The melancholy-streaked melodicism gives way to a bluesy breakdown that most mainstream artists wouldn't dare to put amidst such tunefulness.
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Nothing's new album, Dance on the Blacktop, sounds like, well, Nothing, but with a deep tunefulness that casts the band's previous dreaminess in starker terms.
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His mild tunefulness and willingness to tinker with exotic ingredients recalls modes traceable to the solo careers of Paul Simon and David Byrne and since adopted by indie-pop bands focusing on textural blend over character construction.
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" Amid the fuzz-toned tunefulness of "Charity," she tries to cope with someone's mood swings by offering sympathy ("You don't have to pretend you're not scared/everyone else is just as terrified as you"), placation and cheerleading ("Everything's amazing!
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After Passover, the band explored some of the lighter avenues in psychedelia, 2010's Phosphene Dream even had some moments that leaned toward the tunefulness of the Beatles, and, as the title suggests, took inspiration from the colorful visuals that are sometimes part of an experience with psychedelic drugs.
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The News Chronicle critic wrote that "To have any sort of musical, let alone British, maintaining a spontaneous running gaiety and an irresistible tunefulness is a new and blissful experience."Winnington, Richard. "Review: 'Champagne Charlie'." News Chronicle, 26 August 1944.
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He sees the ensembles as anticipating Tannhäuser and Lohengrin but picks out "the delightful buffo duet for Gernot... and Drolla", saying it looks forward more to Das Liebesverbot "except that it surpasses in unassuming tunefulness anything in the following score".
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14 May 1996. NME called it a "frenzy of techno- friendly tunefulness" and noted its "unshakeable" chorus. People Magazine stated that Gina G's adding "a dusky undercurrent and a teasing touch of sultriness" to the song. Pop Rescue said it is "incredibly catchy".
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This was because Tchaikovsky's creative impulses had become unprecedentedly personal, urgent, capable of enormous expressive forcefulness, even violence.Brown, Tchaikovsky: The Final Years, 441-442. Along with this emotional urgency came an unprecedented flow of melody. Here, Tchaikovsky developed his gift for tunefulness more freely and deployed it more liberally than he had previously.
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The Allmusic review by Kurt Keefner called it " an album that certainly does not lack for atmosphere, but which would have benefited from greater tunefulness. Still, a very worthy effort" but stated it was "not the best place to start one's Rabih Abou-Khalil collection, especially if one is coming from a jazz background".
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Oxford Music Online. Oxford University Press. Web. retrieved 18 Aug. 2013. . "Obizzis music is well crafted and shows mastery not only in the fusion of affective madrigalian techniques with lilting tunefulness within the same strophic aria, but also in the way short epigrammatic madrigal texts are dramatized through clever repetitions of text and music.".
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Giovanni Battista Viotti (12 May 1755 – 3 March 1824) was an Italian violinist whose virtuosity was famed and whose work as a composer featured a prominent violin and an appealing lyrical tunefulness. He was also a director of French and Italian opera companies in Paris and London. He personally knew Joseph Haydn and Ludwig van Beethoven.
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Canada: Penumbra Press. In his review in Rolling Stone, Don Shewey stated: "All [tracks] boast the tunefulness, instant familiarity and (judging from the characteristically whimsical liner notes) intelligently emotional subject matter for which the McGarrigles are known and loved. Fortunately, their usual spicy folk instrumentation remains intact. [...] "Unexpectedly, singing in French inspires the McGarrigles, especially Anna, to new levels of passion.
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"Interview with Max Bloom from Yuck." Northern Transmissions. Retrieved 6 February 2016 Chris DeVille from Stereogum favorably compared "Hearts in Motion" to Transmissions from the Satellite Heart-era Flaming Lips, while Tom Breihan from the same website described "Cannonball" as "a blazing, amped-up blast of fuzz-guitar tunefulness[.]" Writing for the webzine Overblown, Jamie Coughlan referred to the lead single "Hold Me Closer" as "euphoric".
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The Mikado became the most frequently performed Savoy OperaWilson and Lloyd, p. 37 and has been translated into numerous languages. It is one of the most frequently played musical theatre pieces in history.See here and here A feature on Chicago Lyric Opera's 2010 production noted that the opera "has been in constant production for the past 125 years", citing its "inherent humor and tunefulness".
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Gates is known primarily for his "confessional anthems" that blend often autobiographical lyrics with refined Southern beats. In a review of his debut album Islah, Consequence of Sound noted that "autobiography and honesty have always been central to [Gates'] artistry." Spin has noted that Gates often combines "melodic tunefulness" and "clenched-teeth street rap." In recent releases, he has incorporated more singing, having trained with the singer, Monica.
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The nine-track album was released with We Put Out Records, on 16 January 2001. It was produced by Machine. The music segues from crunchy power pop to twangy country rock, with intermittent wonky sound effects and "distinctive goofball eccentricity." John Terleskey of The Morning Call describes it as "rough, sod-kicking tunefulness," and it is compared to the music of the indie rock band Pavement, and the alternative rock band the Flaming Lips.
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Kozinn In the 21st century, however, critics are reacting more positively to Tchaikovsky's tunefulness, originality, and craftsmanship. "Tchaikovsky is being viewed again as a composer of the first rank, writing music of depth, innovation and influence," according to cultural historian and author Joseph Horowitz. Important in this reevaluation is a shift in attitude away from the disdain for overt emotionalism that marked half of the 20th century.Wiley, New Grove (2001), 25:169.
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Laucella utilized a recurring theme in the chimes throughout the work in tribute to the village's Congregational Church. Critics described the composition as a rich tapestry of musical textures and The New York Times praised Laucella's fondness for Italian tunefulness. Critics at The New York Tribune described his music as both graceful and melodic. In 1911, Laucella appeared under the musical direction of the Czech conductor Josef Stránský in the premiere of his symphonic poem Consalvo.
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Huntley, p. 150. Music journalist Paul Du Noyer later wrote of the contrasting reception: "Punk rock rendered Harrison obsolete in his homeland but US radio warmed to the expertise and tunefulness of it all." In 2004, Thirty Three & was remastered and reissued, both separately and as part of the deluxe box set The Dark Horse Years 1976–1992,Stephen Thomas Erlewine, "George Harrison The Dark Horse Years 1976–1992", AllMusic (retrieved 22 August 2014). with the addition of a bonus track, "Tears of the World".
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To its critics, the album drifts among musical forms and relies heavily on a high percentage of cover songs: the quasi-psychedelia of "Good Thing I Know Her" (which bears the album title in its lyrics) conveyed yet another new departure for the band's sound, "bewildering" to some.Robbins (1989). p. 465. With some difficulty, Dave Marsh of Rolling Stone described Schizophrenic Circus as "postpunk folk-rock with garage-band propulsion and longhair tunefulness."Marsh, Dave (1985) The First Rock & Roll Confidential Report; . p. 276.
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Sir Malcolm Arnold Sir Malcolm Henry Arnold (21 October 1921 – 23 September 2006) was an English composer. His works feature music in many genres, including a cycle of nine symphonies, numerous concertos, concert works, chamber music, choral music and music for brass band and wind band. His style is tonal and rejoices in lively rhythms, brilliant orchestration, and an unabashed tunefulness. He wrote extensively for the theatre, with five ballets specially commissioned by the Royal Ballet, as well as two operas and a musical.
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The chief glories of Edwardian musical comedies lie in their musical scores. At their best, these combined the delicacy and sophistication of operetta with the robust tunefulness of the music hall. The major composers of the genre were Sidney Jones (The Geisha), Ivan Caryll (Our Miss Gibbs), Lionel Monckton (The Quaker Girl), Howard Talbot (A Chinese Honeymoon), Leslie Stuart (Florodora) and Paul Rubens (Miss Hook of Holland). Scores were constantly refreshed with "additional" or "specialty" numbers and re-arranged, often by several different composers and lyricists, to keep audiences coming back.
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While living in Los Angeles in the '80s, Alexakis was in a band called Shakin' Brave. Shakin' Brave featured a rather rough rock sound, but never really rose above the sea of music in Southern California. Alexakis and his first wife Anita relocated to San Francisco. While living in San Francisco, Alexakis stumbled upon a genre of music known as "cowpunk", a style merging two prevalent forms of music with which he grew up — the tunefulness of country and the distorted guitars/fast tempo of rock and roll.
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Grétry successfully blended Italian tunefulness with a careful setting of the French language. He was a versatile composer who expanded the range of opéra comique to cover a wide variety of subjects from the Oriental fairy tale Zémire et Azor (1772) to the musical satire of Le jugement de Midas (1778) and the domestic farce of L'amant jaloux (also 1778). His most famous work was the historical "rescue opera", Richard Coeur-de-lion (1784), which achieved international popularity, reaching London in 1786 and Boston in 1797.Holden article on Grétry.
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" Paste gave it a score of six out of ten and said that it was "replaced by a more temperate jangle". Now gave it three stars out of five and said, "It's time to move some units, so quirky's out and tunefulness is in." Billboard gave it an average review and said that "Much of the material... is more intimate and, at times, tentative." The New York Times also gave it an average review and said it "doesn't confide much, but it's a picture of a band that's not quite sure what to do next.
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All these pieces dealt with ordinary bourgeois characters rather than Classical heroes. But the most important and popular composer of opéra comique in the late eighteenth century was André Ernest Modeste Grétry. Grétry successfully blended Italian tunefulness with a careful setting of the French language. He was a versatile composer who expanded the range of opéra comique to cover a wide variety of subjects from the Oriental fairy tale Zémire et Azor (1772) to the musical satire of Le jugement de Midas (1778) and the domestic farce of L'amant jaloux (also 1778).
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He laments that his woman doesn't listen to him or his music: "It's like she never heard of me." In spite of the "suave delivery and the song's inherent tunefulness", the object of Ocean's affection soon ditches his love songs in favor of those sung "by real R&B; big-shots (Drake included)". The mixtape also contains several references to American director Stanley Kubrick and his films, most notably Eyes Wide Shut. Nicole Kidman's adulterous soliloquy from the film can be heard during the song "Lovecrimes", adding a sense of manic dread.
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In The Guardian, John L Walters wrote "it's a deliciously odd idea - Portuguese poems set to music by a composer (Abou-Khalil) who didn't at the time speak a word of the language, and performed by an international band, fronted by Ricardo Ribeiro, the young fado singer from Lisbon. Of course it's a triumph - Abou-Khalil is one of those magicians who can always pull something out of the hat. His rhythmic sensibilities support Ribeiro with a propulsion that wraps fado's sensibilities around a robust spine. ... Abou-Khalil's settings have a spirited tunefulness and a Moorish, Mediterranean flavour that recalls Radio Tarifa".
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The album peaked at #78 on the Billboard 200 chart. Some retrospective critical assessments of the album have been negative; for example, The New Rolling Stone Album Guide rated the release only two out of five stars. However, critic Eduardo Rivadavia of Allmusic has given Seventh Star a mixed to positive review, praising what he saw as the "fiery tunefulness" that makes "aggressive hard rockers like "In for the Kill," "Turn to Stone," and "Danger Zone" uncommonly catchy". However, he argued that the songwriting and vocal work fell flat on songs such as the album's title track.
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8 The Times thought the opera "a work of very great beauty and charm", though its reviewer teased Messager about a few conspicuously Wagnerian passages where "the influence of Die Meistersinger is felt to an extent that is almost absurd"."Royal English Opera", The Times, 4 November 1891, p. 6 The Daily Telegraph commented that the composer had a rare gift, and that "the connoisseur can hear La Basoche for the charm of its scholarship, and the average opera-goer can enjoy it for its tunefulness".Quoted in "the Press on La Basoche", The Musical Standard, 7 November 1891, p.
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Timothy Monger of AllMusic noted that Li "manages a tunefulness that aspires to great pop heights, yet retains the wintry austerity of her Nordic roots. On ... I Never Learn, she manages to meld both of those assets into a beautifully crafted set of lonesome break-up ballads." Simon Harper of Clash described the album as "tender and compelling" and wrote, "Though her personal tragedy has been transformed into an affecting record of real beauty, one truly hopes Li's next chapter isn't quite so agonising." Randall Roberts of the Los Angeles Times wrote that the album "suggests an artist just hitting her stride".
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Upon the album's release, critical response to "Photograph" was generally positive. In his track-by-track review of x for Billboard magazine, Jason Lipshutz suggested that the line "Loving can hurt sometimes/But it's the only thing that I know" in "Photograph" was the "lynchpin line of the whole album". Sarah Rodman of The Boston Globe had the same sentiment; she called the song "haunting" and felt it "[crept] up on you with [its] tunefulness". Jamieson Cox of Time described Sheeran's use of "detail and powerful imagery" in the lyrics as "smart"; Cox opined that it "[brought the song] to life".
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Leokadiya Aleksandrovna Kashperova (; 1872–1940) was a Russian pianist and Romantic composer. She was the piano teacher of composer Igor Stravinsky. She graduated in 1895 from the St Petersburg Conservatoire, conducting her cantata Orvasi. Over the following years, she composed works which included a symphony, a piano concerto, choral works, chamber music, piano solos and art- songs. These received public recognition, for example, The Russian Musical Gazette noted in 1912: "Her gifts as a composer are a most welcome phenomenon of St Petersburg’s musical life". The Times (London, 1907) observed that "Mlle Kashperova’s music shows a decided talent, very attractive in its tunefulness, grace and Russian fitfulness of mood".
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The most important and prevalent type of serenade in music history is a work for large instrumental ensemble in multiple movements, related to the divertimento, and mainly being composed in the Classical and Romantic periods, though a few examples exist from the 20th century. Usually the character of the work is lighter than other multiple- movement works for large ensemble (for example the symphony), with tunefulness being more important than thematic development or dramatic intensity. Most of these works are from Italy, Germany, Austria and Bohemia. Among the most famous examples of the serenade from the 18th century are those by Mozart, whose serenades typically comprise between four and ten movements.
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Ide was an extremely conservative composer. A reviewer stated that although Ide's music is “conservative in the extreme,… [his works] are finely crafted, though, and they have an ease and flow and tunefulness that (let us hope) will never go completely out of fashion”. In musical forms and colors, he was a classicist. A reviewer for the Illinois State Journal who attended the 1904 performance of Ide's Idyllic Dances described his music thus: > This music and the orchestral setting given it is surprisingly creditable > for a first work, and the credit is divided about equally between the things > the composer has done and the things he has refrained from doing.
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At the work's end, her travails over, she unites with Ulisse in a duet of life-affirming confidence which, Ringer suggests, no other composer bar Verdi could have achieved. Rosand divides the music of Il ritorno into "speech-like" and "musical" utterances. Speech, usually in the form of recitative, delivers information and moves the action forward, while musical utterances, either formal songs or occasional short outbursts, are lyrical passages that enhance an emotional or dramatic situation. This division is, however, less formal than in Monteverdi's earlier L'Orfeo; in Il ritorno information is frequently conveyed through the use of arioso, or even aria at times, increasing both tunefulness and tonal unity.
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Paul Du Noyer wrote in his review for Blender in 2004: "Their talent was already a source of wonder, but now the songs themselves were turning mysterious. Under the influence of Bob Dylan – and, it might be said, marijuana – the Fab Four laced their tunefulness with new introspection, wordplay and social comment. University professors and newspaper columnists started taking note." Writing in Paste, Mark Kemp says that the influence of Dylan and the Byrds seems overt at times but the album marks the start of the Beatles' peak in creativity and, in the context of 1965, offered "an unprecedented synthesis of elements from folk-rock and beyond".
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" In a review for Kerrang!, Dave Everly claimed "It’s the most perfectly played, perfectly produced record you’re likely to hear this or any other year" and that it was "one of the greatest albums you’ll hear in your lifetime." Writing for NME, Andy Capper also approved of it; "Lateralus has added a little more colour to their palette of chanting, drumming and high drama. Singer Maynard James Keenan has been unaffected by the comparative tunefulness of his side project A Perfect Circle, while the stripped-down nature of the instrumentation means that Tool's innate heaviness shines out in a world of production tricks and dodges.
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Comadre was a screamo band from Redwood City, California, composed of former members of Heartcrosslove, One's Own Ruin, What Life Makes Us, and Light This City. Their sound is a shoot-off of hardcore and punk, played fast and chaotic with an abundance of energy, but with a large focus on melody and tunefulness as well. Their influences can perhaps best be shown by the covers the band has performed live, by groups such as Rites of Spring, Refused, Kid Dynamite, and Suicide File. After playing a handful of shows and releasing a three-song demo under the moniker Coffin, the band changed their name to Comadre in the fall of 2004.
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In Chicago, George Thomas also recorded as an accompanist for Tiny Franklin on Gennett Records, and had his own jazz group, the Muscle Shoals Devils, who made recordings that were not released. Thomas was respected as a composer, and was quoted in the Music Trade Review in 1924: > The world wants dancing music, and, tunefulness apart, wants something not > reminiscent of hundreds of dances that have gone before... It is a waste of > energy for the composer or publisher to plagiarize a winner. The music > buying public is too wise today. And people who love to dance, even if they > do not play music, are quick to appreciate novelty in melody and theme in a > new song.
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Stravinsky, Igor. "The Diaghilev I Knew", The Atlantic Monthly, November 1953 For his revival Diaghilev commissioned Erik Satie to compose recitatives to replace the original spoken dialogue, and that version is sometimes used in the occasional modern productions of the piece, such as that by Laurent Pelly at the Grand Théâtre de Genève in 2016. The finale of the Faust ballet music, composed for large orchestra Faust (1859) appealed to the public not only because of its tunefulness but also for its naturalness. In contrast with grand operas by Gounod's older contemporaries, such as Meyerbeer's Les Huguenots or Rossini's William Tell, Faust in its original 1859 form tells its story without spectacular ballets, opulent staging, grand orchestral effects or conventionally theatrical emotion.
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""New star for 'Woman in White'" reallyuseful.com, 2 August 2005 The production was received with more enthusiasm though feelings were still mixed. The show reportedly received some cutting, but still took roughly as long because of an extended ending which almost filled in the time saved earlier. Ian Shuttleworth noted that "I can identify no specific instances of revision... but in general Trevor Nunn's production now feels tighter and more narratively driven...Ruthie Henshall as Marian is appealing as ever,...she is almost equalled by Alexandra Silber, who makes a magnificent debut as her sister Laura....[Simon Callow] eschews the wild prosthetic jowls of his predecessors in the role, ...using only a slightly exaggerated nose and a little padding, and makes up in immense brio what he lacks (sometimes sorely) in tunefulness.
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Janet Maslin, reviewing for The New York Times, summarized the film as not a "great show of wit or tunefulness here, and the ingenious cross-generational touches are fairly rare. But there is a lively kiddie version of the Dickens tale, one that very young viewers ought to understand." Chicago Sun-Times film critic Roger Ebert, who gave the film three stars out of four, praised the technical achievements, but felt it "could have done with a few more songs than it has, and the merrymaking at the end might have been carried on a little longer, just to offset the gloom of most of Scrooge's tour through his lifetime spent spreading misery." On the television program Siskel & Ebert, his partner Chicago Tribune film critic Gene Siskel gave the film a Thumbs Down although he was favorable towards Michael Caine's performance.
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Mohair went on to form their own Ear Candy imprint in 2005, and released singles "End of the Line" and "Stranded (in the Middle of Nowhere)" that year. In spring 2006, Mohair performed several shows at the annual South By Southwest Convention in Austin, Texas, followed by shows in Chicago and New York. Their debut album, Small Talk (produced by Mark Wallis and Dave Ruffy) was released in the UK on 24 April 2006 on the Ear Candy label,MacNeil, Jason "Small Talk Review", Allmusic. Retrieved 6 March 2016 promoted by an appearance on The Album Chart Show on Channel 4 in the UK. The album was received favourably by Allmusic, with Jason MacNeil giving it four stars and calling it "an album that should have a lot of people talking", while Michael Deacon of the Daily Telegraph called the songs "simple and predictable" with "almost teeth-grinding tunefulness".Deacon, Michael (2006) "Pop CDs of the week: Gnarls Barkley, Jamie Foxx and more", Daily Telegraph, 22 April 2006.
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