They include Ms. Yorke (who has the period glamour poses down pat), Mr. Uranowitz, Mr. Dossett, John Clay III as a beleaguered hotel employee and, as a pair of terpsichorean bartenders, James T. Lane and Daniel Yearwood.
|
|
Both the music and sound effects were created by composers Hitoshi Sakimoto, Masaharu Iwata and Yoshio Furukawa, using a proprietary sound driver written by the former called "Terpsichorean" that was implemented in subsequent Mega Drive releases like Devilish. Verytex was published by Asmik Ace Entertainment exclusively in Japan on 5 April 1991.
|
|
Another expression of the Morris tradition is Vessel Cupping. This was practised in the East Riding of Yorkshire until the 1920s. It was a form danced by itinerant ploughboys in sets of three or four, about the time of Candlemas. Additionally, there is a specifically Welsh version of this terpsichorean art that is distinct from the Borders Morris style.
|
|
In the 1860s, Hollingshead turned to theatre management. He helped establish the Alhambra Theatre and was the stage manager there from 1865 to 1868, in addition to producing musical pieces and ballets there. He made it famous for its sumptuous staging, alluring corps de ballet and the notorious front-of-house Promenade bar, where the young ladies of the ballet hinted at more than terpsichorean pleasure.Stewart, Maurice.
|
|
Greek statue of Terpsichore from Hadrian's Villa, presently at the Prado Museum (Madrid). Terpsichore, Muse of Music and ballet, an oil on canvas painting by Jean-Marc Nattier (1739). In Greek mythology, Terpsichore (; Τερψιχόρη, "delight in dancing") is one of the nine Muses and goddess of dance and chorus.Theoi Project, Greek Mythology, Muses , Retrieved April 29, 2014 She lends her name to the word "terpsichorean" which means "of or relating to dance".
|
|
Sakimoto also created the synthesizer driver "Terpsichorean" to enhance the sound quality of the game's music; the synthesizer driver has been implemented into many games throughout the Japanese game market in the early 1990s. Despite Revolters success, he continued with his previous goal to become a video game programmer rather than a composer; however, his friends and colleagues encouraged him to continue composing game music. The recognition he gained within the gaming industry jump-started his career.
|
|
After a quick patrol for Macavity, Old Deuteronomy deems it a false alarm and summons the cats back as the main celebration begins ("The Jellicle Ball"), in which the cats sing and display their "Terpsichorean powers". During the Ball, Grizabella reappears and is once again shunned by the other cats ("Grizabella: The Glamour Cat (Reprise)") while Old Deuteronomy looks on sadly. She tries to dance along, but her age and decrepit condition prevent her from doing so ("Memory (Prelude)").
|
|
Medea was portrayed by the English ballerina Mlle. Nency who "apart from her amazing dance talent, succeeded by showing in her acting ability all the soul and expression of that incomparable actor, the celebrated Garrick, in England where the dancer, trained by Mr. Noverre, was born." Other terpsichorean roles included Fire (Medea's burning mantle), Steel (Medea's Sword of Vengeance), and Jealousy. Gaetano Vestris (who had travelled from Paris especially for the occasion) and Angiolo Vestris were Jason and Créon respectively.
|
|
The group was founded by two friends, Dan Smokler and Dan Zimmerman who sought to create a Jewish community that evoked their Hassidic teacher Josh Lauffer's shabbat gatherings. Zimmerman has also cited the famous gatherings of the sainted Rebbe of Szebreszhin as an inspiration for the gathering. JITW has come to be known for its serene, wooded locations, intense praying and singing, and the musical, lyrical and terpsichorean geniuses who frequent its gatherings. It has been described as both neo-HasidicAnd The Walls Came Tumbling Down: Ownership, Empowerment and Judaism Online - matzat.
|
|
Billboard (March 10, 1962): > Here’s a rousing, exuberant package of danceable instrumentals (the Turner's > don't sing here) with strong teen-appeal. The line-up, featuring standout > guitar work, includes "The Gulley," "Potato Mash," "Steel Guitar Rag" and > "Twistaroo." Cash Box (March 10, 1962): > For their second Sue LP Ike and Tina Turner, who recently hit singles-wise > with "Poor Fool" offer a variety of swinging items in a fast-moving dancing > vein. Teamed up with their Kings of Rhythm, a real hot instrumental group, > the two-some belt out with a down-to-earth sincerity on twelve terpsichorean > excursions.
|
|
Finding his way into the house unaccompanied, Fragonard picked up a palette of paints, and with a few deft touches transformed Mlle Guimard's Terpsichorean smile into a grimace of fury, without lessening in the least the likeness. When La Guimard arrived with an entourage and discovered it, the angrier she became, the more she represented the new portrait. In this Temple de Terpsichore, as she named it, the wildest orgies took place, according to her detractors. In 1786 she was compelled to get rid of the property, and it was disposed of by lottery for her benefit for the sum of 300,000 francs.
|
|
The Ballad of Baby Doe has several rag elements (a honky-tonk piano is used extensively in the first scene) and in his 1958 "soap opera" Gallantry, the commercials for Lochinvar soap and Billy Boy wax are sung in a blueslike fashion. Furthermore, the allegretto from his second symphony has an almost neoclassical clarity to it. One distinguishing characteristic of Douglas Moore's music is the modesty, grace and tender lyricism that mark the slower passages of his many works, especially his Symphony in A major and the clarinet quintet. The faster movements of the aforementioned compositions have a robust, jovial and a somewhat terpsichorean quality.
|
|
She graduated from Joliet Central High School in 1928, where she played baseball, tennis, basketball, and track; served as vice-president of the French Club, and was on the yearbook staff.Joliet Central High School Yearbook, 1928 In high school she joined the Terpsichorean Club and began to learn a kind of modern dance based on the ideas of Europeans Émile Jaques-Dalcroze and Rudolf von Laban. At the age of 15, she organized "The Blue Moon Café", a fundraising cabaret to raise money for Brown's Methodist Church in Joliet, where she gave her first public performance. While still a high school student, she opened a private dance school for young black children.
|
|
Frisner Augustin and Makandal drumming for a Haitian Vodou dance in Queens, New York, December 5, 2009Frisner Augustin's drumming style featured a refined balance of aesthetic cool and volatile energy. Critic Robert Palmer noted after a performance in Manhattan, "...Augustin embroidered explosive improvisations...over the ensemble's deftly layered rhythmic conversations while always keeping an eye on dancers and singers and guiding the ebb and flow of relaxation and intensity".Robert Palmer, "Stage: Voodoo Rituals", New York Times, May 25, 1983, n.p. Dancers recognized him for his intimate terpsichorean exchanges: "He lays luscious melodies like flowers at your feet, almost within reach, then yanks them away just as you are about to grab them".
|
|
Evidence that she is an under-rated balladeer comes in the form of "Keep Dancin' on Me", a shimmering slow jam, and the morning-after existential haze of "I Don't Remember", but a terpsichorean swagger remains at the heart of Ciara's world. Few artists go as hard as she does on her club jams, whether inviting the world to 'kiss my swag' over kinetic freestyle beats on "Pucker Up", combining outraged soprano braggadocio with thunderous crunk baselines on the broiling "High Price" or gliding smoothly through the delectable, sun-kissed "Echo". At her best, her pace is furious, and keeping up is exhilarating." Digital Spy gave it three out of five stars and commented that "Fantasy Ride features much the same cast of producers as countless other R&B; albums from the last couple of years, but these A-list knob-twiddlers rarely try anything risky or inventive here.
|
|
Bosley Crowther of The New York Times gave the film a mixed review: > Taste and imagination are so rare these days in musical films that a good > bit of both is sufficient to offset a pack of obvious faults. So that's why > this corner is cheering for Metro's Yolanda and the Thief ... a pleasing > compound of sparkling mummery and glistening allures for eyes and ears ... > the terpsichorean cavorting of Lucille Bremer and Fred Astaire is simply > grand. ... Mr. Astaire and Miss Bremer are plainly thrown considerably out > of stride when they are called upon to ramble through some of the talkative > scenes. The humor, to put it bluntly, is obvious and dull ... However, the > visual felicities and the wackiness of the main idea hold the show together > ... The review in Variety was not complimentary: > There's an idea in this yarn, but it only suggests itself.
|
|
The harmonious Middle East: the West-Eastern Divan Orchestra conducted by Daniel Barenboim Besides having been a public intellectual, Edward Said was an accomplished pianist, worked as the music critic for The Nation magazine, and wrote four books about music: Musical Elaborations (1991); Parallels and Paradoxes: Explorations in Music and Society (2002), with Daniel Barenboim as co-author; On Late Style: Music and Literature Against the Grain (2006); and Music at the Limits (2007) in which final book he spoke of finding musical reflections of his literary and historical ideas in bold compositions and strong performances.Ranjan Ghosh, Edward Said and the Literary, Social, and Political World , New York: Routledge, 2009: p. 22.Columbia University Press, Music at the Limits by Edward W. Saïd, accessed 5 January 2010. Elsewhere in the musical world, the composer Mohammed Fairouz acknowledged the deep influence of Edward Said upon his works; compositionally, Fairouz's First Symphony thematically alludes to the essay "Homage to a Belly-Dancer" (1990), about Tahia Carioca, the Egyptian terpsichorean, actress, and political militant; and a piano sonata titled Reflections on Exile (1984), which thematically refers to the emotions inherent to being an exile.
|
|