This makes it, in the annals of scholarship, something strange: a canonic research text that no one has actually read.
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Their tastes are not shaped by the art history and theory that underpins canonic status and inclusion in the Museum's collection.
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By the time the book was canonic, though, such leaps of identity across space and memory were the new habits of mind.
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The melodic lines are jagged and disjunct, the language is proudly atonal, and the textures can take canonic counterpoint to a fetishistic extreme.
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A documentary about the canonic thinker, shot mostly in her home office, seems straightforward at first, then jellyfish start shimmering across the screen.
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As the amps trailed behind him, the music echoed off the banks of the canal and nearby buildings, giving hints of canonic motion.
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If you haven't read Jesus' Son, his canonic set of semi-autobiographical stories that was adapted into a movie starring Billy Crudup, you probably should start there.
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"Queer resembles an umbrella one buys that falls apart shortly after a rainstorm," they write when considering canonic and contemporary works from the realm of visual art, poetry, fiction, and criticism.
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Those "simpler" strings, while not intrinsically complex, lent moments of piercing harmony to the orchestral textures during the first movement, as the more featured instruments engaged in thrilling volleys of canonic imitation.
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Even though Christmas Eve is technically a vigil in the Catholic Church—meaning that fasting is required—it's not exactly surprising that Italians have found a loophole is this Canonic obligation; one that allows them to eat.
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With harpsichordist Jeannette Sorrell at its helm, Apollo's Fire has been celebrated for its boisterous revitalizations of canonic Baroque works such as Sorrell's thrilling orchestration of Vivaldi's "La Follia" sonata, which will be featured at the Zankel Hall performance.
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On Friday, Braderman has a double feature: her hilarious feminist film, Joan Does Dynasty (1986), for which she green-screened herself into the canonic TV show Dynasty; and Joan Sees Stars (1993), in which Braderman imagines various intimate meetings with Liz Taylor.
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Sure, educational programs like this offer an opportunity for young players to cut their teeth on canonic masterworks under the direction of a maestro of stature — here the New York Philharmonic's assistant conductor, Joshua Gersen — and thus insert themselves into a rich lineage of interpretation and craft.
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"Dance," the fifth and final section, begins with a sensational explosion of six contrasting, rapidly pulsating simultaneous solos; but before you've had time to appreciate the individual dances, the men have begun to create one harmony after another, first in spatial terms and then in canonic sequences.
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The violin-cello duo repertoire is not vast, but this searching pair will traverse a wide historical range, from music by the Renaissance composer Orlando Gibbons to Maurice Ravel's canonic sonata, and forward to works by the avant-garde composers Iannis Xenakis and György Ligeti, as well as a newly commissioned piece by Michael Hersch.
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As for her work, although Haraway briefly brings up her canonic essay, "A Cyborg Manifesto" (1985), and at one point watches with amusement her 1987 appearance on Paper Tiger Television, the ideas of her recent book (the concepts of "kin" and "chthulucene" come up in discussion), Staying with the Trouble (2016), speckle the documentary, culminating in a 10-minute representation of "The Camille Stories," an open-ended work of theoretical, speculative fiction.
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Autograph manuscript of second version of first Canonic Variation The Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769, for organ, were published on the occasion of Bach's admission to Mizler's "Society of the Musical Sciences" in 1747.
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A hexachord that is self-complementing for all the canonic operations—inversion, retrograde, and retrograde inversion—is called all- combinatorial.
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Kurt von Fischer, "Piero", Grove Piero's madrigals are the earliest surviving works in that form which are canonic. The madrigals are for two voices, and the two cacce are for three; what distinguishes his work from that of his contemporaries is his frequent use of canon, especially in the ritornello passages in his madrigals. Piero's works clearly show the evolution of the three-voice canonic caccia form from the madrigal, in which the canonic portion of the madrigal became a two-voice canon, over a tenor, characteristic of the caccia.
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Sandwich was instrumental in putting together the Concert of Ancient Music, the first public concert to showcase a canonic repertory of old works.
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Dialogue, 3. Scherzino, 4. Canonic Intermezzo, 5. Toccata. In 2006 Schiffman prepared a transcript for Imre Rohmann and Tünde Kurucz, titled 'Suite for Two Pianos'.
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The Canonic Trio Sonata in F major is a short piece by Johann Sebastian Bach, catalogued as BWV 1040.Canonic Trio in F at IMSLP.org The instrumentation is for oboe, violin, and continuo (generally a combination of cello and harpsichord or such). Played adagio, the 27-measure, common time piece is less than two minutes long. It was probably first performed on 23 February 1712 (or 1713).
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He concentrated mainly on madrigals, including both canonic (caccia-madrigal) and non-canonic types, but also composed a single example each of a caccia, lauda-ballata, and motet (; ). His setting of Non al suo amante, written about 1350, is the only known contemporaneous setting of Petrarch's poetry (; ). Jacopo's ideal was "suave dolce melodia" (sweet, gentle melody) . His style is marked by fully texted voice parts that never cross.
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"Throughout its sinewy length, between upper and lower strings. Here is the superbly logical fulfilment of the two-part octave doubling of Haydn's earliest divertimento minuets" : Haydn Minuet from Quartet in D minor, Op. 76 Minuet from Haydn, String Quartet in D minor, Op. 76, No. 2 Beethoven's works feature a number of passages in canon. The following comes from his Symphony No. 4: Beethoven Symphony No. 4 canonic passage from the 1st movement Beethoven Symphony No. 4, first movement, canonic passage Antony describes the above as "a delightfully naïve canon". More sophisticated and varied in its treatment of intervals and harmonic implications is the canonic passage from the second movement of his Piano Sonata 28 in A major, Op. 101: Beethoven canon from piano sonata in A, Op. 101 Beethoven, canonic passage from the second movement of Piano Sonata Op. 101 Beethoven’s most spectacular and dramatically effective use of canon occurs in the first act of his opera Fidelio.
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In the augmentation canon, the upper soprano voice plays at twice the pace, with the lower voice slower. It makes sense to place the faster canonic voice in the upper manual and the longer canonic one in the lower manual, with the free alto voice also in the lower manual. A few notes of right hand side can be shared between upper and lower manuals; has even indicated that theoretically the three voices—the two canonic voices and the free alto voice—could be performed on three different manuals. According to the previous observation on the positioning of the chorale melody, the most appropriate place for the cantus firmus is in the middle register, i.e.
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The rest of the orchestra attempts to stir the music back into motion, but The Chord quietly persists, unperturbed. This sets the scene for the second section, the first Canone. Undoubtedly the most tranquil of the five sections, the first Canone begins with a piccolo theme, acting as the first canonic entry, on the topmost note of The Chord, C. Subsequent canonic entries begin on the next note down on The Chord – on clarinet, oboe, bassoon, bass clarinet and cellos and basses respectively. By this series of canonic entries, The Chord has gradually been dismantled, and the atmosphere is not unlike that of birds, breaking the silence of night at the glimmers of dawn.
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The duet "" (Lord, you see, instead of good works) is set for five parts of equal weight, the soprano and alto voices, flute, oboe d'amore and continuo, in intricate canonic counterpoint in da capo form.
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Architects' first real look at the Greek Ionic order: Julien David LeRoy, Les ruines plus beaux des monuments de la Grèce Paris, 1758 (Plate XX) The Ionic order is one of the three canonic orders of classical architecture, the other two being the Doric and the Corinthian. There are two lesser orders: the Tuscan (a plainer Doric), and the rich variant of Corinthian called the composite order. Of the three classical canonic orders, the Ionic order has the narrowest columns. The Ionic capital is characterized by the use of volutes.
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All are cantus firmus masses, and include a Missa L'homme armé, based on the famous tune, probably composed in the early to mid 1480s. Among his masses is the unusual Missa [Ad fugam], one of only a handful of freely composed canonic masses from the period, including Johannes Ockeghem's Missa prolationum, based entirely on mensuration canons. De Orto's Missa [Ad fugam] may be related another canonic mass in a Vatican manuscript, later named "Missa Ad fugam" and attributed to Josquin by Petrucci. Both masses use strict canon at the fifth between superius and tenor, as well as a head motive in most movements.
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Meneses was born in Santiago, the son of José Ignacio Meneses and of Micaela Echanes. He studied humanities, philosophy and law (both civil and canonic) at the Convictorio de San Carlos, and later graduated from the Universidad de San Felipe on August 29, 1804 as a doctor in "both sciences" (Doctor in Civil and Canonic Law.) In 1808 he married Carmen Bilbao, with whom he had several children. The same year he was named secretary to Royal Governor Francisco García Carrasco. After the dismissal of Governor García Carrasco, he was named legal and military aide to the Intendent of Concepción.
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564 (formerly 1047), f. 43v (RISM siglum F-Ch 564). In this source, the composition is written on regular 6-line staves and no illustration is present. The rondeau explaining how to derive the third canonic voice is present below the music.
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Paññā is the fourth virtue of ten pāramīs found in late canonic (Khuddaka Nikāya) and Theravādan commentary, and the sixth of the six Mahāyāna pāramitās. It is the third level of the Threefold Training in Buddhism consisting of sīla, samādhi, and paññā.
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The Cambridge Companion to Schumann (Cambridge University Press: Cambridge 2007), p. 60 The waltz-like third movement, in B-flat minor, is also extensively built on canonic imitation.Daverio, John. Crossing Paths: Schubert, Schumann, and Brahms (Oxford University Press: London 2002), p. 259.
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Roberta Pinna studied in Italy, France, and at the School of Visual Arts in New York. My figures are semi-realistically rendered symbolic representations of the contemporary canonic form of the feminine. My approach to work is minimalist and tended to synthesize elements and forms.
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This movement is a choral song of praise to Nicolas, briefly recounting several different stories of his mercy, charity, and kindness. Most of this movement is written homophonically, with a brief canonic section towards the end. This movement is strongly tonal, in G major.
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The outer sections are dominated by the cantorial soloist and imitative choral entrances in Phrygian mode. The canonic heterophony, however, maintains relative stasis and calm evoking the peaceful, nighttime elements of the prayer. The a cappella middle section is composed polychorally with Stravinsky-like rhythmic intensity.
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Although by then Mozart was entering each new work into his catalogue of compositions, he did not enter this quintet, perhaps because it was an arrangement rather than a new work. Zaslaw N. The Non-Canonic Status of Mozart's Canons. Eighteenth-Century Music. 2006 Mar 1;3(1):109-23.
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In Aristotle's Prior Analytics, Aristotle himself employs the use of signs.Madden, Edward H. (Apr., 1957) "Aristotle's Treatment of Probability and Signs" Philosophy of Science 24(2), pp. 167-172 via JSTOR discusses Aristotle's enthymeme (70a, 5ff.) in Prior Analytics But Epicurus presented his 'canonic' as rival to Aristotle's logic.
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The first movement begins passionately, with the theme first played by the violin and amenable like so many of Schumann's themes to canonic treatment. (Schumann once remarked on this fact himself. ) This theme serves to introduce a compact, driven sonata form pushed ahead by economical use of rhythms (new themes often are based on some of the same rhythms as older ones, and overlap with them as well). The sonata is also driven by the intensity added by canonic treatment of themes, revolving around and pushing towards a small number of climaxes, one of which is the reappearance of the opening theme in a much-slowed-down form just preceding (and followed without pause by) the recapitulation.
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Bruckner revised the symphony in 1874. As described by Carragan in its presentation paper "Bruckner's Trumpet", the "significant improved" 1874 version is, movement for movement, of the same length and structure as the 1873 original version, but there are many passages, particularly in the first movement, with major changes in texture (canonic imitation) and orchestration. The 1874 version has been premiered and recorded by Gerd Schaller and the Philharmonie Festiva. > This symphony and the Fourth are the most-revised compositions in Bruckner’s > canon … As one follows the increasing sophistication in the developing style > of Bruckner’s canonic writing one obtains a window into the expert and > intricate counterpoint of the great fugue of the Fifth Symphony.
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109, quoting ArnauEco (1987) p.202, quoting ArnauArnau [1959] quotation: (p. 40) "The boundaries between permissible and impermissible, imitation, stylistic plagiarism, copy, replica and forgery remain nebulous." These appropriation procedures are the main axis of a literate culture, in which the tradition of the canonic past is being constantly rewritten.
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In Rome the custom, which became exclusive during the fifteenth century, developed of having the new canonic laws read and posted up by cursores at Rome only, at the doors of the basilica majors, the Palazzo Cancellaria, the Campo de’ fiori and sometimes at the Capitol, as a means of promulgation.
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From the surviving short-score fragment it can be determined that Villa-Lobos conceived the work contrapuntally . The composer describes the work as "absolutely atonal … with tendencies to classicism". The work falls into four broad sections, plus a coda. The opening section constitutes a freely canonic exposition, primarily in the second, B orchestra.
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Numerous genres and forms are represented: there are canonic trios and a full-fledged fugue, a set of variations, dances such as minuet and musette, character pieces and short technical exercises or jokes such as Trio No. 15, subtitled Tritonus, in which the upper voice is restricted to using only the three tones.
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Sometimes a riddle written in the manuscript contains the key to the canon. See Katelijne Schiltz and Bonnie J. Blackburne (eds.), Canons and Canonic Techniques, 14th-16th Centuries: Theory, Practice, and Reception History. Proceedings of the International Conference Leuven, 4–5 October 2005, Leuven, 2007. and the authentic pronunciation of French, Flemish and Latin .
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Bloxham, p. 202 The same title was used to describe the canonic "Missa Sine nomine" in a later print by Antico. De Orto's motets also usually use cantus firmus technique. The Salve regis mater sanctissima, though anonymous in its only surviving source, is probably by de Orto and was composed for the accession of Alexander VI in 1492.
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The composition takes approximately 40 seconds to perform and is one of Stravinsky's major miniatures. The textures are canonic and recall Stravinsky's late twelve-tone technique. It is widely based on rhythmic patterns and the intervals between the two trumpets are brisk, atonal and uneven. The work consists of only one measure bar after the first unison motive.
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The phytaspase displays a structure, common to the subtilisin- like proteases. Its N-terminus includes a prodomain, which commonly inhibits subtilisin-like proteases and undergoes an autocatalytic cleavage during maturation, followed by a protease domain, which includes and adheres the common order of the sequence of the three canonic catalytic amino acid residues, and a prolonged C-terminal domain.
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An instrumental "re-overture" made from a set of "one hundred celestial notes", derived in turn from nine twelve-tone rows quoted from works by Boulez, Schoenberg, Stockhausen, Stravinsky, Webern, and Pousseur himself (; ). The orchestra performs this music onstage, beginning in the dark but with variously coloured spotlights gradually picking out the course of the canonic musical process .
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Example 1. Opening bars of Titelouze's 3rd verset of Veni Creator. The hymn in the tenor is highlighted. The outer voices form a canon at the octave; in the other two canonic versets in the 1623/4 collection, Titelouze created canons at the fifth (and the hymn is in the soprano voice [Conditor], or bass [Ave maris stella]).
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Marissen also points out that, canonic procedures often evoking the rigorous demands of the Mosaic Law, the ten canons likely allude to the Ten Commandments. Marissen believes that Bach was trying to evangelize Frederick the Great, pointing him to the demands of the Mosaic Law. In a recent study"The Sacred Codes of the Six-Part Ricercar" Bach.
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The first chorus is in da capo form, beginning with a fugue, which leads to a homophonic conclusion. The middle section contains two similar canonic developments. The following biblical quotation is set as the only recitative of the cantata. It is given to the bass as the vox Christi (voice of Christ) and expands to an arioso.
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To an untrained ear, the voice-leading in the canon of Variatio IV is hardly noticeable and is imperceptible after 3 bars; the musical structure of the canons in Variatio V, however, is much clearer than any of the other variations. The mirror- inversion between the canonical voices in the sixth is immediately heard, mostly in plain crotchets of the firmus cantus; that is equally true for the conventional canonic parts and their inversions, in the third, second and ninth. In the third and ninth canons, the chorale melody is initially played reflected: the pleasure and anticipation of the listener is enhanced by hearing the true melody afterwards. In the autograph manuscript version, BWV 769a, the sequence of Variatio II and then Variatio V makes it much easier to follow the canonic parts.
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The ballet Swan Lake is among the most canonic of classical ballets. Based on the 1875–76 score by Pyotr Ilyich Tchaikovsky, the most promulgated choreographic version was created by Marius Petipa and Lev Ivanov (1895), the premiere of which was danced by the Imperial Ballet at the Mariinsky Theater in St. Petersburg. The ballet's lead dual roles of Odette (white swan) / Odile (black swan) represent good and evil, and are among the most challenging rolesThe ballet Swan Lake is among the most canonic of classical ballets. Based on the 1875-76 score by Pyotr Ilyich Tchaikovsky, the most promulgated choreographic version was created by Marius Petipa and Lev Ivanov (1895), the premiere of which was danced by the Imperial Ballet at the Mariinsky Theater in St. Petersburg.
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Thomas Schulz (2011), liner notes for Wergo recording Rhythms of 3/4 and 3/8 prevail and the mood is only interrupted briefly by a calm and canonic episode immediately before the "furious" ending. Henze himself said that the symphony is an attempt to "separate the term "symphony" from the idea of Classical or Romantic forms." and has a "thoroughly Pagan atmosphere".
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The suite consists of five movements featuring different music styles. The first movement features a hasty boogie- woogie in which up to seven layers of melodic and rhythmic structures are superimposed. The second movement features a blues, with a twelve-bar ostinato in the bass line which is repeated ten times. The third movement also has a blues character with canonic passages.
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In the Shatnerverse, a series of Star Trek novels co-authored by William Shatner that are not a part of the non- canonic expanded universe's continuity, Captain James T. Kirk commands the S.S. Belle Reve, one of Starfleet's best Q-Ships. In the JAN/FEB 2020 issue of Analog Science Fiction and Fact, Joel Richards has a short story entitled Q-SHIP MILITANT.
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Gnosticism is predicated on the existence of such hidden knowledge, but brief references to private teachings of Jesus have also survived in the canonic Scripture as did warning by the Christ that there would be false prophets or false teachers. Irenaeus' opponents also claimed that the wellsprings of divine inspiration were not dried up, which is the doctrine of continuing revelation.
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He defeats the gods Poseidon and Hades, although the latter curses him at the end of Saint Seiya to stop his cycle of rebirth. He is left in a comatose state which Athena seeks to revert in the canonic sequel Next Dimension. Seiya is proclaimed as the future Gold Saint of the Sagittarius successor to Sagittarius Aiolos.Saint Seiya Next Dimension vol.
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A melody or series of notes is augmented if the lengths of the notes are prolonged; augmentation is thus the opposite of diminution, where note values are shortened. A melody originally consisting of four quavers (eighth notes) for example, is augmented if it later appears with four crotchets (quarter notes) instead. This technique is often used in contrapuntal music, as in the "canon by augmentation" ("per augmentationem"), in which the notes in the following voice or voices are longer than those in the leading voice, usually twice the original length. The music of Johann Sebastian Bach provides examples of this application:Bach, Vom Himmel Hoch canonic variations, BWV 769, Variation 5Bach, Vom Himmel Hoch canonic variations, BWV 769, Variation 5 Other ratios of augmentation, such as 1:3 (tripled note values) and 1:4 (quadrupled note values), are also possible.
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The second nomocanon dates from the reign of the Byzantine Emperor Heraclius (). It was made by fusion of the Collectio tripartita (collection of Justinian's imperial law) and "Canonic syntagma" (ecclesiastical canons). Afterwards, this collection would be known as "Nomocanon in 14 titles". This nomocanon was long held in esteem and passed into the Russian Church, but it was by degrees supplanted by "Nomocanon of Photios" in 883.
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This scene is generally found in the most complete cycles of the passion of Jesus. On the upper margin of the thirteenth painting there is an inscription, which is unreadable in some parts: HOC OPUS FECIT FIERI... DE BEXUTIO CANONIC // RESIDENS ISTIUS ... CL ... ABD DE MLO PINXIT ("This work was made to performed by... of Besozzo, canon // resident of this (church) ... and painted by Abbondio of Milan").
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Gavorkna Fanfare was commissioned by Eugene Corporon of Michigan State University. The introduction is characterized by a rapid cluster of ascending dissonant intervals. The exposition begins as the trumpets introduce the A theme, consisting of motoric sixteenth notes followed by an eighth note ascending three note pattern outlining a minor scale. This repeats several times in rhythmic diminution and canonic juxtaposing in different instruments.
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Most works feature the use of conventional harmony, with great clarity of individual melodic lines. Risher's works transcend the superficiality of much popular music, however, in their frequent use of complex canonic and polyphonic structures and additive rhythms. Risher composes prolifically for ensembles ranging from concert band to Chinese traditional instrumental ensemble. He has also composed works for electronic media and incidental music for theatrical works.
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Beethoven's autographic sketch for his Piano Sonata No. 28, Movement IV, Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro). He completed the piece in 1816. Art music (alternatively called classical music, cultivated music, serious music, and canonic music) is music considered to be of high aesthetic value. It typically implies advanced structural and theoretical considerationsJacques Siron, "Musique Savante (Serious music)", Dictionnaire des mots de la musique (Paris: Outre Mesure): 242.
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431 the importance of the improvisatori to Italian literature is significant for both their original poetic compositions as well as for the effect they had on the Italian madrigalMark Jon Burford, "Cipriano de Rore's Canonic Madrigals", The Journal of Musicology, Vol. 17, No. 4, (Autumn, 1999), pp. 459–497. Published by the University of California Press and the role they may have played in preserving older Italian epics.
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The Tagh is a genre of Armenian monodic song writing. Its origin is ancient but its content and melodic line can be similar to modern vocal and instrumental compositions. The characteristics of the tagh are its expansiveness of form and volume, its free melodic style, the existence of instrumental passages and richness of rhythm. The tagh is basically a lyric song but it is not canonic like the sharakan.
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Shortly after the defeat of the uprising, Birger was appointed Jarl of the realm. As such he oversaw a clerical meeting in Skänninge in February 1248, summoned by the papal legate William of Sabina. On behalf of Pope Innocent IV, he urged the Swedes to stick to canonic-juridical praxis as laid down by Rome. The authority of the bishops was strengthened and Sweden was increasingly incorporated in the Catholic Church.
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Thulas can be considered as sources of once canonic knowledge, rooted in prehistoric beliefs and rituals. They generally preserve mythological and cosmogonical knowledge, often proper names and toponyms, but also the names of semi-legendary or historical persons. Their language is usually highly formalized, and they make extensive use of mnemonic devices such as alliteration. For a number of archaic words and formulas some thulas are the only available source.
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The Greeks had no religious texts they regarded as "revealed" scriptures of sacred origin, but very old texts including Homer's Iliad and Odyssey, and the Homeric hymns (regarded as later productions today), Hesiod's Theogony and Works and Days, and Pindar's Odes were regarded as having authorityBurkert (1985), Introduction:2; Religions of the ancient world: a guide and perhaps being inspired; they usually begin with an invocation to the Muses for inspiration. Plato even wanted to exclude the myths from his ideal state described in the Republic because of their low moral tone. While some traditions, such as Mystery cults, did uphold certain texts as canonic within their own cult praxis, such texts were respected but not necessarily accepted as canonic outside their circle. In this field, of particular importance are certain texts referring to Orphic cults: multiple copies, ranging from 450 BC–250 AD, have been found in various locations of the Greek world.
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The canonic form of the bass arpeggiation is I–V–I. The second interval, V–I, forms under – the perfect authentic cadence and is not susceptible of elaboration at the background level. The first span, I–V, on the other hand, usually is elaborated. The main cases include:The cases described in the following paragraphs are discussed in Heinrich Schenker, "Further Consideration of the Urlinie: II", translated by John Rothgeb, The Masterwork in Music, vol.
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The five- part scoring and imitative textures employed in most of the chansons suggest that Van Wilder took a Flemish stylistic model, contrasting with the lighter, more homophonic style favoured by native French composers. A number of them are resttings of texts already set, sometimes several times, by other composers. The fragmentary En despit des envyeulx (a7) is a canonic treatment of a 15th-century monophonic chanson, and is one of five polyphonic surviving settings.
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These are the sporadic groups associated with centralizers of elements of type 1A, 2A, and 3A in the monster, and the order of the extension corresponds to the symmetries of the diagram. See ADE classification: trinities for further connections (of McKay correspondence type), including (for the monster) with the rather small simple group PSL(2,11) and with the 120 tritangent planes of a canonic sextic curve of genus 4 known as Bring's curve.
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Tzetzes Alex. 212 The first 'modern' publication of Alcaeus' verses appeared in a Greek and Latin edition of fragments collected from the canonic nine lyrical poets by Michael Neander, published at Basle in 1556. This was followed by another edition of the nine poets, collected by Henricus Stephanus and published in Paris in 1560. Fulvius Ursinus compiled a fuller collection of Alcaic fragments, including a commentary, which was published at Antwerp in 1568.
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In the opening chorus the instruments go with the voices as in a motet. The words are set in a strict counter-fugue: each entrance is followed by an entrance in inversion. The sequence is concluded by a canonic imitation on a new theme: in the words "" (and do not serve God with a false heart) the falseness is expressed by chromatic. A second expanded fugue presents even more complex counterpoint than the first.
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Apel 1972, 88: the piece is "in all probability [...] a transcription"; no reason for the claim is given. The piece is in three sections, the first of which begins with a fugal exposition, and the second is a canon between the outer voices. Schlick's Christe is more loosely constructed: although imitation is used throughout, there are no fugal expositions or canonic techniques employed. The piece begins with a long two-voice section.
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Quarter of a century later Bach returned to the chorale melody of "Vom Himmel hoch da komm' ich her", writing a set of five canonic variations on that theme (BWV 769), one of a few compositions printed during the composer's lifetime. Bach also included three settings of the chorale melody in his Christmas Oratorio. (in the Orgelbüchlein), 700, 701, 738 and 738a are chorale preludes based on the "Vom Himmel hoch" theme.
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Seiya's story continues in Kurumada's 2006 manga, Saint Seiya: Next Dimension (canonic sequel and prequel). Here, Seiya is shown sitting in a wheelchair. He has survived Hades's attack, but remains in an unresponsive state, suffering from Hades's curse. Seeking to save him from certain death, Athena Saori Kido, Shun Andromeda, Ikki Phoenix, Shiryu Dragon, Hyoga Cygnus travels to the past to find a way to remove Hades's sword before it can strike Seiya.
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His sacred music is typical of the Netherlandish style of the 1540s, with dense polyphonic textures, including pervasive imitation. He also wrote elaborate canonic structures, more in the manner of the previous generation, reminiscent of the music of Josquin des Prez or Pierre de La Rue. In his secular music he strove for text comprehension, and also used more repetition, for example in musical refrains, than he did in his sacred music.
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The annual cost of the service is of €25, with a preventive €5 addition in order to create a credit on the user's account. In case the user exceeds from the 30' canonic time for a single use of a bike, the service will apply fines and automatically scale sums from that credit. A €5 global insurance against damages to third parties is also offered optionally. The offer also includes daily and weekly subscriptions.
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There are four movements: #Allegro, C minor, sonata form #Andante, E-flat major, sonata form #Menuet & Trio, C minor, Trio in C major, ternary form #Allegro, C minor, ends in C major, variation form with the fifth variation (in E-flat major) augmented. The minuet is a canon. The oboes carry the melody with the bassoons answering one bar later. The trio is also canonic with the response to the melody played upside down.
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Valcárcel’s academic life has been mainly devoted to two academic fields: philosophy and feminist studies. Within the subject area of Feminist Philosophy, Valcárcel is considered to be part of the equality feminism approach. Her most distinctive contribution to the field of feminist thinking has been to place feminism within the canonic history of political philosophy, especially in her monograph Feminismo en el mundo global (2008). She has written several manuscripts, some of them translated into other languages.
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He was one of the first routinely to expand vocal forces from the standard four, to five or six. One of his masses for six voices, the Missa Ave sanctissima Maria, is a six-voice canon, a technically difficult feat reminiscent of some of the work of Ockeghem. This is also the earliest six-voice mass known to exist. Canonic writing is a particularly important feature of La Rue's style, and he has been particularly celebrated for this.
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Mrs. Call has a heart condition that acts up, requiring her to get surgery in Los Angeles, so Tammy tags along. Since there are no guest quarters in the hospital, Tammy gets a job there as a nurse's assistant. Peter Fonda plays Tammy's love interest, Dr. Mark Cheswick, and Adam West has a small part as Dr. Eric Hassler. This is the final entry in the canonic film series, and Sandra Dee's last appearance as Tammy.
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He entered the seminary in Aosta in 1971 and was ordained priest in 1981. In 1983 he obtained a degree in Sacred Theology at the Pontifical University of St. Thomas Aquinas. From October 1984 to 2005, he was a professor of theology at the seminary of Aosta. Since October 1995, he was the episcopal vicar for the pastoral and canonic of collegiate of Saints Peter and Ursus of Aosta since April 29, 2003, prior of the same church.
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First, the system must be initialized: let \beta=1/k_b T be the system's Boltzmann temperature and initialize the system with an initial state (which can be anything since the final result should not depend on it). With micro-canonic choice, the metropolis method must be employed. Because there is no right way of choosing which state is to be picked, one can particularize and choose to try to flip one spin at the time. This choice is usually called single spin flip.
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Johann Christoph Bach, the oldest brother of Johann Sebastian Bach, was a pupil of Pachelbel. Another scholar, Charles E. Brewer, investigated a variety of possible connections between Pachelbel's and Heinrich Biber's published chamber music. His research indicated that the Canon may have been composed in response to a chaconne with canonic elements which Biber published as part of Partia III of Harmonia artificioso-ariosa. That would indicate that Pachelbel's piece cannot be dated earlier than 1696, the year of publication of Biber's collection.
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The language Constantine uses is rather straightforward High Medieval Greek, somewhat more elaborate than that of the Canonic Gospels, and easily comprehensible to an educated modern Greek. The only difficulty is the regular use of technical terms which – being in standard use at the time – may present prima facie hardships to a modern reader. For example, Constantine writes of the regular practice of sending basilikoí ( "royals") to distant lands for negotiations. In this case, it is merely meant that "royal men", i.e.
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Its ending is a 12-second section in which 1028 notes are player with the sustain pedal held down, sometimes even getting to two hundred notes per second. However, even though it has canonic elements, it is mostly a rhapsodic piece. It was premiered at the Pro Musica Nova festival in Bremen, on 15 May 1976. The Study No. 26 is actually the only study where all voices have no rhythmic differentiation. The canon is 1/1, which means that all the notes have the same tempo.
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He is celebrated for his versatile and innovative use of poetic meters, and is the earliest known Greek author to compose almost entirely on the theme of his own emotions and experiences. Alexandrian scholars included him in their canonic list of iambic poets, along with Semonides and Hipponax,Sophie Mills (2006), 'Archilochus', in Encyclopaedia of Ancient Greece, Nigel Wilson (ed.), Routledge, page 76 yet ancient commentators also numbered him with Tyrtaeus and Callinus as the possible inventor of the elegy.Didymus ap. Orion, Et. Mag. p.
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The piece was commissioned in 1984 by clarinetist Richard Stoltzman for nine B-flat clarinets and three bass clarinets. This was the second in Reich's "counterpoint" series, preceded by Vermont Counterpoint (1982) for flutes, Electric Counterpoint (1987), for electric guitars and followed by Cello Counterpoint (2003), for celli. Each of these works are scored for one live performer who plays against up to a dozen recordings of the same instrument. The canonic interplay in the composition creates multiple layers of sound, akin to Reich's earlier phase pieces.
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The canonic proportions of the male torso established by Polykleitos ossified in Hellenistic and Roman times in the heroic cuirass, exemplified by the Augustus of Prima Porta, who wears ceremonial dress armour modelled in relief over an idealised muscular torso which is ostensibly modelled on the Doryphoros.J.J. Pollini, "The Augustus of Prima Porta and the transformation of the Polykleitan heroic ideal" in Moon 1995:262-81. The same depiction has the legs of the emperor arranged in the same manner as the stance of the Doryphoros.
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The Canonic Variations were among the works included in J. G. Schicht's four-volume anthology of Bach's organ music (1803–1806), prior to the publication of Bach's complete organ works in 1847 by Griepenkerl and Roitzsch in Leipzig. Felix Mendelssohn, Robert Schumann and Johannes Brahms all studied the Variations, annotating their personal copies of Schicht. Mendelssohn himself composed a 6 movement cantata on "Vom Himmel hoch" in 1831 for soprano, baritone, mixed choir and orchestra, opening with the same descending figures as those in Bach's Variation 1.
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The second movement is an elaborate scena for the narrator (making his first appearance in the work) and soloists, accompanied by the orchestra, describing the trial and stoning of St Stephen. Canonic passages continue to be featured, now introducing first the oboes and bassoons in double canon, and then the piano and tuba in a three-part canon. The movement concludes with an eight-bar instrumental coda in which all four basic forms of the row are combined in a series of somber chords .
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The bass line here is one of the most eloquent found in the variations, to which Bach adds chromatic intervals that provide tonal shadings. This variation is a canon at the seventh in time; Kenneth Gilbert sees it as an allemande despite the lack of anacrusis.Notes to Kenneth Gilbert's recording of the variations. The bass line begins the piece with a low note, proceeds to a slow lament bass and only picks up the pace of the canonic voices in bar 3: The first 3 bars of Variation 21.
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These unique elements of Malignus Youth's music were displayed in the 1991 full- length LP More To It, released on blue vinyl. This album is now out of print. More To It took the shape of a concept album, the resolution of the "crisis" explored in the previous EP, united by keys and themes, and partially inspired by the writings of philosopher Immanuel Kant Arguably, More To It represented Malignus Youth musical style at its most sophisticated. The album featured artistic elements and experimental tangents in different musical styles, and even slight canonic variation.
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Santa Maria was born in San Juan, Puerto Rico, where he received his primary and secondary education. He went to Mexico as a young and enrolled in the University of Mexico, where he earned a degree in Canonic Law. Following this, he was ordained as priest. "Puerto Rican Poetry: A Selection from Aboriginal to Contemporary Times"; by Roberto Marquez; Pg. 25-26; Publisher: University of Massachusetts Press (January 31, 2007); ; It was in Mexico that Santa Maria wrote most of his works and became successful as a poet.
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Some extremely obscure names survive in later sources, such as Bartolo da Firenze (fl. 1330–1360), who may have been the first Italian composer to write a polyphonic mass movement in Trecento style: a setting of the Credo. The two most common forms of early Trecento secular music were the two-voice madrigal and monophonic ballata. Some three-voice madrigals survive from the earlier periods, but the form most associated with three-voice writing was the rarer caccia, a canonic form with onomatopoeic exclamations and texts that make reference to hunting or feasting.
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264–265 As Arcadelt borrowed some features of the chanson when he wrote his madrigals, he wrote some of his chansons with madrigalian features. Most of his chansons are syllablic and simple, with brief bursts of polyphonic writing, occasionally canonic, and with sections imitating the note nere style of the madrigal – the fast "black notes" producing the effect of a patter song. Some of his chansons were actually contrafacta of his madrigals (the same music, printed with new words French instead of Italian). Rarely in music history were the madrigal and the chanson more alike.
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Francesco, nicknamed Cicco, was born in Caccuri, Calabria, and received a fine education. He studied Latin, Greek, Hebrew, and other languages and graduated in civil and canonic law, presumably in Naples. As a young man, he entered the service of the Sforza family as a secretary to condottiero Francesco Sforza and rapidly rose to the top of the administration. He was soon placed in charge of the city of Lodi. In 1441, Francesco Sforza married Bianca Maria Visconti (1425–1468), the illegitimate daughter of Filippo Maria Visconti, 3rd Duke of Milan.
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Johann Sebastian Bach in 1746, holding his canon triplex a 6 voci, BWV 1076. Oil painting by Elias Gottlob Haussmann. The Canonic Variations on "Vom Himmel hoch da komm' ich her" ("From Heaven above to Earth I come"), BWV 769, are a set of five variations in canon for organ with two manuals and pedals by Johann Sebastian Bach on the Christmas hymn by Martin Luther of the same name. The variations were prepared as a showpiece for Bach's entry as fourteenth member of Mizler's Music Society in Leipzig in 1747.
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Construction of the Dark Gate started in 1824 by Alexander Rudnay, Archbishop of Esztergom, two years after the foundation stones of St. Adalbert's Basilica were laid. It became known as Dark Gate due to the lack of lighting. The main purpose of the tunnel was to directly connect the Canonic houses with the Seminary, but it also connects the Szentgyörgymező neighborhood with downtown Esztergom. Above the southern entrance, a Latin sign carved in red marble commemorates Archbishop Rudnay and the year of construction: "PRINCEPS PRIMAS ALEXANDER A RUDNA MDCCCXXIV" ("Prince Primate Alexander Rudnay 1824").
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Germany, so well equipped with history and auxiliary science universities, as yet has no counterpart to my knowledge. Its historical research methodology had been greatly modernized, as had its teaching methods, thanks to the copies of ancient documents to which it had access. The students were taught paleography, sigillography, numismatics, philology, filing for archives and libraries, historical geography, currencies, systems of weights and measures, the history of political institutions in France, archeology, civil law, canonic law and feudal law. The teaching had both a scientific and a professional aim.
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Willaert was one of the most versatile composers of the Renaissance, writing music in almost every extant style and form. In force of personality, and with his central position as maestro di cappella at St. Mark's, he became the most influential musician in Europe between the death of Josquin and the time of Palestrina. Some of Willaert's motets and chanzoni franciose a quarto sopra doi (double canonic chansons) had been published as early as 1520 in Venice. Willaert owes much of his fame in sacred music to his motets.
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"" (a) is expressed in free polyphony embedded in the instrumental music, then repeated together with "" (b) in free polyphony with canonic imitation on two themes, with the instruments playing mostly colla parte, then a and b are repeated within a part of the sinfonia, which is continued instrumentally. In the following second section, "" (c) is the theme of a choral fugue, "" (d) is the countersubject. The instruments play colla parte first, then add motifs from the sinfonia. In the third concluding section the complete text is repeated within a part of the sinfonia.
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Perhaps we can see the seeds of the subsequent late-Renaissance and Baroque ritornello in this device; it too returns again and again, recognizable each time, in contrast with its surrounding disparate sections. Another form, the caccia ("chase,") was written for two voices in a canon at the unison. Sometimes, this form also featured a ritornello, which was occasionally also in a canonic style. Usually, the name of this genre provided a double meaning, since the texts of caccia were primarily about hunts and related outdoor activities, or at least action-filled scenes.
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There are 22 water bodies associated with this shrine. Three different forms of Shiva are worshipped here, the Shivalingam (Bhrammapureeswarar), a colossal image of Uma Maheswarar (Toniappar) at the medium level, and Bhairavar (Sattanathar) at the upper level. The temple is associated with the legend of the child Sambandar who is believed to have been fed by Parvathi on the banks of the temple tank. The child later went on to compose Tevaram, a Saiva canonic literature on Shiva and became one of the most revered Saiva poets in South India.
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Igor Stravinsky wrote "Chorale Variations on 'Vom Himmel hoch'" for choir and orchestra (1956), which was an arrangement of Bach's Canonic Variations, adding extra contrapuntal lines. "Enkeli taivaan", the Finnish version of "Vom Himmel Hoch", appears in Act 2, scene five of Luther, an opera by Kari Tikka that premiered in 2000. The English-language version of the opera, brought to the United States in 2001, contains seven stanzas of "From heav´n above to earth I come." The opera premiered in Germany in 2004 containing stanzas of "Vom Himmel hoch" in the original language.
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On the opening track, "1382 Wyclif Gen. ii. 7", a vocal line, the first that is sampled from the lament song recordings used on Spellewauerynsherde, 'slips gently into a kind of canonic imitation of itself as a cloud of reverberant resonance drifts in from afar'. The centerpiece of the album, "1483 Caxton Golden Leg. 208 b/2", is a distinctive drone piece that, while incorporating tones from the recordings, is 'gather[ed] into an eerie microtonal cloud' that has been compared to György Ligeti's choral works that were used in 2001: A Space Odyssey.
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Humanism (1993; 2010) is Carroll's most ambitious work to date. Predicated on the view that Western high culture is in a declining if not nihilistic mode, Humanism traces this decline to an epistemic tyranny of reason and its subjection of other forms of knowing and understanding being. Carroll's often bleak diagnosis is primarily based on unique readings of canonic theological, philosophical and artistic texts including those by Sophocles, Calvin, Holbein, Donatello, Shakespeare, Rembrandt, Poussin, Henry James and John Ford. The heart of the book's analysis is highly indebted to Nietzsche's critique of "Socratic" culture in The Birth of Tragedy.
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Incessament features music of Pierre de la Rue, especially his Missa Incessament, a five-part canonic mass ordinary, also known as Missa Sic deus & Non salvatur rex, La Rue's longest mass cycle. A review on this first recording of the work remarked: > "However, the Ensemble Amarcord itself deserves full credit for its > breathtakingly smooth blend and celestial sweetness of tone. As with the > Brumel work on the disc previously discussed, this is a worldpremiere > recording of this lovely and important piece." In 2010 their album Rastlose Liebe won the CARA in the category "Best classical album".
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Alma claims that Mahler told her in 1904 that he had tried to 'capture' her (the word she reports him using is 'festzuhalten') in the F-major theme that is the 'second subject' of the symphony's first movement. The story has become canonic -- to the extent that no commentator can fail to repeat it, and few listeners can hear the theme without thinking of Alma's report. The report may of course be true (in that Mahler may actually have attempted to describe her in music, or may merely have chosen to claim that he had); but her statement is not corroborated.
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In the version accepted as canonic by Livy and Dionysius of Halicarnassus Rome was founded by two twins, sons of Mars, who were nurtured by a she-wolf and who had left the town of Alba of their own accord. Dumézil's interpretation is not universally shared by scholars: in the Cambridge Ancient History, Arnaldo Momigliano states flatly that "Romulus did not lead a ver sacrum."Arnaldo Momigliano, "The Origins of Rome", in The Cambridge Ancient History: The Rise of Rome to 220 B.C. (Cambridge University Press, 1989, 2002 reprint), vol 7, part 2, p. 58 online.
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The school moved in 1866 into more suitable premises in the hôtel de Breteuil, rue des Francs-Bourgeois, without this move having much effect on the teaching. Seven professorships were instituted by the decree of 30 January 1869: paleography; Latin languages; bibliography; filing for libraries and archives; diplomacy; political, administrative and judiciary institutions in France; civil and canonic law of the Middle Ages and archeology of the Middle Ages. Apart from minor modifications, these remained unchanged until 1955. The school moved once again in 1897, to 19 rue de la Sorbonne, into the premises originally intended for the Paris Faculté de théologie catholique.
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Johann Sebastian Bach, 1746 The Great Eighteen Chorale Preludes, BWV 651–668, are a set of chorale preludes for organ prepared by Johann Sebastian Bach in Leipzig in his final decade (1740–1750), from earlier works composed in Weimar, where he was court organist. The works form an encyclopedic collection of large-scale chorale preludes, in a variety of styles harking back to the previous century, that Bach gradually perfected during his career. Together with the Orgelbüchlein, the Schübler Chorales, the third book of the Clavier- Übung and the Canonic Variations, they represent the summit of Bach's sacred music for solo organ.
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The bass next sings "" (Only consider, child of God) as a secco recitative ending in an arioso, the typical style of recitatives during the Weimar period. It adopts canonic imitation between the voice and continuo parts. The interaction illustrates the unity of Christians with Jesus that the text reflects: "dass Christi Geist mit dir sich fest verbinde" (that the spirit of Christ may be firmly united with you). The mystical element of this unity, which is also exemplified in the subsequent aria and the later duet, contrasts with the "combative" character of the outer movements, where the hymn tune prevails.
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Bishop José Martínez de Aldunate Bishop José Antonio Martínez de Aldunate y Garcés de Marcilla (December 21, 1731 – April 8, 1811) was a Chilean Bishop and member of the First Government Junta of Chile. He was born in Santiago, the son of José Martínez de Aldunate Barahona and Rosa Josefa Garcés de Marcilla y Molina. He carried out his first studies in the "Convictorio de San Francisco Javier", and graduated from the Real Universidad de San Felipe, where he obtained doctorates in both types of law (Civil and Canonic). At an unspecified later date, he was ordained as a priest in Santiago, where he later became Provisor and General Vicar.
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"The educational and cultural establishment made every effort to separate the second generation of eastern immigrants from this music, by intense socialization in schools and in the media", wrote the social researcher Sami Shalom Chetrit.Chetrit (2004). The penetration of Muzika Mizrahit into the Israeli establishment was the result of pressure by Mizrahi composers and producers such as Avihu Medina, the overwhelming, undeniable popularity of the style, and the gradual adoption of elements of Muzika Mizrahit by mainstream artists. Yardena Arazi, one of Israel's most popular stars, made a recording in 1989 called "Dimion Mizrahi" (Eastern Imagination), and included original materials and some canonic Israeli songs.
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At the same time, the proportion of new music to 'canonic' music in concert programming began to decline, meaning that living composers were increasingly in competition with their dead predecessors. This was particularly the case in respect of the rise of Beethoven's reputation in his last year and posthumously.; ; . This gave rise both to writings on the value of the 'canon' and also to writings by composers and their supporters defending newer music. In 1798 the Allgemeine musikalische Zeitung, edited by Friedrich Rochlitz (1769–1842), began publication in Leipzig, and this is often regarded as the precursor of a new genre of criticism aimed at a wider readership than qualified connoisseurs.
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The second candidate, Ernst of Bavaria (1554–1612), was the third son of Albert V, Duke of Bavaria.Joseph Lins, "Cologne" and "Bavaria", Catholic Encyclopedia (New Advent), Accessed 5 October 2009. As a member of the powerful House of Wittelsbach, Ernst could marshal support from his extensive family connections throughout the Catholic houses of the empire; he also had contacts in important canonic establishments at Salzburg, Trier, Würzburg, and Münster that could exert collateral pressure.Samuel Macauley Jackson, "Communal Life", The New Schaff-Herzog encyclopedia of Religious Knowledge, New York, Funk and Wagnalls, 1909, pp. 7–8. Ernst had been a canon at Cologne since 1570.
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In bar 19, the chromaticism of the two canonic parts evoke the dragging of the cross (another example of musical iconography); the tensions of this episode are gradually resolved as the variation comes to a peaceful and harmonious close. In Variatio III, the third engraving of the printed text of BWV 769, focuses on what he calls "the most modern of the set". The canon at the seventh is scored in regular quavers with the voices in the tenor (lower manual) and the bass (pedal). The "enigmatic" notation in the printed version simplifies the score, so that the cantabile part in the alto voice is easier to read.
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Four years later, after a brief first marriage and one year hitch-hiking through France and Spain, he wrote a novel in homage to Vance, who graciously declined to share the advance offered by DAW Books. It was Shea's first publication, A Quest for Simbilis (1974), and an authorized sequel to Vance's two Dying Earth books then extant. ISFDB notes that it "became non-canonic" in 1983 when Vance "continued ... The Eyes ... in a different direction." Subsequently, Shea ranged all over the L.A. Basin, painting houses and teaching ESL to adults by night. In 1978 he met his second wife, artist and author Lynn Cesar.
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284 Some of them use a cantus firmus as a unifying device; some are canonic; some use a motto which repeats throughout; some use several of these methods. The motets that use canon can be roughly divided into two groups: those in which the canon is plainly designed to be heard and appreciated as such, and another group in which a canon is present, but almost impossible to hear, and seemingly written to be appreciated by the eye, and by connoisseurs.Milsom, p. 290 Josquin frequently used imitation, especially paired imitation, in writing his motets, with sections akin to fugal expositions occurring on successive lines of the text he was setting.
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A small quantity of instrumental music, presumably for viols, also survives; mostly this occurs in manuscripts in the British Library, but one piece, a well-crafted three-part canonic setting of Salvator Mundi, was printed by Thomas Morley in 1597. Morley described Parsley’s arrangement of this Gregorian hymn as a model of its kind, and alluded to him as ‘the most learned musician.’T. Morley: A Plaine and Easie Introduction to Practicall Musicke (London, 1597/R); ed. R.A. Harman (London, 1952, 2/1963/R) Parsley's will, made on 9 December 1584, was proved by his widow on 6 April of the following year; he left bequests valued at about £75.
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In 1997, Montažstroj started working on its long‐term objective - building an international company with a strong artistic identity, unbound by a particular culture. Operating predominantly in Netherlands under the name Performingunit, the group focused on the position of the individual, and identity problems, attempting to avoid spectacular theatrical elements and highlighting the presence of performers as the main component of the production. In this period Montažstroj's performances were more intimate and they produced works such as 'TERRIBLE FISH' based on Sylvia Plath’s poetry, ‘WHO IS WOYZECK?’ based on Büchner's canonic text Western Theater and ‘THE ENCYCLOPEDIA OF THE DEAD’ based on a story by Danilo Kiš.
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Thus, all the themes in a piece can be tied back to a single motive in the work. An early and famous example of this is his sonata 'Pathetique', where all of the subjects used in the first movement originate from a germinal idea derived from its opening bar. Similarly, the opening bars of his Eighth Symphony is used to derive motives to be used throughout the whole symphony. This device lends unity to a work or even a group of works (as some motives Beethoven used not only in one work but in many works) without repeating material exactly or turning to canonic devices.
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A double canon is a composition that unfolds two different canons simultaneously. A duet aria, "Herr, du siehst statt guter Werke" from J. S. Bach's Cantata BWV 9, Es ist das Heil uns kommen her features a double canon "between flute and oboe on the one hand and the soprano and alto voices on the other. But what is most interesting in this movement is that the very attractive melodic surface of the canon belies its dogmatic message by offering a moving simplicity of tone to indicate the comfort that particular doctrine provides for the believer. Canonic devices often bear the association of strictness and the law in Bach's work" .
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The quartet's opening sighing motives become developed in an E minor passage that incorporates a triplet figure on the second beat of the measure, and eventually the previous B major idea is restated identically in G major. The second theme from the exposition is then treated in imitative (almost canonic) counterpoint in C minor. After the beginning of the third contrapuntal treatment of this theme, a dominant pedal is sustained in octaves on G. This resolves unexpectedly to an A major chord that is quickly brought down to C minor by the opening sighing motive in the piano. The sighing motive indicates the beginning of the recapitulation.
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A nomocanon (nomokanon) is a collection of ecclesiastical law, consisting of the elements from both the civil law (nomoi) and the canon law (kanones). Collections of this kind were found only in Eastern law. The Greek Church has two principal nomocanonical collections, the "Nomocanon of John Scholasticus" of the sixth century and the "Nomocanon in 14 titles", which dates from the reign of the Byzantine Emperor Heraclius (), made by fusion of the Collectio tripartita (collection of Justinian's imperial law) and "Canonic syntagma" (ecclesiastical canons). The latter was long held in esteem and passed into the Russian Church, but it was by degrees supplanted by the "Nomocanon of Photios" in 883.
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Hiller qualifies Stölzel's choral music as full in texture and rich in harmony, and names the Canonic Mass in thirteen real voices and the German Te Deum as examples of Stölzel's accomplished style, fully mastering the composition of canons and fugues. Gerber largely repeats Hiller's biographical notes and judgement about Stölzel's music, adding descriptions of Stölzel's 1736 double cantata cycle and vocal chamber music, where the singing voice is treated as an instrumental part, in some passages rather an accompaniment than the leading voice. Gerber praises Stölzel for his art of composing recitatives and summarizes the content of the then still unpublished Abhandlung vom Recitative.
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According to Bruno Nettl, "Western classical music" may also be synonymous with "art music", "canonic music", "cultivated music", "serious music", as well as the more flippantly used "real music" and "normal music". Musician Catherine Schmidt-Jones defines art music as "a music which requires significantly more work by the listener to fully appreciate than is typical of popular music". In her view, "[t]his can include the more challenging types of jazz and rock music, as well as Classical". The term "art music" refers primarily to classical traditions (including contemporary as well as historical classical music forms) that focus on formal styles, invite technical and detailed deconstruction and criticism, and demand focused attention from the listener.
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The voices are notated on what appears to be the strings of the harp, on four "staves", the first of ten lines the other of nine lines. (That would be 37 strings, but only 22 tuning pins are depicted.) However, notes are only placed on the drawn strings or lines and not between them, forming a pseudo-tablature that is somewhat difficult to read in the first instance. A separate rondeau, explaining how to derive the canonic third voice from the cantus, is written on a banner wrapped around the fore pillar of the harp. The second source of this composition is the famous Codex Chantilly, Chantilly, Bibliothèque du Musée Conde, ms.
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"For Brahms, ... the most complicated forms of counterpoint were a natural means of expressing his emotions," writes Geiringer. "As Palestrina or Bach succeeded in giving spiritual significance to their technique, so Brahms could turn a canon in motu contrario or a canon per augmentationem into a pure piece of lyrical poetry." Writers on Brahms have commented on his use of counterpoint. For example, of Op. 9, Variations on a Theme by Robert Schumann, Geiringer writes that Brahms "displays all the resources of contrapuntal art". In the A major piano quartet Opus 26, Jan Swafford notes that the third movement is "demonic-canonic", echoing Haydn's famous minuet for string quartet called the 'Witch's Round'.
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Pedro Lombardía (Córdoba, 1930-Pamplona, 1986) was a Spanish canonist and pioneer of the Study of State Ecclesiastical Law in Spain. He held the chairs of Canon Law and State Ecclesiastical Law at the University of Navarra and the Complutense University of Madrid. Lombardía was the founder of the School of Lombardía, a group of canonists who advocated for a methodological modernization of canon law. Lombardía and his followers shared an interest of overcoming the exegetical method to and replace by the systematic approach with the Italian School of Canon Law but disagree with their theory of canonizatio according to which the ultimate criteria of unity of the canonic order is in the acts of the ecclesiastical authority.
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Illustration from Le istitutioni harmoniche, a keyboard with 19 keys per octave. While he was a moderately prolific composer, and his motets are polished and display a mastery of canonic counterpoint, his principal claim to fame was his work as a theorist. While Pietro Aaron may have been the first theorist to describe a version of meantone, Zarlino seems to have been the first to do so with exactitude, describing 2/7-comma meantone in his Le istitutioni harmoniche in 1558. Zarlino also described the 1/4-comma meantone and 1/3-comma meantone, considering all three temperaments to be usable. These are the precursors to the 50- 31- and 19-tone equal temperaments, respectively.
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Subsequently, he married Nanino's daughter. He held a series of positions as organist and maestro di cappella (choirmaster) between 1607 and 1626, when he succeeded Vincenzo Ugolini as maestro of the Cappella Giulia's choir in St. Peter's Basilica. All of his surviving works are sacred music, and most are written in the prima pratica, the conservative polyphonic style of the late 16th century, although some of his motets use some of the new concertato style. He was a highly sophisticated contrapuntist, often using strict canonic techniques; in addition, he used colorful sonorities, changes of meter between sections, and colorful chromaticism, showing an acquaintanceship with contemporary secular practice as well as the work of the Venetian School.
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The Lansdowne Heracles is a Roman marble sculpture of about 125 CE. Today it is in the collection of the J. Paul Getty Museum's Getty Villa in Malibu, California. The statue, representing the hero Heracles as a beardless LysippicAdolf Michaelis recognized the canonic features of Lysippus in the youthful Lansdowne Heracles, in Ancient Marbles in Great Britain, 1882:451; Scopas was also invoked (e.g. by Andrew Stewart, "Notes on the reception of the Polykleitan style" in Warren Moon, ed. Polykleitos, the Doryphoros, and tradition :1995:256); the practice of relating classicizing Roman marbles to classical Greek sculptors has been enthusiastically pursued and debated; a survey of attributions is in J. Paul Getty Museum Journal 1 (1974).
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The key centre shifts to E major during the bridge sections by means of an F minor (v) chord, a pivot chord that the Beatles had used to modulate to the subdominant before on "From Me to You" and "I Want to Hold Your Hand". The coda features a canonic imitation in the voice parts, a development of the idea originally presented by Harrison's lead guitar in the verse. Lennon's Hammond organ part consists entirely of one note – a tonic B-flat held throughout and faded in and out. The track incorporates a change of metre, following Harrison's introduction of such a musical device into the Beatles' work with his Indian-styled composition "Love You To".
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Riders of the Purple Wage is a science fiction novella by American writer Philip José Farmer. It appeared in Dangerous Visions, the New Wave science fiction anthology compiled by Harlan Ellison, in 1967, and won the Hugo Award for best novella in 1968, jointly with Weyr Search by Anne McCaffrey. The title of the story is a take-off on Riders of the Purple Sage, a Western by the American author Zane Grey. The novella contains multiple stylistic and literary allusions to James Joyce and his works; as with Ulysses, it includes canonic references, journal entries, poem pieces, and standard prose, and the main character's surname is Winnegan, an allusion to Finnegan's Wake.
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In his work Kαvώv ('canon', a straight edge or ruler, thus any type of measure or standard, referred to as 'canonic'), Epicurus laid out his first rule for inquiry in physics: 'that the first concepts be seen, and that they not require demonstration '. His second rule for inquiry was that prior to an investigation, we are to have self-evident concepts, so that we might infer [ἔχωμεν οἷς σημειωσόμεθα] both what is expected [τò προσμένον], and also what is non-apparent [τò ἄδηλον]. Epicurus applies his method of inference (the use of observations as signs, Asmis' summary, p. 333: the method of using the phenomena as signs (σημεῖα) of what is unobserved) immediately to the atomic theory of Democritus.
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The westernmost of these two islands, the Île de la Cité, is Paris' heart and origin. Its western end has held a palace since even Roman times, and its eastern end since the same has been consecrated to religion, especially after the construction in the 10th century of the cathedral predecessor to today's Notre-Dame. The land between the two was, until the 1850s, largely residential and commercial, but since has been filled by the city's Prefecture de Police, Palais de Justice, Hôtel-Dieu hospital and Tribunal de Commerce. Only the westernmost and north-eastern extremities of the island remain residential today, and the latter area preserves some vestiges of its 16th-century canonic houses.
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Alternate loggia openings are heightened by arches above the entablature. Romano's willingness to play with the conventions of the classical orders is already in evidence; the Doric here has guttae but no triglyphs on its narrow entablature. The volutes of the Ionic capitals of the entrance facade are repeated in the window surrounds between them: "The canonic orders here begin to be treated visually as independent from their structural purposes, and this liberation offered the architect new expressive possibilities."Talvacchia There are extensive frescos and decoration in stucco in the rooms, carried out by Raphael's workshop team under the supervision of Giulio Romano, with Polidoro da Caravaggio probably playing a leading part.
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16th-century Russian version showing copy of the Theotokos of Vladimir. Though not included in the canonic pictorial of Mary's life, the scene became increasingly popular as Saint Luke gained his own devotional following as the patron saint of artists in general, and more specifically as patron saint of the Guild of Saint Luke, the most common name of local painters' guilds. The legend of Saint Luke as the author of the first Christian icons had been developed in Byzantium during the Iconoclastic Controversy, as attested by 8th century sources. By the 11th century, a number of images started being attributed to his authorship and venerated as authentic portraits of Christ and the Virgin Mary.
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Based on the official census results in countries which encompass territorial canonic jurisdiction of the Serbian Orthodox Church (Serb autochthonous region of Western Balkans), there are more than 8 million adherents of the church. Orthodoxy is the largest single religious faith in Serbia with 6,079,296 adherents (84.5% of the population belonging to it) according to the 2011 census, and in Montenegro with 460,383 (74%). It is the second largest faith in Bosnia and Herzegovina with 31.2% of adherents, and in Croatia with 4.4% of adherents. Figures for eparchies abroad (Western Europe, North America, and Australia) is unknown although some estimates can be reached based on the size of Serb diaspora, which numbers over 2 million people.
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He was also interested in compositional "tricks" such as phrases which are first sung forward, then backward, and in addition he wrote parts that were sometimes strictly canonic. Isorhythm and other traits of the contemporary French style are prominent, but unlike the French composers, Antonio seems to have written the tenor parts to his motets himself, rather than borrowing them from pre-existing chant. He was a fairly prolific composer, and while it is not known how much of his music is lost, his six surviving motets are one of the largest groups of surviving motets by a single Italian composer of the time. Most of his music survives in sources in northern Italy.
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The lack of a unified priestly class meant that a unified, canonic form of the religious texts or practices never existed; just as there was no unified, common sacred text for the Greek belief system, there was no standardization of practices. Instead, religious practices were organized on local levels, with priests normally being magistrates for the city or village, or gaining authority from one of the many sanctuaries. Some priestly functions, like the care for a particular local festival, could be given by tradition to a certain family. To a large extent, in the absence of "scriptural" sacred texts, religious practices derived their authority from tradition, and "every omission or deviation arouses deep anxiety and calls forth sanctions".
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Largely because of the spread of the European starling, a 2007 article in the San Francisco Chronicle (deriding the introduction of fallow deer to the Point Reyes National Seashore) called the society "the canonic cautionary tale of biological pollution." Easy Target: There's a plan afoot to eradicate the white fallow deer in Point Reyes San Francisco Chronicle, CM-6, May 6, 2007 The raucous starling remains one of the most publicly reviled of North America's invasive species, and has been blamed for helping to spread invasive plants like English Ivy and disrupting air traffic when in large flocks. Invasive species in the Pacific Northwest pg. 180, P. Dee Boersma, Sarah H. Reichard, Amy N. Van Buren, University of Washington Press.
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Jan z Lublina, or Joannis de Lublin, was a Polish composer and organist who lived in the first half of the 16th century. Not much is known about his life - he was a member of the Order of Canons Regular of the Lateran, circa 1540 he was possibly the organist at the convent in Kraśnik, near Lublin. Perhaps he is identical to one of the two Jans, the first of which received his master's degree in artibus et philosophia in 1499, and the second his baccalariatus in artibus in 1508 in the Kazimierz Academy in Krakow. From 1537 to 1548, he created the famous organ tablature, whose title is Tabulatura Ioannis de Lyublyn Canonic[orum] Reg[u]lariu[m] de Crasnyk.
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Like many other German émigrés he spent the war years in Los Angeles, where he converted to Catholicism. He moved to West Germany after the war but did not feel at home in postwar Germany's conservative cultural climate and returned to France. His final years were marked by poor health and financial difficulties, and his literary work was met with relative neglect. Despite the canonic status of Berlin Alexanderplatz, Döblin is often characterized as an under-recognized or even as a forgotten author; while his work has received increasing critical attention (mostly in German) over the last few decades, he is much less well known by the reading public than other German novelists such as Thomas Mann, Günter Grass or Franz Kafka.
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Alma also claims that Mahler described the three hammer-blows of the finale as 'three blows of fate, the last of which fells [the hero] as a tree is felled'. Deciding that the hero was Mahler himself, and that the symphony was 'prophetic', she then identified these three blows with three later events in her husband's life: his 'forced resignation' from the Vienna State Opera; the death of his eldest daughter; and the diagnosis of a fatal heart condition. In addition, she claims that Mahler eventually deleted the third hammer-blow from the score out of sheer superstition, in an (unsuccessful) attempt to stave off a third disaster in his own life. Again, the story has become canonic; but the difficulties it presents are several.
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More frequently the 16th century motet practice is used: the hymn melody either migrates from one voice to another, with or without imitative inserts between verses, or is treated imitatively throughout the piece. In three versets (Veni Creator 3, Ave maris stella 3, and Conditor 2) the melody in one voice is accompanied by two voices that form a canon, in two (Ave maris stella 4 and Annue Christe 3) one of the voices provides a pedal point. In most versets, counterpoints to the hymn melody engage in imitation or fore-imitation, and more often than not they are derived from the hymn melody. All of the pieces are in four voices, except the canonic versets, which use only three.
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Although Franck had marked the first movement as an aria, Bach composed it as a chorus, opened by a ritornello dominated by runs of two measures in the violins, finally also in the continuo. The voices pick up the runs on the word "" (all), soprano first, and imitate each other one measure after the other, resulting in a complex image of "all". A rather quiet middle section on the words "" (God's will shall calm me) in canonic imitation is accompanied by the orchestra, the following words "" (among clouds or sunshine) are illustrated by runs as in the beginning, but starting in a low range by the bass. The first and last section end with the choir embedded in the ritornello.
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The form of this movement is ABCB1A1DXA2, with A being the glowing melody and X a reminiscence of the symphony's introduction. The BCB1 component can be considered a ternary episode. B suggests a sonata transition, while the C material arrives with the weight of a sonata second subject. In a purported sonata allegro scheme, the B1 section would inaugurate the development, given its more active texture and return to the main key of C. The A theme is developed next, with canonic imitations in E-flat major, after which surface the mysterious B-major chords of section D. These two sections (D and X) shatter the proposed sonata scheme, and in place of a recapitulation, the movement closes with another reprise of the lyrical A theme.
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The Syntagma philosophicum sub-divides, according to the usual fashion of the Epicureans, into logic (which, with Gassendi as with Epicurus, is truly canonic), physics and ethics. The logic contains a sketch of the history of the science De origine et varietate logicae, and is divided into theory of right apprehension (bene imaginari), theory of right judgment (bene proponere), theory of right inference (bene colligere), theory of right method (bene ordinare). The first part contains the specially empirical positions which Gassendi afterwards neglects or leaves out of account. The senses, the sole source of knowledge, supposedly yield us immediate cognition of individual things; phantasy (which Gassendi takes as material in nature) reproduces these ideas; understanding compares these ideas, each particular, and frames general ideas.
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It can be seen that words of death and lament are associated with black notes, a mannerism made even simpler to achieve in light of the contemporaneous simplification to white note notation. This feature of eye music would extend through the Humanist period. A detail from Dosso Dossi's Allegory of Music with an anonymous canon notated in a circle and a canon by Josquin notated in a triangle. (The notes of the triangular canon can be seen on the original painting under raking light.) Another instance of eye music in the Renaissance is apparently unique—the representation of a triangle for a canonic piece, which appears in juxtaposition with an anonymous canon written in a circle—in Dosso Dossi's Allegory of Music.
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Jolting a large object into the air with gunfire and using it to clobber an enemy or shooting overhanging deco such as a chandelier to drop and encumber a group are just two of his many non-lethal tactics. In the second anime series, a non-canonic story implies he uses a notch on the hat for aiming; actually he can fire accurately without the hat and has done so several times. A master of many different firearms, Jigen's armory includes revolvers, machine guns, sniper rifles, and even a PTRS Anti-Tank Rifle. His preferred carry-around is a Smith & Wesson Model 19 combat revolver usually tucked in the back of his pants or housed in a fabric belt holster.
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Thomas, Lord Knivett, at Stanwell, Middlesex (1623); Sir William Pope, in Wroxton church, near Banbury; Sir Nicholas Bacon, in Redgrave church, Suffolk (with Janssens), the composer Orlando Gibbons, in Canterbury Cathedral (1626);It is the canonic portrait of Gibbons; see Paul Vining, "Orlando Gibbons: The Portraits" Music & Letters 58.4 (October 1977), pp. 415-429. and Sir Julius Caesar, in St Helens, Bishopsgate. Of Stone's non-sepulchre sculpture precious little remains: a chimneypiece, from 1616, at Newburgh Priory depicting mythological standing deities in bas-relief; two crumbling garden statues at Blickling Hall and a collection of statues in good repair at Wilton House. The Wilton House statues, as at Woburn, indicate the close working relationship that Stone had with both Inigo Jones and Isaac de Caus both of whom worked on the design of Wilton.
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Giovanni Cimbalo was born in Rose (Cosenza) on 31 August 1947 and graduated in Ecclesiastic Law at the Faculty of Law of Florence in 1972 discussing the final thesis "I rapporti tra Stato e Chiesa in Italia dallo scioglimento dell'opera dei congressi alla marcia su Roma". Didactics assistant in 1972-74, CNR scholarship holder in 1975 he was then contract holder. Confirmed researcher in 1981 he was afterwards regular assistant of the Professor Onida within the Chair of Ecclesiastic Law at the University of Florence where he carried out intensive didactic activities. In those years he had a constant and formative dialogue with his Professor of Canonic Law Piero Bellini at the University of Florence and with Francesco Margiotta Broglio, Professor at the Faculty of Political Sciences "Cesare Alfieri" in Florence.
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The first few bars of Pizzicato from Sylvia Influenced by Adam, Coppélia makes extensive use of leitmotifs for character and mood, and contains some vivid musical scene-painting.Craine, Debra and Judith Mackrell. "Delibes, Clément Philibert Léo", The Oxford Dictionary of Dance, Oxford University Press, 2010. Retrieved 14 January 2020 Delibes greatly enlarged on Adam's modest use of leitmotifs: each leading character is accompanied by music that portrays him or her; Noël Goodwin describes them: "Swanilda in her entry waltz, bright and graceful; Dr. Coppélius in stiff, dry counterpoint, the canonic device ingeniously applied also to Coppélia, the doll he has created; Franz in two themes, each sharing the same melodic shape of the first four notes, but the second having a more sentimental feeling than the sprightly first theme".
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P.V. Bohlman: The World Centre for Jewish Music in Palestine 1936–40 After 1940, Sternberg frequently turned back to earlier scores, revising many and using material from others for new compositions. Memorable works from the 1940s and 1950s are his vocal music works. Although he composed and arranged many Israeli folk songs, his treatment of the folk idiom reveals the strong influence of Fritz Jöde's choral project and of the Gebrauchsmusik of Hindemith rather than that of the predominating folk ideology of searching for inspiration in Arabic and Mediterranean songs. For example, Sternberg's arrangement of Hora kuma (‘Rise up, Brother’) by Shalom Postolsky is a set of six variations for seven-part chorus displaying contrapuntal and canonic textures, while his choral song Ima Adama (‘Mother Earth’) features richly chromatic and modal harmony.
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An unknown number of compositions are lost, including at least one mass, as indicated by a fantasia for vihuela by Valderrábano, "after a mass by Bauldeweyn", the music of which is not known from any source. Bauldeweyn's style shows both the contrapuntal manner of the late 15th century, archaic by the time he was writing, with occasional harsh dissonance and unblended textures, as well as the pervasive imitation and canonic writing techniques of the generation of Josquin des Prez and his successors. The style of some of his latest works implies that he may have lived a good deal longer than indicated by the last mention of his name at St Rombouts in 1513. Bauldeweyn preferred textures of five or six voices, characteristic of the 1520s and the next decades.
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During the 2001-2002 period, she was the Resident Conductor of the pioneering Contemporary Chamber Players of Chicago and became the Music Director of the Pocket Opera Players in New York City. In 2012, she became Professor of Conducting at the University of Notre Dame, where she founded the doctoral Choral Conducting program and has led a series of musical works with new modes of interdisciplinary presentation. She is known as a conductor of new music, even as she has continued to conduct canonic repertoire. She is the first woman on record to conduct Berlioz's Grande Messe des Morts(Indiana University, 2000). In the year 2001, she conducted the American Midwest premiere of John Adams' El Niño, and in 2002 she conducted Stephen Hartke's Tituli and the second-ever performance of Ralph Shapey's oratorio "Praise".
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The edicts of the Synod of Elvira, although early examples of priesthood-inspired anti-Semitism, provide evidence of Jews who were integrated enough into the greater community to cause alarm among some: of the council's 80 canonic decisions, all which pertain to Jews served to maintain a separation between the two communities (Laeuchli, pp. 75–76). It seems that by this time the presence of Jews was of greater concern to Catholic authorities than the presence of pagans; Canon 16, which prohibited marriage with Jews, was worded more strongly than canon 15, which prohibited marriage with pagans. Canon 78 threatens those who commit adultery with Jews with ostracism. Canon 48 forbade Jews from blessing Christian crops, and Canon 50 forbade sharing meals with Jews; repeating the command to Hebrew the Bible indicated respect to Gentile.
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350px "Wer nur den lieben Gott lässt walten", Op. 67, No. 45, an example of a harmonized chorale prelude The 52 pieces are based on the following chorales which are mostly arranged alphabetically. The chorale preludes fall into five types: harmonized chorale (H); figural chorale prelude (F) with a motivic accompaniment often derived from the melody of the chorale; canonic chorale prelude (C) with the chorale in canon between two voices; ornamental chorale prelude (O) with a highly elaborate version of the chorale in the highest voice; and hybrid chorale prelude (Hy), a combination of the above. The list also specifies the number of voices in the piece and indicates which voices (SATB and P for pedal) share the cantus firmus (c.f.). # : F, 4, c.f. in P # Alles ist an Gottes Segen: F, 4, c.f.
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The striding quaver figures in the pedal part, however, are unusual and are a response to Bach's development from a baroque to a more modern style. 600px In the second section, the pedal and the separate hands again play the chorale line by line in inverted canon, separated by an interval of a second and then a ninth, with a free imitative part in the hand playing the canon and a free running semiquaver part in the other hand. The semiquavers occur first in the right hand with the imitative part above the left hand; then in the left hand with the imitative part this below the canon. With the quaver canonic voices now accompanied by continuously flowing semiquavers, the feeling of endless movement in Variatio III and IV is now experienced in Variatio V, a new form of moto perpetuo.
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Above all, Casal was the great canonic figure of Cuban poetry at the end of the 19th century and the beginning of the 20th. "His energy, apart from that which he had in late-19th century modernism, which was decisive, reached to the level of Regino Boti and, above all, José Manuel Poveda – the latter dedicated his ‘Canto élego’ to him" – and even to the level of Rúben Martínez Villena and José Zacarías Tallet. "How would the lyrical exoticism of Regino Pedroso, the symbolist intimacy of Dulce María Loynaz, the poetic sentimentality of Eugenio Florit, the refined and solitary purism of Mariano Brull [...] or the neo-Romanticism of Emilio Ballagas and the part-romantic, part-modernist vein in some of Nicolás Guillén’s poetry be understood without an antecedent like Casal?"Jorge Luis Arcos, Prologue to Las palabras son Islas.
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77 The prevailing theory holds that Traditionalism is a theoretical political doctrine, which has been adopted by social and political movement named Carlism. The version of this theory currently accepted by the Carlists themselves is that though not exclusively forming their outlook, Traditionalism combined with a theory of dynastic legitimacyaccording to some legitimism was not another – apart from Traditionalism – component of Carlism, but a component of Traditionalism itself, "el tradicionalismo fue una fuerza importante en España, pero la obediencia dinástica la marginaba de la vida pública", Orella Martínez 2012, p. 184 and a theory of Spanish historical continuity is one of 3 theoretical pillars of Carlism.Gambra 1949, p. 414, referred after Bartyzel 2015, p. 76. According to a canonic 1971 text, Tradicionalism is „doctrina jurídico- política” and one of 3 pillars of Carlism (the other two are legitimism and historical continuity of Spain), Elías de Tejada, Gambra, Puy 1971, p.
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Romano's willingness to play with the conventions of the classical orders is already in evidence; the Doric here has guttae but no triglyphs on its narrow entablature. The volutes of the Ionic capitals are repeated in the window surrounds between them: "The canonic orders here begin to be treated visually as independent from their structural purposes, and this liberation offered the architect new expressive possibilities."Talvacchia His last building in Rome, the (started 1522–23), was a considerable contrast, being a palazzo in the city centre, with shops on the ground floor, and a massive, imposing feel. The rustication and exaggerated size of keystones that were to be so prominent in his later buildings in Mantua are already present on the ground floor, which dispenses with any classical order, but the two upper floors have increasingly shallow orders in pilasters, somewhat in the manner of the Villa Lante.
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The concerto has three movements, played without any breaks: #Largo non troppo – Allegro agitato – Largo non troppo #Molto lento – Poco meno lento – Andante tranquillo #Finale: Allegro non troppo The first movement represents two-thirds of the entire concerto, and is in a modified sonata- allegro form with a thirty-bar introduction and a cadenza linking the end of the recapitulation to the coda . The movement is modal, predominantly in E Phrygian with excursions to F and G, eventually returning to E Phrygian but with a final cadence on the subdominant, A . The second, slow movement has two main parts, which are preceded by an introduction and concluded with a canonic coda. Harmonically the movement is dominated by quartal harmonies, anchored over pedals of A (bridging from the first movement), D (beginning with and continuing through most of the second section), and G from b.
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Barbershop Harmony Society's Barberpole Cat Songs "Polecats"—12 songs which all Barbershop Harmony Society members are encouraged to learn as a shared canonic repertoire—all famous, traditional examples of the barbershop genre: The Barbershop Harmony Society announced on May 28, 2015, that the "Polecat" program would be expanded to include the following songs: Examples of other songs popular in the barbershop genre are: While these traditional songs still play a part in barbershop today, barbershop music also includes more current titles. Most music can be arranged in the barbershop style, and there are many arrangers within the aforementioned societies with the skills to include the barbershop chord structure in their arrangements. Today's barbershop quartets and choruses sing a variety of music from all eras—show tunes, pop, and even rock music has been arranged for choruses and quartets, making them more attractive to younger singers.
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The Colosseum's topmost tier has an unusual order that came to be known as the Composite order during the 16th century. The mid-16th-century Italians, especially Sebastiano Serlio and Jacopo Barozzi da Vignola, who established a canonic version of the orders, thought they detected a "Composite order", combining the volutes of the Ionic with the foliage of the Corinthian, but in Roman practice volutes were almost always present. In Romanesque and Gothic architecture, where the Classical system had been replaced by a new aesthetic composed of arched vaults springing from columns, the Corinthian capital was still retained. It might be severely plain, as in the typical Cistercian architecture, which encouraged no distraction from liturgy and ascetic contemplation, or in other contexts it could be treated to numerous fanciful variations, even on the capitals of a series of columns or colonettes within the same system.
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He has performed hundreds of concerts throughout Europe, Asia, and the Americas and has recorded more than thirty LPs and CDs, in addition to a recent DVD. His vast repertoire includes the canonic works for the guitar, as well as obscure gems discovered through patient research. Concerts and recordings often include his own transcriptions of familiar compositions written for other instruments...." He received prizes in the 1972 Porto Alegre and 1975 Radio France competitions, won the Premio Andrés Segovia in 1975Alfredo Escande Abel Carlevaro: un nuevo mundo en la guitarra Page 356 - 2005 "Fernández ganó, además, el primer premio en el concurso "Andrés Segovia" en 1975," and debuted in New York in 1977.Newsletter Center for Inter-American Relations Volumes 2 to 6 - Page 4 1977 "Another major achievement was the New York debut in the Classic Guitar series of the brilliant young Uruguayan guitarist, Eduardo Fernandez.
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Italy and the Balkans during the late 9th century The Slavic reception is crucial for the understanding, how the kontakion has changed under the influence of the Stoudites. During the 9th and 10th centuries new Empires established in the North which were dominated by Slavic populations (mainly the first Bulgarian Empire, with two new literary centres at Preslav and the Lake Ohrid, after similar plans failed for Great Moravia, and the Kievan Rus', a federation of East Slavic tribes between the Black Sea and Scandinavia). These empires requested a state religion, legal codexes, the translation of canonic scriptures, but also the translation of an overregional liturgy as it was created by the Stoudios Monastery, Mar Saba and Saint Catherine's Monastery. The Slavic reception confirmed this new trend, but also showed a detailed interest for the cathedral rite of the Hagia Sophia and the pre-Stoudite organisation of the tropologion.
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Three consuls, chosen annually by the Council, had charge of the administration of the streets. Avignon's survival as a papal enclave was, however, somewhat precarious, as the French crown maintained a large standing garrison at Villeneuve-lès-Avignon just across the river. On the death of the Archbishop of Arles, Philippe de Lévis in 1475, Pope Sixtus IV in Rome reduced the size of the diocese of Arles: he detached the diocese of Avignon in the province of Arles and raised it to the rank of an archbishopric in favour of his nephew Giuliano della Rovere, who later became Pope Julius II. The Archdiocese of Avignon had canonic jurisdiction over the department of Vaucluse and was an archdiocese under the bishoprics of Comtadins Carpentras, Cavaillon, and Vaison-la-Romaine.Catholic Church in Avignon - Historical Notice, Diocese of Avignon, consulted on 17 October 2011 From the fifteenth century onward it became the policy of the Kings of France to rule Avignon as part of their kingdom.
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Aura premiered in 1988 at the Palacio de Bellas Artes in Mexico CityAguilar, Ananay, "La circularidad en Aura, la ópera de Mario Lavista" , Cuadernos de música, artes visuales y artes escénicas, Vol.1, No.2, December 2006 Lavista has approached religious genres in a series of compositions where he uses Medieval and Renaissance procedures, such as the symbolic use of certain intervals, canonic permutations, and isorhythm, most evident in the Missa ad Consolationis Dominam Nostram, a central work in his oeuvre. He has received multiple awards and honors: Premio Nacional de Ciencias y Artes and the Medalla Mozart in 1991, an honorable mention from the Sistema Nacional de Creadores del Fondo Nacional para la Cultura y las Artes in 1993, and membership in the prestigious El Colegio Nacional since 1998. Lavista’s works are frequently performed in Europe and throughout the Americas, where he travels regularly to give lectures and seminars in composition.
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Alexander draws inspiration for his work from the unique character of the land which he records in sketchbooks and sketches in preparation for more finished canvases. As a result, he has traveled extensively doing research for his work, including making trips to England, France, and the United States during his graduate research, and since then, travelling to the Arctic (1988), Scotland (to which he has gone several times), Iceland (1996, 2002), New Mexico and Arizona (1996), Nevada (2005), California (several visits as well), as well as making many trips to northern Ontario and Quebec, but he always combines his canonic subject matter (places without a great deal of human footprint) with abstraction. In 2004, the Globe and Mail wrote that he was an artist who could “simultaneously make convincing the reality of the scene before him…and make manifest, at the same time, the highly abstract dazzle of the visual information that makes up what we see”. His painting has a “two-way grip”, said the newspaper.
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The points and lines of the Fano plane that are disjoint from a non-incident point-line pair form a triangle, and the bitangents of a quartic have been considered as being in correspondence with the 28 triangles of the Fano plane.. The Levi graph of the Fano plane is the Heawood graph, in which the triangles of the Fano plane are represented by 6-cycles. The 28 6-cycles of the Heawood graph in turn correspond to the 28 vertices of the Coxeter graph.. The 28 bitangents of a quartic also correspond to pairs of the 56 lines on a degree-2 del Pezzo surface, and to the 28 odd theta characteristics. The 27 lines on the cubic and the 28 bitangents on a quartic, together with the 120 tritangent planes of a canonic sextic curve of genus 4, form a "trinity" in the sense of Vladimir Arnold, specifically a form of McKay correspondence,Arnold 1997, p.
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Original music for The Secret Life of Bees was produced by Mark Isham. The film features the following songs: # "Baby, I Need Your Loving" by Lamont Dozier, Brian Holland and Edward Holland, Jr. # "Come See About Me" by Lamont Dozier, Brian Holland and Edward Holland, Jr. # "Prelude (From The Unaccompanied Cello Suite No. 1 In G Major)" by Johann Sebastian Bach # "Six Canonic Sonatas Op. 5" by Georg Philipp Telemann # "Sonata No. 3 In a Minor For Cello & Continuo: Allegro" by Antonio Vivaldi # "The Honey Song" by Sue Monk Kidd # "Beautiful" by India.Arie # "Breakaway" by Irma Thomas # "Come See About Me" by The Supremes # "Doncha Know (Sky Is Blue)" by Alicia Keys # "Heaven's My Home" by Sam & Ruby # "Hippy Hippy Shake" by The Swinging Blue Jeans # "I'm Alright" by Little Anthony and the Imperials # "It's All Right" by The Impressions # "Keep Marching" by Raphael Saadiq # "Mary" by Joe Purdy # "Song for Mia" by Lizz Wright The soundtrack for the film was not released as an album.
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In its structural aspects, Ristić's Second symphony corresponded with the unfolding cultural changes. The symphony's neoclassic expression represents a fostering of tradition of 'healthy' classicism, contrary to the daily vulgarization of art for political purposes. Lacking the programmatic underpinnings, but skillfully developed in terms of canonic craft and simulation of certain models with folkloristic connotation (Scherzo in 5/8 and Trio in 7/8 meter), by its completeness and wholeness, this symphony does not oppose the then governing doctrine, while at the same time it represents a work of modern expression. By its optimistic spirits the Second symphony embodies the momentum of transition of the entire Yugoslav society from a Warsaw Pact country to one of self-governed socialism. Suita giocosa, but particularly The Seven bagatelles for orchestra, both underscore Ristić's "optimism"; "with clear forms and free but still present tonality and clarity of polyphonic procedures (…) these works carry extraordinary communicativeness" (Bergamo 1977, 80).
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Gnosticism is predicated on the existence of such hidden knowledge, but brief references to private teachings of Jesus have also survived in the canonic Scripture as did warning by the Christ that there would be false prophets or false teachers. Irenaeus' opponents also claimed that the wellsprings of divine inspiration were not dried up, which is the doctrine of continuing revelation. In the middle of the 2nd century, three groups of Christians adhered to a range of doctrines that divided the Christian communities of Rome: the teacher Marcion, the pentecostal outpourings of ecstatic Christian prophets of a continuing revelation, in a movement that was called "Montanism" because it had been initiated by Montanus and his female disciples, and the gnostic teachings of Valentinus. Early attacks upon alleged heresies formed the matter of Tertullian's Prescription Against Heretics (in 44 chapters, written from Rome), and of Irenaeus' Against Heresies (ca 180, in five volumes), written in Lyons after his return from a visit to Rome.
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It was not the first time that Schumann had tackled variation form.Examples include the Abegg Variations, Op. 1 (though much less complex); some incomplete youthful pages (from which stand out the Variations on the Allegretto of Beethoven's 7th Symphony, where the manner in which the variations are conceived is already completely alien to the virtuosically ornamented convention then prevalent); and the Impromptus on a theme of Clara Wieck, Op. 5 But here the variation principle is used more as free transformation, no longer of an actual theme, but of a musical 'cell' or cells (as for example in the same composer's Carnaval). The Études symphoniques learn the lesson of Beethoven's Diabelli Variations: the theme that acts as a unifying element is amplified and transformed, and becomes the basis from which blossom inventions of divergent expressive character. The work also shows the influence of the Goldberg Variations, most obviously in the use of a pseudo-French overture variation, and in the use of various canonic effects.
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A teaching video was transmitted every month by this network, which was growing rapidly: in 2011, the video was sent to more than one thousand "Net points", spread over 80 countries across the world and translated into twenty-six languages. In 2002, at the time of the second community assembly (known as the chapter), it was decided that all the commitments in the community or in all the different community missions would happen "within the ecumenical and international Net for God". That same year, Father Jerome Dupre La Tour, priest in the diocese of Lyon, presented to members of the council of priests, a report on the Canonical Status of the Emmanuel and Chemin Neuf communities. Its sentiments were criticised, in spite of the fact that the Status of the Chemin Neuf (public association of the faithful, which authorised a greater involvement from the bishop of the area); in his opinion, the name used by the civil authorities (congregation) did not cover the canonic definition of this term which gave way to a vagueness, notably in relation to the authority.
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"Twofold," 2019, Harlow, none Nick Hornby’s largest sculpture to date titled Twofold was commissioned by Harlow Art Trust. It is the 100th piece in Harlow’s public sculpture collection which includes works by Auguste Rodin, Barbara Hepworth, Henry Moore, and Elizabeth Frink, among many others, so is a fitting environment for an artist whose subject is frequently the canon and its construction. For this commission, Hornby has crossed one of the most canonic of figurative sculptures, Michelangelo’s David, with a curving line from a 1925 Kandinsky drawing. In one rotation, David is visible; in another, it is Kandinsky’s abstract line. "Muse Offcut #1," 2017, none Other notable commissions include a presentation of monumental sculpture at Glyndebourne Opera House in the UK, and 'Bird God Drone,' Commissioned by Two Trees Management Co, in partnership with NYC Parks’ Art in the Parks program for outdoor presentation in DUMBO, Brookyn, NY, He has exhibited his work in the UK, the US, Greece, and India, including Tate Britain (UK), Southbank Centre (UK), Eyebeam (New York, USA), The Museum of Arts and Design (New York, USA), The Hub (Athens).
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According to Richard , "This virelai has two canonic voices over a free and textless tenor." La harpe de melodie Jacob de Senleches, La harpe de melodie In many pieces in three contrapuntal parts, only two of the voices are in canon, while the remaining voice is a free melodic line. In Dufay's song "Resvelons nous, amoureux", the lower two voices are in canon, but the upper part is what David describes as a "florid top line": Dufay Resvelons nous Dufay, "Resvelons nous amoureux" Both J. S. Bach and Handel featured canons in their works. The final variation of Handel's keyboard Chaconne in G major (HWV 442) is a canon in which the player's right hand is imitated at the distance of one beat, creating rhythmic ambiguity within the prevailing triple time: Handel Chaconne HWV 442 Var 62 Handel, final Variation (no. 62) from Chaconne in G major, HWV 442 An example of a classical strict canon is the Minuet of Haydn's String Quartet in D Minor, Op. 76, No. 2 .
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Late Piano Music. Marc-André Hamelin. :Hyperion CDA67951/3 ::Recorded Henry Wood Hall, Trinity Church Square, London, UK, 15–17 April 2011 and 15, 16 and 24 August 2012; released November 2013. :CD 1: :^ Elegien. 7 neue Klavierstücke (1907) BV 249 ::(includes ^ Berceuse (1909) BV 252 as No. 7) :^ Nuit de Noël. Esquisse pour le piano (1908) BV 251 :^ Fantasia nach Johann Sebastian Bach (1909) BV 253 :^ Bach: Canonic Variations and Fugue from the "Musical Offering", BWV 1079, transcribed for piano by Busoni BV B 40 :^ Giga, Bolero e Variazione: Studie nach Mozart from An die Jugend (1909) BV 254 ::Marc- André Hamelin, piano :CD 2: :^ Sonatina (no. 1) (1910) BV 257 :^ Sonatina seconda (1912) BV 259 :^ Sonatina (no. 3) "ad usum infantis" (1915) BV 268 :^ Sonatina (no. 4) "in diem nativitatis Christi MCMXVII" (1917) BV 274 :^ Sonatina brevis (no. 5), "In Signo Joannis Sebastiani Magni" (1918) BV 280 :^ Kammer-Fantasie über Carmen (Chamber Fantasy after Carmen) (Sonatina no. 6) (1920) BV 284 :^ Klavierskizze: Indiansiches Erntelied (ed. 1911, Antony Beaumont) (score held by Henselt Library , unlisted in BV catalog) :^ Indianisches Tagebuch.
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Durch Adams Fall ist ganz verderbt. Fuga. (2nd version), BWV 705 :::9. In dir ist Freude (In Thee is joy), BWV 615 :::10. Jesus Christus, unser Heiland (Jesus Christ, our Savior), BWV 665 ::Holger Groschopp, piano :CD2: :^ Fantasia contrappuntistica, edizione definitiva (1910), second edition published by Breitkopf & Härtel, 1916 BV 256 :::1. Preludio corale :^ Bach: Capriccio on the Departure of His Beloved Brother, in B-flat major for harpsichord, BWV 992, transcribed for piano by Busoni (1914) BV B 34 :^ Bach: Fantasy, Adagio, and Fugue for harpsichord, BWV 906, 968, transcribed for piano by Busoni (1915) BV B 37 :^ Bach: Canonic Variations and Fugue from the "Musical Offering," BWV 1079, transcribed for piano by Busoni (1916) BV B 40 :^ Floh- Sprung. Canon for two voices with obbligato bass (1914) BV 265 :^ after Bach: Two Chorale Preludes (Das Calvarium), transcribed for piano by Busoni (fragments only - date unknown) BV B 46 :+ transcriptions by Michael von Zadora and Egon Petri and a composition by Anna Weiß-Busoni ::Holger Groschopp, piano Busoni/Bach – Liszt.
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Stephen Spender cut a larger figure in strictly cultural circles, though with strong political engagements of his own – he was, at 44, one of England's leading and eventually-canonic men of letters of his generation, having been a prime constituent of the fabled 1930s "MacSpaunday" generation of young English poets whose other members included Louis MacNeice, W.H. Auden, and C. Day Lewis. During his brief Communist phase in the 1930s, he had served in the Spanish Civil War with the anti-Franco International Brigades, and later contributed to the essay collection The God That Failed (1949) edited by Richard Crossman. The other contributors who had become disillusioned with Communism included Louis Fischer, André Gide, Arthur Koestler, Ignazio Silone, and Richard Wright; Koestler and Silone would in turn become from its outset regular contributors to Encounter. Spender's apprenticeship in the editor's chair had come over a decade before when he served as deputy to the English aesthete Cyril Connolly in editing, for its first two years, the influential literary monthly Horizon (1940–49), many of whose writers would show up in Encounter in due course throughout the 1950s and after.
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In 1983, Leo Steinberg, a Russian-born American art critic, wrote The Sexuality of Christ in Renaissance Art and in Modern Oblivion as a blunt overlook of how many depictions of Jesus and his genitalia are "indisputably a central thematic concern." He first argues: > The first necessity is to admit a long-suppressed matter of fact: that > Renaissance art, both north and south of the Alps, produced a large body of > devotional images in which the genitalia of the Christ Child, or of the dead > Christ, receive such demonstrative emphasis that one must recognize an > ostentatio genitalium comparable to the canonic ostentatio vulnerum, the > showing forth of the wounds. In the book, he additionally attempts to find "theological grounds" for this concern to depict the teacher naked, which he sees as the embodiment of the doctrine of the Incarnation, showing that Jesus was linked with the great chain of human procreation – even though divinely perfect. This is in part due to the pattern of drawing the emphases of nudity in paintings depicting Jesus in the beginning and end of his life—the Word of God made Flesh (see Gospel of John 1.1).
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For him, the first four preludes and fugues from Book I of Bach's The Well-Tempered Clavier represented water, fire, earth and air respectively, and he conceived many others in a poetical light. He taught Luigi Cherubini's methods for counterpoint, and used Hector Berlioz's orchestral treatise.David Drew, Canonic Studies and Time Pieces on the Motif FB-AG, in Latham, Alison and Alexander Goehr, eds, Sing, Ariel: Essays and Thoughts for Alexander Goehr's Seventieth Birthday; p.48; Retrieved 10 June 2013 Through his former pupil Wilhelm Kienzl's intercession with Ferruccio Busoni's father, Busoni studied harmony, counterpoint, orchestration and composition with Mayer from November 1879 to April 1881, being just 15 when he completed his formal studies with honours.Marc-André Roberge, Ferruccio Busoni (1866-1924), in Larry Sitsky, ed., Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook; Retrieved 9 June 2013 Mayer taught Busoni that "the widest possible culture makes the artist", a motto Busoni wrote on his 430-page treatise on composition he had written out in longhand during his studies with MayerClassical Archives, Busoni: 24 Preludes, Op. 37; Retrieved 9 June 2013 and later transmitted to his own pupils.
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This is also based on the main material of the movement, and is only a brief moment in which to relax before the scurrying sixteenths return. A transitional passage leads to the recapitulation, which is for about twenty bars the same as the equivalent passage in the exposition. The material which leads to the second group opens in C major this time rather than A minor, however, and the second group is heard in A major. The major-mode themes are accorded slightly less space this time around before A minor returns in the form of a quiet pair of octaves, F in tremolo in the left hand and A held in the right, occasionally alternating with the scurrying sixteenths; over which the violin plays the longer version of its main theme from the first movement, twice, then, crescendo, joins in the piano's perpetual motion frenzy until a recall of the canonic theme that had opened the development is reached - now played sforzando (mit Violoncell, Schumann also writes), opening the last stage of the coda punctuating the rush to the final chords sixteen bars later.
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Literature and film critic Linnie Blake argues that these movies are not only more thematically complex and technically sophisticated than is popularly supposed, but share a set of artistic and ideological concerns more usually associated with the canonic authors of the Young German Cinema and the New German Cinema of the turbulent years of the 1960s and 1970s". Though speaking of the first Nekromantik, in which a "beer-guzzling, oompah-listening fat-man" accidentally kills a man picking apples, Linnie Blake's comments are also relevant to Nekromantik 2 when she writes "As Buttgereit makes clear, then, it is neither Rob nor Betty [the protagonists of the first Nekromantik] who has transformed the young apple-picker into a corpse. This has been accomplished by an ostensibly morally upstanding member of society who subsequently disappears from view, unpunished for his crimes. Buttgereit's mission, it seems, is to embrace that corpse, and in so doing to raise the question originally posed by Alexander Mitscherlich, Director of the Sigmund Freud Institute in Frankfurt, as to why the collapse of the Third Reich had not provoked the reaction of conscience-stricken remorse one might logically expect; why, in Thomas Elsaesser's words, 'instead of confronting this past, Germans preferred to bury it'.
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