Yet every note of each aching string sonority came through.
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So there's a rhythm, or sonority, to a surface like this.
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These scores, drastic now as then, are explorations of sonority; the piano is played, banged, tapped, twanged.
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He had a deep sonority on the baritone, softening the instrument's stentorian brawn with a smooth, almost velvety tone.
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The sound was nasal, emphatic, transfixing—closer to Arab ululation than to the smooth sonority of an American choir.
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The Memorial for Peace and Justice presents this drama of intimidation with minimum documentation and detail and maximum sonority.
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Sometimes a bed of strings will swell with a prolonged sonority, though the component notes are too restless to stay put.
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The orchestra, enthusiastically conducted by Andris Nelsons, seemed almost gleeful as the concerto's hodgepodge sonority was at its most raucous and exotic.
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He made his debut in November with "George Balanchine's 'The Nutcracker,'" and showed his skill at drawing out fresh aspects of phrasing and sonority.
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The musicians — members of the Knights ensemble — play solos (each of a different sonority) at four different raised points around the stage and audience.
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The strings play ethereal tones, long-lingering as bits of melodic lines weave into the sonority and build slowly into radiant passages jostled with twitchy rhythms.
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Sometimes the music reposes on what seems a soft, lushly diatonic chord, except certain instruments play nearly inaudible high pitches that lend sting to the sonority.
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By the end, as Marnie sings "I'm free!" in upward-vaulting intervals, she is accompanied by an intricate, vital new sonority of piccolos, celesta, harp, and bowed crotales.
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Her male partners — Dimitri Pittas, as Alfredo, and George Petean, as Giorgio Germont, in his company debut — produced plenty of sonority but were slightly less reliable in pitch.
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And if you want to create any kind of sonority or resonance within the orchestra, the notes that you usually use for that are taken by the cello.
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Kirsten Chambers, a soprano who filled in just days before as the "Friedenstag" Marie, performed admirably, though the core pitch was sometimes hard to find in her overall sonority.
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But clarifying this kind of text-heavy composition is no easy assignment for a massed chorus of amateurs, and words and textures were largely subsumed in a mushy overall sonority.
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The Vienna Philharmonic, for whom a lush sonority seems second nature, can sometimes fall short where harshness is needed, but Mr. Welser-Möst maintained a razor-sharp edge of excitement.
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While it is possible to isolate certain features such as judicious use of vibrato or the sonority of native instruments such as Vienna horn or Vienna oboe, critics often resort to metaphors.
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There's one singer, Clinton Curtis; many vocal lines are given to the theremin (played by Rob Schwimmer), not a Beatles instrument but one whose weird sonority adds its own layer of drama.
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Rameau was a pioneering music theorist and brilliant orchestral innovator as well as composer, and his scintillating signature sonority is that of multiple anchoring bassoons, playing in unison, often in a high register.
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Tchaikovsky's inspiring Serenade for Strings, the score that gives "Serenade" its name, acquires an awkwardly heightened edge to its orchestral sonority at Philadelphia's Academy of Music here, presumably as a result of assisted acoustics.
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His voice's wide range of timbres allows it to weave in and out of the music through sonority and texture alone, without edits, which preserves the virtual nature, the essential distance, of his music in the freer context.
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But when she drew the bow across the edge of her musical saw, out came an otherworldly sound: an ethereal, lilting sonority that seemed to pervade every corner and corridor of the cavernous Herald Square subway station in Manhattan where Ms. Paruz had set up on a recent weekday.
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Where the German master's expressive world is that of titanic wills in collision and of greed, redemption and the agon of scorching human passions, the Frenchman's voice is that of the natural world, of water and wind, of light and shadow, and of the most subtle gradations of sonority and color.
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A Grammar of Slave. Berlin: Mouton de Gruyter. 1992\. "On deriving sonority: a structural account of sonority relationships." Phonology 9: 61—99. 1993\.
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A sonority hierarchy or sonority scale is a hierarchical ranking of speech sounds (or phones). Sonority is loosely defined as the loudness of speech sounds relative to other sounds of the same pitch, length and stress, therefore sonority is often related to rankings for phones to their amplitude. For example, pronouncing the vowel [a] will produce a louder sound than the stop [t], so [a] would rank higher in the hierarchy. However, grounding sonority in amplitude is not universally accepted.
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Their best work was noted for being "raga-based and having both lilt and sonority".
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Instead, many researchers refer to sonority as the resonance of speech sounds. This relates to the degree to which production of phones results in vibrations of air particles. Thus, sounds that are described as more sonorous are less subject to masking by ambient noises. Sonority hierarchies are especially important when analyzing syllable structure; rules about what segments may appear in onsets or codas together, such as SSP, are formulated in terms of the difference of their sonority values.
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In English, for example, all onset consonants except are allowed as syllable codas. If the coda consists of a consonant cluster, the sonority decreases from left to right, as in the English word help. This is called the sonority profile. English onset and coda clusters are therefore different.
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In July 2018, the last Pokémon, Marshadow, was released. Genius Sonority has no plans to add more content.
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Developed by Genius Sonority, the puzzle game Pokémon Café Mix was announced in June 2020 and launched on the same month.
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Syllable structure tends to be highly influenced and motivated by the sonority scale, with the general rule that more sonorous elements are internal (i.e., close to the syllable nucleus) and less sonorant elements are external. For instance, the sequence /plant/ is permissible in many languages, while /lpatn/ is much less likely. (This is the sonority sequencing principle).
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He appreciated very much the sonority and the music of the Telugu language. He administered Yanam during the time of the French Revolution.
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Atilano viewed a contrast between the song's melody and lyrical content. However, he noted that its "sunny" sonority made it "pleasant" to hear.
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Wes was designed to look "hazy" and about 17 years old. Genius Sonority ported most of the models and animations of first- and second- generation Pokémon from Stadium and Stadium 2. Genius Sonority based most of Orre on the real-life city of Phoenix, Arizona. As a whole, the graphics were influenced more by manga than by established Pokémon convention.
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Whereas obstruents are frequently voiceless, sonorants are almost always voiced. A typical sonorant consonant inventory found in many languages comprises the following: two nasals , two semivowels , and two liquids . In the sonority hierarchy, all sounds higher than fricatives are sonorants. They can therefore form the nucleus of a syllable in languages that place that distinction at that level of sonority; see Syllable for details.
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Among the distinguished instruments are the timple canario and charango. It uses, moreover, the Puerto Rican cuatro, accordion and double bass to increase the variety of sonority.
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The Sonority Controversy. p. 154 and 9 vowels. All of these vowels can be tense or lax. Tenseness is a phonemic feature in syllables with unaspirated initials.
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He considered it "much easier to play ... and superior in balance and sonority" to the earlier versions. A less musical motive for the revisions and corrected editions was copyright law.
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Written late in his career, the lyrical piece features complex pianistic figuration in the continuous flow of variations on a calm bass in always soft dynamics, shaping the music by texture and sonority.
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Some languages also have assimilation rules based on sonority hierarchy, for example, the Finnish potential mood, in which a less sonorous segment changes to copy a more sonorous adjacent segment (e.g. -tne- → -nne-).
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Gomez, D.M.,, S. Benavides-Varela, Bion. R. A.H., F. Macagno, M. Nespor, I. Berent, and J. Mehler. Sonority hierarchy in one-month- old infants’ brains. in Boston University Conference on Languaeg Development. 2011.
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100 Classic Book Collection, known in North America as 100 Classic Books, is an e-book collection developed by Genius Sonority and published by Nintendo, which was released for the Nintendo DS handheld video game console. First released in Europe in December 2008, it was later released in Australia in January 2009, and in North America in June 2010. The game includes one hundred public domain works of literature. Genius Sonority had previously released a similar collection of books in Japan, under the title DS Bungaku Zenshuu, in October 2007.
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Maes calls Manfred Tchaikovsky's "most romantic work. No other work is close to Berlioz, Liszt and--in sonority--Wagner." He also cites the work's "high quality" and "epic scope ... developed with the help of striking sound pictures."Maes, 165.
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The opening theme features the winds echoing the strings. The transitional music that follows is written for winds only. The second theme in D major features doubled sonority. The development features two large climaxes where the trumpets and timpani enter.
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The sonority natural to Vedic chanting is enhanced in Ghana. In Jatapatha, the words are braided together, so to speak, and recited back and forth.Ramaswami, p. 68. The samhita, pada and krama pathas can be described as the natural recitation styles or prakrutipathas.
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In his writings, a clear evolution can be traced from a late romantic musical language, by way of the chromaticism of Wagner and the sonority of Mahler and Richard Strauss, to lyrical expressionism. One of his most admired composers was Igor Stravinsky.
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Ernstalbrecht Stiebler (born 29 March 1934 in Berlin) is a German composer of mostly chamber, choral, piano, and organ works. His work has "three principal concerns: sonority, rhythm, and duration" leading "to a large and varied body of work".Jurek, Thom. [ "Three in One"], Allmusic.
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The high- and low-frequency vowels described here are not the high vowels and low vowels of linguistics. Those are vowels where the tongue is high (as in "cool" and "key") or low (as in "car") respectively. Also, this scale is not the sonority hierarchy.
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Skempton's style is characterised by a concentration on quality of sound and economy of means,Parsons 1980, 12. absence of development in the conventional sense, and concentration on sonority. Many of his pieces are quite short, lasting no longer than one or two minutes.Hill 1984, 8.
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The album was received positively upon its release, with critics praising the band's sonority mixing influences from hardcore punk, dub, rap rock and nu metal. A review from website ZP called it "a great debut, more accessible and pop-sounding than Charlie Brown Jr.'s last releases".
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Skank is a Brazilian band from Belo Horizonte. Having begun in 1991, they sold approximately 5,200,000 copies of their albums as of 2004. Initially intending to mix dancehall with traditional Brazilian styles, later the band changed its sonority to music closer to Britpop and local movement Clube da Esquina.
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Initial developments were made in making the range of the instrument greater and improving the sonority of the instrument. By 1911 instruments with 32 diatonically tuned strings had become common, almost replacing the traditional instruments played by the traditional kobzars. Metal tuning pegs made an appearance around 1914.
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Pokémon Café Mix is a free-to-play puzzle video game developed by Genius Sonority and published by Nintendo and The Pokémon Company for the Nintendo Switch, Android and iOS. The game was released on June 23, 2020 in North America, and on June 24, 2020 in Japan, Europe and Australia.
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Violist James Dunham, of the Cleveland and Sequoia Quartets, writes of the Ravel quartet, "I was simply overwhelmed by the sweep of sonority, the sensation of colors constantly changing ..." For these composers, chamber ensembles were the ideal vehicle for transmitting this atmospheric sense, and chamber works constituted much of their oeuvre.
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This was probably due to the fact that Stravinsky was starting to depart from his previous style and bassoons helped him provide a "cold" sonority for his emerging objective idiom. The manuscript, which is held in Basel, included no date and was signed by Stravinsky after the final bar in Church Slavonic script.
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The calm, slow melodies of these pieces are built up from paired phrases reminiscent of plainchant. Satie wanted to evoke a large pipe organ reverberating in the depth of a cathedral, and achieved this sonority by using full harmonies, octave doubling and sharply contrasting dynamics. Satie wrote this music without bar-lines.
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It originates back to the Piano Quartet No. 1 (1888), from which it was excluded and adapted for this quintet. The rapid piano scales give a sense of great vivacity. The trio opposes the piano to the sonority of the strings. The third movement is a piece of extreme romanticism, quite uncommon in Oswald's output.
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Several variations show highly independent ornamental lines in complex rapid filigree, contrasting with the stable bass. The dynamics stay low throughout the piece. Sonority and texture shape the music, which the musicologist Jim Samson describes as a "sense of departure and return". He notes that Claude Debussy was interested in this aspect of Chopin's music.
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Scherzo: Allegretto - Trio E major Misha Donat describes the movement as one "whose very distant key and full-blooded sonority following the much leaner texture of the first movement comes as a severe shock." IV. Allegro F minor. Fragment (The left hand is missing from measure 201 to measure 270). Ends in F major.
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The cantata opens with a sinfonia in G minor, which illustrates falling rain and snow in descending phrases. In da capo form, it is reminiscent both of a chaconne and a concerto. The four violas and continuo, with bassoon and cello parts specified, create an unusual sound, termed "magically dark-hued sonority" by Gardiner.
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The factory was destroyed in 1944 by the bombing of Braunschweig, as was the founder's mansion in the center of town. Afterward, Erwin and Helmut rebuilt the factory. By 1948, production had resumed; composer and pianist Wilhelm Kempff went on record as an admirer of the "sonority and exquisite execution" of the post-war work.
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Journal of Psycholinguistic Research, 2015. 44(4): p. 59-81.Lennertz, T. and I. Berent, On the sonority levels of fricatives and stops. The mental lexicon, 2015. 10(1): p. 88-132.Berent, I., H. Pan, X. Zhao, J. Epstein, M.L. Bennett, V. Deshpande, R. Seethamraju, and E. Stern, Language universals engage Broca’s area.
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Parallel fifths from German sixth resolution in Mozart's Symphony K.543.Ellis, Mark R. (2010). A Chord in Time: The Evolution of the Augmented Sixth Sonority from Monteverdi to Mahler, p.5. . In Brahms's essay "Octaven und Quinten" ("Octaves and fifths"), he identifies many cases of apparent consecutive fifths in the works of Mozart.
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On January 14, 2015, Pokémon Shuffle was announced by Nintendo as a free-to-play game for the Nintendo 3DS. The game was developed by Japanese studio Genius Sonority. The title was released on February 18, 2015, via download through the Nintendo eShop. In June 2015, a mobile version of the game was announced for Android and iOS.
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Pokémon Shuffle Mobile is a tile matching puzzle game, along the style of Pokémon Battle Trozei, where players try to match tiles on a grid to deal damage to the enemy Pokémon. The game was developed by Genius Sonority and released for the Nintendo 3DS in early 2015; the mobile version was released later that year.
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In 2003, Tawada composed the music to Pokémon Colosseum, a video game made by the development studio Genius Sonority. He has since scored the subsequent Pokémon titles developed by the company: the sequel to Pokémon Colosseum, Pokémon XD: Gale of Darkness (2005), the puzzle video game, Pokémon Trozei! (Pokémon Link! in Europe), and Pokémon Battle Revolution (2006).
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Graforreia Xilarmônica is a Brazilian Prêmio Açorianos-winning rock group from Porto Alegre, Rio Grande do Sul. Famous for their humorous, unpretentious lyrics and for their sonority influenced by 1960s-era bands, the Jovem Guarda movement and traditional gaúcho music, they amassed a strong cult following throughout the 1980s and 1990s which lasts to the present day.
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Dragon Quest Swords: The Masked Queen and the Tower of Mirrors is a role- playing video game developed by Genius Sonority and 8ing and published by Square Enix for the Wii game console. The game is a spin-off from the Dragon Quest series, and was first released in Japan in July 2007, and worldwide the following year.
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In other words, denying oneself to better serve the Art. One characteristic of the "Tárrega School" is striking the notes with only the fingertips. His passion and quest was to emulate the sonority of the classical string quartet. Use of just the tip, he imagined and then realized, was the only way to get a pleasing result.
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147) "The Piano Music – II" in Arnold, D. and Fortune, N. (eds) the Beethoven Companion. London, Faber. p. 146. William Kinderman finds it "extraordinary that this sensitive control of sonority is most evident in the works of Beethoven's last decade, when he was completely deaf, and could hear only in his imagination."Kinderman, W. (1987) Beethoven's Diabelli Variations.
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During a career, a musician may work in many different line- ups. Because of the limited sonority of the guitar, trova musicians preferred small groups, or solo performances. Boleros tend to benefit from two voices, primo and segundo, giving to melodic phrases a richness in contrast with the basic rhythm of the cinquillo.Loyola Fernández, Jose 1997.
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The next theme, beginning at m. 10, brings triads into the picture. The octave sonority does not return until the opening theme returns as the coda. As the material does not return in any form during the main body of the piece, the theme in octaves serves as an introduction to contrast with the rest of the movement.
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He also questioned whether anyone would be able to tell the difference. Langille called that "nonsense" adding that plaster walls give rooms a whole different sound and feel. "There's the whole weight and the sonority of the rooms and the texture of the finish; all of those things come into play. There's absolutely no comparison," he told a journalist.
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In 1982, Francis Riba, Joao Sanguinheira and Victor Bagoim formed the musical group Os Senhores (The Sirs). A few days later, Sanguinheira's friend, the drummer António José, joined the group. When Paulo Santos and To Gonçalves, both guitarists, then joined the band, the music began a more complex sonority. ZEM Logo In 1984, they changed the name to ZEM.
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As he became more involved in the independence movement, the government started keeping a close watch. Consequently, he shifted to Calcutta at the age of seventeen in search of a livelihood. At the age of eighteen, he started focusing his attention on the flute. Ghosh realised that a bigger flute's pitch and sonority would be more appropriate for both classical and light music.
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Songwriting remained her principal activity until 2008, when she was signed by will.i.am and started recording the album. Sinclair worked with musicians including Fernando Garibay, Jeff Bhasker, and Martin Kierszenbaum, and created a concept album based on perfectionism. Its lyrical content contains references to love, sex, and money, complemented by a sonority rooted in dance-pop, synth-pop and dark pop.
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Conversely, music critic Amauri Stamboroski Jr., writing for website G1, gave the album a scathing review, calling it a "disastrous" and "unoriginal" output and comparing it unfavorably to the sonority of bands such as Red Hot Chili Peppers, Rage Against the Machine and Nirvana. He then proceeded to give the album a rating of 1 out of a possible 10.
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Lenition involves changes in manner of articulation, sometimes accompanied by small changes in place of articulation. There are two main lenition pathways: opening and sonorization. In both cases, a stronger sound becomes a weaker one. Lenition can be seen as a movement on the sonority hierarchy from less sonorous to more sonorous, or on a strength hierarchy from stronger to weaker.
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Syllables take the shapes V, VV, VVV, CV, CVV and CVVV. All possible V and VV combinations occur. All possible CV combinations occur except . The first member of a diphthong is always the syllabic peak when the syllable is stressed; elsewhere there is little difference between members, the peak of sonority tending to occur on the most naturally sonorous vowel (Carroll 1956).
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However, beginning with the Third Symphony, Tchaikovsky experimented with an increased range of timbresMaes, 78. Tchaikovsky's scoring was noted and admired by some of his peers. Rimsky-Korsakov regularly referred his students at the Saint Petersburg Conservatory to it and called it "devoid of all striving after effect, [to] give a healthy, beautiful sonority".As quoted in Taruskin, Stravinsky, 206.
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With that approach the works of Emilio Pujol were heard with complete fullness of their character. Héctor García has conscientiously studied Pujol's works and in no way diminished their esthetic sentiment. They were played with fluid facility and sonority which only fingertip playing can bring to the guitar's music. This second half of his program embodied a faithful and true hommage to Pujol.
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Their most important contribution was its own instrumental format itself, which introduced the typical Jazz sonority to the Cuban audience. Another important element within this process were the arrangements of Cuban musicians such as Romeu, O'Farrill, Bebo Valdés, Peruchín Jústiz and Leopoldo "Pucho" Escalante.Acosta, Leonardo: Otra visión de la música popular cubana, Ediciones museo de la música, Habana, Cuba, 2014, p. 228.
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This is especially apparent in bars 5–8 of the following extract:Pavane de la Belle au Bois Dormant. Listen Speaking of this piece (which also exists in an orchestral version), Austin writes about Ravel’s technique of "varying the sonority from phrase to phrase by telling changes of register."Austin, W. (1966) Music in the 20th Century. London, Dent. p. 172.
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Consonance and dissonance are subjective qualities of the sonority of intervals that vary widely in different cultures and over the ages. Consonance (or concord) is the quality of an interval or chord that seems stable and complete in itself. Dissonance (or discord) is the opposite in that it feels incomplete and "wants to" resolve to a consonant interval. Dissonant intervals seem to clash.
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Gallimard, 1991, pp. 80–82 The angle formed by the angular line also has an inner sonority which is warm and close to yellow for an acute angle (a triangle), cold and similar to blue for an obtuse angle (a circle), and similar to red for a right angle (a square).Kandinsky, Point et ligne sur plan, éd. Gallimard, 1991, p.
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She recorded Parts I and II of the Well-Tempered Clavier, and a reviewer of Gramophone noted in 2008 the "warm, rounded and perpetually singing sonority" of her playing, but also a tendency to give the material profile and character in the beginning of a piece but not follow through to the end. He described her approach as "intimately scaled and sensitively nuanced".
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Henselt usually spent summer holidays in Germany. In 1852, and again in 1867, he visited England, though in the latter year he made no public appearance. Saint Petersburg was his home nearly until his death from cardiac disease during a stay at Warmbrunn, Germany (now in Poland). Statue of Henselt in his hometown of Schwabach To some ears, Henselt's playing combined Franz Liszt's sonority with Hummel's smoothness.
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"Army of Me" begins with Björk driving a massive truck, which has been described as "alternately [looking] like an overgrown SUV and a science fiction tank". Elements of cyberpunk—reflecting the industrial sonority of the song—have also been noted in the clip. The video then depicts Björk attending the dentist (a gorilla), since she has a toothache. The "dentist" finds a diamond inside her mouth.
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Strange Old Brew is the second studio album by Norwegian black metal band Carpathian Forest. It was released on November 6, 2000, through Avantgarde Music. It was re-released under digipak format in 2007 by Peaceville Records, containing an extra track. Contrasting with the previous Carpathian Forest releases, the sonority of Strange Old Brew is their most experimental one so far, mixing black metal with jazz interludes.
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When the b section appears in measure 37, it is the first time that the melody is heard in the left hand rather the right. The b melody is played with open block chords consisting of primarily sixths in parallel motion, creating a new sonority during the b section. The right hand has a constant sixteenth-note ostinato pattern that has an octave displacement every two beats.
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16 He had a strong stage presence and was very committed in his playing. “He held himself very erect,” reported Jean-Pierre, “and, unlike me, he hardly moved when he played.” Of Joseph's sound, the son admired his father's “special sonority… very much his own, very ‘fleshy’ and full of emotion”. The intense and moving quality of his tone was also admired by Marcel Moyse.
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Strings often play in high registers, a technique Pärt often uses to evoke the sound and sonority of bells. Although the key of the piece is A minor, tonal centers are present, but often blurred. Also notable about the piece is the repetition of intervals, particularly 3rds, 6ths, and 4ths, which are used like motifs and frequently come up throughout the piece during lyrical, melodic sections.
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The Requiem is scored for 2 basset horns in F, 2 bassoons, 2 trumpets in D, 3 trombones (alto, tenor, and bass), timpani (2 drums), violins, viola, and basso continuo (cello, double bass, and organ). The basset horn parts are sometimes played on conventional clarinets, even though this changes the sonority. The vocal forces consist of soprano, contralto, tenor, and bass soloists and an SATB mixed choir.
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Gucci Mane (pictured) is the only collaboration on the album. The first two tracks, "Down" and "He Like That", demonstrates the presence of the tropical sonority on the album. "Down" is a dancehall- influenced song that uses snare drums, synthesizers and percussion. It contains an additional verse rapped by Gucci Mane during the bridge; it is the only track on the album that includes a guest appearance.
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All-interval row from Alban Berg's Lyric Suite . Elliott Carter often based his all-interval sets on the list generated by Bauer-Mendelberg and Ferentz and uses them as a "tonic" sonority . Luigi Nono's Il canto sospeso.Leeuw, Ton de (2005). Music of the Twentieth Century: A Study of Its Elements and Structure , translated from the Dutch by Stephen Taylor (Amsterdam: Amsterdam University Press), p. 177\. .
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"Vem Cair na Zueira" (lit.: Come To The Fun) is a song by the Brazilian girl group pop Rouge, from their second studio album, C'est La Vie (2003). The song was written and produced by Rick Bonadio, and brings again the dance-pop and zouk with Latin elements in their sonority. The song talks about living in peace, having fun, without thinking of anything.
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Major ninth interval on C. Minor ninth interval on C. Cmaj9 chord (see chord symbols) In music, a ninth is a compound interval consisting of an octave plus a second. Like the second, the interval of a ninth is classified as a dissonance in common practice tonality. Since a ninth is an octave larger than a second, its sonority level is considered less dense.Westergaard, Peter (1975).
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He is full of ideas...and has a dazzling natural keyboard affinity. He does not have an overpowering sonority (fingers more velvet than steel) but a lot of nuance." After an April 24, 2015 concert, the DC Metro Theater Arts wrote that "Albright was brought back to perform an encore: the audience picked four musical notes and he improvised a piece using those four notes as a base.
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High Road is the fourth studio album by American singer and songwriter Kesha. It was released on January 31, 2020, through RCA and Kemosabe Records. Announced in late 2019, the album saw the singer once again taking over the role of sole executive producer, following Rainbow (2017). She collaborated with various songwriters and record producers to achieve her desired sonority, combining elements of her career beginnings and Rainbow.
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He has been noted for his "robust sonority and precise diction." Joel Whitburn, in his chart reconstructions, estimates that Alexander had three records that would have made the Billboard charts had they existed: Mighty Lak' a Rose (Columbia disc 1585, cylinder 32295) at #3 in December 1903; America (Columbia disc 3099, cylinder 32637) at #7 in May 1905, and Dearie (Columbia disc 3378, cylinder 32928) at #10 in July 1906.
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"Landcruisin" is a song by English musician Anup Paul, professionally known as A.K. Paul. It was released as his debut solo single on 24 March 2016. Written and produced by Paul, it is an R&B; track backed by synths, guitars and percussion, whose sonority was likened to that of various artists. It is the first release of Paul Institute, a platform founded by A.K. Paul and his brother Jai Paul.
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Aleut stress is indeterminate and often difficult to define. Stress varies based on the relation to the beginning or end of the word form, the length of the vowels, the sonority of the consonants, open- or closeness of the syllables, or the number of syllables in sentential rhythm and intonation. Stress affects the length of both vowels and consonants. Stress underlies the distinctive syncopation characteristics of Eastern Aleut.
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In his review for AllMusic, Michael G. Nastos states "All the intensity of the EHE is here, but it has a quieter sonority, allowing more subtle shades to rise to the surface." The Down Beat review by Jon Andrews notes "Replacing Ed Wilkerson in the ensemble, Dawkins has a tough act to follow, but he succeeds, bringing a lighter, exuberant sound on tenor and alto saxophones."Andrews, John. The Continuum review.
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Arturo Toscanini, c. 1900 Arturo Toscanini (, ; March 25, 1867 – January 16, 1957) was an Italian conductor. He was one of the most acclaimed musicians of the late 19th and of the 20th century, renowned for his intensity, his perfectionism, his ear for orchestral detail and sonority, and his eidetic memory. He was at various times the music director of La Scala in Milan and the New York Philharmonic.
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In the transition to theme three, the bassoons play a harmony that sets up a modulation to A♭ major. In this new key and new theme, the accompaniment returns to the clarinets, which play trills. The effect depends not so much on the notes as on the contrast between the sonority of the trills and the euphonium solo. The music modulates to B♭ major, and the bassoons, euphoniums and tubas play harmonic ostinatos.
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He considered chamber music to be his forte, writing that "this refined musical form has become for me the most essential".Jean Cras, Trio a Cordes Miliere, 1988 The String Trio in particular integrates a wide range of styles, including North African influences. It was a described as a 'miraculous' work by André Himonet in 1932, achieving "perfectly balanced sonority and a plenitude of expression between which one dare not choose."Himonet, André.
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At first Yevhen Adamtsevych performed the march publicly in 1969 at a concert in the Kyiv Opera Theater of Taras Shevchenko. Eyewitnesses described the concert so: Yevhen Adamtsevych performed the march very expressively, vigorously, putting all his skills and emotional imagery. But the fact that he played by pinching lacked sonority. The conductor of State Orchestral Viktor Hutsal recollected: On April 12, 1970 the orchestra performed the remake of the march at first.
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Severino is the seventh studio album by Brazilian rock band Os Paralamas do Sucesso. It was released in 1994 and produced by famous record producer Phil Manzanera. It was their most experimental album. The sonority and lyrical themes of Severino were heavily influenced by the popular music and the culture of Northeast Brazil, and the poetry of famous writer João Cabral de Melo Neto (most notably his masterpiece Morte e Vida Severina).
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This work appears the simplest and technically least challenging of all the Mephisto dances; except for the Bagatelle sans tonalité, it is also the shortest. Tonally, it is also mildest and can appear to be a fully tonal composition, with chromaticism limited to neighboring-tone and chordal sonority varieties. These passages are usually realized on the left hand in chordal or arpeggiated figures. However, the simplicity in notation disguises the true character of the music.
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There is no functional harmony to clearly create the relational behavior of tonic, dominant, and subdominant harmonic functions. If anything, the general impression of the music is modal, with the piece constantly in flux. Any suggested tonality is quickly undermined by the following sonority, which may in turn vaguely (and now even more weakly) suggest another tonal focus. The most haunting touch is at the end, when the piece simply stops without explanation.
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In Kyrgyz, suffixes beginning with show desonorisation of the to after consonants (including ), and devoicing to after voiceless consonants; e.g. the definite accusative suffix -NI patterns like this: ('the boat'), ('the month'), ('the net'), ('the hand'), ('the dawn'), ('the eye'), ('the head'). Suffixes beginning with also show desonorisation and devoicing, though only after consonants of equal or lower sonority than , e.g. the plural suffix -LAr patterns like this: ('boats'), ('months'), ('nets'), ('hands'), ('dawns'), ('eyes'), ('heads').
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His biographer Elisabeth Le GuinLe Guin, Boccherini's Body: An Essay in Carnal Musicology, 2006:3. noted among Boccherini's musical qualities "an astonishing repetitiveness, an affection for extended passages with fascinating textures but virtually no melodic line, an obsession with soft dynamics, a unique ear for sonority, and an unusually rich palette of introverted and mournful affects." Many of his other biographers and admirers see his music quite differently and in a much more appreciated light.
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Stojanović's voice is a soprano with the lush sonority and subtle dynamic nuances, with the leveled registers in its basic, velvety tonality. Her singing is characterized by the refined interpretation and subtle musicality, paired with the exquisite vocal, technical and stylish qualities which allowed her to create performances of the high emotional intensity. As a result, her greatest success came in the roles for the dramatic soprano. She is also known as the cantata singer.
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123) Music in the 20th Century. London, Dent. Mahler’s imagination for sonority is exemplified in the closing bars of the slow movement of the Fourth Symphony, where there occurs what Walter Piston (1969, p. 140) describes as “an instance of inspired orchestration… To be noted are the sudden change of mode in the harmonic progression, the unusual spacing of the chord in measure 5, and the placing of the perfect fourth in the two flutes.
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Ellis-Bextor performing "Runaway Daydreamer", as with the rest of Wanderlust, was co-written by its producer Ed Harcourt along with Ellis- Bextor. It was recorded at the State of the Ark studios, mixed and engineered by Richard Woodcruft, and mastered by Miles Showell. It is a chamber pop track which includes string arrangements and "shuffled percussion". Clare Considine of Time Out compared its sonority to that of a Humphrey Bogart movie soundtrack.
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The Solomon, Ex-Lambert Stradivarius of 1729 is a violin fabricated by Italian luthier Antonio Stradivari of Cremona (1644–1737). The instrument derives its name from previous owners Seymour Solomon, co-founder of Vanguard Records, and British violinist, Dorothy Mary Murray Lambert The Solomon, ex-Lambert comes from Stradivari's mature period and, retains the bold outline, superb arching and quality materials which account for the power, sonority and tonal balance his work is recognized for.
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As Figaro, Samuel Ramey was "ideal" - "vigorous, dynamic and youthful sounding, characterizing the role with the right combination of cunning and defiance". The best of the remainder of the cast was Giorgio Tadeo, "solid" as the gardener, Antonio. Kurt Moll's Bartolo was sung with "remarkable sonority" but unimaginatively, and Robert Tear's rather nasal voice, while good at conveying Basilio's oiliness, was not very pleasant to listen to. Solti's conducting was on balance disappointing.
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In the next year, the group recorded their first LP, Capital Inicial (Polygram), which had the hits "Psicopata" (Psychopath), "Música Urbana" (Urban Music) and "Fátima" selling 200,000 copies. This was followed by a period of many live shows. In 1987, keyboardist Bozo Barretti, who had participated in the album, joined the band, who recorded a second LP, Independência (Independence). With a pop-based sonority, the album sold half as much as the first.
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In a retrospective review of the band's discography, Anderson Nascimento of Galeria Musical gave Transpiração Contínua Prolongada a positive review, rating it with 4 stars out of 5. He praised the band's originality, heavy sound and attitude. Conversely, a contemporary review by Cláudio Luís de Souza for newspaper Diário do Grande ABC from June 6, 1999 called the album's sonority (and the band's overall) "derivative" and criticized Chorão's songwriting as "crude and silly".
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The album is marked by a music which goes back to soul & blues roots and sound of the famous Oro Incenso & Birra (1989). According to Zucchero, the album does not have the meaning of Western prejudice of Black cat, yet Afro-American for "figure of speech, a greeting, a symbol of auspice". As well there's a component of anarchism toward the "market rules". It is his "darkest album and rough ever in terms of sonority".
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The opening measures of "Le coq ..." The pieces display > contrasts in sonority and tempo: the Préface—"vif" and "quasi una > cadenza"—comes together on an andantino assuming a rich adornment evoking > the sustained "voice of the nightingales in the flowers". "Les herbes de > l'oubli ..." follows the course of a larghetto phrase. The tempo of "Le coq" > is moderato, with a little more animation towards the end. "La petite tortue > ..." proceeds naturally on a lento rhythm.
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When asked if the album moved him away from rock, he replied: In another interview, he stated: "If we don't have that rock n roll feeling, that the sound if really important, on the other hand what's really noticeable are the songs. Melody, lyrics, it all comes really forward. It's a personal wish of mine to experiment and have a sonority that brings something new." The songs' creation process took two months.
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The Choir has been reviewed by critics internationally. The Philadelphia Inquirer praised their "accomplished and satisfying" performance, enjoying their "particularly robust sonority", in a "living artistic experience".Review, Philadelphia Inquirer The Toronto Star described its musicianship as "dazzling". The Hong Kong Times wrote of the "rich sounds and emotions" offered by a choir which "exploits its potential to the fullest", and Canberra's Muse magazine praised the Choir's "very polished performance" and its "rich and even mixture of parts".
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His more traditional work followed a cyclical and organic logic. It made use of the element of brute strength and sonority as an essential part of his musical conversations. In reviews of his solo album, Eight Magazine claimed that Regef has "transformed an instrument of antiquity into something utterly contemporary," while the Wire remarked that he "creates an intense soundscape of whirling strings, buzzing drones, and strident polyphonic effects akin to an electronic keyboard."Harris, Craig.
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He signed his work internally "C. Mennegand" or used printed labels reading Mennégand / Luthier / 26 rue de Trévise, Paris or C. Mennégand luthier / 26, rue de Trévise, Paris. In the Universal Dictionary of Violin and Bow Makers, William Henley noted "the critical and judicious labour of this eminent maker deserves universal admiration," and that Mennégand's instruments possess a "tonal quality establishing the real desideratum in bright sonority." Charles Mennégand died on 9 January 1885 in Villers- Cotterets.
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His Te Deum (Durham Cathedral manuscript A2, folio 56) has instructions for the organist to play an octave lower than written, and one assumes this is to give the 'dark' sonority of a 10 ft organ stop rather than the everyday colour of the standard 5 ft Principal stop of the Tudor organ. His Vestigia mea dirige was included in the manuscript collection known as the Dow Partbooks. His son, Nathaniel Giles became a Canon of Windsor.
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While this > variation displays the richest sonority, rhythmic tension is avoided: both > hands play the exact same rhythms. Although the pattern is in septuplets, > the homorhythmic element gives this variation a sense of great power and > stability. This variation uses both antecedent and consequent phrases of the original theme, differing from the previous variation. Measure 55 consists of the septuplet melody in the right hand over constant eighth-note movement in parallel octaves by the left hand.
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In phonetics, vowel reduction is any of various changes in the acoustic quality of vowels as a result of changes in stress, sonority, duration, loudness, articulation, or position in the word (e.g. for the Creek language Acoustic vowel reduction in Creek: Effects of distinctive length and position in the word (pdf)), and which are perceived as "weakening". It most often makes the vowels shorter as well. Vowels which have undergone vowel reduction may be called reduced or weak.
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Such a bass note is an additional note, coloring the chord above it. The name of such a chord is also notated as a slash chord. Examples with bass note in red: C major chord in root position close position (C), open position (C), first inversion (E), second inversion (G), and cluster on C (C). In pre-tonal theory (Early music), root notes were not considered and thus the bass was the most defining note of a sonority.
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Preço Curto... Prazo Longo received generally positive reviews upon its release. Writing for Correio da Cidadania, Leonardo Botti stated that "[I]f you're a fan of radical sports, is between 10–18 years old or simply enjoy a fun soundtrack for your days, this is the ideal CD. After all, rock 'n' roll is mainly about fun". Anderson Nascimento of Galeria Musical gave the album 3 out of 5 stars, praising its rap-inflected sonority but criticizing its length.
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From those barely moving fingers came an unforced, bronzelike sonority and an accuracy bordering on infallibility.Schonberg 1988, Virtuosi, p. 315. Arthur Rubinstein wrote: > He had the secret of the golden, living tone which comes from the heart ... > I was always under the spell of his glorious and inimitable tone which could > make me forget my uneasiness about his too rapidly fleeting fingers and his > exaggerated rubatos. There was always the irresistible sensuous charm, not > unlike Kreisler's.
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An > accompanist who can give rhythmic impetus to his part, adapt it to the > momentary requirements of balance and sonority, thicken it here and thin it > there, and keep every bar alive, can stimulate his colleagues and help to > carry the entire ensemble along. This is not merely to fill in the harmony; > nor is it merely to make the harmony into an interesting part; it is to > share in the creative urgency of the actual performance.
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New York City English, or Metropolitan New York English,Morén, Bruce (2000). Distinctiveness, Coercion and Sonority: A Unified Theory of Weight. Routledge. p. 203. is a regional dialect of American English spoken by many people in New York City and much of its surrounding metropolitan area. Described by sociolinguist William Labov as the most recognizable dialect in North America, the dialect is known through its association in the media with many public figures and fictional characters.
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Jean-Pierre Thiollet, 88 notes pour piano solo, Neva Editions, 2015, p.52. André Tubeuf, writing in Gramophone magazine, characterised her as "an artist too often classed in a line of descent from Clara Haskil but who, in her timbre and sonority, is without question much closer to Yves Nat."André Tubeuf (translated Lionel Salter), Gramophone 1991, March, page 14 She was a frequent piano duo partner of Anne Queffélec. She was on the piano teaching faculty of the conservatoire of Saint-Maur.
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Tulve belongs to the younger generation of Estonian composers who, in contrast to the neo-classicist tradition of rhythm-centeredness, create music which focuses on sound and sonority. Tulve’s works give a fair idea of the richness and variety of her cultural experience: the French school of spectral music, IRCAM’s experimentalism, Kaija Saariaho and Giacinto Scelsi, echoes of Gregorian chant and Eastern musics. Deriving from her refined sound processing, Tulve’s approach to form is “fluid” – more process based than architectonic.
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The florid flute solo continues with discreet accompanying chords in the other instruments, eventually reaching a chorale- like closing sonority with all five instruments. In the second movement, the oboe leads a rondo-scherzo with dense ensemble writing . Although the principle of non-repetition underlying all of the works in the Soli series is in conflict with the recurring tone rows of twelve-tone technique, the Aria movement of Soli II is an exception. Twelve-tone technique is used throughout this movement .
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The second movement has a perpetual motion energy, its thrusting repeated ostinato pattern relentlessly shared while a pointed first theme – almost incongruous – is presented by the piano in widely spaced octaves, a sonority often used by Shostakovich. The cello’s more light-hearted theme is later imitated, Pierrot-like up in the piano’s brittle high register. Piquant wit abounds in familiar classical gestures set askew, sudden lurches into unrelated keys, until the initial driving ostinato resumes, leading to a sudden conclusion.
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Apart from his own music, Dussek is important in the history of music because of his friendship with John Broadwood, the developer of the "English Action" piano. Because his own music demanded strength and range not available in the then current pianos, he pushed Broadwood into several extensions of the range and sonority of the instrument. It was a Broadwood instrument with Dussek's improvements that was sent to Beethoven. Dussek was also the first composer to write indications for using piano pedals.
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A positive correlation exists, so that as temperature increases, so does the use of more sonorous speech sounds. However, the presence of dense vegetation coverage leads to the correlation occurring oppositely, so that less sonorous speech sounds are favoured by warmer climates when the area is covered by dense vegetation. This is said to be because in warmer climates with dense vegetation coverage individuals instead communicate over shorter distances, therefore favour speech sounds which are ranked lower in the sonority hierarchy.
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The existence of these differences in speech sounds in modern day human language is said to be driven by cultural evolution. Language is an important part of culture. In particular, speech sounds in the sonority scale are more likely to be selected for in different environments as a language favours phonetic structures which allow for the successful transmission of messages in the presence of ecological conditions. Henrich highlights the role of dual inheritance, which propels changes in language that persist across generations.
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This section is also characterized by a wide palette of instrumental colors, with solo and duet passages for clarinet and violin, clarinets, trumpets, horns, flute and bass clarinet (Example 18). A series of chromatic descents accompanied by alternating thirds then bring back the scherzo material. Example 18: Clarinet and violin duet (mm. 187–190) The symphony's conclusion is striking in its use of a clearly stated major key sonority, a marked difference from the chromatic saturation of the entire symphony.
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"Together with the other double-basses tuned in fourths, a combination of open strings would be available, which would greatly increase the sonority of the orchestra." However a six-string double bass can be tuned in fifths (C1–G1–D2–A2–E3–B3) which is a much larger range. In classical solo playing the double bass is usually tuned a whole tone higher (F1–B1–E2–A2). This higher tuning is called "solo tuning", whereas the regular tuning is known as "orchestral tuning".
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The Trois poèmes are remarkably brief: 37 bars for Soupir, 28 bars for Placet futile and only 24 for Surgi… Soupir opens with the "fairy-like" sonority of the natural harmonics of the string quartet, in incessant slippage of quadruple eighth notes. The voice lands beneath that whisper. As it rises, the piano, then the flutes, and finally the clarinets appear - in pursuit of this mallarmean "Azur". The quartet resumes after a pause of singing, offering a natural, more elegant sound.
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He also particularly liked the device of using vocal duets to contrast with the full sonority of the choir. Some of Févin's music uses the technique of free contrapuntal fantasy, later perfected by Josquin, where strict imitation is absent; fragments of a cantus firmus pervade the texture, giving a feeling of overall unity and complete equality of all the voices. Of his music, 14 masses (one of which is a Requiem Mass), 3 lamentations, 3 Magnificats, 14 motets and 17 chansons survive.
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Richard Wagner's Tristan chord, the first vertical sonority in his opera, Tristan und Isolde, can be interpreted as a half-diminished seventh that transitions to a French sixth in the key of A minor (F–A–B–D, in red below). The upper voice continues upward with a long appoggiatura (G to A). Note that the D resolves down to D instead of up to E:Benward, Bruce, and Marilyn Nadine Saker (2008). Music in Theory and Practice, vol. 2, p.233.
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" This new concept was explored with a trio of wind instruments and three percussionists, which brings great vitality and achieves bright and expansive sounds. The lyrics are very personal, and choose meaning over sonority. The first track, "Tres Mil Millones de Latidos", is a song about existence that plays with the theme of identity, which is often present in Drexler's lyrics. "Noctiluca" is a gift to his son, since "having a child is the best experience to lose the fear of feelings.
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Catullus was also the first Roman poet to produce love poetry, seemingly autobiographical, which depicts an affair with a woman called Lesbia. Under the reign of the Emperor Augustus, Horace continued the tradition of shorter poems, with his Odes and Epodes. Martial, writing under the Emperor Domitian, was a famed author of epigrams, poems which were often abusive and censured public figures. A bust of Cicero, Capitoline Museums, Rome Roman prose developed its sonority, dignity, and rhythm in persuasive speech.
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Sometimes the two notes are identical (for instance, playing a fingered A on the D string against the open A string), giving a ringing sort of "fiddling" sound. Playing an open string simultaneously with an identical stopped note can also be called for when more volume is required, especially in orchestral playing. Some classical violin parts have notes for which the composer requests the violinist to play an open string, because of the specific sonority created by an open string.
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Violeta de Outono (Portuguese for Autumn Violet) is a Brazilian psychedelic/progressive rock band from São Paulo. Heavily influenced by The Beatles, The Rolling Stones, Pink Floyd, Led Zeppelin and Gong, they were originally a post-punk band with some psychedelic elements intertwined, but would gradually drop their post-punk influences and add more prog elements to their sonority as time went by. The band underwent numerous changes in its line-up since its inception; the only founding member remaining today is vocalist/guitarist Fabio Golfetti.
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The album was positively reviewed upon its release. MetalReviews.com, giving it a grade of 85/100, praised its "eerie atmosphere", calling it a "weird and theatrical" album and comparing it favorably to the sonority of Japanese band Sigh. Metal Invader rated it with a 4.5 out of 6, comparing Master's Hammer to American band Psychotic Waltz and saying the album was a huge improvement over the "rather mediocre" Formulæ. Decibel Magazine noticed its "more atmospheric sound", praising its "great riffs and a punishing rhythm section".
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The piano trios of Haydn are dominated by the piano part. The violin only plays the melody a certain amount of the time, and is often doubled by the piano when it does. The cello part is very much subordinated, usually just doubling the bass line in the piano. Charles Rosen discusses and defends this asymmetry, relating it to the sonority of the instruments of Haydn's day: the piano was fairly weak and "tinkling" in tone, and benefited from the tonal strengthening of other instruments.
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The concept of a Tonmeister dates back to 1946, when Arnold Schoenberg wrote a letter to the Chancellor of the University of Chicago suggesting a course to train "soundmen". Schoenberg wrote "soundmen will be trained in music, acoustics, physics, mechanics and related fields to a degree enabling them to control and improve the sonority of recordings, radio broadcasts and sound films".Arnold Schoenberg letters, p. 241 It was also in this year that the University in Detmold, Germany, started the first Tonmeister course (see below).
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At that time, several foundries for bell making were established in Russia. Russian church bells are commonly cast using a mixture of bronze and tin, often with silver added to the bell metal, to produce their unique sonority and resonance. Russian bells also tend to differ from Western bells in the proportion of their height to width, and the method of varying the thickness of the walls of the bell. The clapper ("tongue") of the bell also follows a different design than that used in the West.
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Canzon Septimi Toni No. 2, a piece for two antiphonal choirs of four instruments each; original instruments unspecified, but often played with eight trombones. Synthesized sound:File:Gabrieli Canzon Septimi Toni 02.wav Though Gabrieli composed in many of the forms current at the time, he preferred sacred vocal and instrumental music. All of his secular vocal music is relatively early in his career; he never wrote lighter forms, such as dances; and later he concentrated on sacred vocal and instrumental music that exploited sonority for maximum effect.
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In her thesis as well as in an article about Adelaide Pereira da Silva's compositions, Maria Mati Sakamoto quotes Gilberto Tinetti, who referred to Prof. Pereira da Silva's "exuberant sonority" as a pianist. Initially, Adelaide Pereira da Silva studied composition with Dinorah de Carvalho and Osvaldo Lacerda. Later, she was Camargo Guarnieri's student, and became one of the major figures of his composition school, along with famous composers such as Osvaldo Lacerda himself, Almeida Prado, Sérgio Vasconcelos Correia, Nilson Lombardi, Lina Pires de Campos and Kilza Setti.
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The little girl representing Ilona and the other characters, in the multicoloured music video for "Un Monde parfait". The French charts specialist Elia Habib explains that this song "mixes an involving sonority resembling Daddy DJ with a text in the spirit of a nursery rhyme". It created "the major surprise of the beginning of spring 2005". The music video is computer- animated and shows a little girl who will feature in all the other videoclips of the singles from the album Un Monde parfait.
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A dancehall number, "Down" has a production consisting of bass, snare drums, synths and soft snaps. The lyrics are structured in verse–pre-chorus–chorus form. Although it is written from a romantic perspective, "Down" was inspired by the group's bond as a quartet and the adversities they have faced together and individually. The song was noted by music critics for being similar to their 2016 single "Work from Home" in terms of production and structure, though others praised its sonority and summer-friendly production.
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The sonority ranking of speech sounds plays an important role in developing phonological patterns in language, which allows for the intelligible transmission of speech between individuals in a society. Differences in the occurrence of particular sounds in languages around the world have been observed by numerous researchers. It has been suggested that these differences are as a result of ecological pressures. This understanding was developed from the acoustic adaptation hypothesis, which was a theory initially used to understand differences in bird songs across varying habitats.
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Blake Neely, Piano For Dummies, second edition (Hoboken, NJ: Wiley Publishers, 2009), p. 201. . The major sixth is one of the consonances of common practice music, along with the unison, octave, perfect fifth, major and minor thirds, minor sixth, and (sometimes) the perfect fourth. In the common practice period, sixths were considered interesting and dynamic consonances along with their inverses the thirds. In medieval times theorists always described them as Pythagorean major sixths of 27/16 and therefore considered them dissonances unusable in a stable final sonority.
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His posthumous poems were collected in 1902. The characteristics of Tabley's poetry are pre-eminently magnificence of style, derived from a close study of Milton, sonority, dignity, weight, and colour. His passion for detail was both a strength and a weakness: it lent a loving fidelity to his description of natural objects, but it sometimes involved him in a loss of simple effect from over-elaboration of treatment. He was always a student of the classic poets, and drew much of his inspiration directly from them.
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The ' is a method for the classical guitar originally written in French by guitarist and composer Fernando Sor. The method was written with the early romantic guitar in mind (Sor mentions some 19th-century guitar-builders: J. Panormo, Schroeder of Petersburg, Alonso of Madrid, Pages and Benitez of Cadiz, Joseph and Manuel Martinez of Malaga, Rada, and Lacôte of Paris), but it is not only about instrumental technique, but also includes details about the theory of scales, harmony, sonority, composition, and above all music as an art.
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Traditional instruments of the sega music (ravanne, maravane, triangle) were thus mixed with oriental instruments (tabla, harmonium, sitar). Other instruments such as guitar, violin and drums completed that mixture. Even though the sonority of such committed songs are close to the sega music, the outcome is quite different insofar as the sega music has a more festive rhythm and lesser oriented on demonstrating and passing on a particular message. The rhythm of sante angaze is generally slower than the sega and influenced by many other musical styles.
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Goldenthal has said that he doesn't "hear" atonal and tonal, rather, "I either hear melody or I hear sonority". Goldenthal often works with a team he assembled after the soundtrack for Drugstore Cowboy: Teese Gohl as supervising producer, Robert Elhai as orchestrator, Joel Iwataki and Steve McLaughlin as sound engineers and Richard Martinez as electronic music producer. According to Martinez, "a lot of composers want to focus on writing their music, and that's what [his] team allows Elliot to do." At the website filmscoremonthly.
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Viols most commonly have six strings, although many 16th- century instruments had only four or five strings. Viols were (and are) strung with gut strings of lower tension than on the members of the violin family. Gut strings produce a sonority far different from steel, generally described as softer and sweeter. Around 1660, gut or silk core strings overspun with copper wire first became available; these were then used for the lowest- pitched bass strings on viols, and on many other string instruments as well.
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New York, Dover. Debussy, from 'General Lavine - eccentric'Debussy, from 'General Lavine - eccentric' The timeless, meditative closing bars of Gustav Mahler’s song “Abschied” from Das Lied von der Erde (1909) fully exploit the expressive power and ambiguity of the sixth chord. “The final sonority, the famous added-sixth chord, is particularly ingenious... because it fuses the two principal keys of Das Lied (A minor and C major).” Deruchie, A. (2009, p. 97) “Mahler’s farewell or The Earth’s Song? Death, Orientalism and Mahler’s ‘Der Abschied’”, Austrian Studies, Vol.
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By 1978, with Harmonice Mundi, inspired by the birth of his first daughter, we encounter a break away from 'modern music' in its long lines and luminous, transparent sonority. This would become something of a hallmark in later works, for example the BBC-commissioned Chamber Concerto, the second string quartet, because it'Spring, Kakemono for harps, Firefinch for oboe and piano, and the I Ching piano pieces. However it seems that this spacious clarity was already presaged in teenage compositions such the Sextet for piano and strings.
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These five long vowel phonemes share the same phonetic quality as their standard vowel counterparts, however are longer in duration. In Wuvulu, there are 20 possible diphthongs of the five basic vowels discussed above. There are eight falling pairs /ia/, /ie/, /io/, /ea/, /ua/, /uo/, /ue/, and /oa/, eight rising pairs /ai/, /au/, /ei/, /eu/, /oi/, /ou/, /ae/, and /ao/, and four level pairs /iu/, /eo/, /ui/, and /oe/. The terms rising, falling and level refer to the rise or fall of sonority of the diphthongs.
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Throughout the work the composer explores resonances inherent in a ‘cluster’ harmony which is introduced in horizontal form at the very outset of the work – a very dramatic opening from the bassoons, cellos and double basses, characterised by a heavy, accented dotted rhythm and the upward leap of a fifth and descent by a sixth. The notes of this theme, if spaced out in a single octave, contained every semitone from A up to D. The top three notes (C, C sharp, and D) are of great importance to the work, and each dominates in turn – C at the beginning, D in the middle, and C sharp at the end. The cluster is unravelled and explored in various ways, and a characteristic sonority results: spaced out over several octaves through the orchestra, a major third glitters over the top of a dissonant cluster. The careful scoring and conflicting registers of the sonority presented near the opening including a major third high in the winds (B flat-D) which holds within its span a whole tone (B natural-C sharp) presented low in the basses and cellos.
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The Eddie Freeman Special had been designed by English tenor banjoist Eddie Freeman to have a better six string guitar sonority for rhythm guitar work than the normal tenor guitar with its very high A string. However, it was still tuned CGDA so that it could still be played by tenor banjoists. The Eddie Freeman Special was based on a six string model and it had a larger six string body and a six string scale length of 25.25 inches, rather than the tenor's smaller body and normal 23 inch scale length.
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Pokémon Colosseum is a role-playing video game developed by Genius Sonority, published by The Pokémon Company and distributed by Nintendo as part of the Pokémon series. It was released for the GameCube on November 21, 2003, in Japan; March 22, 2004, in North America; and May 14, 2004, in Europe. Unlike previous titles, the game does not feature random encounters with Pokémon; instead, the player can steal ("snag") the Pokémon of other Pokémon Trainers. The game also features several battle modes for single-player and multiplayer gameplay.
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No recordings survive of Nat's extensive French repertoire. Nat's strong technique and rich sonority suited the larger-scale Beethoven sonatas admirably. However, he was far from a bravura pianist - indeed, although his concerto has some formidable technical difficulties, it avoids the classic virtuoso approach, and instead tries to be what Nat himself described in a radio interview as a concerto for piano within the orchestra. He summed up his approach as Tout pour la musique; rien pour le piano, which might be translated as "Everything for the music, nothing for the piano".
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Finally, D'Anglebert's original pieces are presented together with his arrangements of Lully's orchestral works. D'Anglebert's arrangements are, once again, some of the finest pieces in that genre, and show him experimenting with texture to achieve an orchestral sonority. Most of D'Anglebert's other pieces survive in two manuscripts, one of which contains, apart from the usual dances, harpsichord arrangements of lute pieces by composers such as Ennemond Gaultier, Denis Gaultier, and René Mesangeau. They are unique pieces, for no such arrangements by other major French harpsichord composers are known.
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They were published by Universal Edition. The first performance for the version for voices and string orchestra was in Tallinn on 18 May 2007 at the Niguliste Church, with the Estonian Philharmonic Chamber Choir and the Tallinn Chamber Orchestra, conducted by Tõnu Kaljuste. The music critic and writer David Vernier commented on the composer's subtle techniques of composition, forming the structure of the music from "elemental materials" such as "sonority, voicing, and rudimentary harmonies". Vernier noted "an almost complete subordination of rhythmic influence and the relegation of melody to a more or less implied presence".
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The album was well-received upon its release, but many critics did not gravitate towards its heavily experimental sonority and long length. Writing for AllMusic, François Couture gave it 3 out of 5 stars, saying it is "filled with catchy hooks, intriguing twists and self-indulgent stretches", and comparing Jupiter Apple with Cornelius and Beck. However, he also said that "the album's only flaw is its duration – problem is, it's a big one. Not only does Hisscivilization clock in at 78 minutes, but most of its 13 tracks could have been substantially shortened".
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E79, in guitar chord chart format. Hendrix chord E79, as it may be played on a guitar in an open positionRadio: "Shiver down the backbone - Jimi Hendrix comes to Radio 3" , The Spectator, by Kate Chisholm, Wednesday, 21 November 2007 . While this sonority has been previously used in jazz and related styles, one particular voicing of this chord is commonly nicknamed the "Hendrix Chord" among rock guitarists. This association is because it was a favorite of Jimi Hendrix, who did a great deal to popularize its use in mainstream rock music.
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The well-known division of that family into strings, woodwind, and brass, with percussion as required, he inherited from the great classical symphonists such changes as he made were in the direction of splitting up these groups still further.” Latham gives as an example, the sonority of the opening of the opera Lohengrin, where “the ethereal quality of the music” is due to the violins being “divided up into four, five, or even eight parts instead of the customary two.”Latham, P. (1926) “Wagner: Aesthetics and Orchestration.” Gramophone, June 1926.
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This composition consists of three short miniatures which take 1 to 1:30 minutes each to perform. The general mood and style of the work differs from the following works and shows no signs of Penderecki's later radicalism, in the sense that these miniatures are not focused on the sonority of the instruments to generate atmospheres, probably influenced by Béla Bartók. The miniatures were titled as follows: # Allegro # Andante cantabile # Allegro ma non troppo The two outer movements of this composition are active and fast, while the middle one is slower and more meditative.
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Unlike modern guitars, which often use steel and bronze strings, vihuelas were gut strung, and usually in paired courses. Gut strings produce a sonority far different from metal, generally described as softer and sweeter. A six course vihuela could be strung in either of two ways: with 12 strings in 6 pairs, or 11 strings in total if a single unpaired chanterelle is used on the first (or highest pitched) course. Unpaired chanterelles were common on all lutes, vihuelas, and (other) early guitars (both Renaissance guitars and Baroque guitars).
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The Kiss was commissioned as part of a Channel 4 series of artists videos, in which Nyman's "operatic duet" plays as Paul Richards creates a painting of a kiss with a Quantel Paintbox. By design, the male voice is a trained singer, the female voice is a self-trained, pop, non-music reader, preferably whose native language is not English, possibly representing an Etruscan. The parts were written for Omar Ebrahim and Anne Pigalle, who performed them in the video. Dagmar Krause replaced Pigalle for the album, and brought to it a darker sonority.
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In lieu of alimony, Danise was made to pay her a complete financial settlement of $20,000. From 1921 to 1927, Danise recorded dozens of arias, art songs, popular songs, and religious works for Brunswick Records. Most of them were done in the acoustic method, but a small handful of electrics show a voice of great sonority with an intense ring. As a result of an economic crisis in 1932, the Metropolitan Opera began to reduce fees for its soloists, causing Danise not to renew his contract with the Metropolitan Opera.
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Therefore, development and elaboration are determined more by sonority and texture rather than traditional voice leading. However, she does sometimes include “quasi-diatonic” pitch collections, which suggest a more traditional context than that of her music based on single notes. Rebecca Saunders has also explored physical space in her music. In an interview for the Huddersfield Contemporary Music Festival, she described her music thus: By describing the “mass and weight” of her music, and comparing her art to that of a sculpture, she is attempting to bring sound into a physical plane.
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In 2014 Onofre directs Tacet, in which he retrieves the subject of silence (or of its impossibility), through a delegated performance based on a double appropriation from John Cage – his work 4'33' and the program of the Prepared Piano –, which consists of a pianist interpreting Cage's 4'33', after preparing the piano with flammable liquid and setting it alight; the pianist must then endure the dense wall of fire which grows in front of him, while performing the silent piece.Muñoz, M. (August 15, 2016). "Tacet & Sonority in João Onofre's work". Chrom-Art.
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Robert D. Levin writes: "The richness of wind sonority, due to the inclusion of oboes and clarinets, is the central timbral characteristic of [the concerto]: time and again in all three movements the winds push the strings completely to the side." The solo instrument for the concerto is scored as a "cembalo". This term often denotes a harpsichord, but in this concerto, Mozart used it as a generic term that encompassed the fortepiano, an eighteenth-century version of the modern piano that among other things was more dynamically capable than the harpsichord.
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Exhibiting influences from 1980s and 1990s musical styles, "Sexy Dirty Love" is a "funky" nu-disco track that has an uptempo danceable rhythm and contains "old-school" R&B; and electro genres. Due to its sonority, Mike Wass from Idolator associated the track with Justin Timberlake's FutureSex/LoveSounds album. The reviewer also pointed out that the song "feels like a bolder, more adventurous take on 'Sorry Not Sorry'". Lyrically, it narrates a thoroughly modern romantic encounter initiated via web with Lovato singing about fantasy through the phone in the first verse.
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Anderson Nascimento of Galeria Musical gave the album a positive rating of 3 out of 5 stars. Conversely, Débora Miranda, writing for G1, rated it with a 4 out of 10, calling it a heavier and more eclectic album sonority-wise but criticizing it as being "lyrically repetitive". Mauro Ferreira of blog Notas Musicais gave the album a mixed review, rating it with 3 stars out of 5 and calling it a "good-intentioned, motivational release with self-help undertones", finishing by comparing Chorão to a priest preaching the good for his fans.
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Most of Pessoa's articles and poems are compiled on his official WordPress blog, "O Mundo de Mantraman", as well as on his Tumblr page.Blogue do Pessoa – Tumblr In the mid-1990s, Pessoa formed another short-lived project, Ciro Pessoa & Ventilador, alongside former CPSP bandmates Kiko Nogueira and Fábio Scattone, and new members Tchelo Nogueira (Kiko's brother), Laudir de Oliveira, Serjão and Boris. It retained CPSP's pop rock sonority, albeit adding more experimental elements.Ciro Pessoa e Ventilador – Samba Mantra Nepal Brasil They recorded an album, Batuca Aqui, in 1996, but it was only released in 2019.
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Then it changes: it's half black, half dance, it grows on a pop-filled chorus of astral, it comes a rap and finally it ends up returning to the climate of the beginning.In terms of sonority, it has a little influence of Outkast, which is a group that changed the face of the pop scene," points out Bonadio. And when Rick showed us the song for the first time, we were a little surprised, we thought, "Maybe it's too different." Fantine says, "The arrangements of our songs have always been complex and complicated.
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Theorists commonly disallow consecutive perfect fourths involving the lowest part, especially between the lowest part and the highest part. Since the beginning of the common practice period, it has been theorized that all dissonances should be properly resolved to a perfect consonance (there are few exceptions). Therefore, parallel fourths above the bass are generally dismissed in voice leading as a series of consecutive unresolved dissonances. However parallel fourths in upper voices (especially as part of a parallel "6-3" sonority) are common, and formed the basis of fifteenth-century fauxbourdon style.
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Here, Xenakis explores the relationship of the sonority between a somewhat ordered percussion with the clusters played by the harpsichord. The second section, marked Crystalline, mixes the harpsichord and the vibraphone, and the relationship between these two instruments seems to fuse more effectively. After that, the vibraphone changes to the wood blocks and, later on, the harpsichord starts a lengthy solo. Then, the percussion joins with the sound of the flower pots, which blends with the "needle-like" sound of the harpsichord, which uses an ostinato of seven chords.
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The pores are small and arranged in radial rows. Pith rays narrow and indistinct. A similar definition of the Acana tree is given by Constantino Suarez in his Diccionario de voces Cubanas as; wild indigenous tree with a straight trunk that grows to 10 meters with coriaceous rigid oval leaves which produces a nutritious fruit smaller than the zapote, and whose wood is valued in Cuba for rustic houses and ship building because of the wood's durability and hardness, qualities enhanced by its sonority, weight, and beautiful reddish color.
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Wayne's chord system is based on "generic" chord forms, forms that have the same sonority in all keys, and that do not rely on open strings or guitaristic peculiarities. Wayne observed that most guitar chords in common use do not have these properties and that the way most guitarists play a G7 chord, for example, sounds different from the way they play a C7 or an E7 due to the different arrangements of notes. The common ("cowboy") chords are popular because they simplify fingering, but they constrict musical options. Wayne avoided this problem.
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A novelty are the distinct crescendo and diminuendo signs allocated "polyphonically" and sometimes even differing in the two voices played by the right hand. excerpt from the middle section of this étude (bars 40 – 42) In the middle section (poco più animato), characterized by rhythmic shifts and sudden harmonic turns, theme and accompaniment are fused into oscillating double notes. There are five eight-bar phrases. Leichtentritt observes that each eight-bar phrase is "ruled by a new motif" and that "each of these segments surpasses the preceding one in sonority and brilliancy".
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Alestorm uses factors of absurdity to bring a jocular feel to their music, incorporating irreverent lyrical themes while retaining a tenuous connection to pirates. They have also been known to experiment with different metal genres, going from songs that are predominantly thrash metal ("Black Sails at Midnight") to a switch to a black metal sonority mid-song ("Death Throes of the Terrorsquid"). The band's later albums have begun to incorporate more screamed vocals by keyboard player Elliot Vernon, adding hints of metalcore ("Magnetic North") and death metal ("1741 – The Battle of Cartagena") to the band's sound.
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Among his awards are five gold albums, an American ASCAP award and a NARAS Grammy Award nomination. He also taught piano as an associate professor at Trinity College London, an activity that probably inspired "Moon Dances" and "Voyage in Space". A pioneering composer, he saw himself as a musical "explorer", adopting modern techniques of sonority and percussion writing, but nevertheless avoided excesses of cerebralism believing sound and emotional communication to be of fundamental importance. His musical language is marked by a degree of rhythmic and metric complexity and a non-ideological use of serial technique that remains open to aspects of tonality.
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Hate Lives in a Small Town is the seventh studio album by Cuban American dark cabaret singer Voltaire, released on September 3, 2010. In it, Voltaire abandons his characteristic dark cabaret sonority and heads towards a country direction. He originally wanted to record it as a solo acoustic album, but later realized that something was missing, and ended up using a full band."I lied about the country album!" by Voltaire on Myspace In his official website, Voltaire explains why he decided to make a country album: > [I] had spent [my] adult life saying [I] disliked country music.
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Björk's embrace of England's dance culture also extended to her looks, her style at the time considered representative of 1990s acid house fashion. Although One Little Indian estimated that Debut would sell 40,000 copies worldwide based on an estimate of the Sugarcubes' fan base at the time, within three months of its release, over 600,000 copies had been sold worldwide. According to NME, it turned "an idiosyncratic vocalist from a feted cult band into a significant global pop star". The album received generally positive reviews from the British music press, although American critics were nonplussed by its sonority.
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The piano trios of the Classical era, notably those of Haydn, are dominated by the piano part. The violin plays the melody only a certain amount of the time, and when it does, is often doubled by the piano. The cello part is very much subordinated, usually just doubling the bass line in the piano. It is thought that this practice was quite intentional on Haydn's part and was related to the sonority of the instruments of Haydn's day: the piano was fairly weak and "tinkling" in tone, and benefited from the tonal strengthening of other instruments.
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His broad phrasing and the sonority of his voice also allowed him to create characters that were both noble and imposing. Over time Basiola had to make some concessions to verismo vocalism, and his incessant activity did bring about some cloudiness of the voice, but his technique and style made him much in demand, especially in works from the second half of the 19th century. What he could not entirely achieve was to put an unmistakably personal stamp on his interpretations. Nevertheless, Basiola was his immense technical and artistic value during his career and to modern historians of the voice and singing.
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The group Pandemonio was formed back in 2000 by Vittorino Gaio (acoustic guitar, mandolino, vocal), Marco Giai-Levra (acoustic guitar, mandolino, vocal) and Christophe Schmuziger (acoustic guitar, mandolino, vocal), who were all former students of well known Beppe Gambetta (flatpick guitar player) and Carlo Aonzo (mandolin player). Since the early notes the group found his path in the beautiful acoustic folk music. The group's main interest is to bring back and to reproduce a repertoire mainly popular, feeding it with arrangements and sonority of typical flatpick instruments. In 2004 Giacomo Cerra (flutes and vocals) and Riccardo Scharf (bowed psaltery) joined the band.
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Hisscivilization is the third studio album by the Brazilian musician Jupiter Apple. It was released in 2002 by Voiceprint Records, and is the musician's most experimental, ambitious and elaborate output. Heavily influenced by the sonority of Syd Barrett, Stereolab and of the Canterbury scene (in particular Kevin Ayers and his 1970 release Shooting at the Moon),Voiceprint Records - Jupiter Apple - Hisscivilization Hisscivilization is characterized by the inclusion of electronic interludes, absent in Jupiter Apple's previous two releases,Mofo - Jupiter Apple - Hisscivilization in a move that polarized critics and fans alike. It is also fully sung in English, like its predecessor Plastic Soda.
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Otherwise the four voices are distinct in a more traditionally contrapuntal way, the mostly atonal harmonies producing a sonority close to what Schoenberg was developing during the same period, a continent away." After a climactic outburst, "serious discussion is again resumed, and eventually the movement ends much as it began." (In the manuscript, Ives notes "Enough discussion for us!" at the movement's conclusion.) Arguments, the second movement, is "one of Ives's most original conceptions." It starts out with the instruments gruffly and loudly asserting themselves one by one, and soon each instrument establishes its own distinctive musical and expressive "vocabulary.
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Instead of the tonic sonority, the vi chord appears which immediately moves the harmonic rhythm forward half a measure. In measure 8, the dominant chord occurs for the entire measure, making up for the lost half measure in 7. The last measure of the theme, measure 8 is typically harmonized as I6/4 to V. This repetitive harmonic progression dominates the entire movement, implying a harmonic ostinato beneath the melody. As seen in the first and the second movements, the third movement utilizes a basic harmonic progression to lay the framework for a seemingly improvisatory melody and variations later on in the piece.
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Founded by the hands of Ivo Pacheco (IVVVO), Luis Dourado (Purple) and Tiago Carneiro (Solution) in late 2010, Terrain Ahead was the cradle of a new generation of electronic musicians that emerged in Oporto. With a distinct logo and an unusual sonority that began to make an impression on the nights of their hometown, Terrain Ahead slowly earned its place as one of the avant garde labels to keep an eye on. This was the environment in which IVVVO grew as an artist, giving him the tools to explore the sounds of electronic music in all its diversity and in an assertive way.
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Jah Shaka was born in Clarendon Parish, Jamaica, an area which has produced numerous roots reggae stars, amongst them Toots Hibbert, Everton Blender, Barrington Levy and Freddie McGregor. Jah Shaka started out on the Freddie Cloudburst Sound System as an operator, before setting up his own sound system. By the late 1970s Shaka's system had rapidly gained a large and loyal following due to the combination of spiritual content, high energy rhythms, massive sonority, and his dynamic personal style. That following notably included many of the pioneers of post-punk such as Public Image Ltd and The Slits.
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He was the most renowned writer in the Milanese dialect after Carlo Porta. The originality of his poetry stands mostly in his expressionism and his satirical (both sad and ironical) way to depict Death. Tessa's grave at the Monumental Cemetery of Milan, Italy The topics of his poetics are the drama of the World War I and of the daily life of neglects, revised in personal way and caring very much about the sonority of the lines. Often the topic of the dead women is present, with a pessimism and distrust of personal and cultural origin (Scapigliatura, decadentism, Russian novel, expressionism).
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Upon his return to Britain, Goehr experienced a breakthrough as a composer with the performance of his cantata The Deluge in 1957 under his father's baton. This is a big, ambitious work inspired by the writings of Sergei Eisenstein—one of Goehr's many extra- musical sources of inspiration. The soundworld could be seen to have derived from the twelve-tone cantatas of Webern, but it implicitly strives for the imposing harmonic tautness and full sonority of Prokofiev's Eisenstein cantatas. The genre of the cantata is one that Goehr would explore over and over again throughout his career.
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Uma Tarde na Fruteira has received positive reviews upon its release. Stewart Mason of AllMusic gave it 3.5 out of 5 stars, describing it as a "double-album-length potted history/reconstruction of the most vibrant era in Brazilian music – roughly from the birth of bossa nova through the petering out of Tropicália, or the late '50s through the early '70s". He praised the album as being "richly melodic and instantly memorable". Bruno Yutaka Saito of Folha de S.Paulo also spoke favorably of the album, comparing its "eclectic" sonority to the works of Caetano Veloso, Roberto Carlos and Stereolab.
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Maddieson and Coupe’s study on 633 languages worldwide observed that some of the variation in the sonority of speech sounds in languages can be accounted for by differences in climate. The pattern follows that in warmer climatic zones, language is more sonorous compared to languages in cooler climatic zones which favour the use of consonants. To explain these differences they emphasise the influence of atmospheric absorption and turbulence within warmer, ambient air, which may disrupt the integrity of acoustic signals. Therefore, employing more sonorous sounds in a language may reduce the distortion of soundwaves in warmer climates.
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Everett, (2013) suggested that in high elevation regions such as in the Andes, languages regularly employ the use of ejective plosives like /kʼ/. Everett argued that in high altitude areas, with reduced ambient air pressure, the use of ejectives allows for ease of articulation when producing speech. Moreover, as no air is flowing out of the vocal folds, water is conserved whilst communicating, thus reducing dehydration in individuals residing in high elevation regions. A range of other additional factors have also been observed which affect the degree of sonority of a particular language such as precipitation and sexual restrictiveness.
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As a result, players choose fingerings which result in few shifts, or small "creeping" shifts. They choose their moments for shifting carefully, using open strings and points of articulation in the music where changes of position in the left hand can be made inaudibly. While in the Romantic period audible shifts are often used (portamento and glissando) these are absent from Baroque playing. Some Baroque sources indicate the deliberate use of a higher position on a lower string, typically for a piano or misterioso effect, but low positions are preferred on the whole for greater sonority.
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Reviewing the song for Loud and Quiet, Stuart Stubbs wrote that it "sees our protagonist pull herself out of squalor and onto a road of self discovery." The song concludes with a short outro where Ellis-Bextor repeats the line "Don't worry baby, I'm here to stay" twice. On behalf of Virgin Media, Matthew Horton opined that "Runaway Daydreamer" was the standout of Wanderlust, describing Ellis-Bextor's vocals in it as "prim and gorgeous". James Fyfe of The 405 echoed his view, praising Ellis-Bextor's vocal performance, as well as highlighting its sonority, despite observing it was not "musically adventurous".
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The texture is now more contrapuntal and polyphonic, and a fortissimo dynamic is maintained for several minutes, after reaching a final crushing dissonance, the music fades away to a single mysterious line doubled in the cellos and basses, which acts a transition into Part Two of the symphony, a central Adagio. The Adagio is the central heart of the whole work, and acts as reflective contemplation in the midst of violence and unrest. After a sonority presented in pianissimo in the woodwinds and cellos, the first and second violins enter, marked ppp in the high register.
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The minor sixth is one of consonances of common practice music, along with the unison, octave, perfect fifth, major and minor thirds, major sixth and (sometimes) the perfect fourth. In the common practice period, sixths were considered interesting and dynamic consonances along with their inverses the thirds, but in medieval times they were considered dissonances unusable in a stable final sonority. One should note that in that period they were tuned to the flatter Pythagorean minor sixth of 128:81. In 5-limit just intonation, the minor sixth of 8:5 is classed as a consonance.
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For Time Out magazine, Clare Considine described "Young Blood" as a "delicate love song" and opined that the strings and piano melodies effectively complement Ellis- Bextor's vocals. Michael Cragg of The Guardian stated that the song's sonority "fits [Ellis-Bextor] like a glove", and also deemed its melody "gorgeous". James Gareth from Clash characterised the song as "sincerely beautiful", and Digital Spy's Robert Copsey agreed, calling it "doe-eyed" and "fantastically pretty". From Virgin Media, Matthew Horton called the track "heart-stinging", while Hermoine Hoby, writing for The Observer considered that the song is "surprisingly successfully" similar to the works of Adele.
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Sona is an international auxiliary language created by Kenneth Searight and described in a book he published in 1935. The word Sona in the language itself means "auxiliary neutral thing", but the name was also chosen to echo "sonority" or "sound". Searight created Sona as a response to the Eurocentricity of other artificial auxiliary languages of his time, such as Esperanto and Ido. At the same time, Searight intended his language to be more practical than most a priori languages like Solresol or Ro, which were intended to be unbiased by any particular group of natural languages.
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Twin brothers Klive and Nigel Humberstone and guitar player Anthony Bennett formed this Sheffield-based band in 1981. Influenced by Joy Division, the trio originally tagged along with the UK's industrial music scene, releasing the six-track When Cherished Dreams Come True in June 1983. The "Witness (To a Scream)" single and Sonority EP followed before the band moved to the Sweatbox label for the fearsome Temper EP. The full-length Twins was recorded without the departed Bennett at Bradford's Flexible Response Studio. The album adopted a more subtle approach by favouring theatrical atmospherics over industrial clatter.
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During an interview with Billboard, member Ally Brooke said the group were having "a lot of creative control and input" for the first time and that they "are so excited" about it. On April 12, 2017, the quartet appeared on the cover of Galore magazine, in which they discussed the concept and sonority present on their third album: "We've been creating sounds that we've been wanting to touch base on. Some R&B; tones, some rhythmic tones. It's been amazing to create with one another because we're so different when it comes to music", Dinah Jane said.
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Zefira and Nardi also appeared on a 1936 Carmel newsreel performing "Shir Ha-'avoda Ve-ha-melakha" by Hayim Nahman Bialik. Zefira's interpretation and presentation of Yemenite musical traditions influenced other European Jewish composers who were contributing new works to Hebrew song. While folk songs from the Jewish diaspora had been shunned in favor of new, Hebrew-language folk songs, Yemenite melodies were considered the original "Israeli idiom". Moreover, according to the Journal of Synagogue Music: "the female Yemenite voice was seen as an ideal vehicle for performing Hebrew songs; it was thought to convey an Oriental/biblical sonority".
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But one should only see in it what the music expresses: an ascending progression of sonority, to which the stage comes along to add light and movement."Ravel, letter to Maurice Emmanuel, 14 October 1922, in Arbie Orenstein (ed.): A Ravel Reader: Correspondence, Articles, Interviews (New York: Columbia University Press, 1990), 229. He also commented, in 1922, that "It doesn't have anything to do with the present situation in Vienna, and it also doesn't have any symbolic meaning in that regard. In the course of La Valse, I did not envision a dance of death or a struggle between life and death.
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Genius Sonority began operations in July 2001, for the original purpose of developing Pokémon games for home consoles and was officially incorporated in June 2002, with funding provided by Nintendo president Hiroshi Yamauchi’s Q Fund, a cash reserve used for Nintendo game company start-ups. Current shareholders of the company include Yamana Satoru, Nintendo, and The Pokémon Company. The company's founder and current president, Manabu Yamana, is best known as a key person at Heartbeat, a company that developed games in the Dragon Quest series for Enix. Yamana was joined in his efforts by members of Creatures Inc.
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"Dona da Minha Vida" () is a song by the Brazilian girl group Rouge. Sony Music released on August 31, 2018 as the lead singled the fifth studio album, Les 5inq (2019). The song was composed by the five members of the group in partnership with Pedro Dash, Marcelinho Ferraz, Karen Rodriguez, Mr. Paradise, Lucas Nage, Pedro Tofani, Joey Mattos and singer Jão, being focused on R&B; with trap music and soul elements and inspired by the urban sonority of singers like Alicia Keys and Beyoncé. The theme of the song deals especially of the feminism, the feminine empowerment and the abusive relationships.
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As a saxophonist he had initially been attracted to the jump and R&B; sounds of performers like Louis Jordan, but soon became drawn into the mainstream tenor saxophone tradition. The German critic Joachim-Ernst Berendt described this tradition as sitting between the two poles of the strong sonority of Coleman Hawkins and the light flexible phrasing of Lester Young, which did so much to inspire the fleet improvisation of bebop in the 1950s. Other tenor saxophone influences include Ben Webster and Don Byas. By his mid-teens, Rollins became heavily influenced by alto saxophonist Charlie Parker.
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The enduring popularity of Tosca has not been matched by consistent critical enthusiasm. After the premiere, Ippolito Valetta of Nuova antologia wrote, "[Puccini] finds in his palette all colours, all shades; in his hands, the instrumental texture becomes completely supple, the gradations of sonority are innumerable, the blend unfailingly grateful to the ear." However, one critic described act 2 as overly long and wordy; another echoed Illica and Giacosa in stating that the rush of action did not permit enough lyricism, to the great detriment of the music. A third called the opera "three hours of noise".
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Zjevení (English title: "Revelation") is the debut album by Czech black metal band Root, released in December 1990 through now-defunct record label Zeras.Discography, accessed on 16 December 2012. It is noticeably the only full-length album by the band to feature songs with lyrics in the Czech language, and is regarded for shaping the sonority of the early Czech black metal scene of the late 1980s/early to mid-1990s. The album's cover art and photography was responsible by František "Franta" Štorm, a long-time friend of Root's frontman Big Boss and founding member of yet another influential Czech black metal band, Master's Hammer.
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9 Luas (Portuguese for 9 Moons) is the eighth studio album by Brazilian rock band Os Paralamas do Sucesso, released in 1996. With this album, the Paralamas definitely abandon their previous new wave/ska/reggae rock style and adopt a more pop rock sonority, however without abandoning the Latino influences. Main hits of this album include "Lourinha Bombril", "Capitão de Indústria", "Busca Vida", "O Caminho Pisado", "La Bella Luna" and "O Caroço da Cabeça" (previously recorded by Titãs and released in their 1995 album Domingo). The song "De Música Ligeira" is a Portuguese-language cover of "De Música Ligera", originally by Argentine band Soda Stereo.
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His diary notes dating back to 1970s reveal that he was particularly concerned with his explorations of problems of color and form, their unimpeded interpretation, the free flow of mind and emotions have become direction of art and artistic belief that transmits expressive means and sacred monumental sonority. The insight contemplations open up inner self and metaphysical thinking of the artist for the viewer ("Shell" 1975, "Amulet", 1977, "Indian jug" 1975). Having sound and deep understanding and perception of the coloristic achievements of Armenian artists (M. Saryan, H. Kalenc, Minas) Karen makes the color surface of the picture so intensive that it turns into fireworks, spiritual soaring, burning sunset.
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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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As in the original, this short ballet consists of four movements: Bluebird Pas de Deux is scored for a large ensemble consisting of a flute, an oboe, two clarinets, a bassoon, a French horn, two trumpets, two trombones, timpani, and a string section consisting of five violins, four violas, three cellos and two double basses. As an original addition, Stravinsky did not actually reduce the orchestra, but rather chose to include a piano to provide a new element to help articulation and sonority. According to Stravinsky himself, "the prominent piano part [...] helps to conceal the small number of strings" in Bluebird Pas de Deux.
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O Rei do Cu (Portuguese for "The King of the Ass") is the thirteenth studio album by the Brazilian musician Rogério Skylab, and the first installment of a trilogy, the "Trilogia do Cu" ("Trilogy of the Ass"). It was self-released on May 17, 2018,Rogério Skylab - O Rei do Cu and sees Skylab returning to the experimental and eclectic sonority he had previously developed in his 1999–2011 Skylab series of 10 albums and abandoned in his latest "Trilogia dos Carnavais" (2012–2015). It can be downloaded for free in the musician's official website, and is also available for streaming in Spotify, Deezer and the iTunes Store.
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"Right There" is a song recorded by American singer Ariana Grande featuring rapper Big Sean. It was written by Grande, Harmony Samuels, H. "Carmen Reece" Culver, J. "Lonny" Bereal, James "J-Doe" Smith, Al Sherrod Lambert, Jeff Lorber and Sean. It features a prominent sample of the jazz instrumental song "Rain Dance" (1979) by The Jeff Lorber Fusion. The song is a throwback to R&B; music of 1990s- a sonority that predominates the production of Yours Truly and the first single "The Way" in which Grande considered "Right There" as a sequel to - that uses heavy programmed snare drums, snaps and synthesizers as complement of its sound.
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In 2000, Townsend founded The Amati Foundation, to help expand the stringed arts, specifically education in playing, making, and preserving the violin. Townsend began studying violin making under the tutelage of Ziang Mei then continued learning techniques from William Hilton (a student of Vhakn Nigogosian), and Alberti Genduso (who has studied with the German masters Horst Kloss and Karl Roy, director of the Bavarian State School of Violin Making in Mittenwald, Germany). In 2005 he introduced a wood treatment system to increase sonority and harmonics in instrument making. This system, Il Cremonese Violin Treatments, matched the ground used by Antonio Stradivari on which to apply varnish and protect wood.
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Copland especially admired Stravinsky's "jagged and uncouth rhythmic effects", "bold use of dissonance", and "hard, dry, crackling sonority". Another inspiration for much of Copland's music was jazz. Although familiar with jazz back in America—having listened to it and also played it in bands—he fully realized its potential while traveling in Austria: "The impression of jazz one receives in a foreign country is totally unlike the impression of such music heard in one's own country ... when I heard jazz played in Vienna, it was like hearing it for the first time." He also found that the distance from his native country helped him see the United States more clearly.
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Horn players were reluctant to spend far more money for a triple horn than they would for a double horn, and they were much heavier than the average double horn. Players noted that their arms became fatigued much faster. Moreover, the combination of three different horns creates issues with sonority, because the piping shared among all three sides (that is, the lead pipe and bell) are mathematically disproportionate to two or all three horn lengths. Horn makers have had to make concessions to "even out" the sound between all three, often to the loss of sound quality of each side or entire ranges of the instrument.
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"Yes, he plays like a god," Hanslick writes in closing, "and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull".Schonberg, 275 Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, > He enthralled you by his power, and he captivated you by the elegance and > grace of his playing, by his tempestuous, fiery temperament and by his > warmth and charm. His crescendo had no limits to the growth of the power of > its sonority; his diminuendo reached an unbelievable pianissimo, sounding in > the most distant corners of a huge hall. In playing, Rubinstein created, and > he created inimitably and with genius.
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The track "Make You Mad" contains lyrics about female sexual empowerment and breakups; Chris Willman from Variety said the track is not about "making a guy angry" but making "him mad with desire". A tropical-tinged song, "Make You Mad" fuses electronic music with a Caribbean flavor, using a predominant synthesized marimba sound, steelpan drums and a synth-line. The retro-styled fifth track "Deliver" is a throwback to 1990s R&B; its production incorporates influences of soul and gospel genres and modern, trap-inflected beats. The sonority of the track bears a resemblance to Mariah Carey's musical style, and uses a backing piano riff and soft vocal harmonies.
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Champignon then approached record producer Tadeu Patolla with a copy of the demo, so he could evaluate their work; as a result, Patolla convinced Chorão to sing in Portuguese and to "experiment" more with other genres such as hip hop, reggae and ska, thus developing the eclectic sonority Charlie Brown Jr. would be known for. Subsequently, Patolla introduced the group to fellow producer Rick Bonadio, and thanks to their conjoined efforts Charlie Brown Jr. was catapulted to nationwide fame following the release of their 1997 debut album Transpiração Contínua Prolongada. Chorão later confessed in an interview that, after listening to the demo after it was finished recording, he cried of joy.
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Though a similar harmonic resonance is achieved by playing nearly any series of four perfect fourths and a major third, the ubiquitous chord is most frequently spelled as above in Ginastera's compositions, regardless of the tonal center (or lack thereof) of the piece in which the chord appears. Consequently, if "Triste" is to be performed in transposition, the performers must consider the specific sonority of the E-A-D-G-B-E chord and whether it too should be transposed or left as written. 3\. Zamba With no relation to the Brazilian samba, the Argentine zamba is a graceful eighteenth century scarf dance of Peruvian origin.
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London: Oxford University Press. . Sir John Barbirolli conducted the premiere of the piece on 2 May 1956, with the Hallé Orchestra at the Free Trade Hall in Manchester. Symphony No. 8 is the shortest of Vaughan Williams's nine symphonies, with a typical performance taking just under a half hour, yet it is remarkably inventive, especially in the composer's experiments in sonority. Not only does he use a much-expanded percussion section, including "all the 'phones and 'spiels known to the composer" (as well as three tuned gongs, the same as were used in Puccini's Turandot), but the two central movements use only the wind section and string section respectively.
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Lobotomia was born in 1984 playing songs in an absolutely hardcore way. Its original formation was Caio on vocals, Adherbal Billy Argel on guitars, Grego on drums and Alfredo on bass. Punk movement was on the rise and places like Napalm, Carbono 14, Lira Paulistana, Madame Satã, Ácido Plástico and others were welcoming bands of this kind. In the end of 1985, Lobotomia was part of the Ataque Sonoro compilation by the independent label Ataque Frontal and in this album is already visible the change in the band's musical style, on a search for a new sonority and the starting fusion with other heavy sound styles.
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In his sacred music, which consists of masses, motets, and psalm settings, Pallavicino shows the influence of the Venetians, with large, spatially separated choirs, and he often wrote music for relatively large forces. He published books of motets for 8, 12, and 16 independent voices. These compositions are mainly homophonic in texture, aiming more for effect through alternation of sonority than counterpoint, a characteristic of the Venetian polychoral style. His masses are for four to six voices, and in the conservative polyphonic style of the High Renaissance; they use the parody technique, and some are based on motets by Lassus and Giaches de Wert.
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In England, the Kirkman and Shudi firms produced sophisticated harpsichords of great power and sonority. German builders extended the sound repertoire of the instrument by adding sixteen foot and two foot choirs; these instruments have recently served as models for modern builders. In the late 18th century the harpsichord was supplanted by the piano and almost disappeared from view for most of the 19th century: an exception was its continued use in opera for accompanying recitative, but the piano sometimes displaced it even there. Twentieth-century efforts to revive the harpsichord began with instruments that used piano technology, with heavy strings and metal frames.
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Mercenárias (Portuguese for "Mercenaries"), sometimes erroneously referred to as As Mercenárias, are a Brazilian all-female rock band formed in São Paulo in 1982, by bassist Sandra Coutinho, vocalist Rosália Munhoz and guitarist Ana Machado. With lyrics that heavily criticized Brazilian government and society (and sometimes the Catholic Church as well), their sonority was constantly compared to Siouxsie and the Banshees, Joy Division, Sex Pistols and above all The Slits.Mercenárias – Mofo The band ended in 1988, but reunited in 2006 with a new line-up; further changes on the band's line-up would be made in early 2015 and then in 2017. The only original founding member remaining is Coutinho.
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Their fourth album, Abalando a Sua Fábrica, came out on April 30, 2001; it was their first release as a quartet, and through new label EMI. Abalando a Sua Fábrica sees the band shifting away from their previous rap rock-inflected sonority, advancing towards a "rawer" style more influenced by punk and garage rock. It was also recorded with all instrumental parts simultaneously instead of one at a time, as if they were recording live. The following year saw the release of their first live DVD, Charlie Brown Jr. ao Vivo, recorded at a gig at the DirecTV Music Hall in São Paulo, later to be broadcast by direct broadcast satellite service provider DirecTV.
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He argues instead for finding the tempo from within the music, especially from its harmony and harmonic rhythm. He has reflected this in the general tempi chosen in his recording of Beethoven's symphonies, usually adhering to early-twentieth-century practices. He has not been influenced by the faster tempos chosen by other conductors such as David Zinman and authentic movement advocate Roger Norrington. In his recording of The Well-Tempered Clavier, Barenboim makes frequent use of the right-foot sustaining pedal, a device absent from the keyboard instruments of Bach's time (although the harpsichord was highly resonant), producing a sonority very different from the "dry" and often staccato sound favoured by Glenn Gould.
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Cabine C (, Portuguese for "Cabin C") was a short-lived Brazilian post-punk band from São Paulo. With their sonority inspired by acts such as Siouxsie and the Banshees, The Cure, Cocteau Twins and Talking Heads, and vocalist Ciro Pessoa's lyrics influenced by Romantic and Symbolist poets such as Edgar Allan Poe, Charles Baudelaire and Arthur Rimbaud, and by playwright Antonin Artaud, they are considered to be one of the first and most famous Brazilian gothic rock bands (even though Pessoa publicly rejected any associations with the goth subculture at the time), as well as forerunners of the cold wave movement in Brazil. Despite their short lifespan, they have a strong cult following to the present day.
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Aniversário do Tatu () is the debut studio album by Brazilian music duo Sandy & Junior, released by Philips and PolyGram on 1991. The album has sonority influenced by country music and was produced by the father of the duo, the singer Xororó.Dia das Crianças com Sandy & Junior: 15 sucessos da era pré- Quatro Estações Canal Viva Its released took place in the TV series Domingão do Faustão, of Rede Globo.Veja os acontecimentos que marcaram a carreira de Sandy & Junior G1 The title of the album refers to a joke with the social relations between the animals of the forest and its themes allude to the harmony of nature and the teachings that the life in the field propitiates.
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After the war, Salvi returned to Chicago and joined conductor Paul Schreiber's St. Louis Sinfonietta orchestra, with whom Salvi toured the country as a soloist from 1948 to 1950. Described by Columbia Artist Management as having been founded with "... the purpose of bringing symphonic music to audiences everywhere", Sinfonietta was a distinctively unique ensemble, "... a chamber orchestra which would have not only the delicacy and refinement of the stringed instruments, but a reasonable degree of the extended tonal altitude, color variety and sonority of the symphony orchestra – an ensemble whose instrumentation would permit equally authoritative presentation of the classic symphonies ....""The Community Concert Association presents The Saint Louis Sinfonietta" (Press Release). Columbia Artists Management. 1948. Retrieved January 13, 2014.
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While recording the song, Ferreira was inspired by the works of David Bowie "You're Not the One" displays a fusion of pop and indie rock styles while incorporating electropop as well. Ferreira stated that she conceptualized the track as a "super-poppy version" of David Bowie's eleventh studio album Low (1977); she was told that the song itself resembles the works of singer- songwriter Siouxsie Sioux. Its instrumentation is marked by the mixture of pounding, "crude" percussion and electric guitar riffs, accompanied with "tinny six-stringer scrapes". Annie Zaleski of The A.V. Club described its sonority as having "gothic overtones" and being a "homage" to the "late-80s" works of band The Cure.
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Virginie was eventually replaced by Portuguese musician Pedro d'Orey (a.k.a. Pedro Parq), who was living in São Paulo at the time and was famous for being one of the founding members of the experimental rock group Mler Ife Dada. With D'Orey, the band shifted to a more avant-garde sonority heavily reminiscent of their A Gota Suspensa era; he originally wanted to change the band's name from Metrô to "Tristes Tigres" ("Sad Tigers") in order to reflect their shift in direction,Bizz magazine, "Tigres de Pele Trocada" – September 1986 issue but Epic did not allow it. And so, in 1987, the band's second album (and the only one with D'Orey on vocals), A Mão de Mao, came out.
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Instruments from the peak of the French tradition, by makers such as the Blanchet family and Pascal Taskin, are among the most widely admired of all harpsichords, and are frequently used as models for the construction of modern instruments. In England, the Kirkman and Shudi firms produced sophisticated harpsichords of great power and sonority. German builders extended the sound repertoire of the instrument by adding sixteen foot choirs, adding to the lower register and two foot choirs, which added to the upper register. The piano was invented during the Baroque era by the expert harpsichord maker Bartolomeo Cristofori (1655–1731) of Padua, Italy, who was employed by Ferdinando de' Medici, Grand Prince of Tuscany.
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Abismo e Carnaval (Portuguese for "Abyss and Carnival") is the tenth studio album by the Brazilian musician Rogério Skylab; the first installment of what he calls the "Trilogia dos Carnavais" (Trilogy of the Carnivals). It was self- released in 2012.Rogério Skylab – Biografia Contrasting with the rock- influenced sonority of Skylab's previous releases, the three albums of the Trilogia dos Carnavais head towards a softer, less experimental direction inspired by Brazilian traditional genres, such as samba, bossa nova and MPB, and by the Tropicalista movement.Tratore – Abismo e Carnaval, Rogério Skylab MPB pioneer Jorge Mautner was a guest musician on the album; he co-wrote and provided additional vocals for the track "Palmeira Brasileira".
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The piece was composed on commission for the 80th anniversary of the Budapest Philharmonic Society. It is based on folk music of Galánta (now part of Slovakia), where Kodály lived for several years. The composer remarked: "At that time there existed a famous Gypsy band...This was the first 'orchestral' sonority that came to the ears of the child...About 1800 some books of Hungarian dances were published in Vienna, one of which contained music 'after several Gypsies from Galánta'...the composer has taken his principal themes from these old publications". Most of the pieces used were of the verbunkos style - originally developed as military recruiting music, but generalizing to a Hungarian folk tradition in the early 1800s.
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The difference between this just-tuned B and C, like that between G and A, is called the "enharmonic diesis", about 41 cents (the inversion of the 125/64 interval: 128/125 = 2^7/3^3 )). The major third is classed as an imperfect consonance and is considered one of the most consonant intervals after the unison, octave, perfect fifth, and perfect fourth. In the common practice period, thirds were considered interesting and dynamic consonances along with their inverses the sixths, but in medieval times they were considered dissonances unusable in a stable final sonority. A diminished fourth is enharmonically equivalent to a major third (that is, it spans the same number of semitones).
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The First Piano Sonata in F minor, Op. 5, is a four-movement work from 1901–3 suggesting the style of Scriabin or Rachmaninoff, but nonetheless original. Medtner's craft gained subtlety and complexity in later years, but this work is already evidence of his mastery of musical structure. An opening Allegro, dramatic and imbued like much Russian music with a bell-like sonority, is separated by an Intermezzo from a Largo divoto that reaches a Maestoso climax before plunging into the headlong Allegro risoluto finale. The Second, Third and Fourth piano sonatas are unrelated one-movement works. They were written during the period 1904–07 and published as the "Sonata-Triad", Op. 11.
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In a review of Still Urban at All About Jazz, Marc Medwin stated that while he sometimes found Frith's chamber music "not always ... satisfying", the inclusion of improvised segments on the album "keep[s] textures interesting and paces changing". Medwin said the ARTE Quartett's playing is "virtuosic", and called Frith's compositional techniques "fascinating", especially when he mixes "multi-colored sonority with extended instrumental techniques". Michael Rosenstein wrote in a review of the album in Cadence that Frith's composition demonstrates the "accomplished flexibility" of the ARTE Quartett. He said the use of field recordings and the "jagged textures" of Frith's guitar never dominates the mix, but provides a platform for the quartet's "warm reed sonorities".
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"Gerig, 236. As quoted in Sachs, 83 In his book The Great Pianists, former New York Times critic Harold C. Schonberg describes Rubinstein's playing as that "of extraordinary breadth, virility and vitality, immense sonority and technical grandeur in which all too often technical sloppiness asserted itself." When caught up in the moment of performance, Rubinstein did not seem to care how many wrong notes he played as long as his conception of the piece he was playing came through.Schonberg, 272–74 Rubinstein himself admitted, after a concert in Berlin in 1875, "If I could gather up all the notes that I let fall under the piano, I could give a second concert with them.
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The Songwriting Secrets of the Beatles. Music Sales Ltd. Omnibus Press. London 2010 p 126 Pedler's discussion with musical experts about the comparison between this Beatles song and Mahler's "Song of the Earth" revealed that none found anything relevant, except perhaps that Mahler's Farewell movement involves various shades of a C major chord and ends after a flute B-A drop (the A chord being a VI in the chord of C) with the "final sonority" of a C6 (where the C, E and G notes are from the trombones and lower strings and the A from oboe and flute,Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Ltd. Omnibus Press. London 2010 pp.
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The tuning has also been used in many other styles of music, including blues, country, folk, and classical. Due to its similarity to standard tuning, drop D is recognised as a useful introduction to alternative tunings, leading logically to an exploration of DADGAD, open D and drop D drop G (in which both the 5th and 6th strings are dropped a tone) tunings. The tuning allows for chords with a root or bass note of D to be played with a D an octave lower than with standard tuning. It also allows the playing of open D chords that include the fifth and sixth strings, letting the full sonority of the guitar be heard.
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It is also known as L'Aurora (The Dawn) in Italian, for the sonority of the opening chords of the third movement, thought to conjure an image of daybreak. It is considered one of Beethoven's greatest and most technically challenging piano sonatas. The first section of the rondo requires a simultaneous pedal trill, high melody and rapid left hand runs while its coda's glissando octaves, written in dialogue between the hands, compel even advanced performers to play in a simplified version since it is more demanding to play on the heavier action of a modern piano than on an early 19th-century instrument. An average performance of the entire Waldstein lasts about twenty-five minutes.
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Charlie Brown Jr. is the first demo tape by eponymous Brazilian rock band Charlie Brown Jr., self-released in 1994. With songs in English and a heavier sonority than what the band would develop in future outputs, inspired by acts such as Blink-182, Sublime, Bad Brains and Suicidal Tendencies, the demo was a massive success in the underground scene of Santos. Copies of it were handed out as a bonus on some issues of magazine Tribo Skate in the mid-1990s. The demo was originally recorded in 1993; according to guitarist Marcão in a 2017 interview, to finance its recording bassist Champignon had to pawn one of his bass guitars, and vocalist Chorão a television set.
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His short pieces from the 1820s are distinguished by the cold, metallic brilliance and sonority of the verse. They are dryer and clearer than anything in the whole of Russian poetry before Akhmatova. The poems from that period include fugitive, light pieces in the Anacreontic and Horatian manner, some of which have been recognized as the masterpieces of the kind, as well as love elegies, where a delicate sentiment is clothed in brilliant wit. In his mature work (which includes all his short poems written after 1829) Baratynsky is a poet of thought, perhaps of all the poets of the "stupid nineteenth century" the one who made the best use of thought as a material for poetry.
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Alexander Scriabin's Prelude in C major, Op. 11, No. 1, was composed in November 1895 in Moscow. Here Scriabin's virtuosic sustain pedaling assembles clusters of up to seven different diatonic notes in an exquisite sonority that Scriabin himself used to describe as a "psychic shift". The whole melody of this prelude consists of 240 eighth-notes, being the opening chord of this piece C-D-E-F- G-A, with the C-major tonic in the bass. The time value for each eighth note changes whenever the tempo flexes, as can be noticed in the second group of notes in the 2nd bar, which measures less than half the tempo of the second group in the 14th bar.
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Edu ComellesEdu Comelles Sound Artist ( Coordinator and Creator of Audiotalaia )Audiotalaia Audioatalaia Netlabel a Catalan Sound Artist living in Valencia, and Julian Bonequi ( Project manager and curator ) living since 2010 in Berlin. They decided to create Audition Records.Audition Records About Audition Records Audition Records documents the development of Improvisation in Europe by both native musicians and international ones who have settled here— musicians whose curiosity extends their sonority concepts all over the world. Julian Bonequi, resident artist at NK Projekt in 2010, an artist run independent non-profit organization that is dedicated to Sound Arts in Berlin, taking part in the creation and support of a "culture" with a focus on experimental music.
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Björk wanted to make an album with an intimate, domestic sound, deviating from the sonority of her previous studio album Homogenic (1997). With the rising popularity of Napster and music downloads, she decided to use instruments whose sounds would not be compromised when downloaded and played on a computer, including the harp, the celesta, clavichord, strings, and custom music boxes. Assisted by the duo Matmos, Björk created "microbeats" from various household sounds, such as that of shuffling cards and ice being cracked. Lyrically, the album revolves around sex and love – sometimes explicitly – inspired by her at the time new relationship with Matthew Barney; other lyrical sources include a poem by E. E. Cummings, Sarah Kane's play Crave, and dialogues written by Harmony Korine.
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Estampes for piano (1903) gives impressions of exotic locations, with further echoes of the gamelan in its pentatonic structures. Debussy believed that since Beethoven, the traditional symphonic form had become formulaic, repetitive and obsolete. The three-part, cyclic symphony by César Franck (1888) was more to his liking, and its influence can be found in La mer (1905); this uses a quasi-symphonic form, its three sections making up a giant sonata-form movement with, as Orledge observes, a cyclic theme, in the manner of Franck. The central "Jeux de vagues" section has the function of a symphonic development section leading into the final "Dialogue du vent et de la mer", "a powerful essay in orchestral colour and sonority" (Orledge) which reworks themes from the first movement.
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In 1987 Petracco returned to the band, and alongside new guitarist Luís Felipe "Tchê" Gomes, they released their self-titled debut studio album, TNT. With many of its tracks written by Master and Basso prior to his departure, it was a critical and commercial success, being responsible for catapulting the band into nationwide fame. A second self-titled album came out the next year, which counted with a guest appearance by Lulu Santos; drummer Felipe Jotz left the band after its release, and was replaced by Paulo Arcari. In 1991 the band's third album, Noite Vem, Noite Vai, was released; it marked a shift from their previous rockabilly-/rock and roll-inflected sonority towards a more traditional pop rock one.
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Those layers or "franjas de sonoridades" according to Argeliers León, were assigned to different instruments that were gradually incorporated to the group. Therefore, the ensemble grew from the traditional Tiple and Güiro, to a one that included: guitar, "bandurria", Cuban lute, claves, and other instruments such as the"tumbandera", the "marímbula", the "botija", the bongoes, the common "machete" (cutlass) and the accordion. Some important musical functions were assigned to the sonority layers, such as the: "Time Line" or Clave Rhythm performed by the claves, a "1-eighth note + 2-sixteenth notes" rhythm played by the güiro or the machete, the patterns of the "guajeo" by the Tres (instrument), the improvisation on the bongoes and the anticipated bass on the "tumbandera" or the "botija".
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There are three movements: #Moderato – Allegro #Adagio #Andante – Allegro In performance, the first movement takes about 14 minutes, the adagio a little under 12, and the last movement a little over 10, making this the longest of Elgar’s chamber works. His wife's first reaction on hearing the three chamber works was 'E. writing wonderful new music', and more than fifty years later The Gramophone agreed: 'Alice Elgar was quite right: it is a new urgency, pointed and refined by the discipline of writing chamber music, a discipline that clearly rejuvenated Elgar's imagination. It is big chamber music, with at times an almost orchestral sonority to it...' The Quintet was first recorded by Ethel Hobday with the Spencer Dyke Quartet for the National Gramophonic Society in December 1925.
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The most common variant, the tenor, is a non-transposing instrument pitched in B, an octave below the B trumpet and an octave above the pedal B tuba. The once common E alto trombone became less widely used as improvements in technique extended the upper range of the tenor, but it is now resurging due to its lighter sonority which is appreciated in many classical and early romantic works. Trombone music is usually written in concert pitch in either bass or tenor clef, although exceptions do occur, notably in British brass-band music where the tenor trombone is presented as a B transposing instrument, written in treble clef. A person who plays the trombone is called a trombonist or trombone player.
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The elegiac music of Rachel and of ma, the melancholy of Adeus and of Remoinho, the tender and sincerity of Meu casto lírio, of Lágrima celeste, of Descale and a score more songs are distinguished by the large, vital simplicity which withstands time. It is precisely in the quality of unstudied simplicity that João de Deus is incomparably strong. The temptations to a display of virtuosity are almost irresistible for a Portuguese poet; he has the tradition of virtuosity in his blood, he has before him the example of all contemporaries, and he has at hand an instrument of wonderful sonority and compass. Yet not once is João de Deus clamorous or rhetorical, not once does he indulge in idle ornament.
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Another approach that could be used on a two manual harpischord would be to use a coupler to make one manual play two choirs of strings (e.g., an 8' set of strings and a 16' set of strings an octave lower), so that this manual could be used for a loud solo sound, and then having another manual set to trigger only one manual, creating an accompaniment volume. Instruments from the peak of the French tradition, by makers such as the Blanchet family and Pascal Taskin, are among the most widely admired of all harpsichords, and are frequently used as models for the construction of modern instruments. In England, the Kirkman and Shudi firms produced sophisticated harpsichords of great power and sonority.
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The music of Buena Fe has a unique sound and excellent compositions. The trova influences are present in all their lyrics, which contain thoughts about the contemporary life, with contemporary sonority, allowing arrangements that makes each song fit in many Cuban genres, with influences from pop and rock. Although the experts include them in the pop genre, according to Israel they make fusion music based in the trova style; and, while having pop tendencies, they use other styles and influences as well, which allows them to present more elaborate ideas. Also according to Israel, although they don't claim to be a pop band, they are not concerned with being classified as such, but however he thinks that they do more than pop music.
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His works are best known for their sensitivity and fine tonality, their emotional resonance and deep sonority. Several of his works are quite demanding in terms of technical performance, especially in terms of left and right hand coordination, and with complicated fingerings and frequent complex bowing techniques. Much subtlety is required to achieve virtuosity in the performance of several of his pieces, for while he assimilated elements of Italian style, there is also a rich French flavour in his musical discourse and its subtlety.Comments by Erik Kocevar, Dijon, August 2001, adapted by Mary Pardoe, for a CD recording Alpha 015 of his Sonatas by Bruno Cocset and Les Basses Réunies, chapelle de l'Hôpital Notre Dame de Bons Secours, Paris, October 2000.
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The process of rubbing generates heat in the paste applied and achieves the function of drying the paste and also the frictional vibration of the surface with the stone results in a fine latticework of cracks leaving grains of syahi attached only to the base of the layer below. This structure gives the instrument its exceptional sonority and tonal quality among all percussion instruments and also the rich harmonics which range from its tuned pitch of a few hundred Hertz to a few KiloHertz. If the syahi is allowed to harden without rubbing it continuously, pockets of solidity would be left in the layers and distort the tone and also result in breakage of the grains from the layers within a short span, resulting in a jarring rattling sound during playing.
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After his meeting with Lassus in 1562, his style changed considerably, and the Netherlander became the strongest influence on him. Once Gabrieli was working at St. Mark's, he began to turn away from the Franco-Flemish contrapuntal style which had dominated the music of the 16th century, instead exploiting the sonorous grandeur of mixed instrumental and vocal groups playing antiphonally in the great basilica. His music of this time uses repetition of phrases with different combinations of voices at different pitch levels; although instrumentation is not specifically indicated, it can be inferred; he carefully contrasts texture and sonority to shape sections of music in a way which was unique, and which defined the Venetian style for the next generation. Not everything Gabrieli wrote was for St. Mark's, though.
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In January 2009, Som Livre, a label belonging to the Globo Organizations, began to distribute the Acoustic and Live DVD in partnership with Codimuc, thus starting a new phase in the band's career, with significant dissemination in the secular milieu. In December of the same year the album Horizonte Distante was released. On the album, the band merged a sonority close to alternative American rock. The repercussion of the album made the band for the first time nominated for the Latin Grammy in the category "Best Christian Music Album in Portuguese." In September 2010, the band recorded in São Paulo, their second live DVD entitled "Horizonte Vivo Distante", recorded at HSBC Brasil. The audience totaled more than 3,500 people and counted on the participation of Mauricio Manieri in "Rara Calma".
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The year of Goehr's appointment at Cambridge coincided with a turning point in his output. In 1976, Goehr wrote a 'white-note' setting of Psalm IV. The simple, bright modal sonority of this piece marked a final departure from post-war serialism and a commitment to a more transparent soundworld. Goehr found a way of controlling harmonic pace by fusing his own modal harmonic idiom with the long abandoned practice of figured bass—thus achieving a highly idiosyncratic fusion of past and present. The output of the ensuing twenty years testified to Goehr's desire to use this new idiom to explore ideas and genres that had already become constant features of his work, such as the exploration of symphonic form: Goehr returned to symphonic form in his Sinfonia (1979) and Symphony with Chaconne (1987).
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Beginning with his third album, 2010's Horror Masterpiece, Nunziati abandoned the symphonic black metal style of his previous albums to shift to a more industrial-inflected sonority. In the same year he also released a compilation containing two old extended plays of his, entitled Vampyria. In 2005 Nunziati also formed a side project named Lord Vampyr's Shadowsreign, that released only one EP and one studio album before disbanding in 2008, reuniting in 2009 and coming to an end again in 2010. Nunziati also serves as the vocalist and guitarist of the bands Nailed God,Nailed God at Myspace Cain (under the pseudonym Lord Alexander) and Malamorte.Malamorte at MyspaceMalamorte's official Facebook page In 2009, Nunziati published his first novel, the thriller Male innocente (Italian for "Innocent Evil"), through Gruppo Albatros il Filo.
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His composerly poetics, which in his homeland was quite distinct from the prevailing trend, on his change of setting and on meeting the international repertoire, acquired certain new characteristics, which invoked restraint along with the widespread labelling of his musical expression as "Impressionist" or "post-Impressionist". Such considerations are encouraged in particular by Kunc's harmony, which during his creative lifetime developed according to an expanded tonality in line with the general development of harmonic thinking. It is at the base of the refined and ever- new structure of his works, in which a luxuriant colouring alternates with harsh dissonant consonances of a remarkably expressive impression. In his piano style, Kunc pushes back the previous borders of sonority with a specific registration, imaginative use of the pedal and a new, but typically Kuncian, ornamentation.
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The main influence is from other bands of the hardcore scene at the end of the '90s in Bolzano: No Choice, Last Man Standing, Bound, although initially they are detaching from it for following various experimentations of sound contaminations. In that light, the first album "The Sky", the band proposed an unusual line-up for the genre, where, over at the classic guitarist, bassist and drummer there was a d.j./producer. The idea was to search sonority given by samplings and disc-scratchings, like proposed in crossover by Limp Bizkit and Deftons, and in industrial by Slipknot and Mushroomhead. The songs of this first record tried to have a starting direction in HxC style, like Agnostic Front or Biohazard, continuing with a skatepunk, darkwave or crossover sounds, ending even with ska.
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The tone row contains a complete ascending D harmonic minor scale and the remaining five notes are ordered so that in the inverted form they arpeggiate a jazzy added sixth chord with blue third (G, F, D, D, B). The central sonority of the work, as characteristic of Berg's later music, comprises triads separated by half an octave: F and B (in German: H) superimposed over a low D. These two letter names, H and F, are presumably a reference to Hanna Fuchs-Robettin, and the title may be a reference to her husband's wine cellar. The music of the central section of a ternary ABA structure "is a palindrome within itself," with the outer sections being through-composed.Pople (1991), pp. 17–18. Bars 112 to 140 are then heard in retrograde as bars 140 to 170.
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Uma Tarde na Fruteira (Portuguese for "An Evening at the Fruit Shop") is the fourth and final studio album by the Brazilian musician Jupiter Apple, released in 2007 by Spanish label Elefant Records. Distancing itself from its predecessors Plastic Soda and Hisscivilization, it is mostly sung in Portuguese and returns to the more "accessible" psychedelia of his 1997 debut A Sétima Efervescência, in sonority terms. The album was re-issued in Brazil by Monstro Discos in 2008, with a different cover art and track list; while the original Elefant version is more of a compilation with some previously unreleased tracks in-between,Elefant Records - Uma Tarde na Fruteira Monstro's version contains only new tracks. Music videos were made for the tracks "A Marchinha Psicótica de Dr. Soup"JUPITER APPLE - A Marchinha Psicótica De Dr. Soup [Official] and "Mademoiselle Marchand".
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This category is contrasted with the "punctual" style of early Darmstadt serialism, which nevertheless also occurs in Gruppen, along with a third category of "collective" or "statistical" swarms or crowds, too dense for the listener to be able to accurately distinguish individual notes or their order of succession . Consequently, the importance of individual notes is relatively low, so that sonority, density, speed, dynamics, and direction of movement become the main features for the listener . Nonetheless, a traditional twelve- tone row is used as its basis: Gruppen tone row (; ; ; , and show this row transposed up a tritone). See tone row for Klavierstück IX. This is a symmetrical all-interval row, in which the first half consists of the intervals of a descending major third, rising perfect fourth, descending minor third, descending minor second, and ascending major second.
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She warns writers away from trying to base their style on that of masters such as Lord Dunsany and E. R. Eddison,Ursula K. Le Guin, "From Elfland to Poughkeepsie", p 74-5 The Language of the Night emphasizing that language that is too bland or simplistic creates the impression that the fantasy setting is simply a modern world in disguise, and presents examples of clear, effective fantasy writing in brief excerpts from Tolkien and Evangeline Walton.Ursula K. Le Guin, "From Elfland to Poughkeepsie", p 78-80 The Language of the Night Michael Moorcock observed that many writers use archaic language for its sonority and to lend color to a lifeless story. Brian Peters writes that in various forms of fairytale fantasy, even the villain's language might be inappropriate if vulgar.Alec Austin, "Quality in Epic Fantasy".
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The album's success led them to open shows by bands such as Oasis, Interpol, The Magic Numbers and The Bravery throughout the year. In 2007 they took part in a show organized by MTV Brasil alongside NX Zero, Fresno, Hateen and Forfun; a live album of the performance would be released soon after. The same year, they were nominated for the MTV Video Music Brazil award, in the "Best New Act" category (after winning it two years prior in the "Best Website" category), and also for a Multishow Brazilian Music Award in the "Revelation Artist" category. 2008 saw the release of the band's second and ultimately final album, Como Se Comportar; produced by British producer Paul Ralphes, who previously worked with Sandy & Junior, Gabriel Marques described its sonority as "heavily influenced by the soundtracks of Ennio Morricone and films by Quentin Tarantino".
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Maurício Pereira and André Abujamra (son of the late Antônio Abujamra) met in 1984, at a lecture about African percussion instruments and music (what inspired them to choose the name "Os Mulheres Negras" later on). United by their similar musical tastes and convictions, they began to write material together the following year, and perform in bars around São Paulo, usually wearing stylized, colored overcoats and straw bowler hats. Their unusual style caught the attention of WEA (present-day Warner Music Group), who offered them a contract; in 1988 they released their debut, Música e Ciência, produced by Pena Schmidt. Characterized by a heavily eclectic sonority which mixed numerous genres, such as samba, baião, lambada, música sertaneja, rap music, Muzak and the works of The Beatles, Heitor Villa-Lobos, George Gershwin and Tom Jobim, it was a commercial failure despite the good critical reception.
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Kings of Chaos is the third studio album by British symphonic black metal band Hecate Enthroned. It was released in 1999 via Blackend Records, and it was the band's first album to feature Dean Seddon as vocalist (who replaced the former one, Jon Kennedy, who was fired in the same year) and keyboardist Darren "Daz" Bishop (who replaced Michael Snell). With this album, Hecate Enthroned greatly tones down their previous symphonic black metal sonority and aesthetics, dropped the corpse paint used on the previous few albums and adopting a style more reminiscent of melodic blackened death metal, albeit still retaining the keyboards and dark black metal melodies of the older albums. The track "I Am Born" is the first part of the "I Am Born" trilogy; the second part can be heard on 2001's Miasma, and the third one on 2004's Redimus.
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The CGDA tuning used was re-entrant with the C and D tuned in the same octave and the G and the A tuned in the same octave, lowering the overall tone. The tuning and scale length give this very unusual four string guitar a sonority that is very close to that of the six string guitar, compared to a regular tenor guitar. Selmer heavily promoted the EFS guitar through the Melody Maker and Eddie Freeman even wrote a special tune for it called 'In All Sincerity'. There are also promotional photos of the well-known British singer, banjoist and guitarist Al Bowlly, playing the Eddie Freeman Special and it can be seen in use by Ray Noble's guitarist in a recording session photo of his orchestra. This guitar was not commercially successful in the 1930s, possibly due to concerted resistance by the British six-string guitar fraternity, particularly Ivor Mairants.
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Fellini was a Brazilian rock band formed in São Paulo in 1984 by Cadão Volpato (vocals, harmonica), Jair Marcos (guitar), Ricardo Salvagni (drums and percussion), and former Voluntários da Pátria and Smack member Thomas Pappon (bass and occasionally other instruments). One of the most well-known bands of the Brazilian underground scene of the mid-1980s (and having a strong cult following to the present day), Fellini originally began as a straightforward post-punk band influenced by acts such as Joy Division, The Stranglers and The Durutti Column, but would gradually develop a more eclectic sonority that mixed post-punk with other genres such as MPB, new wave and samba rock, acquiring a unique, almost non-descript musical style. Fellini was first disestablished in 1990, but re-established in 2002 until ending again in 2010. A further reunion of the band was announced in early 2016.
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In 2009 he also collaborated with Irish band Kíla to produce the soundtrack for the beautifully and uniquely animated feature film, The Secret of Kells, which tells the story of a parentless boy, Brendan, and his involvement with The Book of Kells. The music is equally light and dark and the textures and sounds equally European and Irish. In 2013, he wrote the soundtrack for "Lady Ô", the evening show of the Futuroscope, directed by Skertzò and starring Nolwenn Leroy as the storyteller. Bruno Coulais's musical style may vary significantly between different projects, but there are some constant factors visible: his taste for opera and for human voice (in particular that of children), for a search for original sonority, for world music and mixing different musical cultures, and finally, a certain tendency to give preference to the ambience created by lighting rather than the film's narration.
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The task of whoever wants to draw a true, deeply sincere portrait of a disappeared man is made difficult. In doubt, it suffices to allow one's heart to speak and to simply say what one knows; age and experience having taught us to judge the expression of our feelings. Those who have not heard him can not imagine the male sonority combined with a nobility of style of a rare dignity he had. His charm without concession to facility, his astounding technique, always ready and always at ease, his sovereign authority in the playing style as well in the attitude, as far from the morgue as the false modesty; in short, these qualities so diverse, united in such right proportions, made him an inevitable choice among all the virtuosos of all countries for the ensembles of Enesco, Kreisler, Cortot, Thibaud, Casals, Francescatti, or Saint-Saens, Debussy, d'Indy and so many others.
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Produced by Apollo 9 and counting with guest appearances by Skowa, Bebel Gilberto, former Mundo Livre S/A bandmate Fred 04 and Erasto Vasconcelos (brother of Naná Vasconcelos), it received a good critical reception, and Pro-Música Brasil chose it as the best album of 1998. The album catapulted Otto into nationwide acclaim, later leading him to open shows for bands such as The Prodigy in the same year,Não Pulo uma Faixa (Otto – Samba pra Burro) and in 1999 he played alongside Tom Zé at the Heineken Concerts in São Paulo. In 2000 a remixed version of Samba pra Burro was released, also through Trama, entitled Changez Tout. Otto's subsequent album, Condom Black, released in 2001, saw him advancing into a "more organic" sonority, in his words, but without abandoning the electronica influences. As with his previous album, Condom Black was also produced by Apollo 9.
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This Impromptu is written in rondo form, A1–B1–A2–B2–A3. The returning A section appears always in the tonic, F minor; the first B section, B1 is in A major, the relative major, whereas B2 is in the tonic. This structure can also be interpreted as a sonata form without a development section, supporting the view of the four Impromptus as movements of a single sonata. The B episodes contain a passage invoking a unique pianistic effect: the left hand presents short melodic fragments in the form of antecedent and consequent, steadily alternating between the upper (antecedent, creating a crossing of the hands) and lower (consequent) registers of the instrument; the right hand accompanies with an even flow of semiquaver arpeggios in the middle register; the sustain pedal further enriches the sonority, and the dynamics are mostly pianissimo, as often in Schubert's music.
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Gray continues: > The French masters of the method and their imitators in other countries > confined their attention for the most part to an exploitation of the > possibilities afforded by the upper reaches of the orchestral register, and > to the attainment, principally, of effects of brilliance and luminosity. > Debussy's writing for the lower instruments, and for the double-bases in > particular, is as a general rule timid and conventional in comparison with > his treatment of the higher instruments, as a result, doubtless, of his > exaggerated fear of thickness of texture. In The Oceanides Sibelius has > explored the lower depths of the orchestra more thoroughly than any one had > previously done, and applied the impressionist method of scoring to the bass > instruments, thereby achieving effects of sonority hitherto unknown. While conceding the impressionistic feel of The Oceanides, Nils-Eric Ringbom warns that the comparison with Debussy should not be taken too far.
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An excerpt from "Credeasi, misera", act 3. The notes highlighted (above the high C) are among the highest demanded in tenor operatic repertoire and are usually sung falsetto or altogether transposed. In regard to the impact of the act 2 finale number and its significance in librettist Carlo Pepoli's work as well as in Bellini's music so far, Mary Ann Smart provides one explanation for the power of Suoni la tromba by referring to work of another musicologist, Mark Everist, who, she states "has plausibly suggested that the frenzy was provoked more by the buzzing energy of the two bass voices combined, an unprecedented sonority at the time, than by the duet’s political message".Mark Everist, in But, she continues to analyse other aspects of the duet: > We should also factor in the force of Pepoli's verses with their promotion > of martyrdom and the utter regularity of the music's march-like phrasing, > rare in Bellini's ethereal style.
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The Kevrenn Alre during the Festival interceltique de Lorient 2009 Kevrenn Alre ("Bagad and Celtic Circle of Auray" in Breton language) is a group of music and dance of Breton traditional inspiration, created in 1951, by railroad employees of the marshalling yard of Auray (Morbihan, Brittany). Eight times national champion of bagadoù and ten times national champion of Breton dance, Kevrenn Alre takes place in an avant-gardist position of a Breton cultural movement (Bagad, Celtic circle, show / concert) and of pioneer by compositions and scenic creations combining modernism, musical fusions and dances. The musicians, devoted workers with a union which makes their strength, built up to themselves a style, a sonority jazz with the addition of a writing desk clarinet stemming from the music school, and the working habits, as the week of repetition before Lorient competition. Training is since its inception in relation to Celtic nations, in his music and in his travels.
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Edgard Varèse, who explored noise in an orchestral setting. In the 1920s a fashion emerged for composing what was called "machine music"—the depiction in music of the sounds of factories, locomotives, steamships, dynamos, and other aspects of recent technology that both reflected modern, urban life and appealed to the then-prevalent spirit of objectivity, detachment, and directness. Representative works in this style, which features motoric and insistent rhythms, a high level of dissonance, and often large percussion batteries, are George Antheil's Ballet mécanique (1923–25), Arthur Honegger's Pacific 231 (1923), Sergei Prokofiev's ballet Le pas d'acier (The Steel Leap, 1925–26), Alexander Mosolov's Iron Foundry (an orchestral episode from his ballet Steel, 1926–27), and Carlos Chávez's ballet Caballos de vapor, also titled HP (Horsepower, 1926–32). This trend reached its apex in the music of Edgard Varèse, who composed Ionisation in 1931, a "study in pure sonority and rhythm" for an ensemble of thirty-five unpitched percussion instruments.
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Leeds Musical Festival Concert Programmes (1886, 1901, 1907), Arts & Humanities Research Council website, accessed 9 June 2014 Reviewing King's performance in the latter work, Herman Klein, in Musical Notes, called him: > ...a talented and conscientious artist, who invested his music with all the > dramatic significance and sardonic humour of which it was susceptible. Truth > to tell, there is not much diabolical in Longfellow's fiend, and it would > seem as though Sir Arthur Sullivan had sought on occasion to atone for his > comparative mildness by applying a background of orchestration worthy in its > sonority of Berlioz or Wagner. Whether Satan could make himself heard in > Pandemonium may be an open question, but undoubtedly there are moments in > The Golden Legend when Lucifer's human representative, be his voice ever so > stentorian, is bound to be inaudible. All that artistic singing could do to > lend the character its proper prominence was done by Mr. King.
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During a trip to Rio de Janeiro in late 2001, Virginie, Roland and Laouenan met, and after being approached by their former producer/manager, Luiz Carlos Maluly, talks about a possible reunion began, which eventually came to happen the following year with the recording of their first studio album in 17 years: Déjà-Vu, released by independent label Trama. Alec Haiat decided not to partake in the reunion due to "personal reasons" and his involvement with other projects at the time, and so was replaced by Patife Band and Okotô member André Fonseca. Xavier Leblanc, who was also very busy with his bistro, only served as a session member on two tracks, being subsequently replaced by Pedro Albuquerque. Heavily inspired by folkloric Brazilian songs, samba, bossa nova and MPB both in sonority and lyrical themes, Déjà-Vu counted with the participation of a vast array of guest musicians, such as Preta Gil, Jorge Mautner, Nélson Jacobina, Lucas Santtana, Waly Salomão and Otto.
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Abalando a Sua Fábrica (Portuguese for "Shaking Your Premises"), also referred to as 100% Charlie Brown Jr. – Abalando a Sua Fábrica as per the cover, is the fourth studio album by Brazilian alternative rock band Charlie Brown Jr.. Released on April 30, 2001 through EMI, it was the band's first album not to come out through Virgin Records, to count with guest appearances by other musicians, and to be produced by either Rick Bonadio or Tadeu Patolla. Abalando a Sua Fábrica sees the band shifting away from their previous rap rock-inflected sonority, advancing towards a "rawer" style more influenced by punk and garage rock. It was also recorded with all instrumental parts simultaneously instead of one at a time, as if they were recording live. The album spawned three hit singles: "Lugar ao Sol", "Hoje Eu Acordei Feliz" (which had a critically acclaimed music video directed by filmmaker André Abujamra) and "Como Tudo Deve Ser", included in the soundtrack of SBT's reality show Casa dos Artistas.
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Compared to other major chamber works by Schubert, such as the last three string quartets and the string quintet, the Trout Quintet is a leisurely work, characterized by lower structural coherence, especially in its outer movements and the Andante. These movements contain unusually long repetitions of previously stated material, sometimes transposed, with little or no structural reworking, aimed at generating an overall unified dramatic design ("mechanical" in Martin Chusid's words). The importance of the piece stems mainly from its use of an original and innovative harmonic language, rich in mediants and chromaticism, and from its timbral characteristics. The Trout Quintet has a unique sonority among chamber works for piano and strings, due mainly to the piano part, which for substantial sections of the piece concentrates on the highest register of the instrument, with both hands playing the same melodic line an octave apart (having been freed to do so by the inclusion of both cello and bass in the ensemble).
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E. Ruth Anderson: Contemporary American Composers - A Biographical Dictionary, Second edition, p. 534. Also, his original composition Obstreperous Sonority Number 2a for string orchestra won the student concerto competition in 1973, and the following year his work Encounter Number One for large orchestral also won the competition. In 1976 he joined the faculty of the University of Georgia in Athens, Georgia as an assistant professor and taught both music theory and composition. He became associate professor in 1982,David M. Cummings and Dennis K. McIntire: International Who's Who in Music and Musician's Directory - (in the Classical and Light Classical Fields) Thirteenth edition, 1992/93, p. 1147 and full professor in 1996. He has been professor emeritus since 2012. As a composer he has written and published more than 110 works for a variety of ensembles with such firms as the American Composers Alliance, Brixton Publications, Wiltshire Music Company, Hal Leonard Corporation, Jon Ross Music, LLC, and seven other publishers.
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As Pish-Tush in The Mikado (1885) In the original production of The Mikado at London's Savoy Theatre (1885–1887), Bovill joined the D'Oyly Carte Opera Company, where he originated the supporting role of the Japanese nobleman Pish-Tush.Stone, David. "Frederick Bovill", Who Was Who in the D'Oyly Carte Opera Company, 27 August 2001, accessed 24 May 2018 As part of the role, it was intended that Bovill should sing the bottom line in the madrigal "Brightly dawns our wedding day", which includes a bottom F. Bovill, however, was unable to produce this note with sufficient sonority, so shortly after the opera premiered, the character of Go-To, another "Noble Lord", was created to sing the bass line in this number (and to speak an introductory line of dialogue); Rudolph Lewis was cast in this role, while Bovill continued to play the rest of the role of Pish-Tush throughout the run.Ainger, Michael.
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One of the earliest and most extreme examples is the orchestral music for the ballet Midas (1970), which contains quotations from the works of Johann Strauss, Jr., Gustav Mahler, Antonio Vivaldi, and John Blow. This return to familiar material was seen on the one hand as the emergence of "a more individual style" , displaying "a rare talent for musical comedy as well as a habit of boldly exploring the possibilities of avant-garde matter in a joyful manner" . On the other hand, particularly by American critics reviewing printed scores rather than performances, this was regarded as a "haphazard and sketchy" carelessness of vertical or linear movement, resulting in textures "perforated by absentminded silences" —an arbitrary and unjustified usage of clichés from the "catalog of newly-invented and already- used-up effects" in vogue at that time, as well as an indifference toward sonority, intensified by a "gaucheness of the 'traditional' passages" . Although different sylistic fields often overlap in Dutch music of the 1970s and 1980s, Bois did not adopt the minimalism that became fashionable at that time in the Netherlands.
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Equivalent instruments in the key of BB and CC were produced by instrument manufacturers for marching bands who wished to possess the sound of these contrabass bugles, generally regarded as "darker", without losing hornline sonority by having the basses in a different overtone series from the rest of the hornline (or requiring marching tubists to learn another set of fingerings for tuba parts originally written for BB and CC instruments). In the 2000s, contrabass bugles often have three or four valves, as is common on concert tubas. Like most of their concert counterparts, they are pitched in either C or BB♭, although within the dwindling number of drum corps still using older instruments, they are, like the rest of the traditional bugle line, pitched in the key of G (or GG, depending on which naming convention is used). Instruments in any of these keys are generally larger in modern times compared to their older counterparts, although improved materials and construction techniques in the manufacture of instruments allows them to be made stronger and lighter than before.
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La Mano Ajena is a Chilean band founded in 2002 that mixes rhythms from Eastern Europe, Latin America, France and Russia, blending all these sounds in a pastiche that also unites the tendencies of each member of the band: rock, punk, Latin American folklore and theater music. This musical project is unique in Chile, and its hybrid sound has been called "klezmer a la chilena" by press.Review of the album "La Mano Ajena" in El Mercurio Online, the main Chilean newspaper, where this term is used by the first time in press Its first references were Jazz manouche, Klezmer, Balkan and Gypsy music, rhythms to which later they would incorporate Latin influences like Cumbia, Mambo, Cha-cha-cha, Tango and Rumba; creating a cosmopolitan sonority. From its beginning, the band was a precursor in spreading the Gypsy, Balkan and Klezmer rhythms in Chilean stages; and today, after almost a decade, they are one of the most important and celebrated bands from the so called “new culture of musical carnival” that has taken place in Chile in the last years.
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1923 was a very important year for Basiola: he was cast for a U.S. tour with the San Carlo Opera Company, headed by impresario Fortunato Gallo. He debuted on October 3 at New York's Century Theatre in Aida and Otello. Through 1925 he sang in all the major American theaters, mainly in Verdi roles but also (as arch-villain Barnaba) in La Gioconda, Tonio in Pagliacci (in which he was to make a stunning complete recording in 1934 for HMV back in Italy with the great Gigli as Canio) and Escamillo in Carmen, with robust success: critics praised his vocal sonority and homogeneity throughout all registers, with such a wide range and clarity of color as to compare it to a tenor's voice. In June 1924 Basiola sang at the Ravinia Festival, performing with Lauri-Volpi in Lucia di Lammermoor and Rigoletto. For the 1925-1926 season, renowned impresario Giulio Gatti-Casazza engaged him for the Metropolitan Opera in New York, where he remained until 1932. He debuted on November 11, 1925 in Aida alongside Elisabeth Rethberg and Giovanni Martinelli, under the direction of Tullio Serafin, followed by Madama Butterfly with Beniamino Gigli.
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Central to this was an exploration of the harmonic spectrum, and by the invention of new playing techniques the aim to bringing out, and sometimes to isolate, the upper partials of complex sounds, on which new spectra could be built. The harmonic relationships in his music are based on these spectra and on the phenomena of sum and difference tones. The opening sonority of his fourth string quartet (1976–87), for example, is based on partials 21, 22 and 43 of a low C fundamental; this is an example of what Rădulescu referred to as "self- generating functions" in his music, as partials 21 and 22 give in sum 43 and in difference 1, the fundamental. (On a C fundamental, partials 21, 22 and 43 are all different, microtonally distinct kinds of F, the 21st partial being 29 cents lower than tempered F, partial 22 being 51 cents higher and partial 43 12 cents higher.) Much of his music for strings makes use of a "spectral scordatura", where the open strings are retuned, often to simulations of the partials of a single harmonic spectrum.
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Critical opinion was divided. In his review of the work, César Cui acknowledged the importance of the work and its "almost political significance", but was less complimentary about the work itself: > ...choral sonority is exploited with skill and effectiveness; unfortunately, > the higher register predominates... [this] gives an impression of festive > brilliance and magnificence at first, but then lose their fascination as a > result of too frequent repetition... [Tchaikovsky] has brought to his > Liturgy an experienced, practised hand and a sense of decorum, rather than > powerful inspiration... wholly satisfactory and estimable though it be in > itself, [it] holds only secondary place among his other works. Ambrose, the vicar of Moscow, was particularly opposed to the work; he published a letter in the Rouss, in which he asserted that the public performance of the liturgy was a profanation. "We cannot begin to say how the combination of the words 'Liturgy' and 'Tchaikovsky' offend the ear of the Orthodox Christian", he wrote, and asked what would happen if a Jewish composer should create a setting of the liturgy: "our most sacred words would be mocked at and hissed".
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