The mighty strophes of Linton Kwesi Johnson (9) (weirdly unnamed on his first record, simply attributed to Poet and the Roots) fly across the ocean from a place much more unsettled than our reasonably tranquil acres of ruins.
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The manuscripts do not group the strophes, and they are usually regarded treated as standing alone, rather than forming the multi-strophe poems typical of later Minnesang. However, the first two strophes, which differ in form from the rest, seem to for a "Wechsel", that is a song with a strophe from each of a pair of lovers. The two strophes of the "Falkenlied" ("falcon song") clearly belong together. Possibly other pairs of strophes belong together, even though separated in the manuscripts, but this is not amenable to a definitive conclusion.
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A bout is a stereotyped repetition of one to five notes which are called a phrase. Between two and 20 phrases are sung are short bursts which are called strophes. In-between strophes are periods of silence, and this is referred to as the inter-strophe pause. Therefore, a great tit sings several strophes of one song type before switching to a bout of another song type from their repertoire.
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The 15 strophes of Der von Kürenberg's lyrics in the Codex Manesse, folio 63v.
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The 20-bar long work (16 bars plus repeat of the lats 4 bars) in D-flat major, which is scored for choir, uses five strophes. There is also a setting for choir. The revised, 16-bar long Tafellied uses three strophes.
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The first three strophes describe attributes of the Theotokos, while the fourth consists of a prayer for intercession.
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The poem, in monorhyme, is structured in five strophes of five lines each in a meter adapted from the classical asclepiad. In form, Foebus abierat also resembles 8th–9th-century Latin poems in simple rhymed strophes and draws on the vernacular ballad tradition.Dronke, "Learned Lyric and Popular Ballad," pp. 169–171.
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72 of the New Hymnal.Helmut Gneuss, Hymnar und Hymnen im englischen Mittelalter (1968). The hymn has 12 strophes of 4 verses each as originally recorded;in modern translations it is often reduced to 11 or fewer strophes. The Old High German interlinear version in Bodleian Junius 25 begins Tagarod leohtes lohazit.
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The last two strophes run together and are a prayer to the Virgin on behalf of the people of Florence.
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The chronicles of Beneš Krabice of Veitmil Also strophic structure, language and undulating melody and harmonization confirm that assumption. The text of the song had originally three strophes. To the chant, originally in Old Czech, some new strophes have been added and also removed from over the centuries. Its final form becomes from the turn 18th and 19th century and in that version is still used today.
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It survives in two recensions, associated with Strasbourg and Vorau. The poem was found by Barack in a Strasbourg manuscript of the late 11th century; but only a few strophes are given. The whole song consists of 34 strophes in a later version, the Vorau manuscript. The poem is written in the East Franconian dialect; it relates in earnest language the creation, fall, and redemption of mankind.
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The individual strophes are indicated by blue and red Lombardic capitals, some of which are elaborate. Unlike the Codex Manesse it has no miniatures showing the poets.
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The song consists of a loud series of strophes each made up a high harsh notes that accelerate into a jangling mix with some clear slurred notes interspersed before stopping abruptly.
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Peter Godman (1985), Latin Poetry of the Carolingian Renaissance (Norman: University of Oklahoma Press), 29-31 (analysis), 180-187 (poem, with translation). The poem consists of thirty-three strophes and three verses.
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Strophes pour se souvenir, as inscribed on the monument honoring the FTP-MOI in Père Lachaise Cemetery "L'Affiche rouge" is a song from the album Les Chansons d'Aragon (1961) by Léo Ferré. Its lyrics are based on the poem Strophes pour se souvenir (Strophes to remember) which Louis Aragon wrote in 1955 for the inauguration of a street in the 20th arrondissement in Paris, named "rue du Groupe Manouchian" in honor of 23 members of the FTP-MOI executed by the Nazis in the Mont-Valérien. The affair became known by the name of the Affiche rouge ("Red Poster") because the Germans plastered Paris in the spring of 1944 with thousands of red posters denouncing those executed as immigrants and Resistants. The poem paraphrases Missak Manouchian's last letter to his wife.
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The poem preserved as separate stanzas interspersed among the text in Hervarar saga ok Heiðreks. The poem in the saga consists of 29 strophes or parts of strophes, of which most are narrative not speech. Much of it is now in prose form, though it is thought that the original had been verse, with some textual evidence in the prose for a versic original. Tolkien supposes that it originally formed a complete narrative in itself, outside of the context it is now found in the saga.
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Bruckner composed the lied on five strophes of Oskar von Redwitz' . Oskar von Redwitz, Amaranth (29. Auflage), Franz Kirchheim, Mainz, 1874, pp. 72-74 He dedicated the work to Friedrich Mayer, prelate of the St. Florian Abbey.
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Literary scholar Kathy Rugoff says that "the poem...has a broad scope and incorporates a strongly characterized speaker, a complex narrative action and an array of highly lyrical images." The first version of "When Lilacs Last in the Dooryard Bloom'd" that appeared in 1865 was arranged into 21 strophes. It was included with this structure in the fourth edition of Leaves of Grass that was published in 1867. By 1871, Whitman had combined the strophes numbered 19 and 20 into one, and the poem had 20 in total.
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The 20-bar long work in D-flat major is scored for choir. The sung begins with a Bruckner's typical octave leap in all four voices. In 1906, Franz Xaver Müller added three additional strophes to the song.
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Also in the melodic line one can find characteristics similar to the morna (check main article — morna), for example the alternation between the main strophes and the refrain, the sweeping melodic line, the syncopation, etc. has changed it a little.
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Ernoul's poems have relatively long strophes of eleven, twelve, or fifteen lines. He typically uses octosyllables mixed with hexa- or heptasyllabic lines. His melodies are in the authentic G mode with strong tonal centres. They are written in bar form.
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The number of songs for each poet ranges from two (Reinmar der Junge) to 151 strophes (Walther von der Vogelweide). The appendix consists of 56 verses without names and initials. They can be attributed to known poets on the basis of other manuscripts.
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Poems from Rilke's The Book of Hours were used. New, free translations into English were employed. Other tracks were based on some of the Blue Estuaries poems of Louise Bogan; these were written in strophes. The title track was written by Fleurine.
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Der von Kürenberg (Codex Manesse, 14th Century) Der von Kürenberg or Der Kürenberger (fl. mid-12th century) was a Middle High German poet and one of the earliest Minnesänger. Fifteen strophes of his songs are preserved in the Codex Manesse and the Budapest Fragment.
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Its music, at least that of the first two strophes, can be found in manuscript BnF lat. 1154, folio 132r. The poem has been translated into English by Peter Godman.Peter Godman (1985), Latin Poetry of the Carolingian Renaissance (Norman: University of Oklahoma Press), 206-211.
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Only the second part of that act, starting from Margyane's Strophes and the Finale was mostly preserved. Also, in the revised version, the Mouck's couplets from the first act and the small incidental role for Ali (the second tenor) from the second act were eliminated.
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The heroes of the epic are the Lusiads (Lusíadas), the sons of Lusus—in other words, the Portuguese. The initial strophes of Jupiter's speech in the Concílio dos Deuses Olímpicos (Council of the Olympian Gods), which open the narrative part, highlight the laudatory orientation of the author. In these strophes, Camões speaks of Viriatus and Quintus Sertorius, the people of Lusus, a people predestined by the Fates to accomplish great deeds. Jupiter says that their history proves it because, having emerged victorious against the Moors and Castilians, this tiny nation has gone on to discover new worlds and impose its law in the concert of the nations.
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Shil was born to Chandi Charan Shil and Rajkumari Shil. Shil got his breakthrough in 1945 when he defeated Sheikh Gumani in a song contest arranged by the Nikhil Bharat Banga Sahitya Sammelan in Calcutta. In the contest, they improvised verses and hurled strophes and antistrophes at each other.
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Each of the motet's four proportional sections has two sub-sections, suggesting even an eight-part structure. The first of these sub-sections includes just the two upper voices (bicinium), while the second not only is sung by all voices but also features the entry of the two instrumental tenor parts. This large-scale plan contradicts the poetic structure of the text in the upper voices, which is divided into four strophes of seven lines, each consisting of either seven or eight syllables. The first two strophes describe the event being celebrated: "recently roses bloomed in the bitter cold of winter, adorning the Church; today it will be consecrated by Pope Eugenius with holy hands and oils".
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Scholars including Jacob Grimm, J.R.R. Tolkien and E.O.G. Turville-Petre have identified a stream of humanistic philosophy in the Icelandic sagas. People described as goðlauss ("without gods") expressed not only a lack of faith in deities, but also a pragmatic belief in their own faculties of strength, reason and virtue and in social codes of honor independent of any supernatural agency. In his Teutonic Mythology (1835), Grimm wrote: In Myth and Religion of the North (1964), Turville-Petre argued that many of the strophes of the Gestaþáttr and Loddfáfnismál sections of the Havamal express goðlauss sentiments despite being poetically attributed to the god Odin. These strophes include numerous items of advice on good conduct and worldly wisdom.
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In the 20th century classic strophes went out of use together with regular verse. Jarosław Iwaszkiewicz used Sapphic stanza in the poem Marzec w Paryżu (March in Paris). It is composed of four stanzas and three are Sapphic ones. Only the last one is made up of four hendecasyllabic lines.
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A few strophes are collected in the Weingarten Manuscript and the Kleine Heidelberger Liederhandschrift, the latter under the name of Niune.Peter Weidisch: Otto von Botenlauben. Minnesänger, Kreuzfahrer, Klostergründer. Schöningh, Würzburg 1994, (Bad Kissinger Archiv-Schriften 1)Bernd Ulrich Hucker: Das Grafenpaar Beatrix und Otto von Botenlauben und die deutsche Kreuzzugsbewegung.
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Jehiel ben Asher was a Jewish liturgical poet; flourished in Andalusia in the fourteenth and fifteenth centuries. He was the author of four liturgical poems, mentioned by Zunz ("L. G. " p. 520), and of a dirge of twenty-five strophes on the persecution of the Jews in Spain in 1391.
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Veni redemptor gentium [= Intende qui regis Israel] (OH 34). With respect to the first three, Augustine quotes from them and directly credits their authorship to Ambrose. Internal evidence for No. 1 is found in many verbal and phrasal correspondences between strophes 4-7 and the “Hexaëmeron” of the Bishop.Patrologia Latina vol.
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611-614 Under the name of Helpidius, the "former quaestor", we have twenty-four strophes of three hexameters each, on scenes from the Old and New Testaments. Sixteen of these scenes correspond to one another, e.g. as type and fulfilment. These verses were probably intended as texts for the decoration of a church.
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' (Latin for "Bread of Angels" or "Angelic Bread") is the penultimate strophe of the hymn "" written by Saint Thomas Aquinas for the feast of Corpus Christi as part of a complete liturgy of the feast, including prayers for the Mass and the Liturgy of the Hours. The strophe of "" that begins with the words "" ("bread of angels") has often been set to music separately from the rest of the hymn. Most famously, in 1872 César Franck set this strophe for tenor voice, harp, cello, and organ, and incorporated it into his '. Other hymns for Corpus Christi by Saint Thomas where sections have been separately set to music are "" (the last two strophes begin with "") and "" (the last two strophes begin with "").
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The finding that drove their hypothesis was that the males were able to recover a high percentage performance by switching song types. If the male was producing shorter strophes and having longer inter- strophe pauses (low percentage performance), then by switching to a different song type the bird would once again be able to produce longer strophes and have shorter inter-strophe pauses. Lambrechts and Dhondt proposed the anti- exhaustion hypothesis, which provided both a functional and casual explanation for the song switching behaviour in birds along with having song repertoires. The anti-exhaustion hypothesis stated that when it is necessary for a bird to sing for a prolonged period of time at a high rate, it must continuously switch song types.
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The Versus is written in asclepiadic strophes, quatrains, monorhymed but with lines of varying length. The music for the play survives (the whole thing was sung) in Aquitainian neumes and its melodic structure mirrors its poetic. The play is preserved along with the Verses pascales in codex 105 of the Episcopal Museum of Vic.
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All strophes rhyme ABAB. The Sapphic stanza is still used in translations form Sappho's or Horace's poems. The scheme of Sapphic stanza is so recognizable, that it can be preserved even in free verse. Lucylla Pszczołowska points out that Czesław Miłosz sometimes composed four-line stanzas with last line of five syllables and other lines of different length.
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Torrell, Jean-Pierre. Saint Thomas, Catholic University of America Press, 1996, pp. 129-136 This included such famous hymn as Panis angelicus, and Verbum Supernum Prodiens the last two strophes of which form the Benediction hymn O Salutaris Hostia. The last two verses of Pange Lingua are sung as the hymn Tantum Ergo, also used at Benediction.
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The 317-bar long composition in G minor, scored for male choir and orchestra (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, contrabass tuba, timpani, cymbal and strings), is set as a three-part sonata form with coda. The piece is full of strength and enthusiasm, and carries the mark of Wagner's influence.Patrick C Waller review for Barenboim's BPO Bruckner cycle The orchestral introduction depicts already the atmosphere of storm and fate, which hangs over the text. The first part (first three strophes) depicts the approach of the enemies and the announcement of the prayer, the mid-part (next two strophes) depicts the invocation of the deity, and the third part (reprise with development) depicts the storm and the sinking of the enemies.
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It includes an overture and seven choruses. The choruses are set in the style of Greek chorus, with strophes and antistrophes sung antiphonally by the two choirs, with additional passages of recitative. The first performance took place at the New Palace, Potsdam on 28 October 1841. A public performance followed a week later at the Berlin State Opera on 6 November 1841.
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Two of the added strophes may be quoted here to illustrate the possible reason (but also a misconception of doctrine in the apparent assumption of the lines) for the modification of the original hymn: :Velut infirma vascula :Ictus inter lapideos :Videntur sancti martyres, :Sed fide durant fortiter. :Non fidunt suis meritis, :Sed sola tua gratia :Agnoscunt se persistere :In tantis cruciatibus.
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In February 1986, the band released their eight studio album, Osmi nervni slom (Eighth Nervous Breakdown). The album was produced by Kornelije Kovač. It featured British reggae musician Eddy Grant on vocals in the song "Amsterdam". Grant was, after his concert in Belgrade, persuaded by Riblja Čorba members to come to the studio and sing two strophes of the song.
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This seems to be the only explanation for the so-called canones first found in the collection of Andrew of Crete. While a canon is a combination of a number of hymns or chants (generally nine) of three or four strophes each, the "Great Canon" of Andrew actually numbers 250 strophes, a "single idea is spun out into serpentine arabesques". Pseudo-classical artificiality found an even more advanced representative in John of Damascus, in the opinion of the Byzantines the foremost writer of canones, who took as a model Gregory of Nazianzus, even reintroducing the principle of quantity into ecclesiastical poetry. Religious poetry was in this way reduced to mere trifling, for in the 11th century, which witnessed the decline of Greek hymnology and the revival of pagan humanism, Michael Psellus began parodying church hymns, a practice that took root in popular culture.
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The valona is a popular narrative song- and poetry-form of the Mexican state of Michoacán. Its main characteristics are a bitter sense of humor, bawdy content, and social concerns. The lyrics of a Valona are composed as groupings of ten-line strophes, each line made up of eight syllables; musically, all valonas are sung (in fact, almost recited) to just a single tune, with an instrumental refrain after each strophe, which can vary. As a narrative popular genre, the valona is literarily and musically related to the Mexican corrido, and because of its stylistic, it is akin with other Mexican genres composed in ten minor-verse strophes (décimas or espinelas), such as some huapangos and the son arribeño, along with certain other Latin American genres, such as the Chilean run-run and the rhapsodes of the Argentine payadores.
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Cyprian Kamil Norwid, a poet regarded as one of the greatest Polish authors and perhaps the most modern of the poets of the 19th century, used Sapphic stanzas in the poem named Trzy zwrotki (Three strophes), as well as in many other poemsLucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 223. including Sieroctwo (Orphanhood). Sometimes he implemented the scheme freely, as in the poem Buntowniki (Rioters).
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Adam Asnyk was a master of verse. Some of his poems, for example Ulewa (The Heavy Rain) or Daremne żale (The Vain regrets), are among the best examples of iambic metre in all of Polish literature. He also used sophisticated strophes, for instance ottava rima. The poem Wśród przełomuOriginal Text (At the breakthrough) is perhaps the first use of rhyme royal in original Polish poetry.
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This technique is used most strongly when Inês fears the orphaning of her children more than losing her own life and she begs for the commutation of capital punishment for an exile in Siberia (Cítia) or in Libya in order to have an opportunity to raise her children, and she is compared with "the young beautiful Policena". Strophes 134 and 135 are written to evoke this pity.
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It was a composition for two (or rarely three) voices, sometimes on a pastoral subject. In its earliest development it was simple construction: Francesco da Barberino in 1300 called it a "raw and chaotic singalong". The text of the madrigal is divided into three sections: two strophes called terzetti set to the same music and a concluding section called the ritornello usually in a different meter.
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Before 1937, only two strophes of the poem survived, both quoted in other ancient authors. Hermogenes of Tarsus quotes part of the second strophe in his work Kinds of Style (Peri Ideon), and Athenaeus quotes from the fourth stanza in the Scholars at Dinner (Deipnosophistae). In 1937, the Italian papyrologist Medea Norsa published an ostrakon which preserves four stanzas of the poem. The ostrakon (PSI XIII.
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The first of the four to be composed, this étude alternates two separate sets of refrains with longer strophes given over to the rhythmic neumes of the title. The first set of refrains is marked "rythme en ligne triple: 1 à 5, 6 à 10, 11 à 15", which means there are three durations, short, medium, and long, which are progressively expanded, upon each repetition, by the addition of a semiquaver unit. The second set of refrains is marked "Nombre premier en rythme non rétrogradable" (A prime number in non-retrogradable rhythm) and, like the first set of refrains with which they alternate, are expanded upon repetition—in this case by a series of progressively larger prime numbers: 41, 43, 47, and 53 semiquavers. The strophes which occur between the refrains are marked "neumes rythmiques, avec résonances et intensités fixes" (rhythmic neumes, with fixed resonances and intensities).
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The song itself has three strophes and a powerful chorus, with some kind of orchestral background on which guitar, bass and floor tom are giving the rhythm to the song. The song begins with staccato piano part with strings begin in approximately 0:08, and first strophe in 0:12 together with crescendo floor tom. After first chorus, bass and main guitar comes in. The song's duration is 3:00.
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There is an ironic tone hidden between the lines, showing that both combatants are anything but talented: The cuckoo hits the notes perfectly and specifies the clock professional, but can only sing memorized, monotone strophes. The donkey is loud and resonant, but he never hits any recognizable note. Summarized, the singing contest is carried out by two squallers. This makes the song Der Kuckuck und der Esel some sort of satire.
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In Coplas (2010), Robles explores the tradition of improvised sung couplets (Four-verse strophes with rhyme scheme ABAB, or ABCB). Anonymous verses are juxtaposed with a piano accompaniment which recalls the 'torrentes' (harmonic and rhythmic patterns from the mejorana tradition of Panama). The use of Panamanian drumming patterns from 'tamborito' music are also a staple of Robles' work. Zafra (2009), for orchestra, is one instance of such use of traditional rhythms.
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In 1955, on the occasion of the dedication of a street in the 20th arrondissement of Paris named for the Manouchian group, Louis Aragon wrote a poem, "Strophes pour se souvenir", loosely inspired by the last letter that Missak Manouchian wrote to his wife Mélinée: > Mélinée oh my love my orphaned one, I tell you to live and bear children. After the execution of Missak, Mélinée never remarried, nor had children.
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His songs are predominantly Minneklagen, though song II has been called a Lügenlied (lying song). In each of its four strophes Bernger sings of happiness and fulfilled love before ending with the claim that he was lying. This song type was later adopted by Tannhäuser and Der Marner. Bernger's debt to Chrétien de Troyes is evident in his treatment of Tristan and Iseult and the Matter of Britain.
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Vek Perevoda (Russian: Век Перевода, “The Age Of Translation”) is a website devoted to history and practice of the Russian poetical translation from the end of the 19th century up to the present time. The website was founded in 2003 by the famous Russian writer and translator Eugen V. Witkowsky. At first it was based on the materials of the anthology “Strophes Of The Century, part 2”,Строфы века — 2. / Сост.
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The Church in the Philippines uses a separate hymn tune [another video] from the Pange lingua, whose first three strophes are otherwise sung to the melody used elsewhere. This particular tune, which is of Spanish origin, is credited to a "J. Carreras" and was originally published with a time signature of but is now sung in quadruple metre in Luzon and in quadruple then triple metre in the Visayas.
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In addition Martin Codax consistently utilised a strict parallelistic technique known as leixa-pren (see the example below; the order of the third and fourth strophes is inverted in the Pergaminho Vindel but the correct order appears in the Cancioneiro da Biblioteca Nacional and the Cancioneiro da Vaticana). There is no documentary biographical information concerning the poet, dating the work at present remains based on theoretical analysis of the text.
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In its most traditional form, the song starts by an introduction played in the soloist instrument (having this intro generally the same melody as the refrain), and then the song develops in an alternation between the main strophes and the refrain. Approximately after the middle of the song, instead of the sung refrain, the soloist instrument performs an improvisation. Recent composers, however, do not always use this sequence.
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These are written in rhyming couplets, and again draw on French models such as Chrétien de Troyes, many of them relating Arthurian material. The third literary movement of these years was a new revamping of the heroic tradition, in which the ancient Germanic oral tradition can still be discerned, but tamed and Christianized and adapted for the court. These high medieval heroic epics are written in rhymed strophes, not the alliterative verse of Germanic prehistory.
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350px "Wer nur den lieben Gott lässt walten", Op. 67, No. 45, by Max Reger Felix Mendelssohn adapted the text and melody as a cantata. Johannes Brahms also used it as a theme at various points in his German Requiem. Emilie Mayer (1812–1883) used the chorale for two strophes in the third movement (Adagio con molto espressione) of her String Quartet in G minor, Op.14. Max Reger composed two chorale preludes as Nos.
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Joan's work is pious and religious, but metrically complex, with difficult strophes (Lo senhor qu'es guitz being an example). He wrote three pastorelas, all following Guiraut Riquier in style. His indiscreet cansos are dominated by courtly love, wherein the object of his affection is a woman known as Bel rai ("beautiful sunbeam"). He is not a typical southern troubadour in that he was thoroughly Gallicised and his sympathies were for the French.
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Pictorial book in Municipal Library of Campo Maior, in Piauí, Brazil. The locus amoenus: the strophes that come after strophe 52 of Canto IX, and some of the main parts that appear from strophe 68 to 95 describe the scenery where the love encountered between the sailors and the Nymphs take place. The poet also talks about the fauna that live there and of fruits produced instantly. It is portrayed as a paradise.
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As in most regions of Spain, the principal form of popular verse is the romance, although there are also strophes specific to Andalusia, such as the soleá or the '. Ballads, lullabies, street vendor's cries, nursery rhymes, and work songs are plentiful. Among the philosophers native to the region can be counted Seneca, Avicebron, Maimonides, Averroes, Fernán Pérez de Oliva, Sebastián Fox Morcillo, Ángel Ganivet, Francisco Giner de los Ríos and María Zambrano.
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The 28-bar-long work in F minor is scored for choir and 3 trombones. The setting of the first two strophes (bars 1 to 8) is identical. It is followed (bars 9 to 16) by the setting of the third strophe, and, after two instrumental bars, ends (bars 19 to 28) with the setting of the last strophe. Although it is a funeral song, it displays little of the mournful character one might expect.
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Reinmar II was not murdered, as was depicted in the image from the Codex Manesse, but his son Reinmar III was in 1276. His Minnelieder are among those associated with courtly traditions, and are close to Ulrich von Singenberg, Reinmar von Hagenau, Heinrich von Morungen and Walther von der Vogelweide in style. In total five songs from Reinmar survive, four Kanzonen in bar form and a Spruchton with at least 12 strophes.
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The musical structure of "All for the Beatles" is a traditional 12-bar blues framework, which repeats itself five times. As an introduction, there are two bars of a major scale tonic, and in the conclusion, several bars of a tonic guitar solo up to the fade out. The first and last 12-bar figures are split into strophe and refrain. Nilsson presents the strophes single-partly, but the four-part refrain was recorded by overdubbing.
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The Sapphic stanza is the only stanzaic form adapted from Greek and Latin poetry to be used widely in Polish literature. It was introduced during the Renaissance, and since has been used frequently by many prominent poets. The importance of the Sapphic stanza for Polish literature lies not only in its frequent use, but also in the fact that it formed the basis of many new strophes, built up of hendecasyllables (11-syllable lines) and pentasyllables (5-syllable lines).
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The kontakion (, also transliterated as kondakion and kontakio; plural , kontakia) is a form of hymn performed in the Orthodox and the Eastern Catholic liturgical traditions. The kontakion originated in the Byzantine Empire around the sixth century CE. It is divided into strophes (oikoi, stanzas) and begins with a prologue (the prooimoion or koukoulion). The kontakion usually has a biblical theme, and often features dialogue between biblical characters. By far the most important writer of kontakia is Romanos the Melodist.
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Bruckner put strophes 1, 6 and 7 of the text in a motet of 108 bars in Phrygian mode for mixed choir a cappella. Alike he did in Christus factus est WAB 11 and Virga Jesse WAB 52, Bruckner used the ' on the words prodeunt (bars 5-8), unica (bars 41-44), and Trinitas (bars 77-80). Although it is in Phrygian mode the motet is characterized by Bruckner's typical modulations, often to rather distant keysM. Auer, pp.
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In Roman Catholic liturgy, Rex Gloriose Martyrum is the hymn at Lauds in the Common of Martyrs (Commune plurimorum Martyrum) given in the Roman Breviary. It comprises three strophes of four verses in Classical iambic dimeter, the verses rhyming in couplets, together with a fourth concluding strophe (or doxology) in unrhymed verses varying for the season. The first stanza illustrates the metric and rhymic scheme: :Rex gloriose martyrum, :Corona confitentium, :Qui respuentes terrea :Perducis ad coelestia.
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Yehuda Ratzaby), Preface, Ben-Zvi Institute, Jerusalem 1965, pp. 13-14 (Hebrew) Most scholars agree that al-Ḍāhirī's greatest achievement is not just in his making use of rhymes, but rather in his ability to interweave biblical verse and rabbinic sayings taken from the Talmud and Midrash within those same strophes, which, by Jewish literary standards, is the true sign of genius.Zachariā Al- Ḏāhrī, Sefer Hammusar (ed. Yehuda Ratzaby), Preface, Ben-Zvi Institute, Jerusalem 1965, p.
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The video clip for "Oração" was filmed as a long take on February 6, 2011, in a hundred-year-old house in Rio Negro, Paraná. In the clip, the song's composer, Leo Fressato, is filmed in real time as he sings and walks through the house with a microphone. Along the way, he encounters the band's musicians, who play their instruments and accompany him in singing. "Oração" is essentially a six- minute repetition of a chorus with four strophes.
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An important portion of Matins and other services in the Orthodox Church is the canon, a long liturgical poem divided into nine strophes with a sophisticated meter called ode.The irmos is a melodic model which was used for the composition of the odes. As homiletic poetry it refers thematically to the biblical odes, with exception of the second ode which is no longer sung today. According to medieval Irmologia this second ode was only sung during Lenten tide.
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The 56-bar long work in F minor is scored for choir, alto soloist and piano. In strophe 1 the F-minor key forms the mystic background, from which the men's choir, accompanied by pedal points and unison lines of the piano, emerges in open fifths. Strophes 2 and 3 are sung by the alto soloist with accompaniment of the choir. In strophe 4 the melody of strophe 1 is sung again by the choir and the soloist.
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Jan Andrzej Morsztyn, whose poetry (influenced strongly by Giambattista Marino) is most typical for Baroque, used Sappho's stanza in Do lutnie (To a Lute) from Lutnia (The Lute) and in Wiejski żywot (Life in a Village from the book Kanikuła, albo psia gwiazda (Canicula or dog star). Zbigniew Morsztyn shaped his Sapphic stanzas so as to make a long chain of linked strophes, exhibiting many enjambments from one to the next stanza.Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 115.
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Stasimon () in Greek tragedy is a stationary song, composed of strophes and antistrophes and performed by the chorus in the orchestra (, "place where the chorus dances").Pierre Chantraine, Dictionnaire étymologique de la langue grecque: histoire des mots (Paris: Éditions Klincksieck, 1968–80): 3:830. Aristotle states in the Poetics (1452b23) that each choral song (or melos) of a tragedy is divided into two parts: the parodos () and the stasimon. He defines the latter as "a choral song without anapaests or trochaics".
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The Verses pascales are followed in the manuscript by another short drama, the Versus de pelegrino, composed by the same person from Vic and also concentrating on Mary Magdalene. Lines 32-66 form five strophes, each line of the first ending in a, each of the second in e, of the third in i, the fourth in o, and the fifth in u. This strophic, alphabetic vowel-based rhyme scheme is entirely unique in medieval literature. Dronke calls it a "virtuous invention".
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The strophes begin with the letters of the alphabet from A to P as a mnemonic device aiding recitation. Angelbert's poem is preserved in manuscript BnF lat. 1154, originally from Saint Martial of Limoges in Aquitaine; Pippin I of Aquitaine was an ally of Lothair. The poem presents the partisan viewpoint of Lothair and Pippin's men; Florus of Lyons represents the view of the other side, of Charles the Bald and Louis the German, in his "Lament on the Division of the Empire".
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Orlande de Lassus composed an adaptation as a motet for ten voices in c. 1592.published as part of his collected works in 1604, no. 513. The portion Tristes erant apostoli (strophes 5 to 11) was adapted by Francisco Guerrero (1528-1599).Liber vesperarum, Rome 1584. Pope Urban VIII substantially altered the hymn for his edition of the Roman Breviary (1629), in the incipit replacing rutilat by purpurat, the first strophe being altered from:The Ecclesiastic and Theologian 11 (1851) p. 233.
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Ah God, no one thinks to lead a regulated life, [but] to amuse and enjoy oneself. . . It is death, not life, to enjoy whatever may be similar to this [life]. But this world is so pleasurable that it causes people to not believe the one and the other. (vv. 20–26, translation from Kleinhenz) The Ritmo cassinese is a medieval Italian verse allegory of unresolved interpretation, told as a meeting between an Occidental and Oriental in ninety-six verses in twelve strophes of varying length.
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The poem consists of three stanzas (strophes), each containing four verses with alternating feminine and masculine cadence: German Sein Blick ist vom Vorübergehn der Stäbe so müd geworden, daß er nichts mehr hält. Ihm ist, als ob es tausend Stäbe gäbe und hinter tausend Stäben keine Welt. Der weiche Gang geschmeidig starker Schritte, der sich im allerkleinsten Kreise dreht, ist wie ein Tanz von Kraft um eine Mitte, in der betäubt ein großer Wille steht. Nur manchmal schiebt der Vorhang der Pupille sich lautlos auf –.
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In the 19th century were collected two recorded transcriptions of the more or less full ballad., "The Norwegian ballad "Roland og Magnus kongjen" exists in two recordings, of twenty-six and twenty-seven stanzas respectively.The variants were collected in Telemark within a period of thirty years in the mid-nineteenth century and are quite close to each other in their wording." Fifty variants are counted in total, but most of these are only one, two or three stanzas long, and probably served as stev or "stave" strophes.
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Ubiquitous in the Billboard charts throughout the middle and late 1960s, clear examples include the Beatles's "Strawberry Fields Forever" and Jimi Hendrix's "Purple Haze", Stevie Wonder's "Living for the City".Hodgson (2010), p.161–162. In the Beatles's "A Day In The Life" Lennon's vocals are switched to the extreme right on the first two strophes, on the third strophe they are switched center then extreme left, and switched left on the final strophe while during the bridge McCartney's vocals are switched extreme right.Hodgson (2010), p.161.
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The Xanthus inscription in Lycian B (Milyan) is in verse; strophes are marked off by the use of . The Dutch scholar Alric van den Broek also identifies other structural features suggestive of poetry. A poetic meter is evident according to van den Broek. Using Ivo Hajnal’s definitions of Lycian B syllables, van den Broek suggests that there are a significantly high number of word boundaries around the 11th, 22nd and 33rd syllables, before the phrase-ending sign <)> (that is, on the left side of the sign).
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In 1897 Sova was among the writers who established the first Czech official literary association, called Máj. His first published poetry collections were (Realistic strophes, 1890), (Flowers of Intimate Moods, 1891), (From My Country, 1893), (Compassion and Defiance, 1894), and (Broken Soul, 1895). Sova was a supporter of the progressive national movement of the 1890s connected with the Omladina Trial. Together with 11 other writers he signed the manifesto called Česká moderna in 1895 to demand free speech, social reforms and individualism in art.
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The start of Wolfdietrich A, folio 220v of the Ambraser Heldenbuch The story survives in four versions. Three of these (A,B,C) are largely independent of each other, and each gives Wolfdietrich a different birthplace. The fourth, D, is a compilation of material from versions B and C. Wolfdietrich A ("Wolfdietrich of Constantinople") is the oldest version, written around 1230, though only surviving in a much later manuscript, the Ambraser Heldenbuch (MS A). The first 505 strophes (A1) are probably written by the same author as the version of Ortnit which precedes it in the manuscript, but the remaining 101 strophes (A2) show a more condensed narration by a continuator using material from the tradition of Wolfdietrich B. The end of the story is missing in the Ambraser Heldenbuch (it ends as Wolfdieterich's sword breaks in his fight against the dragon), but can be reconstructed from the Dresden Heldenbuch of 1472, which draws on the same source as MS A. Wolfdietrich B ("Wolfdietrich of Saloniki") greatly expands the story of Wolfdietrich's youth. Wolfdietrich C ("Wolfdietrich of Athens") survives only in five widely spread fragments, one of which is now missing.
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Free verse does not "proceed by a strict set of rules … is not a literary type, and does not conform to a formal structure." It is not considered to be completely free. In 1948, Charles Allen wrote, "The only freedom cadenced verse obtains is a limited freedom from the tight demands of the metered line."Allen, Charles, "Cadenced Free Verse", College English, vol 9, number 6, January 1948 Free verse contains some elements of form, including the poetic line, which may vary freely; rhythm; strophes or strophic rhythms; stanzaic patterns and rhythmic units or cadences.
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Wolfdietrich and Ortnit are written in a strophic form called the Hildebrandston (similar to the Nibelungenstrophe used in the Nibelungenlied and Kudrun). It consists of four long-lines: each long-line has three feet with a feminine ending, a caesura, then three feet with a rhymed masculine ending. The strophes are marked in the manuscripts by a Lombardic capital. In the printed Heldenbücher, the Hildebrandston is transformed into the Heunenweise, an eight-line strophe: the long-line is split at the caesura and unrhymed line-endings are given rhymes, with the resulting rhyme scheme ABABCDCD.
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More attention was paid to fitting the syllables to the melody than to the text's meaning, sentiment, or message. The various songs were divided into three strophes, and each strophe was divided into two ' and a discant or '. Plate, in "",Strassburger Studien, vol. iii. (Strassburg, 1888) gives a long list of the various features of rhythm and rhyme in this complicated poetry, in all of which can be observed a singular likeness to the technicalities invented by the lesser, and even by the better, poets two centuries earlier in Southern France.
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The Augustinuskirche in Schwäbisch Gmünd, the space in which Litanei 97 was premiered The score also specifies stage movement. The choir follow the conductor onto the stage at the beginning, forming an inward-facing circle around him. At the end of each line of text, the choir members synchronously take a step to the right throughout the first strophe. In strophes II to I, steps are sometimes taken in the opposite direction, and in strophe V, initially every other singer takes one step backward, thereby forming two concentric circles which rotate in opposite directions.
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Distorted World was founded in 2010 in Moscow as a side-project by former keyboardist of Anthracitic Moths, Ivan M. A year later, Angelina L. entered the project with her vocals. To date, the band have released the albums Between the Strophes (2012, Artificial Sun) and Shadow Empire (2014, Insane Records), the single "Personal Necropolis" (2013, Artificial Sun) and the web EP Drowning (2016, Insane Records). Its music is gothic-industrial and includes harsh male and clean female vocals, synthesizers, orchestrations, analog basslines and a strong mid-tempo beat.
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A Santiago batuque featured in the first issue of Claridade issued in 1936 The second movement is called txabéta . This movement corresponds to an orchestral climax in which all the players execute the same polyrhythmic beat, and all the singers sing the same verse in unison that works as a refrain. Nowadays, recent composers have composed the batuque in a different way. The music leans on a polyphonic support (chord sequences), and shows a similar structure to the other musical genres in Cape Verde, in which the musical strophes alternate with a refrain.
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It opens with an exordium (1st strophe), in which, after an original welcome, Jupiter briefly defines the subject. This is followed, in the ancient rhetorical fashion, by the narration (the past shows that the intention of the Fados is the same one that the orator presented). There is then a confirmation of suggestions already put forth in the narration of the 4th strophe. This episode then ends with two strophes of peroration, where Jupiter appeals to the benevolence of the gods concerning the sons of Lusus, with Jupiter's speech eventually settling the debate.
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Those texts are normally narrative-descriptive. This is the case with the initial part of the episode of the Sad Inês, the final part of the episode of the Adamastor, and the encounter on the Island of Love (Canto IX). All these cases resemble eclogues. On several occasions the poet assumes a tone of lamentation, as at the end of Canto I, in parts of the speech of the Old Man of the Restelo, the end of Canto V, the beginning and end of Canto VII, and the final strophes of the poem.
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The male's song consists of short pleasant warbling strophes, interspersed with fluid whistles. The individual phrases may go like tu-tu-krr-pree-pree or trr- turit trr-turit.... To announce that it has become aware of someone straying into its territory – be it a female or male of its species or a large mammal – it gives long shrill raspy whistles like trrii(u) or (t')kwiiet. To announce to females, it often mixes these whistles with a strophe of song. A softer whistle goes like trüü(t).
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Nonetheless he is inferior to the sovereign god Oðinn: the Minor Völuspá defines his relationship to Oðinn almost with the same terms as those in which Varro defines that of Janus, god of the prima to Jupiter, god of the summa: Heimdallr is born as the firstborn (primigenius, var einn borinn í árdaga), Oðinn is born as the greatest (maximus, var einn borinn öllum meiri).Hyndluljóð strophe 37 and 40. Analogous Iranian formulae are to be found in an Avestic gāthā (Gathas).Yasna 45 first verses of strophes 2, 4 and 6.
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The "standing [prayer]", also known as the Shemoneh Esreh ("The Eighteen"), consisting of 19 strophes on weekdays and seven on Sabbath days and 9 on Rosh haShana Mussaf. It is the essential component of Jewish services, and is the only service that the Talmud calls prayer. It is said three times a day (four times on Sabbaths and holidays, and five times on Yom Kippur). The source for the Amida is either as a parallel to the sacrifices in the Temple, or in honor of the Jewish forefathers.
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However, Fr. Gregory and his brethren of Simonopetra Monastery have clarified that although it has become popular, it was never meant to be used liturgically, but rather to be sung only as a non-liturgical religious song for the edification of individuals. A Church Slavonic translation is known to be due to monks of Valaam Monastery. The text is in 24 stanzas or invocations, each followed by the refrain "Hail, unwedded bride". The 24 stanzas are arranged into four strophes, each strophe consisting of three tunes iterated twice over.
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In Comedy, Korzeniowski severely criticized the Polish nobility in Ukraine and opposed it to two positive heroes—Henryk,In English, "Henry." a revolutionary- conspirator, and the Secretary, a cowed plebeian who, as the action develops, rebels against his employer. The play's 1855 publication (together with a lyric cycle, Stray Strophes—Strofy oderwane) became a social scandal. Comedy, severely treated by the critics, could gain a stage production. In 1858 Korzeniowski published a second drama, For a Pretty Penny (Dla miłego grosza), which was to some extent a continuation of Comedy.
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Music critics were positive towards the recording. Traini from RnB Junk wrote that "Yalla" was one of the most captivating, refined and peculiar songs from Inna's eponymous studio album, noting its commercial appeal. An editor of Pro FM listed the recording in their list of "16 hits with which Inna made history". Jonathan Currinn, writing in his own website, said that the singer "appeal[ed] to people around the world" by including Arabic language in "Yalla", while portal Hitfire commended the "strong" strophes of the song, Inna's vocals and the beat.
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Schön, believing the athlete escaped, begins to harangue Lulu (aria in five strophes: Du Kreatur, die mich durch den Strassenkot zum Martertode schleift!; You wretch, that drags me through the faeces in the streets to martyrdom!), handing the revolver to Lulu, who appears unperturbed, and implying she should kill herself before he kills Alwa. She points the revolver at him, but instead she fires at the ceiling. Increasingly agitated, Schön seizes the revolver and begins to search the house looking for Lulu's lovers, but finds only Geschwitz whom he locks in another room.
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Boscán, that had cultivated previously the courtesan lyric, introduced the Italian eleven-syllable verse and strophes, as well as the reasons and structures of Petrarch-like poetry in the Castilian poetry. The poem Hero and Leandro of Boscán is the first that deals with classic legendary and mythological themes. On the other hand, his Epistle to Mendoza introduces the model of the moral epistle in Spain, where he exposes the ideal of the stoic wise person. In addition, Boscán demonstrated his dominion of the Castilian by translating Il Cortegiano (1528) of the Italian humanist Baldassare Castiglione in a Renaissance model prose.
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The Hebrew text of the psalm comprises 5 verses. Unusually for a Biblical poem, it solely comprises tricolons, verses 1 and 2 (a monocolon and a bicolon respectively) combining into a tricolon, and the remaining verses all being tricolons. (One scholar, Jan P. Fokkelman, dissents and takes verse 4 to be two bicolons.) It is usually divided into two strophes, verses 1-3 and verses 4-5\. # # # # # The first two words are the title of the psalm, naming it a song for a specific thanksgiving sacrifice in Solomon's Temple made in order to fulfil a vow.
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Ortnit and Wolfdietrich are both written in a strophic form called the Hildebrandston (similar to the Nibelungenstrophe used in the Nibelungenlied and Kudrun). It consists of four long-lines: each long-line has three feet with a feminine ending, a caesura, then three feet with a rhymed masculine ending. The strophes are marked in the manuscripts by a Lombardic capital. In the printed Heldenbücher, the Hildebrandston is transformed into the Heunenweise, an eight-line strophe: the long-line is split at the caesura and unrhymed line-endings are given rhymes, with the resulting rhyme scheme ABABCDCD .
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Sacher hexachordArnold Whittall, The Cambridge Introduction to Serialism, Cambridge Introductions to Music (New York: Cambridge University Press, 2008): 206. (hardback) (pbk).: E (Es) A C B (H) E D (Re) The Sacher hexachord (6-Z11, musical cryptogram on the name of Swiss conductor Paul Sacher) is a hexachord notable for its use in a set of twelve compositions (12 Hommages à Paul Sacher) created at the invitation of Mstislav Rostropovich for Sacher's seventieth birthday in 1976. The twelve compositions include Pierre Boulez's Messagesquisse, Hans Werner Henze's Capriccio, Witold Lutosławski's Sacher Variation, and Henri Dutilleux's Trois strophes sur le nom de Sacher.
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A gray catbird's song is easily distinguished from that of the northern mockingbird (Mimus polyglottos) or brown thrasher (Toxostoma rufum) because the mockingbird repeats its phrases or "strophes" three to four times, the thrasher usually twice, but the catbird sings most phrases only once. The catbird's song is usually described as more raspy and less musical than that of a mockingbird. In contrast to the many songbirds that choose a prominent perch from which to sing, the catbird often elects to sing from inside a bush or small tree, where it is obscured from view by the foliage.
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"Les Djinns" is distinguished by its very original form, in "crescendo" and "decrescendo": the strophes have a different number of syllables, respectively 2, 3, 4, 5, 6, 7, 8, 10, 8, 7, 6, 5, 4, 3 and finally 2. This form resonates with the poem,Scrutiny of the stanza in The Cambridge Companion to Twentieth- Century English Poetry which is the account of the crash caused by the passage of a swarm of djinns around the narrator's house. The epic and mystical force of this poem makes it one of the bravest pieces of the collection.
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Part I 1\. Introduction: Combats (Combat) – Tumulte (Tumult) – :Intervention du prince (Intervention of the prince) – :Prologue – Strophes – Scherzetto Part II 2\. Roméo seul (Romeo alone) – Tristesse (Sadness) – :Bruits lointains de concert et de bal (Distant sounds from the concert and the ball) – :Grande fête chez Capulet (Great banquet at the Capulets) 3\. Scène d'amour (Love scene) – Nuit serène (Serene night) – :Le jardin de Capulet silencieux et déserte (The Capulets' garden silent and deserted) – :Les jeunes Capulets sortant de la fête en chantant des réminiscences de la musique du bal (The young Capulets leaving the banquet singing snatches of music from the ball) 4\.
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The recording was written by Sebastian Barac, Carl Bjorsell, Marcel Botezan, Julimar J-Son Santos, Thomas Troelsen and Eric Turner, while the production process was handled by Bjorsell, Troelsen, Turner and Play & Win. Musically, "Bop Bop" is a dance-pop track with a "coherent" production and "antrenant" beats. While Turner delivers vocals for the refrain—which almost entirely consists of the song's name—Inna is responsible for the strophes. Spanish LGTB website Grupo EGF stated that the rhythm of the recording is "danceable", further explaining that it incorporates a "retro air" and an "interesting mix of sounds".
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Cantigas de Amigo (Pierpont Morgan Library, New York, Vindel MS M979) Martin Codax () or Martim Codax () was a Galician medieval joglar (non-noble composer and performer—as opposed to a trobador) - possibly from Vigo, Galicia in present-day Spain. He may have been active during the middle of the thirteenth century, judging from scriptological analysis . He is one of only two out of a total of 88 authors of cantigas d'amigo who used only the archaic strophic form aaB (a rhymed distich followed by a refrain). He employed an archaic rhyme-system whereby i~o / a~o were used in alternating strophes.
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It is set in the key of C major, with Madonna's voice spanning from the tonal nodes of C4 to C5. The song has a basic chord progression of F–G–Em–Am-F-G-C in the chorus, while the verses are based on the C mixolydian mode, giving a hip, swing-like mood. The bassline in the song with the post-disco origins is reminiscent of The Jacksons' "Can You Feel It", which appeared on their 1980 album Triumph. Furthermore, the strophes remind of the refrain from Melissa Manchester's hit "You Should Hear How She Talks About You" (1982).
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Both words and tune are quoted in a number of musical works. Gounod took a very plain melody based on the chant as the subject of his "March to Calvary" in the oratorio "La rédemption" (1882), in which the chorus sings the text at first very slowly and then, after an interval, fortissimo. Franz Liszt wrote a piece for solo piano, Vexilla regis prodeunt, S185, and uses the hymn at the beginning and end of Via crucis (The 14 stations of the Cross), S53. Anton Bruckner composed a motet based on strophes 1, 6 and 7 of the text (1892).
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Born in Olbia in 1984 Salmo began his musical career at age 13, recording the early strophes between 1997 and 1998. In 1999, he made and published the demo Premeditazione e dolo with olbian rappers Bigfoot and Skascio (with which formed the Premeditazione e dolo group), while in 2004 published the first demo solo, entitled Sotto pelle. The following year, Salmo self-produced and released his second demo Mr. Antipatia. To his solo career, Salmo also flanked some projects with several groups, firstly the rap metal band Skasico, with which he recorded and produced the albums Therapy (2004), 21 Grams (2006) Orange and Bloom (2008).
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Broom In 1836, while staying near Torre del Greco in a villa on the hillside of Vesuvius, Leopardi wrote his moral testament as a poet, La Ginestra ("The Broom"), also known as Il Fiore del Deserto ("The flower of the desert"). The poem consists of 317 verses and uses free strophes of hendecasyllables and septuplets as its meter. It is the longest of all the Canti and has an unusual beginning. In fact, among all the Leopardian canti only this one begins with a scene of desolation, to be followed by an alternation between the enchantment of the panorama and of the starry night sky.
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Extending across the American Midwest into Canadian Prairies, Plains-area music is nasal, with high pitches and frequent falsettos, with a terraced descent (a step-by-step descent down an octave) in an unblended monophony. Strophes use incomplete repetition, meaning that songs are divided into two parts, the second of which is always repeated before returning to the beginning. Large double-sided skin drums are characteristic of the Plains tribes, and solo end-blown flutes (flageolet) are also common. Nettl describes the central Plains tribes, from Canada to Texas: Blackfoot, Crow, Dakota, Cheyenne, Arapaho, Kiowa, and Comanche, as the most typical and simple sub- area of the Plains-Pueblo music area.
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Jenaer Liederhandschrift, fol. 111v, with the melody of Meister Boppe's Spruch "O hoer vnde starker almechtiger got" Spruchdichtung or Sangspruchdichtung is the German term for a genre of Middle High German sung verse. An individual work in this genre is called a Spruch (plural Sprüche), literally a "saying", and may consist of one or more strophes. While closely associated with the lyric genre Minnesang, its theme is not love, but rather > the Spruch treated predominantly of rational, didactic and pragmatic issues, > including, for example, socio-political commentary, topics related to moral > or religious teaching and philosophy, practical wisdom, biographical > material, praise of patrons, begging and much else besides.
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Verdicts such as these left critics hovering somewhere between two extremes: a technically faltering composition by a single author, or a conglomerate of chronologically separate redactions of varying quality and diverse function. The second of these approaches culminated in Cola Minis's startlingly bold monograph of 1966. Minis stripped away the sermonising passages, discarded lines containing rhymes and inferior alliteration, and assumed that small portions of text had been lost at the beginning and in the middle of the poem. These procedures left him with an 'Urtext' of 15 strophes, varying in length from 5 to 7 lines and forming a symmetrical pattern rich in number symbolism.
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Extending across the American Midwest into Canada, Plains-area music is nasal, with high pitches and frequent falsettos, with a terraced descent (a step-by-step descent down an octave) in an unblended monophony. Strophes use incomplete repetition, meaning that songs are divided into two parts, the second of which is always repeated before returning to the beginning. Large double-sided skin drums are characteristic of the Plains tribes, and solo end-blown flutes (flageolet) are also common. Nettl describes the central Plains Indians, from Canada to Texas: Blackfoot, Crow, Dakota, Cheyenne, Arapaho, Kiowa, and Comanche, as the most typical and simple sub- area of the Plains-Pueblo music area.
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This activism led him to break his friendly relationship with Pierre Drieu La Rochelle, who had chosen Collaborationism. Along with Paul Éluard, Pierre Seghers and René Char, Aragon would maintain the memory of the Resistance in his post-war poems. He thus wrote, in 1954, Strophes pour se souvenir in commemoration of the role of foreigners in the Resistance, which celebrated the Francs-Tireurs et Partisans de la Main d'Oeuvre Immigrée (FTP-MOI). The theme of the poem was the Red Poster affair, mainly the last letter that Missak Manouchian, an Armenian- French poet and Resistant, wrote to his wife Mélinée before his execution on 21 February 1944.
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Her Carnegie Hall debut was held on December 7, 1997, where she performed the Carnegie Hall premiere of Trois strophes sur le nom de Sacher for solo cello by Henri Dutilleux. Segev won prizes at the International Pablo Casals Cello Competition in Kronberg (2000), The Juilliard Concerto competition (1998), the International Paulo Cello Competition in Helsinki (1996), and the Washington International Competition (1995). Segev has released a number of recordings, including Nigun on Vox Records.voxcd.com/VOX/VXP7910.htm Segev holds a bachelor's degree from the Juilliard School and a master's degree from Yale School of Music, where her teachers included Joel Krosnick, Harvey Shapiro and Aldo Parisot.
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The work as a whole takes the form of a poem in parallel strophes, and the author, it may be surmised, has drawn on a tradition of such poems in both Egyptian and Jewish communities, in which a similarly female divinity (Isis or aspect of the divine Sophia respectively) expounds her virtues unto an attentive audience, and exhorts them to strive to attain her. Patricia Cox Miller suggests that it is the "self-revelation of a powerful goddess" Patricia Cox Miller, "In Praise of Nonsense," in World Spirituality , Vol. 15: Classical Mediterranean Spirituality , ed. by A. Hilary Armstrong (New York: Crossroads/Continuum Press, 1986), pp.481-505.
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He chose the harp as bass instrument in order to achieve a muffled effect, and because he found the low notes the most beautiful on the instrument. The completed form is a sort of hymn, which Stravinsky likened to the Funeral Music for Queen Mary by Henry Purcell. There are four antiphonal strophes each in the harp and in the treble instruments, with each strophe containing one complete row statement: P, I, R, and RI in the harp, and P, RI, R, and I in the flute-clarinet duo . The resulting alternation of eight musical blocks dominates the form, though its force is counteracted by significant motivic connections among the blocks .
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Studies have shown that the quality and the rate at which a song is emitted affect the reproductive success of a male. The rate of a song measured by the number of strophes per minute is limited by the foraging needs of the male; therefore, a male that is able to sing more frequently shows that he is more successful and effective in his foraging behavior. The song becomes an indicator of the parental care qualities of the male, since having an effective foraging behavior will provide a better probability of survival of the nestlings. Females will then choose their mates based on their song rate.
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It has been admired for its imagery (critics say the girl is afraid of the waves of her own passion), its rhythm, and its formal and semantic parallelism (including the system of alternating strophes with the rhymes-sounds -on(or)/-ar). The text in the manuscripts is problematic in places, especially in the refrain, where the reading is much disputed. In 1998, the Día das Letras Galegas (Galician Letters Day) was dedicated to Mendinho, along with Martín Codax and Xohán de Cangas. His single known poem was set to music by Alain Oulman, the French composer and long term musical collaborator of the great Portuguese Fado singer Amália Rodrigues.
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"When Lilacs Last in the Dooryard Bloom'd" is a first-person monologue written in free verse. It is a long poem, 206 lines in length (207 according to some sources), that is cited as a prominent example of the elegy form and of narrative poetry. In its final form, published in 1881 and republished to the present, the poem is divided into sixteen sections referred to as cantos or strophes that range in length from 5 or 6 lines to as many as 53 lines. The poem does not possess a consistent metrical pattern, and the length of each line varies from seven syllables to as many as twenty syllables.
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The Adamastor episode is divided into three segments. The first, a theophany, goes from strophe 37 to 40; the second, which in chronological-narrative terms is a prolepsis, occupies strophes 41 to 48; finally, the third part, a marine eclogue with some points of contact with Écloga III of Camões, ends in strophe 59. The vigorous theophany that the first part describes is in the following verses: "Chill the flesh and the hairs/ to me and all [the others] only by listening and seeing him" ("Arrepiam-se as carnes e os cabelos / a mi e a todos só de ouvi-lo e vê-lo"). This is intended to convey pure fear, the imminent threat of annihilation.
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During his last two years at the Collège de Perpignan (Perpignan Middle School) (1930–1932), François Brousse finished a collection of thirty-five poems entitled Les Dieux (The Gods)François Brousse, Le Rire des dieux (The Laughing of the Gods). Clamart: Ed. La Licorne Ailée, 2006. and started a series of sonnets on Les Colosses (The Giants), presented here by Jean-Pierre Wenger in his biography, François Brousse l’Enlumineur des mondes (François Brousse, The Enlightener of Worlds : This anthology builds upon a source of inspiration already begun at an earlier time with mythology – mainly Greek – and with Egyptian, Cambodian, Biblical and Hindu traditions. These sonnets bathe their strophes in these unearthly dimensions where humanity’s universal saga is expressed.
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As a music genre the coladeira is characterized by having a variable tempo, from allegro to andante, a 2-beat bar,Brito, M., Breves Apontamentos sobre as Formas Musicais existentes em Cabo Verde — 1998 and in its most traditional form by having an harmonic structure based in a cycle of fifths, while the lyrics structure is organized in strophes that alternate with a refrain. The coladeira is almost always monotonic,Sousa, P.e J. M. de, Hora di Bai — Capeverdean American Federation, Boston, 1973 i.e. composed in just one tonality. Compositions that use more than a tonality are rare and generally they are cases of passing from a minor to major tonality or vice versa.
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Memorial to the Manouchian GroupIn 1955, Louis Aragon wrote a poem memorializing the Manouchian Group, "Strophes pour se souvenir". The poem was published in 1956 in Le roman inachevé. In 1959 Léo Ferré set it to music and recorded it as . Rouben Melik and Paul Éluard also wrote poems in honour of the Manouchian Group.Résistance. Rouben Melik, "l’Affiche rouge Fusillés" , reprinted, L'Humanité, 21 February 2004 Paul Éluard, "Légion" (poem) , in L'Humanité, 21 February 2004 In 1997, at the prompting of Robert Badinter, a French senator and former Minister of Justice, the French Parliament authorized a monument to commemorate the execution at Mont-Valérien of 1,006 citizens and members of the French Resistance, including the Manouchian Group, between 1940 and 1944.
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These are written in rhyming couplets, and again draw on French models such as Chrétien de Troyes, many of them relating Arthurian material, for example, Parzival by Wolfram von Eschenbach. The third literary movement of these years was a new revamping of the heroic tradition, in which the ancient Germanic oral tradition can still be discerned, but tamed and Christianized and adapted for the court. These high medieval heroic epics are written in rhymed strophes, not the alliterative verse of Germanic prehistory (for example, the Nibelungenlied). The Middle High German period is conventionally taken to end in 1350, while the Early New High German is taken to begin with the German Renaissance, after the invention of movable type in the mid-15th century.
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During the composition of "Strophes" (2003), in which the architectonic features of a high-tech factory influenced various parameters of the work such as the production of sounds, Marios Joannou Elia developed the concept of polymediality. This involved two dimensions: the work-immanent compositional dimension and polymediality in the process of staging. The prefix poly denotes a qualitative paradigm shift; not a quantitative much, but a qualitative, polyaesthetic more. Written between 2007 and 2010 as a commentary focused on his opera "Die Jagd" (2008) and the orchestral piece "Akanthai" (2009), his book "The Concept of Polymediality" - published by Schott Music (2017) - illuminates Elia's concept of polymediality and, by providing a wealth of examples, how literary sources become an inherent polymedial element of his music.
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In a work entitled Milḥamot Adonai, (not to be confused with books of the same title by Gersonides and Avraham son of Rambam) of which he produced also an Arabic version that is no longer in existence, Solomon attempts to counter the Classic Judaism (Rabbinites), especially Saadia. It is written in verse and is divided into 19 chapters, each of which contains 22 four-lined strophes. After having endeavored in the first two chapters to demonstrate the groundlessness of the oral tradition, he attempts to refute the seven arguments advanced in its behalf by Saadia in the introduction to his commentary on the Pentateuch. Then he criticizes Saadia's views on the Hebrew calendar, the laws concerning incest, the celebration of the second days of the feasts, etc.
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In the field of Hebrew poetry the importance of R. Tam is not slight. He was influenced by the poetry of the Spaniards, and is the chief representative of the transition period, in Christian lands, from the old "payyeṭanic" mode of expression to the more graceful forms of the Spanish school. According to Zunz,Zunz, Literaturgesch. pp. 265 et seq. he composed the following pieces for the synagogue: (1) several poems for the evening prayer of Sukkot and of Shemini Atzeret; (2) a hymn for the close of Sabbath on which a wedding is celebrated; (3) a hymn for the replacing of the Torah rolls in the Ark on Simchat Torah; (4) an "ofan" in four metric strophes;see Luzzatto in Kerem Ḥemed, vii.
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I. (Strophes 1–69) In his castle at Garda, King Ortnit of Lambarten (Lombardy) tells his vassals that he means to seek a wife, and one of them, his uncle Ilyas, King of Russia, mentions the beautiful daughter of Machorel of Muntabur (Mount Tabor), a heathen king. In spite of the fact that Machorel kills any suitor for his daughter, intending to marry her himself once his wife is dead, Ortnit sets his heart on her. II. (70–212) Delayed from setting out by winter weather, he is given a ring by his mother, who tells him it will lead to adventure. Following her instructions, he rides off into the wilderness until he encounters what he takes to be a child, who can only be seen by the one wearing the ring.
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In strophes 22 and 23 they are also said to be shining. Jupiter is described as the "Father" ("Padre" – archaic Portuguese for 'father') who "vibrates the fierce rays of Vulcan" ("vibra os feros raios de Vulcano") and presides from a "crystalline seat of stars" ("assento de estrelas cristalino"), carrying "a gleaming crown and sceptre / of another rock clearer than diamond" ("hua coroa e ceptro rutilante / de outra pedra mais clara que diamante"). Jupiter's chair is a crystalline seat of stars and the rest of the Olympian furniture is equally ornate: "In shiny seats, enamelled / of gold and pearls, under there were / the other gods (...)" ("Em luzentes assentos, marchetados / de ouro e perlas, mais abaixo estavam / os outros Deuses (...)"). During the council, the behaviour of the gods is described as disgraceful.
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But the moon, as the sheep-herder learns quickly, cannot provide the answers to these questions even if it knew them, since such is nature: distant, incomprehensible, mute if not indifferent to the concerns of man. The sheep- herder's search for sense and happiness continues all the way to the final two strophes. In the fourth, the sheep-herder turns to his flock, observing how the lack of self-awareness that each sheep has allows it to live out, in apparent tranquillity, its brief existence, without suffering or boredom. But this idea is ultimately rejected by the sheep-herder himself in the final strophe, in which he admits that, probably, in whatever form life is born and manifests itself, whether moon, sheep or man, whatever it is capable of doing, life is equally bleak and tragic.
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Other important pieces for cello and piano include Schumann's five Stücke im Volkston and transcriptions like Schubert's Arpeggione Sonata (originally for arpeggione and piano), César Franck's Cello Sonata (originally a violin sonata, transcribed by Jules Delsart with the composer's approval), Stravinsky's Suite italienne (transcribed by the composer – with Gregor Piatigorsky – from his ballet Pulcinella) and Bartók's first rhapsody (also transcribed by the composer, originally for violin and piano). There are pieces for cello solo, J. S. Bach's six Suites for Cello (which are among the best-known solo cello pieces), Kodály's Sonata for Solo Cello and Britten's three Cello Suites. Other notable examples include Hindemith's and Ysaÿe's Sonatas for Solo Cello, Dutilleux's Trois Strophes sur le Nom de Sacher, Berio's Les Mots Sont Allés, Cassadó's Suite for Solo Cello, Ligeti's Solo Sonata, Carter's two Figments and Xenakis' Nomos Alpha and Kottos.
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The prelude is written to sound as mechanical as possible, with dissonant combinations of instruments colliding against each other rhythmically to portray the mechanised movements of the soldiers on stage. As with Alban Berg's operas Wozzeck and Lulu, the individual scenes are built on strict musical forms; strophes, chaconnes, ricercare, toccatas, etc.Edward Rothstein, "Classical View; In Soldaten, Apocalypse Fizzles Out", The New York Times, 20 October 1991: "Zimmermann even used a formal logic resembling Berg's, writing each scene as a musical form –a chaconne, a ricercar, a toccata, a nocturne– creating an ironic tension between the horrors expressed and the manners of musical forms." Musically, the work makes extensive use of twelve-tone technique, and expresses debts to Berg's Wozzeck, such as in the shared name of the principal female role (Marie) and in the number of scenes (15).
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Not more than one or two are good throughout, but a full posy of beauties may easily be culled from them. The long cadences of the Alexandrines with which most of the strophes close, continued to echo in English poetry from Dryden down to Gray, but the Odes themselves, which were found to be obscure by the poet's contemporaries, immediately fell into disesteem. The Mistress was the most popular poetic reading of the age, and is now the least read of all Cowley's works. It was the last and most violent expression of the amatory affectation of the 17th century, an affectation which had been endurable in Donne and other early writers because it had been the vehicle of sincere emotion, but was unendurable in Cowley because in him it represented nothing but a perfunctory exercise, a mere exhibition of literary calisthenics.
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Weber's work focuses on an exploration of forms of writing that are constantly being renewed. Parallel to some serials works freely treated (Variations pour dixtuor, 1965 - Synecdoque pour hautbois, 1970), he developed a writing in quarter tones (Saxophone Quartet, 1984 - Constellaire, 1994). He also employed various techniques of indeterministic composition, such as certain uses of transparent sheets, which, seen from different angles, generate transformations of pre-established melodic and harmonic propositions (Linear I, II, III, respectively for saxophone and orchestra, for octet, and for sextet of ondes Martenot, 1973–77). Fascinated by poetic forms, he knows how to reconnect with the spirit of the pantoum (Strophes, 1965), and acrostic (Études Acrostiches, 1973), also inspired by the phonemes of Jean Cocteau's Poème de l'Étoile to create a vocal expression in onomatopoeias (Phonèminie, 1983 - Le "Chan" du Potager, 1984).
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The include religious pieces of music in the Sardinian language and all its dialects, following a rhyme scheme based on the octave, sestina and quintain. According to the scholar , the roots of the Sardinian actually lie in the Byzantine models: they are in fact identical to the Greek kontakion in terms of the metre structure and the strophes with the chorus at the end. It is also known from the De cerimoniis aulae Byzantinae that the protospatharios Torchitorio I, in honor of the Emperor Constantine VII Porphyrogenitus, sent a delegation of Sardinians who sang a peculiar Greek hymn in Constantinople. Some other authors think that the derive from the Italian lauda, which made its way to Sardinia and the other regions of Europe thanks to Saint Francis' spiritual influence; it has also been theorised that the style of singing might actually be of autochthonous origin, with sonorities typical of the ancient Mediterranean region.
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In New Mexico, for example, a story-song emerged during the colonial period that was known as an Indita, which loosely follows the format of a corrido, but is chanted rather than sung, similar to a Native American chant, hence the name Indita. The earliest living specimens of corrido are adapted versions of Spanish romances or European tales, mainly about disgraced or idealized love, or religious topics. These, that include (among others) "La Martina" (an adaptation of the romance "La Esposa Infiel") and "La Delgadina", show the same basic stylistic features of the later mainstream corridos (1/2 or 3/4 tempo and verso menor lyric composing, meaning verses of eight or less phonetic syllables, grouped in strophes of six or less verses). Beginning with the Mexican War of Independence (1810–1821) and culminating during the Mexican Revolution (1910–1921), the genre flourished and acquired its "epic" tones, along with the three-step narrative structure as described above.
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During the Middle Ages, Zionides from the pens of the greatest poets formed the chief comfort and consolation of the people. As early as the time of Ibn Gabirol (11th century) songs of Zion were incorporated in the liturgy, partly as lamentations for Tisha B'Av and partly as tefillot and piyyutim. Notable lamentations for Zion which are sung on Tisha B'Av include: a song beginning with the words ' and giving a vivid description of the destruction of Zion; the well-known song which begins with the words ', and in which Samaria and Jerusalem try to excel each other in the description of the misfortune which has fallen upon them; and, above all, the Eli Tzion with its refrain: ::Zion and her cities wail like a woman in childbirth, and like a virgin clothed in sackcloth for the man of her youthful choice. Also notable are several strophes of the song "Lekhah Dodi", which is sung in the Sabbath eve service.
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22 In poetry Cristóbal Botella y Serra kept publishing poetry under pen-names in Integrist periodicals like El Siglo Futuro until he died in unclear circumstances in the early 1920s.El Siglo Futuro 21.03.21, available here Another Carlist poetic offshoot was Florentino Soria López, who abandoned Jaimismo and sided with the rebellious Mellistas, later amalgamating into primoderiverista institutions.Enciclopedia Universal Ilustrada Europeo-Americana (Espasa) 1927, pp. 548-549 The old orthodox party executive José Pascual de Liñán y Eguizábal also went on with poetic pieces, his classic verses praising traditional Spanish virtues, commenting ongoing events and honoring great men of Carlism.in 1928 he responded with rhymes to the death of Juan Vázquez de Mella, see La Lectura Dominical 11.02.28, La Lectura Dominical 06.02.29 Some foreigners considered him "the best Spanish poet".Mundo Grafico 13.10.15 A poet from the younger generation, Manuel García-Sañudo, whose literary Carlist zeal carried him behind bars during the late Restoration years, moved from early lyrics of Sonetos provincianos (1915) and Romance de pobres almas (1916) to more belligerent strophes related to his assignment to Morocco.
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One of the strophes of the poem says: Galicians, be strong / ready to great deeds / align your breast / for a glorious end / sons of the noble Celts / strong and traveler / fight for the fate / of the homeland of Breogán."Galegos, sede fortes / prontos a grandes feitos / aparellade os peitos / a glorioso afán / fillos dos nobres celtas / fortes e peregrinos / luitade plos destinos / dos eidos de Breogán" Cf. The Celtic past became an integral part of the self-perceived Galician identity: as a result an important number of cultural association and sport clubs received names related to the Celts, among them Celta de Vigo, Céltiga FC, or Fillos de Breogán. From the 1970s a series of Celtic music and cultural festivals were also popularized, being the most notable the Festival Internacional do Mundo Celta de Ortigueira, at the same time that Galician folk musical bands and interpreters became usual participants in Celtic festivals elsewhere, as in the Interceltic festival of Lorient, where Galicia sent its first delegation already in 1976.
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Rostropovich gave their first performances, and the two had an obviously special affinity – Rostropovich's family described him as "always smiling" when discussing "Ben", and on his death bed he was said to have expressed no fear as he and Britten would, he believed, be reunited in Heaven. Britten was also renowned as a piano accompanist and together they recorded, among other works, Schubert's Sonata for Arpeggione and Piano in A minor. His daughter claimed that this recording moved her father to tears of joy even on his deathbed. Rostropovich also had long-standing artistic partnership with Henri Dutilleux (Tout un monde lointain... for cello and orchestra, Trois strophes sur le nom de Sacher for solo cello), Witold Lutosławski (Cello Concerto, Sacher-Variation for solo cello), Krzysztof Penderecki (cello concerto n°2, Largo for cello and orchestra, Per Slava for solo cello, sextet for piano, clarinet, horn, violin, viola and cello), Luciano Berio (Ritorno degli snovidenia for cello and thirty instruments, Les mots sont allés... for solo cello) as well as Olivier Messiaen (Concert à quatre for piano, cello, oboe, flute and orchestra).
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Stanzas of the Medieval hymn Salve mundi salutare – also known as the Rhythmica oratio –, a poem formerly ascribed to St. Bonaventure or Bernard of Clairvaux, but now thought more likely to have been written by Medieval poet Arnulf of Leuven (died 1250) was arranged as a cycle of seven cantatas in 1680 by Dieterich Buxtehude. The contemporaneous development of additional strophes in excess of the five of popular devotional practice can be attributed to uncertain composition, with creative accretions occurring over time. Membra Jesu Nostri is divided into seven parts, each addressed to a different member of Christ's crucified body: Ad pedes, Ad genua, Ad manus, Ad latus, Ad pectus, Ad cor, Ad faciem (feet, knees, hands, side, breast, heart, and head, that is, Christ's Holy Face) framed by selected Old Testament verses containing prefigurements. The cantata has come down to us more widely known as the hymn O Sacred Head Surrounded named for the closing stanza of poem addressed to Christ's head which begins Salve caput cruentatum.
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With sixty-nine lines arranged in ten strophes, each separated by a horizontal line, the work is structured around a dialogue between two people, one of whom has lost favor with both his lord and his personal god, resulting in his intense suffering from an undisclosed illness. The text is difficult and fragmentary, especially in the middle leading to debate among scholars about its meaning and purpose. The opening line has been rendered as “a man weeps for a friend to his god” or, alternatively, “a young man was imploring his god as a friend”. He protests his innocence, “the wrong I did I do not know!”, and holds his god responsible for his condition. He continues his lament and cries for deliverance in a sufferer’s prayer. At the end, the text switches to a third-person narrator who relates the man’s pleas did not go unheeded and that his god responded to his entreaties with his deliverance from his afflictions, with the proviso “you must never till the end of time forget [your] god”, a “happy ending” framing device which also appears in other works of this genre. note 483.
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The function of these parentheses is to recall material that has already been heard and to introduce fragments that will be fully developed later.Simon Marin's liner notes (Erato CD 0630-14068-2) It is based on a hexachord (C-G-F-G-C-D) which highlights the intervals of fifth and major second. Each movement emphasizes various special effects (pizzicato, glissandi, harmonics, extreme registers, contrasting dynamics…) resulting in a difficult and elaborate work. He also published various works for piano (3 Préludes, Figures de résonances) and 3 strophes sur le nom de Sacher (1976–1982) for solo cello. The latter work was originally composed on the occasion of Paul Sacher's 70th birthday in 1976, on a request by the Russian cellist Mstislav Rostropovich to write compositions for cello solo using his name spelt out in musical notes as the theme eS-A-C-H-E-Re (Es is E in German, H is B in German, and Re is D in French; see Sacher hexachord). He then returned to orchestral works in 1978 with Timbres, espace, mouvement ou la nuit etoilée, inspired by Vincent van Gogh's The Starry Night.
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