Mr. Leonhardt's performances showed a certain gentleness, whereas Mr. Harnoncourt's were more assertive, with phrasings and accentuations that sometimes bordered on mannerism.
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A few odd but consistent accentuations and articulations of the text left room for head-scratching, yet scarcely detracted from the overall effect.
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All three of the new numbers share a severely limited tap vocabulary, the same few steps fixed in the same rhythms and accentuations, like guidebook phrases memorized by a tourist.
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Lichko's typology has parallels with those of Karl Leonhard and Pyotr Gannushkin. Persons with accentuations of character are placed somewhere between mentally sane persons and psychopaths (those who suffer from different personality disorders). Referring to the famous monograph by the German psychiatrist Karl Leonhard, "Accentuated Persons", Andrey Lichko emphasized that it is more correct to use the term "accentuations of character" instead of the term "accentuated personality" because personality appears to be a wider notion, which includes IQ, skills, worldview, and so on.Lichko, Andrey. “Psychopathy and Accentuations of Character at Teenagers”.
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His monograph entitled "Psychopathy and Accentuations of Character of Teenagers" (1977) has become an indispensable textbook for many generations of Russian psychiatrists and psychologists. For writing this book, Andrey Lichko was awarded the Honorary Certificate n.a. V.M. Bekhterev by USSR Academy of Medical Sciences. In this monograph, Andrey Lichko has enriched the theory of psychopathy (what is known today as personality disorders) by demonstrating that along with psychopathy it is necessary to distinguish the so-called accentuations of character.
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The vertical level demonstrates four different types of accentuations in Punjabi: # Normal statement # Simple emphatic # Confirmation # Information # Doubtful/Exclamation The second experiment provides a significant difference between the horizontal level and the vertical level.
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Saint Petersburg: Rech, 2010. P. 8. With his theory of accentuations of character, Andrey Lichko has contributed to the understanding of etiology of neuroses by proposing the concept of the so- called "locus of the least resistance" (locus resistantiae minoris) within the character structure.
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It is also a study in the way hands should affect the melody with its many accentuations, or phrasing with alternating hands. The melody is quite dramatic, almost Impressionistic, radically changing in dynamics at times, and has inspired many listeners. The étude has been considered by many pianists as one of the most beautiful piano pieces ever composed. Liszt kept the étude in his repertoire until his final years.
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"Illegal" is a ballad with lyrics revolving around mourning for the loss of a lover, as seen in the lines, "It should be illegal to deceive a woman's heart". It contains elements of pop and country music. Spence D. of the website IGN felt that Shakira adopted an "almost modern day country-styled pop aesthetic". Throughout the song, her vocals are subdued, complete with "rolling delivering, breathy accentuations, and... trill".
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Wissel idealised farming life for predominantly urban viewers. Exhibitions of paintings of this genre were meant to show the peasants and working class that they were just as good as the wealthy, and that they too deserved a pleasant life. These paintings were part of the Nazis' 'blood and soil' campaign, designed to associate the ideas of health, family and motherhood with the country. Wissel painted many pictures such as these, but his work contains subtle distortions and accentuations influenced by expressionism.
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Lichko created his own personality typology on the basis of works by Pyotr Gannushkin and Karl Leonhard. He has written several psychiatry books: "Adolescent Psychiatry", "Psychopathy and Accentuations of Character at Teenagers", "Schizophrenia in Teenagers", and "Adolescent Narcology". He is also known as the author of a book called "History as Viewed by a Psychiatrist: Ivan the Terrible, Joseph Stalin, Adolf Hitler, Nikolai Gogol, and Others".Lichko, Andrey & M. Y. Ivanov. “The Pathocharacterological Diagnostic Questionnaire for Teenagers and the Experience in Application of This Method”.
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A common characteristic of local Greek dialects including Himariote is the use of the archaic disyllabic -ea form. Moreover, the phoneme /s/ is pronounced in a slightly different way, depending on the town: in Dhërmi as a soft /ś/; in Palasa as a half-hard /š’/ while in the town of Himarë as a hard /š/. The people who originate from Himarë sometimes also pronounce /k/ as /ts/.. Many younger speakers do not use "hard accentuations" anymore, due to the widespread influence by standard modern Greek in the context of migratory patterns to Greece.
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Some productions of the opera include a glossary in the programme to help clarify the contextual meaning of the language used, which is mostly lost in translation. Baron Ochs makes clumsy, mannered attempts at using refined or flamboyant language, making use of non-German words and phrases such as (meaning "by Bacchus' body!" in Italian), some of which he mispronounces. The language used by Octavian when impersonating Mariandel, and by other non-noble characters, is an Austrian dialect, whose connotations are difficult for non- native speakers to grasp. The German used by the Italians, Valzacchi and Annina, is also very broken and marked by Italian accentuations.
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Sorrell 1980, p. 75 He uses his left (fingering) hand for runs and to play an extended melodic range, and his right (bowing) hand for rhythmic accentuations. Narayan's fingering technique, his low right hand position, keeping the bow in a close to right angle to the string, and his use of the full bow length are unusual among sarangi players.Sorrell 1980, p. 63 Narayan is associated with the Kirana gharana (stylistic school of Kirana) through Abdul Wahid Khan, but his performance style is not strongly connected to it.Sorrell 1980, p. 27 Most of Narayan's compositions are from the singing repertoire of his teachers and were modified and adapted to the sarangi.
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Shawn quotes with approval the statement of Dalcroze that, while the art of musical rhythm consists in differentiating and combining time durations, pauses and accents "according to physiological law", that of "plastic rhythm" (i.e. dance) "is to designate movement in space, to interpret long time-values by slow movements and short ones by quick movements, regulate pauses by their divers successions and express sound accentuations in their multiple nuances by additions of bodily weight, by means of muscular innervations". Shawn nevertheless points out that the system of musical time is a "man-made, artificial thing.... a manufactured tool, whereas rhythm is something that has always existed and depends on man not at all", being "the continuous flowing time which our human minds cut up into convenient units", suggesting that music might be revivified by a return to the values and the time-perception of dancing.Shawn, Ted, Dance We Must, 1946, Dennis Dobson Ltd.
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