Eventually she starts on a wagging, anticipation-building melody, almost songlike.
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With their mostly short lines, they tend toward songlike more than argumentative in feeling.
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Kissin has mastered the art of declamation, his speech assuming songlike character, his grasp of emotional arcs acute.
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On each album, her music has become harsher and more disjointed, as the songs gradually become less songlike and more fragmentary.
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It's tracks are often diffuse and murky, there are melodies, but they tend to float around each other rather than coalescing into anything especially songlike.
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Jensen and Treseler reinterpret nine of Wheeler's compositions, which tend to be lyrical and songlike, whether moving at a quick clip or drifting as slowly as cloud cover.
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The prayerful melody of the fourth piece shed its songlike character; even the longest-breathed singer would have had a hard time sustaining the line at this tempo.
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Using electric harps that she herself designs, she plays music on a sliding scale between minimalism and superabundance — it's high on ingenuity and surprise, but less interested in songlike structures.
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"As a shorthand way of thinking, if a bird song sounds musical to human ears, odds are that similar human music will sound songlike to the bird," Dr. DeVoogd said.
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Thurston Moore: Spirit Counsel (Daydream Library Series) Thurston Moore's solo recordings in the past decade have been crisp, peaceful, and relatively songlike in structure, albeit dotted with long guitar breaks — i.e.
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Songlike rhythms, evoking the time's jazz and blues, and a feel for scale, in how the forms relate to the space that contains them, give majestic presence to even the smallest images.
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Shade The King is a long poem, reading like a scroll, punctuated with songlike moments of vulnerability and musings on the unraveling and unfolding of a world that's at once tender and cruel.
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For his Bible's vocabulary, he said, "we must ask the mother in the home, the children on the street," and, like other writers with such aims—William Blake, for example—he ended up with something songlike.
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" This, in turn, is followed by the songlike "Daisy Serenade," a lineated poem full of wordplay riffing on, among other things, the "Daisy" ad's voice-over, featuring President Johnson's twist on Auden's "We must love one another or die.
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These age-old, songlike wailing traditions are found worldwide — one ethnomusicologist studying in Egypt has noted that modern mourners raise their clenched fists skyward in the exact posture depicted in ancient tomb paintings — but they're disappearing from most places.
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PARELES Like many of Carla Bley's melodies, the tune to "Ida Lupino" is a simple, songlike thread, snaking through a set of chord changes that gradually tweak the pressure around it, thickening the air and then letting things go slack again.
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Allegro passionato in F minor, with a more songlike trio section in F major.
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The trio is songlike. There is a ritardando leading into the repeat of the final theme, segueing to the piece's conclusion.
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Language in Metastasio's hands is musical, lucid, and songlike, perhaps due to his experience as an improvisatory poet. He was an admirer of Torquato Tasso, Giambattista Marino, Giovanni Battista Guarini, and Ovid.
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The first part, "Rubric", features dancers in bright color practice wears walking across the stage, and three main couples performing different choreography. Whenever the couples enters the stage, the corps de ballet change their movements. Robbins said it is like a rondo. The middle section is set to "Façades", which Robbins described as "a songlike melody repeated five times".
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G major, B-flat major, F major, B minor, and D major respectively. The sections are linked by "transitional passages"Joplin & De Chiaro (2001), p. 4. which enable the work to change key between the strains by means of a chromatic interlude or modulation. Each of the themes is written with the instruction "Cantabile", which means "songlike and flowing in style".
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Generally those in pastoral areas are floating and wide-ranging. In the inner and southern Alps, however, the melodies are more songlike, and of more limited range. Common and popular themes are about love and the homeland, but patriotic and pastoral themes, as well as hunting themes, are also commonplace. Unspunnenfest in 1808 The Alpine folk culture is characterized by very expressive dances.
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The trio, marked Più lento, has a songlike quality to it with its simple, sensuous melody.Huneker (1900), p. 297 Following the return of the scherzo is a coda that is a condensed reprise of the trioLeikin (1994), p. 190 and therefore ends the work in the relative major; other works of Chopin that also end in the relative major include the Scherzo No. 2 in B minor (Op.
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In music, cantabile , an Italian word, means literally "singable" or "songlike". In instrumental music, it is a particular style of playing designed to imitate the human voice. For 18th-century composers, cantabile is often synonymous with "cantando" (singing) and indicates a measured tempo and flexible, legato playing. For later composers, particularly in piano music, cantabile is the drawing out of one particular musical line against the accompaniment (compare counterpoint).
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Cabaletta is a two-part musical form particularly favored for arias in 19th century Italian opera in the belcanto era until about the 1850s during which it was one of the era's most important elements. More properly, a cabaletta is a more animated section following the songlike cantabile."Madamina, il catalogo è questo" is a rare example that reverses this order. It often introduces a complication or intensification of emotion in the plot.
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Critic John Fordham suggested that "the music mingles echoes of Kenny Wheeler, the classical guitar sound of Ralph Towner and the songlike one of Pat Metheny, plus the quickwittedness of the mid-60s Miles Davis group".Fordham, John (3 November 2016) "Wolfgang Muthspiel: Rising Grace Review – Oblique Music That Grows On You". The Guardian. The Ottawa Citizen reviewer wrote: "Sonically ravishing and filled with profound, singular music that speaks beautifully of communion, Rising Grace will reward your full attention, over and over".
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The organ collection contains 408 pieces organized by liturgical function and mode: two volumes of preludes, one volume of elevations, three volumes of offertories and a compilation titled Miscellanea that includes pieces from several volumes and contains indications that at least one more autograph manuscript is still to be found. Most of the works are comparatively brief, occupying no more than a page of music; the offertories average two pages. The style combines simple, songlike melodies, and features that are typical of French Baroque organ music.
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In general, Schumann used Beethoven's symphonies as the main model for his symphonic writing, but he also used Franz Schubert's Ninth Symphony and Felix Mendelssohn's symphonies and concerti as points of reference. In particular, he used Mendelssohn as an example of how "songlike forms can be integrated into developmental themes."Hanning, Concise History of Western Music, 432. In his survey on Schumann's symphonies, Brown suggests that the main models for his Third Symphony are Beethoven's Third and Sixth Symphonies, and Hector Berlioz's Symphonie fantastique.
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The term "cantata" came to be applied almost exclusively to choral works, as distinguished from solo vocal music. In early 19th-century cantatas the chorus is the vehicle for music more lyric and songlike than in oratorio, not excluding the possibility of a brilliant climax in a fugue as in Ludwig van Beethoven's Der glorreiche Augenblick, Carl Maria von Weber's Jubel-Kantate, and Felix Mendelssohn's Die erste Walpurgisnacht. Anton Bruckner composed several Name-day cantatas, a Festive Cantata and two secular cantatas (Germanenzug and Helgoland). Bruckners's Psalm 146 is also in cantata form.
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Literally "song" in Italian, a canzone (, plural: canzoni; cognate with English to chant) is an Italian or Provençal song or ballad. It is also used to describe a type of lyric which resembles a madrigal. Sometimes a composition which is simple and songlike is designated as a canzone, especially if it is by a non-Italian; a good example is the aria "Voi che sapete" from Mozart's Marriage of Figaro. The term canzone is also used interchangeably with canzona, an important Italian instrumental form of the late 16th and early 17th century.
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The tempo marking may be translated "slowly, very simple and songlike." Beethoven's markings indicate that he wished variations 2–4 to be played to the same basic (ternary) pulse as the theme, first variation and subsequent sections (that is, each of the three intra-bar groupings move at the same speed regardless of time signature; Beethoven uses the direction "L'istesso tempo" at each change of time signature).Tovey, Donald Francis, Annotations to the Beethoven Piano Sonatas. London: Associated Board of the Royal Schools of Music, 1932 The simplified time signatures ( for and for ; both implying unmarked triplets) support this.
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Messager in 1890 Messager wrote songs for solo voice with piano throughout his career. Like Fauré, he was fond of the poetry of Armand Sylvestre, and from "La Chanson des cerises" in 1882 to the cycle Amour d'hiver in 1911 he set thirteen of Sylvestre's poems. Others whose verse he set ranged widely, from Victor Hugo to Frederic Weatherly (author of among other things "Danny Boy"). In his old age Messager said that he would have liked to write more concert works, but had never had the opportunity. The Symphony in A, written when he was 22, is on the normal classical plan with sonata form in the first and last movements, a songlike theme in the adagio and a scherzo third movement.
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"Feingold, Michael. "Passione All'Americana", The Village Voice, April 12, 2005 Critic John Simon, in New York magazine, wrote: "Anyone who cares about the rather uncertain future of this truly American genre should – must – see the show, think and worry about it, and reach his or her own conclusions ... Craig Lucas's book seems perfectly adequate to me, but the emphasis must be on Adam Guettel's music and lyrics ... the music, though fluctuating between the Sondheimesque and offbeat but still Broadwayish and the art-songlike and even operatic, is steadily absorbing, even if only intermittently melodious. One duet, "Let's Walk", is an unqualified hit, but the rest, without fully cohering, is also arresting. Ted Sperling and Guettel's jaunty orchestrations add to the slightly disorienting but wholly fascinating harmonies and instrumentation.
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Despite the ideals of Gluck, and the trend to organise libretti so that arias had a more organic part in the drama rather than merely interrupting its flow, in the operas of the early 19th century, (for example those of Gioachino Rossini and Gaetano Donizetti), bravura arias remained focal attractions, and they continued to play a major role in grand opera, and in Italian opera through the 19th century. A favoured form of aria in the first half of the 19th century in Italian opera was the cabaletta, in which a songlike cantabile section is followed by a more animated section, the cabaletta proper, repeated in whole or in part. Typically such arias would be preceded by recitative, the whole sequence being termed a scena. There might also be opportunities for participation by orchestra or chorus.
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The second thematic group brings a contrasting atmosphere of sobriety and intensified differentiation of colour, a characteristic that will return for further development in the second movement . The development is confined almost entirely to material from the first thematic group, but after the recapitulation there is an extended coda that brings together motivic fragments from both groups. The transformation of the material from the lyrical, songlike style of the exposition and development into the persistent dance rhythms of the recapitulation bestows upon the movement the overall impression of a two-part rhapsody in the traditional lassú–friss pattern . The second movement can be described as a song form in three parts: a long opening section filled with introspection and poetic facets, where the violin plays almost entirely in harmonics, followed by a contrasting central section in folk style, and a return of the opening material with a concluding, gentle coda (; ).
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