprakash, Ronu Majumdar, Dr. Mysore Manjunath, B.C. Manjunath, Mysore Nagaraj, M.K. Pranesh, Dr. Suma Sudhindra, Anoor Anathakrishna Sharma and Ghiridar Udupa. “What fascinates me is the Carnatic use of rhythmical complexities developed through a tradition of performance.” Works exploring Indian forms from a European perspective include Chamundi Hill, for flute and harp, Alap for voice and ensemble, Stone Soup for jazz ensemble, Tusk for ensemble and Three Amsterdam Scenes for voice, viola and keyboards.
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The rest of its existence is a slow process of quark fission, which turns the avalanche-like destruction of atoms into a slow, rhythmical, gradual destruction of 10 grams of copper dust - the best known explosive trigger. If the bomb is shot at, which destroys its mechanisms, then the unstoppable process of atomic fission begins at full strength. The only way to get rid of a quark bomb is to jettison it in deep space at least 3-4 light years from the nearest stellar body or nebula. Occasionally, quark fission can be transferred from one planet to another through tiny meteorites, dust particles, molecules of ionized gas, etc.
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The tune "Dr. Jackle" shows McLean's connection with the blues as well as with Charlie Parker, Miles is in a typical lyrical position and Ray Bryant plays in soul-driven, dancy fashion. "Minor March" has rhythmical breaks and a bridge, showing similarities with Bud Powell's "Tempus Fugit"; McLean's cadentials and screams anticipate the style of the future Blue Note recordings. Miles Davis commented critically in his autobiography to the saxophonist's style: It was the last joint session by Miles Davis and Percy Heath as well as the only striking performance by pianist Ray Bryant, who arranged the composition on "Blues Changes" (later renamed to "Changes").
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68, No. 1014 (August 1, 1927) Similarly, the controllable constant speed and rigid repetition of a metronome has been described as possibly costing internal rhythm and musicality when abused or overused. This contrasts with those who advocate its use as a training tool and exercises to cultivate a sense of rhythm. American composer and critic Daniel Gregory Mason wrote that the use of the metronome is "dangerous" because it leads musicians to play by the measure or beat instead of the phrase, at the expense of liveliness, instinct, and rhythmical energy. He references that "good performances" commonly feature retardations and accelerations, in contrast to the steady beat of a metronome.
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The relief sculpture with the inscription, ...discipline of physical culture...[to] benefit...Portugal Sculpted bronze panel quoting Camões The urban structure is implanted harmoniously along a slope from the terrain, rounding the E.N. 101 national roadway and matte of vegetation that constituted the Parque de Campismo and Parque da Ponte. It has extensive paved grounds with a savannah restrained by iron gate. The oval plan includes four tall lampposts at the corners. In the center, a rectangular football field circumscribed by athletics track with eight lanes, surrounded partly by benches arranged in four rows with eight steps each and rhythmical by openings that allow access from the outside.
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Music is made using the txalaparta by having one or more performers (known as txalapartariak 'txalaparta players' or jotzaileak 'beaters' in Basque or txalapartaris in Spanish) produce differing rhythms, playing with wood knots and spots of the boards for different tones. Nowadays the boards have often been arranged to play notes and even melody along the lines of the score, which may on the one hand further widen for the txalapartaris the possibilities to sophisticate the music. On the other hand, some txalaparta players rule out this novelty as alien to the instrument, essentially rhythmical. Both players perform consecutively by striking with the sticks on the boards.
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It was meant as a reference to Ravel's Bolero, written for Dennis Russell Davies, to thank him for putting Glass' works on stage. He was inspired by dance music that he heard during the carnival, resulting in a samba-like rhythmical structure with a lot of time signature changes and varieties, such as 14/8, 15/8 and 9/8+4/4. The 2008 film The Incredible Hulk featured aerial footage of Rocinha, showing the large number of intermodal containers repurposed as housing, and included an extensive chase scene filmed in the favela on the ground and across rooftops. It was also featured in the 2011 film Fast Five.
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Khigga has other varieties such as "Heavy Khigga" or "Normal/Standard Khigga". With Heavy Khigga (or "Khigga Yaqoora" in Assyrian), the tempo is 'heavier', as its title suggests, where the participants would make more ardent and exaggerated moves, such as knee bending and rhythmical shoulder motions. It is not to be confused with Siskani, as that dance beat is faster and has distinguishing techniques. The Siskany dance, which may be deemed as a khigga variant, is a much faster paced form of khigga where the dancers bend their knees and briskly shake their shoulders in a zippy manner, or just move forwards and backwards.
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Southey most likely learned the tale as a child from his uncle William Tyler. Uncle Tyler may have told a version with a vixen (female fox) as the intruder, and then Southey may have later confused "vixen" with another common meaning of "a crafty old woman". P. M. Zall writes in "The Gothic Voice of Father Bear" (1974) that "it was no trick for Southey, a consummate technician, to recreate the improvisational tone of an Uncle William through rhythmical reiteration, artful alliteration ('they walked into the woods, while'), even bardic interpolation ('She could not have been a good, honest Old Woman')".Quoted in: Ober 1981, p.
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The lengths of the different versions of the poem vary greatly: the shortest is 270, the longest 400 lines; different manuscript versions also differ in wording. The Lambeth version is considered the oldest. In fact, there is so much "metrical, lexical and scribal variation" that it seems there is no "correct" version: "each copy represents a reshaping within an established rhythmical and metrical structure." Though a seventeenth-century identification between the Poema and The Proverbs of Alfred by Langbaine was proven erroneous (Langbaine was led astray because he had an expectation of finding the Alfredian proverbs in the manuscript known as Bodleian Library Digby 4).
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Heaney's work is used extensively in the school syllabus internationally, including the anthologies The Rattle Bag (1982) and The School Bag (1997) (both edited with Ted Hughes). Originally entitled The Faber Book of Verse for Younger People on the Faber contract, Hughes and Heaney decided the main purpose of The Rattle Bag was to offer enjoyment to the reader: "Arbitrary riches." Heaney commented "the book in our heads was something closer to The Fancy Free Poetry Supplement." It included work that they would have liked to encountered sooner in their own lives, as well as nonsense rhymes, ballad-type poems, riddles, folk songs and rhythmical jingles.
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The facades were firmly composed and emphasized by the rhythmical row of columns with Corinthian capitols, doubled on the cornered projections. These columns take up three-storey height and bear a massive architrave flowing along all the facades and significantly stick out from the plane. Decorative structures in full plastic representing warriors and scenes from the warrior life are set up on the cornered projections above the architraved cornice. As a rule, the groups are two-membered and they represent: the fight of warriors, the warrior and the wounded, who kills the woman and himself, and the archer and the warrior with a sword.
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It has been said that writing light verse successfully is the most difficult of all intellectual accomplishments in order for the poet to be taken seriously. Taylor’s wit was not a savage but it often had a bite, and he possessed a keen sense of language and technical skill using rhythmical structures to frame his thought. His verse was often compared to that of Charles Stuart Calverley and William S. Gilbert. In her eulogy at Taylor’s memorial service, Harriet Monroe, founder of Poetry, considered Taylor to be in the same league as British poets Frederick Locker- Lampson and Austin Dobson, and American poets Oliver Wendell Holmes, Sr. and Thomas Bailey Aldrich.
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"The New English Opera House: Sir Arthur Sullivan's Grand Opera Ivanhoe", The Observer, 1 February 1891, p. 5 The Manchester Guardian said that Sullivan was fortunate in his librettist, who "show[ed] himself capable of depicting ideas and events in a few words, and those words replete with rhythmical vigour and poetic beauty as well as significance of meaning.""Opening of the Royal English Opera", The Manchester Guardian, 2 February 1891, p. 5 Sullivan's friend the critic Herman Klein called the libretto "a skilful and fairly dramatic adaptation of Scott's novel and a polished example of poetic lyric-writing".Ivanhoe at the G&S; Archive , 3 October 2003.
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Pure Energy and Neurotic Man (1940) In her continuing quest to do more with photography, Morgan “began to feel the pervasive, vibratory character of light energy as a partner of the physical and spiritual energy of the dance, and as the prime mover of the photographic process. “Suddenly, I decided to pay my respects to light, and create a rhythmical light design for the book tailpiece.”Morgan (1964), 25 She created gestural light drawings with an open shuttered camera in her darkened studio. Although photomontage was enthusiastically practiced in Europe and Latin America in the 1930s and 40s, it was still alien to American photography and widely disparaged.
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The noisy miner has a mating display flight song: a soft warble of low-frequency notes given during short, undulating flights by the male, and responded to by the female with a low- frequency whistle. The noisy miner is found in open woodland habitats, where it is an advantage to call from the air, so as to overcome sound attenuation. Another display call, described as 'yammer', is a rapid rhythmical series of notes that is uttered during open-bill, wing-waving displays. The noisy miner has a song described as the 'dawn song'—a communal song of clear, whistled notes emitted in chorus in the early hours of the morning from May through January.
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They married in 1967, had four children and remained together until Zappa's death. Wilson nominally produced the Mothers' second album Absolutely Free (1967), which was recorded in November 1966, and later mixed in New York, although by this time Zappa was in de facto control of most facets of the production. It featured extended playing by the Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt, rhythmical changes into songs that were built from diverse elements. Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s.
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Where the web is sparse, a Portia will use "rotary probing", in which it moves a free leg around until it meets a thread. When hunting in another spider's web, a Portia′s slow, choppy movements and the flaps on its legs make it resemble leaf detritus caught in the web and blown in a breeze. P. schultzi and some other Portias use breezes and other disturbances as "smokescreens" in which these predators can approach web spiders more quickly, and revert to a more cautious approach when the disturbance disappears. A few web spiders run far away when they sense the un-rhythmical gait of a Portia entering the web - a reaction Wilcox and Jackson call "Portia panic".
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An example of his humour is a poem that talks about modern progress, with rhyming couplets such as "First dentistry was painless;/Then bicycles were chainless". It ends on a more telling note: Another Guiterman poem, "On the Vanity of Earthly Greatness", illustrates the philosophy also incorporated into his humorous rhymes: On the Vanity of Earthly Greatness Perhaps his most-quoted poem is his 1936 "DARling" satire about the Daughters of the American Revolution (and three other clubs open only to descendants of pre-Independence British Americans). That poem has a unique, intricate, strongly dramatic rhythmical structure...as analyzed, line by line and syllable by syllable, below. The number of syllables in each line is shown in [brackets].
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While the ethos of the echoi were characterised very generally (since Plato), the "three tropes of rhythm" (book 2, chapter 12) were distincted as systaltic (συσταλτικὴ, λυπηρὸς "sad"), diastaltic (διασταλτικὴ, θυμὸς "rage"), and hesychastic (ἡσυχαστικὴ, ἡσυχία "peace, silence" was connected with an Athonite mystic movement). Systaltic and diastaltic effects were created by the beginning of the rhythmical period (if it starts on an arsis or thesis) and by the use of the tempo (slow or fast). The hesychastic trope required a slow, but smooth rhythm, which used simple and rather equal time proportions. The agitating effect of the fast diastaltic trope could become enthusiastic and cheerful by the use of hemiolic rhythm.
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Although rhythm is not a prosodic variable in the way that pitch or loudness are, it is usual to treat a language's characteristic rhythm as a part of its prosodic phonology. It has often been asserted that languages exhibit regularity in the timing of successive units of speech, a regularity referred to as isochrony, and that every language may be assigned one of three rhythmical types: stress-timed (where the durations of the intervals between stressed syllables is relatively constant), syllable-timed (where the durations of successive syllables are relatively constant) and mora-timed (where the durations of successive morae are relatively constant). As explained in the isochrony article, this claim has not been supported by scientific evidence.
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Towards the early 1960s, there were signs of Tachisme and Art Informel in his work. His paintings on dark ground were almost monochrome, while those on a light ground showed a rhythmical movement of a dark mass across it. This distinctive theme became his trademark style, with increasingly dynamic strokes with intense, energetic colour. Edo Murtić artwork at the Mirogoj Cemetery During the 1970s, Murtić's works began appearing in public areas, such as in the Mirogoj Cemetery in Zagreb, the Memorial in the Čazma Ossuary, the Vatroslav Lisinski Concert Hall, and the Zagrepčanka office building (1975). By the 1980s, Murtić was internationally recognized as one of the leading abstract painters from the socialist world.
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Nowak's approach to editing Bruckner's music was much more scientific than Haas's. Whereas Haas, for instance, combined passages from the 1887 and 1890 versions of Bruckner's Symphony No. 8 in C minor to make his edition of the work, Nowak produced two separate editions for the two versions. Nowak also wrote essays examining theoretical aspects of music by Bruckner and other composers, such as his essay on metrical and rhythmical elements in the symphonies of Beethoven and Bruckner. Nowak worked on a new edition of Wolfgang Amadeus Mozart's famously incomplete Requiem, and was able through detailed scrutiny to distinguish Mozart's own handwriting from that of Süßmayr and Eybler to an extent no one had been able to do before.
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Her big innovation was to move from small, private classes to a mass-market movement. In 1930 this grew into a commercial enterprise, the Women's League of Health and Beauty, using the YMCA's Regent Street premises. Public displays in London garnered publicity, and more centres started in 1932 in Bromley, Southend, Slough, Bournemouth, Croydon, Birmingham, Glasgow followed by Ayr, Paisley and Edinburgh and finally franchised centres all over the UK. The Women's League of Health and Beauty classes included elements from dance, callisthenics, and remedial, slimming, and rhythmical exercise to music. The League published its own magazine, Mother and Daughter, from 1933 to 1935 with content on pacifism and feminist political discussion as well as general self- improvement.
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Bandadansur - the ribbon dance A third variant of the dance, where quick folksongs and ballads are used as well, is “bandadansur” (The Ribbons Dance). The dancers stand in two rows, two to four feet apart – men on one side, women on the other, holding a ribbon between each couple. While the stanzas are sung, they stand still, while making the common rhythmical stamps with the feet. When the refrain starts, they raise the ribbons, and the people from the end of the row, bend over two by two and move under the raised ribbons, until they get out of the tunnel, where they turn around and raise their ribbons over the following couples.
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The series used stock music cues, most of them also used by NFL Films, for its varied features, such as in coverage of the 1974 Daytona 500, which used the Jack Trombey track "Military Attache," a cue that opened NFL Films' 1974 Pittsburgh Steelers season review film. The show's 1968 opening theme (using footage from Rockingham and Daytona shot in 1965 and footage of one of Andy Granatelli's turbine Indycars at Milwaukee in 1968) was a variation of Trombey's track "Rhythmical Interruption No. 2." A track used frequently was the Peter Reno track "Recoil." In the later years, the original music came from numerous southern sources with everything from country to styles that are reminiscent of Jimmy Buffett.
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F.R.U.I.T.S. are a Moscow-based cult duo comprising Alexei Borisov and Pavel Zhagun. The duo was formed in 1992 to combine different directions of experimental music, such as abstract electronica, noise music, rhythmical, minimalism, micro and macro sounds and waves, and free improvised voices. Their release "Forbidden Beat" (from their latest album Laton) has been said by some to represent F.R.U.I.T.S. at the peak of their creativity, with a combination of a bass-heavy danceable electro, drum 'n' noise, futuristic soundcapes, dark voice work outs and absurd humour refraining. Borisov and Jagun are both legends of the Russian underground music scene and are well known for their various projects since the early 1980s.
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407 (1993) Canarina The slow movement was arranged for concert band by Norman Goldberg and in this form was also published by Carl Fischer.p. 49 (1993) Perone Hanson considered himself a "perfect fifth composer" or a "major third composer," but in this symphony, it is the perfect fourth "that plays a prominent part throughout the symphony in both melody and harmony."p. 141 (2004) Cohen Despite the abundance of triplets, the Bruckner rhythm occurs only in a few spots, mainly in the horns' and trumpets' parts; the others are in the timpani in the first movement,Measure 10, p. 2 (1930) Hanson and at the end of a longer rhythmical motif in the finale.
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He divides them into two group of six, but due to Minor lacking in numbers, they are given the advantage of choosing someone from the other team to perform with them. Although she will still be a part of Major, Jihyo is chosen to perform along the Minor team. He then gives the girls their new songs for the final mission's first round, explaining that teams were assigned songs that they would normally be bad at - the rhythmical "I Think I'm Crazy" for Major and the vocally-oriented "Truth" for Minor. He then reveals "Do It Again", which both groups will be performing in the final round and serves as a representation of Twice's musical direction.
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Of the six established tabla gharanas or schools of tabla playing, the Benares Gharana, of which Bose belongs, has been the most staunch in its refusal to compromise the traditions when moving into more lucrative contemporary fusions. While criticised decades ago for his rigidity and refusal to adapt modern fusion and film music, Bose is now credited with preserving classical musical style and philosophy. He has kept the tradition of the Benares Gharana by subtly balancing the warm bass tones of the bayan with the higher-pitched crisp tones and syncopations of the dayan. Many of Bose's compositions have been written to accompany the rhythmical movements of kathak dancers and are a speciality of the Benares tradition.
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The concert at the Senate hall inspired a strong debate on Allevi's actual talent: the celebrated violinist Uto Ughi strongly criticized the artist in an article that appeared in the newspaper La Stampa. Ughi clearly felt "offended as a musician" and declared "Allevi's success is the triumph of relativism".Cfr.:La Stampa del December 24, 2008 Allevi retorted later in the same newspaper, accusing Ughi of "defending the caste", adding: "my music speaks to people's hearts but its technical and rhythmical virtuosity requires highly-talented performers". He noted that "in music, it has always been difficult for new ideas to gain a hold, but later on, they became the rule to follow".Cfr.
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Most critics disliked the music and Mary Clarke was in the minority when she called it "rich and romantic and superbly rhythmical". Fernau Hall thought Henze showed "little understanding of the needs of classical dancing", and that Ondine would establish itself firmly in the repertoire "if it were not for Henze's music". In 1958 the ballet was widely seen as having choreography and décor in harmony with each other but fighting with the music; now it's the choreography and the music which seem to speak the same language, while the sets look not only backward but to the north. Even when it was revived in 1988, it was hailed neither as a disaster nor as a lost masterpiece.
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The whole musical style or tradition of a community is sometimes referred to as its nusach, but this term is most often used in connection with the chants used for recitative passages, in particular the Amidah. Many of the passages in the prayer book, such as the Amidah and the Psalms, are chanted in a recitative rather than either read in normal speech or sung to a rhythmical tune. The recitatives follow a system of musical modes, somewhat like the maqamat of Arabic music. For example, Ashkenazi cantorial practice distinguishes a number of steiger (scales) named after the prayers in which they are most frequently used, such as the Adonoi moloch steiger and the Ahavoh rabboh steiger.
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Curator and critic Valentin Dyakonov interprets her practice as a reaction to the post-ideological Russian environment of 1990s and 2000s and compares her works to collages by German post-war artist Kurt Schwitters. According to Dyakonov, Parkina creates a situation of alogical and rhythmical layering of images, which corresponds with a faceted vision of the contemporary world. Critic Dominic Eichler compared her practice to Frances Stark’s drawings and drew parallels between Parkina's selection of zines from recent years with the aesthetics of Tracey Emin, Jonathan Meese, Nicole Eisenman, Raymond Pettibon and Elke Silvia Krystufek. According to Eichler, Parkina explores through her work the opportunities that conceptual art faces when combined with narrative and imagery.
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Crunluath : The crunluath variation in piobaireachd consists of a series of crunluath movements played on the theme notes of the melody. The movement itself is a dramatic set of seven gracenotes which bring the tune to a climax. Crunluath a Mach : An occasional extension of the crunluath variation, with rhythmical and melodic changes, and a slight increase in tempo, creating a spectacular finish to a piobaireachd. Cut : (i) An old term for a single gracenote; (ii) to reduce the length of a note in a way not easily described by conventional music notation - for example, the cut note in a strathspey, normally rendered as a semiquaver, is described as cut and the resulting note is much shorter.
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Overview of the system of electrical conduction which maintains the rhythmical contraction of the heart Electrical signals arising in the SA node (located in the right atrium) stimulate the atria to contract. Then the signals travel to the atrioventricular node (AV node), which is located in the interatrial septum. After a delay, the electrical signal diverges and is conducted through the left and right bundle of His to the respective Purkinje fibers for each side of the heart, as well as to the endocardium at the apex of the heart, then finally to the ventricular epicardium; causing its contraction. These signals are generated rhythmically, which in turn results in the coordinated rhythmic contraction and relaxation of the heart.
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The strings > have some ticklish passages which would need to be worked on but written > with complete understanding and knowledge of the capabilities of the > instruments. The rhythmical structure offers no problems, the tunes are > catchy and pleasant and the orchestra players themselves would enjoy playing > the work—an impression I distinctly received from the orchestra at Asilomar > when we recorded it. On March 20, 1962, the Sacramento Symphony performed Comedy, with conductor Fritz Berens.Program of the Sacramento Symphony Orchestra, Season 1961-62, March 20, 1962 Leplin wrote four more orchestral works in the 1940s: Galaxy, for two solo cellos and orchestra (1942), Cosmos for violin and orchestra (1947), Incidental Music for Iphegenia of Sophocles, and Birdland (1948).
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Berlioz characterised this as saying that the composer had in principle to offend against the rules, had to avoid consonant harmonies as well as natural modulations, and had to take care that his music was by no means pleasing. Instead, listeners had to become acquainted with richness of dissonances, horrible modulations and a rhythmical chaos of the middle voices. (Of course, neither Liszt nor Wagner had in their writings claimed anything of the kind) To calm down the debate, Wagner, in the Journal des Débats of February 22, 1860, published an open letter to Berlioz. He explained, he had written his essay The Artwork of the Future under the impression of the failed revolution of 1848.
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The core of her beliefs about language processing was that it must reflect the coherence of language, its redundancy as a signal. This idea was a partial inheritance from the old “information theoretic” view of language: for her, it meant that processes analysing language must take into account its repetitive and redundant structures and that a writer goes on saying the same thing again and again in different ways; only if the writer does that can the ambiguities be removed from the signal. This sometimes led her to overemphasise the real and explicit redundancy she would find in rhythmical and repetitive verse and claim, implausibly, that normal English was just like that if only we could see it right.
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In the following duet the voices are homophonic for most of the time, but with little rhythmical differences, showing their different attitude to the darkness of the grave (): the alto expresses "" (I truly fear) on steady long notes, whereas the tenor tells in ornamented figuration "" (I do not fear). In the continuation they also deviate only on one word, "" (lamented) in the alto, "" (hoped) in the tenor. The flowing 12/8 time signature of the duet and a virtuoso solo violin are reminiscent of the original purpose of the music in the congratulatory cantata. It is most fitting for the middle section of the da capo form, when both voices agree: "" (Now my heart is full of comfort).
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For many musicologists this was the ensemble in which Piazzolla reached the zenith of his musical career. Thanks to the presence of a string quartet within the formation, Piazzolla was able to evolve a more complex contrapuntal language, to which was added the rhythmical improvisations of the piano, guitar and percussion, providing a language close to that of cool jazz and rock, a tendency which would become more accentuated in the later European stage of Piazzolla’s career. The Noneto recorded the albums Música popular contemporánea de la Ciudad de Buenos Aires, Vol. 1 y 2, published in 1971 and 1972, respectively. There are also recordings of them accompanying the singers Amelita Baltar and Mina, and of the music from Bernardo Bertolucci’s film Last Tango in Paris.
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Throughout the 1980s and 1990s, Simpson was showing work through solo exhibitions all over the country, and her name was synonymous with photo-text artworks. In her early work around the 80s and 90s, she tries to portray African American women in a way that is not derogatory or actual representations of the women portrayed. Some artists that have influenced her work include David Hammons, Adrian Piper, and Felix-Gonzalex Torres; and even some writers like Ishmael Reed, Langston Hughes, Ntozake Shange, Alice Walker, and Toni Morrison because of their rhythmical voice. She was awarded a National Endowment for the Arts Fellowship in 1985, and in 1990, she became the first African-American woman to exhibit at the Venice Biennale.Arango, Jorge (May 2002).
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The greatest expression of traditional culture in Guayos is embodied in a festival called the Parrandas. Celebrated for first time in 1925, the Guayos Parrandas or Changüíes overflows with the passions of its inhabitants in an encounter that every year, in a friendly and festive way, faces the two opposite districts, La Loma and Cantarranas. This festivity was brought from the city of Remedios by residents of that villa that arrived at Guayos to work in tobacco fertile valleys. With the particularity to last only 24 hours, from one sunrise to the next, the Guayos Parrandas is characterized by majestic and artistic floats, gigantic light artworks, the pyrotechnics as well as the excessive fireworks of all kinds, as well as popular rhythmical street congas.
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The third movement forms the core of the piece, taking the form of a dark, slow-building chaconne beginning with a ground bass in the cellos and violas. The rest of the orchestra joins the pattern with each repeat, setting in place a layered effect before a solo violin introduces a high, keening cantabile melody over the accumulated rhythmical tissue. The melody passes to a different member of the violin section with each repeat, as the other instruments continue to build the underlying structure. The melody is eventually subsumed beneath contrapuntal filigrees and trills from the rest of the violin section, disappearing almost entirely within the texture, and the movement ends abruptly once the theme has reached its peak and all instruments have been included.
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The project, named after the device which displays cymatic visualizations of sound, indicated a transition to a new creative stage, with notable changes having been made to the sound and visual presentation of the group. With this project The Stroj began upgrading their performances with live video projections of sound effects by using different types of liquid and powdered matter. On November 3, 2009 at 52nd anniversary of the launch of Sputnik 2, The Stroj released single Laika with Eva Breznikar on vocals. The Stroj's music is still based on expressive and complex rhythmical structures, as well as typical percussion instruments and sound devices, made by Oberžan, but is now complemented by electronically manipulated field recordings, various electronic devices and odd electromechanical equipment.
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March's tomb, in the Valencia Cathedral Inheriting an easy fortune from his father, Pere March—the treasurer to the Duke of Gandia—and enjoying the powerful patronage of Charles of Viana, prince of Aragon, March was able to devote himself to poetical composition. He was an undisguised follower of Petrarch, carrying the imitation to such a point that he addressed his Cants d'amor (love songs) to a lady whom he professed to have seen first in church on Good Friday. So far as the difference of language allows, he reproduced the rhythmical cadences of his model, but this should be qualified as the medieval tradition of locus communis requested this following. This is something Petrarch himself did and it need not to be stressed.
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A long suite arranged in two parts, seven movements and three interludes, this river of an album is a double-CD. > « It has the power and flow of a lyric and epic poem. Melodic and rhythmical > motifs follow on from one another, answer each other and expound on each > other, united by the free inspiration of music which abolishes any distance > between improvisation and the written tradition, individual expression and > collective dynamics, the fervour of dance and meditative introspection, a > commitment to the real world and the aspiration of dreams. As ever in Titi > Robin’s music, these motifs weave the outline of a story, in which it is > Kali Sultana (the “Black Queen”), who this time takes the pride of place.
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After the single release, Farmer promoted the song in several television shows, performing in Ile de transe (31 October 1985, FR3 ; she also sang "Maman a tort"), Super Platine (Antenne 2; she performed "On est tous des imbéciles" too), Tapage nocturne (27 December 1985, TF1), Hit des Clubs (January 1986, RTL), L'Académie des 9 (14 January 1986, Antenne 2), Citron Grenadine (RTBF) and Azimuts (FR3 Lorraine; she also sang "Chloé"). "Plus grandir" was sung during the 1989 concert as second song of the show. Farmer then wore black veils, a white collar and small white socks, and performed a rhythmical choreography with two female dancers who reproduce the same gestures behind her. At the end of the song, the singer said "good evening" to the audience.
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At the beginning the music of Sparkle in Grey, as a solo project, was essentially an electronic beat and melodies based assembly of soft tunes and delicate rhythms, in a sort of Morr Music/Warp style. So the first record, called The Echoes of Thiiings and issued by the small cult Italian label 'Afe' presents thirteen tracks of remarkable musical poetry. To this record several other musicians, including Nicola Ratti, Telepherique and Pleo, added their contribution with a second CD, called Fadiiing Echoes, which presents remixed versions of the original tracks. Later on, in 2008, with the addition of guitars, bass, drums and violin, the music enriched with a lot of multiple layers and more complex structures, but always preserving its typical melodic and rhythmical style.
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The milonga flamenca is considered as a musical style derived from flamenco, introduced in Spain by the colonists, the deported, artists and soldiers who went back to Spain from the colonies by the end of the 19th century, reminiscing in their music the memories of American lands. The Argentinian milonga is a famous cantabile style and comes from the “payada de contrapunto”, having deep connections with the habanera and the tango antillano at a metrical-rhythmical and harmonious angle. From a musical perspective, it is more interesting the flamenco touch of a foreign music, though it keeps the original rhythm and accent. The milonga followed an evolutive process that probably had its origins in the yaravi and other styles such as triste and cifra.
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Tunberg's scholarly research and publication focuses on the history of Latin prose style from Cicero down to early modern times, and also on theories of Latin eloquence and persuasion ranging from extempore discourse to formal speech making—again from the Roman authors down to early modern times. He has published extensively on the history of Latin prose styles from Cicero up to and including the Renaissance. One of his special interests is the phenomenon in humanist Latin known as 'Ciceronianism', on which he published a seminal article in 1997. He has published many scholarly works in both Latin and English, and is also well known for translating, in collaboration with his wife Jennifer, of several works by Dr. Seuss into rhythmical Latin verse.
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The work to extend a northern causeway began with the consolidation and rebuilding of the road from Mullion Village to the Cove, a road approximately a mile in length which could adequately bear the weight of the machinery and stone. However, Penzance-born Sir William Matthews KCMG (1844–1922), a Member of the Institution of Civil Engineers, and in charge of the construction plans, decided that "heave" created by tidal sea swell (rhythmical rising of the sea) in the "horseshoe" would be too dangerous for the boats which could only lie alongside the quay in moderate weather. The building cost was also regarded as excessive. As a result, in August 1890, Matthews proposed amended plans which included the construction of two stone piers.
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Just Give Me a Cool Drink of Water 'fore I Diiie was a best-seller and was nominated for a Pulitzer Prize. The poems in the volume have received mixed reviews. Critic John Alfred Avant recognized that the volume would be popular due to the success of Caged Bird, but he characterized it as "rather well done schlock poetry, not to be confused with poetry for people who read poetry" and stated, "This collection isn't accomplished, not by any means; but some readers are going to love it." Martha Liddy, who reviewed the collection in the same issue of the Library Journal in 1971, classified it, like Caged Bird, in the young adult category and called Diiie a "volume of marvelously lyrical, rhythmical poems".
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In his study of poetic rhythm he argues that no rules of metre have yet been devised that have not been violated by John Milton and Percy Bysshe Shelley, who are usually regarded as exceptionally musical poets. This required to shift the focus of investigation from what deviations are permissible in metrics to the question whether a performance can be imagined or secured in which the conflicting patterns of language and versification can be perceived at the same time. He has developed a theory that enables him to investigate the auditory information that affects the reader's or listener's impression ("what our ears tell our mind"). This theory includes a theory of rhythmical performance, submitting recorded readings to an instrumental analysis.
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Szabolcsi, The "Verbunkos": The National Musical Style of the Nineteenth Century When around 1800 the leading role of the new dance music was taken over by János Bihari, János Lavotta and Antal Csermák... its melodic and rhythmical enrichment was such that the "verbunkos" immediately became the most important expression of the Hungarian musical Romanticism. It even assumed the role of the representative art of nineteenth-century Hungary, the role of national music. Bihari and others after his death helped invent nóta, a popular form written by composers like Lóránd Fráter, Árpád Balázs, Pista Dankó, Béni Egressy, Márk Rózsavölgyi and Imre Farkas. Many of the biggest names in modern Hungarian music are the verbunkos-playing Lakatos family, including Sándor Lakatos and Roby Lakatos.
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While a miner at Ynysybwl, Williams began to earn a reputation as a poet, and it was reported in 1889 that the eisteddfod at Jerusalem, Ynysybwl saw the young poet come to public notice for the first time. In the early years of the twentieth century, he began to compete at the National Eisteddfod and won the most prestigious prize, the bardic chair, on two occasions. The first was at Caernarfon in 1906 for an Awdl (a poem in strict verse) on Y Lloer (The Moon). This poem became popular because of its smooth, rhythmical lines.) He won for a second time at Llangollen two years later for a poem in memory of the popular nineteenth century Welsh poet, John Ceiriog Hughes (Ceiriog).
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They include hand movements such as flapping or twisting, and complex whole-body movements. These are typically repeated in longer bursts and look more voluntary or ritualistic than tics, which are usually faster, less rhythmical, and less often symmetrical. However, in addition to this, various studies have reported a consistent comorbidity between AS and Tourette syndrome in the range of 8–20%, with one figure as high as 80% for tics of some kind or another, for which several explanations have been put forward, including common genetic factors and dopamine, glutamate, or serotonin abnormalities. According to the Adult Asperger Assessment (AAA) diagnostic test, a lack of interest in fiction and a positive preference towards non-fiction is common among adults with AS.
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In the series New Landscapes the photographs are taken from famous metropolises, buildings, factories, cemeteries, airports, towers - mostly strategically important places involving a mixture of lights in the scenery and a long exposure so that they become almost like short movies. These urban landscapes are basically drawings of body movements that can be seen on photographic material as rhythmical light lines where subject and the scenery melt into a single image. Pictorial motifs are divided into different surfaces; the abstraction and pictorial surface, into the human presence (breathing, heartbeat, laughter, talking, walking during the exposure time) and into the photography as media which in this case is moving closer a painting. The subject is still strongly presented, whereas the object - the scenery- is estranged and thus becomes easier to deal with.
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The mansion was built between 1917 and 1921 and is considered a severe and modern approach to the late Gothic Revival style of architecture. The front facade of the two and one-half story building has medieval half-timbered rhythmical design across the upper stories, crenellated bays and Tudor arches, as well as strapwork ornament, yet all of these elements of Tudor-Gothic design have been subjected to a simplicity or severity of design that is a uniquely 20th century approach to the use of these traditional design motifs. The construction is of poured concrete and steel and a rubble base of tile covered by stucco, and the house is built on a two-foot concrete foundation. All wooden floors are anchored to timbers laid in concrete over masonry units supported by reinforced concrete beams.
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Ion channels in sperm physiology. Physiol. Rev 79, 481-510 The change in cell volume which alters intracellular ion concentration can also contribute to the activation of sperm motility. In some mammals, sperm motility is activated by increase in pH, calcium ion and cAMP, yet it is suppressed by low pH in the epididymis. The tail of the sperm - the flagellum - confers motility upon the sperm, and has three principal components: # a central skeleton constructed of 11 microtubules collectively termed the axoneme and similar to the equivalent structure found in cilia # a thin cell membrane covering the axoneme # mitochondria arranged spirally around it the axoneme, Back and forth movement of the tail results from a rhythmical longitudinal sliding motion between the anterior and posterior tubules that make up the axoneme.
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His highly successful collections Cameos (Kameje) (1937–42) and My mother (Moja majka) (1943) are characterized by the synergy of Neo-romanticism and Impressionism. His cycles entitled Melodies and rhythms from the Balkans (Melodije i ritmovi sa Balkana), The Kosovo suite (Kosovska svita), and The Povardarie suite (Povardarska svita) (all from 1942), are all based on folklore and Milojević's own folk transcriptions. These works feature impressionistic solutions, but also a somewhat robust use of folklore similar to Béla Bartók. His work Rhythmical grimaces (Ritmičke grimase) (1935), a stride toward Expressionism, occupies a special place in his oeuvre, whereas the piano is treated in a somewhat percussionist way, certain places are void of meter markings, and the harmonic aspect is characterized by the departure from tonality and use of tone clusters.
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Rhythmical cheering has been developed to its greatest extent in America in the college yells, which may be regarded as a development of the primitive war-cry; this custom has no real analogue at English schools and universities, but the New Zealand rugby team in 1907 familiarized English crowds at their matches with the haka, a similar sort of war-cry adopted from the Māoris. In American schools and colleges there is usually one cheer for the institution as a whole and others for the different classes. The oldest and simplest are those of the New England colleges. The original yells of Harvard and Yale are identical in form, being composed of rah (abbreviation of hurrah) nine times repeated, shouted in unison with the name of the university at the end.
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The tunes of the ballads are in sixth bars and accompanied by a rhythmical, monotonous stamping of the feet. The most common version of the dance is the “stígingarstev” [stamping dance step]. This consists of the dancers slowly moving to their left, with six dance steps between the bars: # Left foot makes a step forward (to the left) # The right foot steps towards the left # Left foot makes another step forward # The right foot steps again towards the left # The right foot steps to the side or one step backwards # The left foot steps towards the right, and then all over again, between the bars, until the ballad is over. If it is a solemn ballad, which is sung in a slow tempo, then the dance goes at a leisurely pace.
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I'm a Writer, Not a Fighter is the third studio album by Irish singer- songwriter Gilbert O'Sullivan, originally released by MAM Records in September 1973. After becoming one of the most successful performers worldwide in 1972, O'Sullivan pursued new directions with the album, taking influence from rock music and funk and incorporating an array of then-new electric keyboards, as well as emphasizing a new rhythmical focus. The album was recorded "on and off" with producer Gordon Mills at the latter's studio, and although several overdubs were recorded in the United States, O'Sullivan referred to the album as an ultimately "very ad hock home based" project. Released months ahead of the album, "Get Down" was a number one single in the United Kingdom and also reached the top ten in the United States.
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Within a binary scheme the player's choice was originally to play two beats each with a different stick, a single beat or none. When no beat is played on the boards, it is called "hutsunea" (rest), or it can be played once, and if the performer opts to strike all two possible beats, then it is "ttakuna", named after the two onomatopoeic sounds emitted. These choices apply currently to both players. Txalapartaris down to business Yet the binary pattern belongs to the traditional txalaparta (despite qualified remarks that point to a wider rhythmical range, see below), so when the instrument was carried from the couple of farmhouses it was confined to over to wider Basque cultural circles, the txalaparta evolved into more sophisticated rhythms and combinations, such as the ternary pattern.
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Some delay is accordingly experienced before > the consent of Mr. Toddleposh is wrung from him. To show how useful he can > make himself, our Celadon displays before the astounded father the whole > range of his accomplishments. Now he gives, with the accompaniment of a > banjo, such as contributed to form the reputation of Mr. Charles Mathews, > and, being encored, substitutes for it a piece of rhymed and rhythmical > nonsense wholly indescribable; now he gives in breathless haste a > conjunction of all the hardest and most crabbed specimens of scientific > terminology, and again he imitates the wheedling jargon of the street > swindler. So varied accomplishments soften the paternal heart, and, after > half an hour's very clever, if wholly preposterous, amusement has been > afforded, Mr. Toddleposh relents and promises the indefatigable lover an > occupation and a wife.
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The rap section of "Dumb Dumb" includes several references to Michael Jackson's song discography, such as "Beat It", "Bad", "Billie Jean" and "Thriller". It is followed by "Huff 'n' Puff", an electro-pop song that features a dubstep- like breakdown that sings about waking up from a dream and coming back to reality, like Alice falling down the rabbit hole. The third track "Campfire" is described as an R&B; pop song that has an ear-catching rhythmical guitar intro. The fourth track "Red Dress" is a dominant dance-pop track with lots of synth element running through the song, clapping-like snare and marching- influenced drumline which tells a story in which a girl wears a red dress and clumsily but slyly tempts a man who treats her only as a child.
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After more than 20 years of experimental work in physiology, at 46 years of age, Lola started losing enthusiasm for her work, eventually falling into depression. She relates that during this time she had a dream to which she gave great import and which little by little helped her to take account of her life and assess her needs. In the dream she saw herself in the laboratory, cutting opening the sternum of a dog; she opened the thorax of the dog and observed the rhythmical beating of its heart and the inflating and deflating action of the lungs. Unexpectedly, from the interior of the dog the arms of a woman emerged, moving with desperation; then a head protruded and she could see the bloodstained face of her husband's secretary, Margarita Engel.
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Interior of Paalen's studio in San Ángel, with his painting Les Cosmogones It was in the 1940s that Paalen's art particularly played a major role in changing the conception of abstract art. Due to his magazine DYN, his presence and exhibitions in New York City, 1940 Julien Levy, 1945 Peggy Guggenheim's The Art of This Century gallery and 1946 in Berlin, he influenced significantly the genesis of Abstract Expressionism. Paintings such as Les premiers spaciales of 1941 set entirely on the new pictorial space because they concentrate on pictorially immanent means: Rhythm, light and colour. Important is that they transform the rhythmical appearance of the fumage imprints into a neo-cubist rhythm, which Paalen then compares with the fugue and jazz, through a mosaic-like fracture and complementary contrasts.
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The woman holding a set of black cards walks to the centre, spins around and throws the cards in the air. The music ("Air War" by Crystal Castles) starts and the stationary camera begins to move to the right on a consistent circular track while the elements within frame, compiled from all angles in 360 degrees, reverses back and forth at different timings in the same physical space, forming an interconnecting rhythmical pattern from the spontaneous movement captured. As more performers walk into frame some interact with props like basketballs, a pink flag and spilling two large cans of purple paint. A man encircling the group in a yellow raincoat jumps in beneath a paint spill before stepping onto the chair in a balancing act of backwards forwards movement as the music rises.
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Contra vim mortis non crescit herba in hortis (or Contra vim mortis non crescit salvia in hortis, Latin meaning "No herb grows in the gardens against the power of death", or "No sage grows in the gardens against the power of death", respectively, is a phrase that appears in medieval literature. The broader meaning of the maxim is, "Although you search any garden, you won't find a medical remedy against the lethal power of death". The second wording that uses salvia in place of herba is a wordplay with the name of "salvia" (sage), which literally means healer or healthmaker. Like many adages and maxims handed on from the Latin cultural tradition, this line is a hexameter, the rhythmical verse typical of the great epic poetry in both Greek and Latin literature.
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181 Victorian critics of the 19th century, who were hostile to Sterne for the alleged obscenity of his prose, used Ferriar's findings to defame Sterne, and claimed that he was artistically dishonest, and almost unanimously accused him of mindless plagiarism. Scholar Graham Petrie closely analysed the alleged passages in 1970; he observed that while more recent commentators now agree that Sterne "rearranged what he took to make it more humorous, or more sentimental, or more rhythmical", none of them "seems to have wondered whether Sterne had any further, more purely artistic, purpose". Studying a passage in Volume V, chapter 3, Petrie observes: "such passage...reveals that Sterne's copying was far from purely mechanical, and that his rearrangements go far beyond what would be necessary for merely stylistic ends".
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Saint Gregory of Tours names St. Martial, who founded the Church of Limoges, as one of the seven bishops sent from Rome to Gaul in the middle of the 3rd century. An anonymous life of St. Martial (Vita primitiva), discovered and published by Abbé Arbellot, represents him as sent to Gaul by St. Peter. Controversy has arisen over the date of this biography. The discovery in the library at Karlsruhe of a manuscript copy written at Reichenau by Regimbertus, a monk who died in 846, places the original before that date. The biography is written in rhythmical prose; Charles-Félix Bellet thinks it belongs to the 7th century, while Charles De Smedt and Louis Duchesne maintain that the "Vita primitiva" is much later than Gregory of Tours (died 590).
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A psychedelic rock and soft rock ballad, "West Coast" also contains elements of reggae, indie rock, Latin rock, 1960s music, 1980s "drive time," and "narcoticized" swing. The track's subversive sound is the result of its comprising jagged instrumentation and laid-back groove, similar to that of the Classics IV's "Spooky" (1967). The opening riff solicits a "wavy" sound reminiscent of The Black Keys' Turn Blue (2014), and is continued throughout the rest of the song. Described as a two-in-one track, its shifting tempo transcends downward during the chorus mark, following into a rhythmical shift reminiscent of The Beatles' "We Can Work It Out" (1965), Being more guitar-orientated than the singer's previous output, it is based around minimal, country-tinged, surf guitar, and "twangy" drum instrumentation.
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The method is entirely Alexandrian: Sophron had written in a peculiar kind of rhythmical prose; Theocritus uses the hexameter and Doric, Herodas the scazon or "lame" iambic (with a dragging spondee at the end) and the old Ionic dialect with which that curious metre was associated. That, however, hardly goes beyond the choice and form of words; the structure of the sentences is close-knit Attic. Herodas did not write his mimiambics in the contemporary Greek koine of his period. Rather, he affected a quaint style that imitated the Greek spoken in the 6th century BC. (Cunningham 14) But the grumbling metre and quaint language suit the tone of common life that Herodas aims at realizing; for, as Theocritus may be called idealist, Herodas is an unflinching realist.
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Irán Castillo in 2015 Castillo started her career at the age of 7 years doing commercials. She took acting classes with Martha Zabaleta and Pedro Damián at the age of 12, and then appeared in the soap opera Ángeles Blancos in 1989. She has acted in 15 telenovelas (soap operas) in her career, including Agujetas de color de rosa made in 1994, Retrato de familia in 1996, Confidente de secundaria in 1996, Preciosa in 1998 and Soñadoras made in 1998; she also participated in El Club de Gaby and the series Qué chavas. She began her career as a singer in the musical group Mosquitas Muertas in 1991. She later recorded songs featured in soap operas she starred in until she finally released her first album Tiempos Nuevos and the single "Yo Por El" in 1997 featuring rhythmical ballads.
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Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism. Initially influenced by Toulouse-Lautrec, Gauguin, and other late-19th-century innovators, Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere, and cone. With the painting Les Demoiselles d'Avignon (1907; see gallery) Picasso created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new proto-Cubist inventions.
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Prima Donna features pieces for solo piano, showing Otero's song-like melodic approach and his use of a wide palette of pianistic colors, and also his rhythmical side when performing fast tempo pieces, playing notes repeated with piston-like precision with sudden detours into more impressionistic textures. A rendition of "El Portenito" , a piece written by Argentine composer Angel Villoldo gives us an idea of how Otero can cover well-known compositions in order to expose his personal view of them. The album also includes orchestral and chamber music pieces plus a sonata for Solo Violin in one-movement using a wide palette of violin techniques, which Otero wrote for long-time collaborator Nick Danielson. In Prima Donna, Otero ratchets up the contemporary classical music elements that were already evident on his Warner Music album entitled Pagina de Buenos Aires (Nonesuch).
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P. labiata and some other Portia species use breezes and other disturbances as "smokescreens" in which these predators can approach web spiders more quickly, and revert to a more cautious approach when the disturbance disappears. A few web spiders run far away when they sense the un-rhythmical gait of a Portia entering the web – a reaction Wilcox and Jackson call "Portia panic". If a large insect is struggling in a web, Portia does not usually take the insect, but waits for up to a day until the insect stops struggling, even if the prey is thoroughly stuck. When an insect stuck in a web owned by P. labiata, P. schultzi or any regional variant of P. fimbriata, and next to a web spider's web, the web spider sometimes enters the Portia′s web, and the Portia pursues and catches the web spider.
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According to the Clark Institute, in the painting "a group of nymphs have been surprised, while bathing in a secluded pond, by a lascivious satyr. Some of the nymphs have retreated into the shadows on the right; others, braver than their friends, are trying to dampen the satyr's ardor by pulling him into the cold water -- one of the satyr's hooves is already wet and he clearly wants to go no further. Bouguereau’s working methods were traditional; he made a number of sketches and drawings of carefully posed human figures in complicated interconnected poses, linking them together in this wonderfully rhythmical composition." The painting, the largest and one of the most beloved of the Clark collection, was cleaned prior to March 10, 2012 with the help of a grant from the Parnassus Foundation, courtesy of Jane and Raphael Bernstein.
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Early documentary filmmakers, bolstered by Soviet montage theory and the French Impressionist cinema principle of photogenie, appropriated these techniques into documentary filmmaking to create what Nichols would later call the poetic mode. Documentary pioneer Dziga Vertov came remarkably close to describing the mode in his "We: Variant of a Manifesto" when he proclaimed that "kinochestvo" (the quality of being cinematic) is "the art of organizing the necessary movements of objects in space as a rhythmical artistic whole, in harmony with the properties of the material and internal rhythm of each object." (Michelson, O’Brien, & Vertov 1984) The poetic mode of documentary film tends toward subjective interpretations of its subject(s). Light on rhetoric, documentaries in the poetic mode forsake traditional narrative content: individual characters and events remain undeveloped, in favor of creating a particular mood or tone.
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Kgositsile's most recent poems are more conversational and perhaps less lyrical than his earlier work, and, compared to his once-fiery nationalism, they are muted, and even skeptical. They speak of doubt rather than certainty, a doubt often reinforced by rhythmical understatement, as in the short, uneven lines of "Recollections": :Though you remain Convinced To be alive You must have somewhere To go Your destination remains Elusive. In 2009 Bra Willie was part of the Beyond Words UK tour"Keorapetse Kgositsile, Lebo Mashile, Don Mattera and Phillippa Yaa de Villiers to Tour the UK", Books Live, 26 October 2009. that also featured South African poets Don Mattera, Lesego Rampolokeng, Phillippa Yaa de Villiers and Lebo Mashile (presented by Apples & Snakes in association with Sustained Theatre, funded by the British Council South Africa, Arts Council England and the South African government).
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Distinct forms of line, as defined in various verse traditions, are usually categorised according to different rhythmical, aural or visual patterns and metrical length appropriate to the language in question. (See Metre.) One visual convention that is optionally used to convey a traditional use of line in printed settings is capitalisation of the first letter of the first word of each line regardless of other punctuation in the sentence, but it is not necessary to adhere to this. Other formally patterning elements, such as end-rhyme, may also strongly indicate how lines occur in verse. In the speaking of verse, a line ending may be pronounced using a momentary pause, especially when its metrical composition is end-stopped, or it may be elided such that the utterance can flow seamlessly over the line break in what can be called run-on.
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The problem with this sequence is in beat two: the grounded hind and foreleg are not diagonal pairs, but are on the same side of the horse (in this case, the outside). This means that the horse is balancing on only one side of its body, which is very difficult for the horse, making it hard to keep the animal balanced, rhythmical, and keeping impulsion. A horse that is cross-firing cannot perform to the best of its ability, and can even be dangerous (such as an unbalanced, cross-firing horse who must jump a huge, solid cross-country obstacle). Additionally, it makes for a very uncomfortable, awkward ride, producing a rolling movement often described as riding an eggbeater, which makes it difficult for the rider to perform to the best of his or her abilities.
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More sophisticated methods of scratching were developed during that decade, with crews and individual DJs concentrating on the manipulation of the record in time with the manipulation of the cross fader on the mixer to create new rhythms and sonic artifacts with a variety of sounds. The evolution of scratching from a fairly simple sound and simple rhythmic cadences to more complicated sounds and more intricate rhythmical patterns allowed the practitioners to further evolve what could be done with scratching musically. These new ways of scratching were all given names, from flare to crab or orbit, and spread as DJs taught each other, practiced together or just showed off their new techniques to other DJs. Alongside the evolution of scratching, other practices such as drumming (or scratch drumming) and beat juggling were also evolved significantly during the 1990s.
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"West Coast" is a song recorded by American singer and songwriter Lana Del Rey for her third studio album, Ultraviolence (2014). Written by Del Rey and Rick Nowels, it is a melancholy love song about a woman torn between love and ambition, and as a dedication to the West Coast of the United States. A psychedelic rock and soft rock ballad, "West Coast" was noted to be an evolution and more guitar-orientated in sound for Del Rey and was produced by Dan Auerbach of the Black Keys. Described as a two-in-one song, its shifting tempo transitions downward by nearly 60 beats per minute at the chorus, in a rhythmical shift reminiscent of the Beatles' "We Can Work It Out" (1965), introduced by the guitar lick that begins the Beatles' "And I Love Her" (1964).
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"My Papa's Waltz" is made up of an iambic rising rhythm, with stressed and unstressed beats that match the three-beat rhythm of a waltz. The poem has been described as a dance itself and, beneath its surface, the poem's rhythmical elements guide the narrative in its balance between positive and negative thematic interpretations. Discussing Roethke's prose, Carolyn Kizer states that Roethke set himself a certain expectation of which he was determined to replicate the tone and set the scene of the dance with his father as a child for his readers, and in order to do so he had to implement each poetic device regarding word choice and form. His goal with writing "My Papa's Waltz" was to show what was going on and recapture the feelings that were lived through, not just by simply writing about it.
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These transpositions are "usually up or down a fifth", a fundamental interval in the series of overtones and an indication perhaps of the "influence of Chinese musical theory in which the fifth is significant". According to Szabolcsi, these 'Hungarian transpositions', along with "some melodic, rhythmical and ornamental peculiarities, clearly show on the map of Eurasia the movements of Turkish people from the East to the West". The subsequent influence on neighbouring countries' music is seen in the music of Slovakia, Poland, and, with intervals of the third or second, in the music of the Czech Republic. Hungarian and other Finno-Ugric musical traditions are also characterised by the use of an ABBA binary musical form, with Hungary itself especially known for the A A' A' A variant, where the B sections are the A sections transposed up or down a fifth (A').
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Trying to affiliate them with a philosophy is so impossible and absurd as trying to affiliate them with a party. From Plato and Pythagoras, mainly from this last one, or the doctrines that are protected under their name, the rhythmical conception of the universe and the life arrived to the Modernists, and it became the axis of their poetic creation. The Pythagorism of the Modernists comprises an inclination to the esoteric doctrines, shown in their interest for the hidden things and in a desire or restlessness for communicating with the afterlife, expressed already in 1895 by one of its eminent precursors: Gérard de Nerval. The so-called declining Literature familiarized them with the occultism, and Rubén Darío, Leopoldo Lugones, Ramón del Valle-Inclán, Horacio Quiroga, Pío Baroja, among others, wrote narrations in which the action of the strange forces is described.
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Meanwhile, Wreck is awkwardly masquerading as a wealthy art collector to meet the approval of Helen's mother, and Chick is frantically calling Eileen, trying to make things right. Thanks to Bob, Eileen is soon released from jail, and the sisters learn that Appopolous has been so scandalized by a missing picture that he painted (that was actually stolen and sold for $2 by Helen and Wreck for Wreck to stay at the Y) as well as Eileen's arrest that he has threatened to evict them. Eileen discovers that Ruth is also attracted to Bob Baker, and the two of them wish, for a moment, that they had never left home (Ohio (Reprise)). Eileen is then confronted by the rhythmical Speedy Valenti, owner of the Village Vortex (the night club), who arranges for her New York City debut as a singer because her fame has reached the front page of the news.
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The first movement is in cut time, and it is the only first movement of a piano concerto by Mozart to be written in cut time. The orchestra opens quietly with a prelude of 71 bars (Hutchings incorrectly states 72), wherein six orchestral themes are exposed (A-F in Hutchings' notation; see main article on Mozart Piano Concertos for a discussion of this notation), of which the first, rhythmical and with a military ambiance, becomes increasingly important as the movement progresses; indeed, its insistent rhythm dominates the entire movement. The piano then answers with its own exposition of 116 bars, starting with A and B, then introducing some new material (themes x and y), with free passages of arpeggios and scales: the scheme is ABxAyA Free D Free. The orchestra then returns on its own with its short first ritornello (22 bars) that introduces another theme, G: the scheme is AGAG.
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However, this makes the first definitely identifiable scholar to accept and explain the mensural system to be de Muris, who can be said to have done for it what Garlandia did for the rhythmic modes. For the duration of the medieval period, most music would be composed primarily in perfect tempus, with special effects created by sections of imperfect tempus; there is a great current controversy among musicologists as to whether such sections were performed with a breve of equal length or whether it changed, and if so, at what proportion. This Ars Nova style remained the primary rhythmical system until the highly syncopated works of the Ars subtilior at the end of the 14th century, characterized by extremes of notational and rhythmic complexity. This sub-genera pushed the rhythmic freedom provided by Ars Nova to its limits, with some compositions having different voices written in different mensurations simultaneously.
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His third book, Větry od pólů (1897), show him shifting focus from his personal pain to the issue of human solidarity, as well as his endeavor to merge with the life energy of the Cosmos; the feeling of belonging to "Everything" is more perceptible in his next book Stavitelé chrámu (where he glorified the ingenious personalities as the bearers of development.), and culminates in his last book of poems, Ruce (1901), in a vision of a magical chain formed by all hands, building up the external world. Březina's sixth book of poems, Země, remained unfinished. Březina's poetical expression, very rich in metaphors and parables, religious elements and philosophical and even scientific terms, merged gradually from rhythmical alexandrines into broad free verse, filled with sensual images, rich in thought and musical taste. His books of essays constitute the integral part of his work, and his extensive correspondence serves as a commentary on his creative activities and philosophy.
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Mosdell words were used in alternative forms when he wrote the lyrics to Shake the Whole World to Its Foundations, a work that has evolved from a mixed Japanese-Western orchestral setting to an electronic techno version. It was eventually published in its entirety in book form in 2001 (Shichosha), together with the work of the experimental calligraphy artist Joichi Yoshikawa. Its first version, however, was written to reflect the rhythmical influence of the African continent and recorded by the West African kora player Toumani Diabate in 1992 for the album "Shake the Whole World to Its Foundations". Mosdell wrote a series of chants (eventually numbering one thousand) based on the oral poetry of the Ainu whereby, instead of having a fixed lyrical base to a song, he could dip into a pool of "chants" and select those favoured for the composition—this eventually leading to infinite lyrical variations within a fixed musical format.
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After he joined Tyrannosaurus Rex in late 1969, it was rumoured that Bolan had hired Finn for his good looks, and because he admired his motorcycle, rather than for his musical ability. Finn was unable to recreate the complex rhythmical patterns of his predecessor, Steve Peregrin Took, and was effectively hired as much for a visual foil for Bolan as for his drumming. The BBC news commented on this, saying "Marc Bolan was supposed to have said of Finn: 'He can't sing... but he looks superb.'" Mickey Finn stated, on a radio show in Denmark on which he and Marc Bolan were appearing as guest DJs, that his big influence in percussion was the prolific Master Henry Gibson from Curtis Mayfield's band. In 1969–1971, Finn's contribution to Bolan's music, as bongocero, backing vocalist and occasional bass guitarist, was essential, because T. Rex started off as Tyrannosaurus Rex, a duo and Marc needed a replacement for Took.
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Paget's first medical publication was "Cases of Morbid Rhythmical Movements" in the Edinburgh Medical Journal for 1847. In the Medical Times and Gazette of 24 February 1855 he published "Case of involuntary Tendency to Fall precipitately forwards", and in the British Medical Journal for 22 September 1860 "Case of Epilepsy with some Uncommon Symptoms"—these were peculiar automatic bursts of laughter; 10 December 1887, "Notes on an Exceptional Case of Aphasia" of a left-handed man who, having paralysis of the left side, had aphasia; 5 January 1889, "Remarks on a Case of Alternate Partial Anæsthesia". In The Lancet for 11 and 18 April 1868 he published "Lecture on Gastric Epilepsy", and on 4 July 1885 "Case of Remarkable Risings and Fallings of the Bodily Temperature". Paget in 1849 printed a letter of William Harvey to Samuel Ward, master of Sidney Sussex College, and in 1850 a Notice of an Unpublished Manuscript of Harvey.
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Sociologist Robert Nisbet said that "No single idea has been more important than ... the Idea of Progress in Western civilization for three thousand years",Nisbet (1980) p. 4. and defines five "crucial premises" of the idea of progress: # value of the past # nobility of Western civilization # worth of economic/technological growth # faith in reason and scientific/scholarly knowledge obtained through reason # intrinsic importance and worth of life on earth Sociologist P. A. Sorokin said, "The ancient Chinese, Babylonian, Hindu, Greek, Roman, and most of the medieval thinkers supporting theories of rhythmical, cyclical or trendless movements of social processes were much nearer to reality than the present proponents of the linear view".P. A. Sorokin, 1932 paper, quoted in Fay (1947). Unlike Confucianism and to a certain extent Taoism, that both search for an ideal past, the Judeo-Christian-Islamic tradition believes in the fulfillment of history, which was translated into the idea of progress in the modern age.
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Probably a native of Beverley in Yorkshire, Merbecke appears to have been a boy chorister at St George's Chapel, Windsor, and was employed as an organist there from about 1541. Two years later he was convicted with four others of heresy and sentenced to be burnt at the stake, but received a pardon owing to the intervention of Stephen Gardiner, Bishop of Winchester, who said he was "but a musitian". An English Concordance of the Bible which Merbecke had been preparing at the suggestion of Richard Turner, was however confiscated and destroyed. A later version of this work, the first of its kind in English, was published in 1550 with a dedication to Edward VI. In the same year, Merbecke published his Booke of Common Praier Noted, intended to provide for musical uniformity in the use of the First Prayer Book of Edward VI. This set the liturgy to semi-rhythmical melodies partly adapted from Gregorian chant; it was rendered obsolete when the Prayer Book was revised in 1552.
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What Festa does with the cantus firmus, a simple melody containing 37 notes, is not only extravagant and amazingly creative. He shows practically all possibilities of counterpoint technique of his time, using canons (even triple canon), imitations, free or strict counterpoint, all styles of instrumental and vocal composition technique like using soggetti cavati, plainchant paraphrases, retrograde counterpoint, ostinatos, quodlibets, using 2, 3, 4, 5, 6, 7, 8, and at the end 11 voices. Remarkable and outstanding in this work, also called I bassi, is not only the scholastic academical or pedagogical sense but that it can be played on all sorts of instruments; it contains all kind of combinations of general clefs and therefore creates all kinds of instrumental output possibilities such as the cantus firmus in the first voice and four basses as counterpoint. He experimented with different rhythmical patterns (mensural problems) such as using two different tempo signatures (proportions), keys or rhythmically extremely complex bars with 7:5:3 proportions or other admirable ideas such as using the cantus firmus in a canon or putting the cantus firmus in every possible location in the texture.
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Gold Level Award at the 2010 California Film Awards, Silver Screen Award in the 2010 Nevada Film Festival. Classical Guitar Magazine/London acknowledged him as the only guitarist ever to have a major orchestral piece performed at New York's Carnegie Hall and the international press as the only musician who performed at Carnegie Hall in a Grim Reaper's outfit He has received five First Prizes in International Composition Competitions. "Lukas Foss" Composition Competition 2000/USA, "Pappaioanou Composition" 1997/Greece, as well as performing with Lukas Foss at Carnegie Hall, Paraskevas has performed at Weill Hall/New York, Wertheim Performing Arts Center/Miami, Jordan Hall/Boston, Capella Hall/Russia, and the Athens Concert Hall/Greece etc. His eclectic compositional style arises as an idiosyncratic integration of seemingly conflicting influences – from avant- garde approaches to harmonic structure, form, and timbre, to pop-folk modal and rhythmical concepts – amalgamated into a personal evocative musical language, characterized by rhythmic verve, melodic grace, dramatic (and sometimes unexpectedly humorous) gestures, and ritualistic or theatrical elements-Groves Dictionary of Music Paraskevas' profile is included in the State of the Axe publication by photographer Ralph Gibson as one of 80 most innovative living guitarists.
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