Her yelled enthusiasm often substitutes colloquial declamation for conventionally melodic singing.
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Like Ingrid, with her arms-wide declamation on the glories of the season.
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Where appropriate, she forsakes folk-balladry for rock declamation to convey intense emotions.
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During the performance, Ms. Reed's voice alternated between a classical soprano and jazz-gospel declamation.
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Kissin has mastered the art of declamation, his speech assuming songlike character, his grasp of emotional arcs acute.
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A Swire statement condemning illegal actions and resolutely supporting Hong Kong's government reads like a Communist Party declamation.
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Known today for their fascistic sympathies, the Italian Futurists developed a rowdy theatrical tradition of declamation and noisy musical accompaniment.
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Mr. Dudamel kept the scattered choral declamation and fitful orchestral stretches in sync, while making the episode seem utterly spontaneous.
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His tenderest singing was reserved for a medley from "The Light in the Piazza," which revealed his facility at semi-operatic declamation.
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But Ms. Evans ("Dance Nation") wisely keeps the performances from her five cast members at a meditative simmer that never boils over into declamation and melodrama.
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" Clarinet, horn and viola fragments grew increasingly agitated in another of Dante's texts, culminating in a dense outburst for the soprano's apocalyptic declamation of "Now you can understand.
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Many qualities we esteem today — orchestrally accompanied recitatives, gripping declamation, colorful orchestration, a rich harmonic vocabulary — were greeted warily by a Parisian audience used to less overtly virtuosic music.
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Those weaknesses included an intellectual superficiality and a passion for political declamation — "magpie sermonizing," as Spitz calls it — that often rendered him boring to others, particularly his first wife, the actress Jane Wyman.
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That would be Rumer Willis, the 27-year-old daughter of Bruce Willis and Demi Moore, who refrained from the style of declamation that many pop singers nowadays adopt to demonstrate a bogus empathy.
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His low-budget films had badly recorded sound, but he overcame it by directing his actors—mainly his regulars—to speak with a theatrical declamation, which seemed to emboss the dialogue on the screen.
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But at other times he sounded uncomfortable in the louder passages forced on him by the thicker textures, and the instances of Sprechstimme — a stylized form of spoken declamation — were awkwardly rendered and crudely amplified.
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In an age of declamation and shouting, of polarization and vilification, of politics-for-sale and the insidious submersion of politics in fact-lite entertainment, the emergence of Trump is as unsurprising as it is menacing.
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Her voice moved from airy delicacy to forthright declamation; the traditional sounds in her performance were loops from a computer meshed with electric guitar lines, and the rhythms exulted in ways to subdivide six-beat grooves.
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No stranger to declamation, Mr. McKellen lends a welcome softness to Lear's decisive "howl," as if what matters most is not the decibel level but the sense of psychic excoriation as the wayward monarch comes to grief.
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It's an echo of the spirit of openness that she most remembers from her days in Mr. Christie's class, reading historical treatises on declamation and trying out new forms of expression in front of her fellow students.
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Though that declamation was used in the context of international relations, anyone of good conscience would say that if a child cannot go to school without fearing for his or her life, then that is not freedom.
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It tops a lean reggaeton beat with flute sounds from Colombia's Andean traditions, as the two men take turns — with Balvin's smooth croon and Paul's rough declamation — exulting in how irresistible he is to a certain woman.
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Songs that sock out a beat, like "Rumor Has It" and "Rolling in the Deep," summoned soul-music declamation, while a stripped-down, guitar-picking version of "Don't You Remember" turned it into a country-infused torch song.
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So I cradle this average violin that knowsOnly forgotten showtunes, but arguesThe possibility of free declamation anchoredTo a dull refrain, the year turning over on itselfIn November, with the spaces among the daysMore literal, the meat more visible on the bone.
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Nathan Davis's "The Sand Reckoner," a meditation on vast quantities and multitudes for six voices and celesta, supplemented a basic declamation of a text by Archimedes with words of the Wycliffe Bible, William Blake and a French children's counting song.
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The closest he came to breaching them successfully was during a swinging performance of "Lover, Come Back to Me." But in the operatic rule book, martial declamation is the foundational style, and when Mr. Szot veered further into pop-jazz, he ran up against barriers.
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Because the physical idioms of his expression were severely limited, because his fiery declamation was laid waste to by the siege of decline, Ali was forced, instead, to inhabit relative muteness and transform it into an eloquent expression of his humanity—one where suggestion and inference form a grammar of moral communication.
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Declamation is the most time-honored of the school's traditions. Pupils in the 7th through 10th grade are required to give an oration, known as 'Declamation', in their English class three times during the year. There is also Public Declamation, where pupils from all grades, or classes, are welcomed to try out for the chance to declaim a memorized piece in front of an assembly. During Public Declamation, declaimers are scored on aspects such as "Memorization" "Presentation", and "Voice and Delivery", and those who score well in three of the first four public declamations are given the chance to declaim in front of alumni judges for awards in "Prize Declamation".
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Her classes included Latin, French, "grammar", arithmetic, drawing, composition, and declamation (public speaking).
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Seckendorff is mostly remembered for his Vorlesungen über Deklamation und Mimik (1816). Like many other declaimers and declamation theorists of the time, he believed that speech prosody is a kind of music. He attempted to demonstrate this in his stage declamation, in which he accompanied himself on the piano. Critics of his declamation style include the composer and author Johann Friedrich Reichardt and the actor and theater director August Klingemann.
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The extracurricular activities include sports, hobbies club, dramatic club, declamation contests and quiz competitions.
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This display of rare talent earned her two medals. She also won the Spanish declamation contest.
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In the Pit's small space the loud and unrhythmic declamation was too loud and too clipped.
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In the spring, Phi Kappa holds the Phi Kappa Declamation, wherein members aim to give their absolute best possible speech from a list of pre-selected topics. This is the most honored practice of the year, emphasizing impeccable rhetoric, writing, and floor presence of the speaker. The Declamation was first introduced in 1994, shortly after the refounding of Phi Kappa. It was previously known as the Alexander Stephens Declamation until Phi Kappa members voted to rename the event in 2019.
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Only students who have auditioned and declaimed in Public Declamation are eligible to audition for Prize Declamation. Some are selected. Activities such as these assure that students learn to speak clearly and with confidence, and it follows Cicero's advice that the one crucial ingredient to becoming an eloquent speaker is practice.
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In declamation, students must memorize a passage from a text, such as Dante's "Commedia", and then declaim it before the faculty and fellow students. Each year, four in-class declamations are held in English and History, with an additional four public declamations held for students who wish to audition to declaim before the entire Brooklyn Latin School community. The last of these public events is Prize Declamation. Being selected as the declaimer for Prize Declamation is one of the highest honors the Brooklyn Latin School bestows.
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The composer's music has been described as focused on text declamation, with expressive melodies and advanced harmonies including chromaticism and enharmonic.
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John Clapham has written critical analysis of the opera and noted the presence of the style of Wagnerian declamation in the work.
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The expressive declamation of the alto recitative, "" (I would freely confess to You, my God), is highlighted by chords in the strings.
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It was a place to quote Alastor in, and nothing but a bad memory prevented my affrighting the oaks and rills with declamation.
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The first commences with a declamation from the soloist, echoed by the orchestra, in which the "Bashmet motif" is first heard. This is followed by an extended version of the declamation culminating in a fortissimo chord from the orchestra. The movement closes with a delicate cadence. The second movement begins with frenetic arpeggios, including multiple double stopping, from the viola.
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In the past, the Philomathean Society provided training in declamation, essay writing, oratory and debating. These skills were tested in competitions. Lower class members could win medals in declamation and essay writing, while upper class members could win for oratory and debate. The society still participates in the inter-society debate with the Euphemians for the J. J. Darlington Cup.
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In simplest terms, Declamation is delivering a speech that was already written and delivered by another person. A competitor may choose any speech that has been delivered in public before. NCFL rules call for specific introductory material and a ten-minute time limit. The NCFL is the largest league in the United States that offers Declamation as a category for competition.
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Wastewater treatment of teachers. Hispanicization. The provincial government alone bore back to the Institute. Guillermo Díaz-Plaja, director. Small studies in scenography and Declamation.
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After World War II several further short plays and adaptations by Phelps appeared, including Madame Butterfly (1954).Pauline Phelps, Madame Butterfly (Wetmore Declamation Bureau 1954).
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Text declamation refers to the manner in which a composer sets words to music.Kerman, Joseph, and Gary Tomlinson. 2008. Listen, 6th edition. New York: Bedford St. Martins.
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After five years at Harrow, he followed his older brother Charles to Trinity College, Cambridge. There he won the declamation prize in English and graduated in 1782.
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This is no empty declamation; I don't ask for human pity. I look to > God's mercy, and shall go joyfully to the scaffold. My conscience is clear.
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The winner of the 1940 national declamation finals in the National Forensic League Tournament at Terre Haute, Indiana, Montgomery studied journalism at the University of Southern California.
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His writing for the voice is in small intervals, with much tonal repetition and attention paid to natural declamation. This practice is taken directly from Mussorgsky.Maes, 369-370.
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The school organises Annual function, Literary activities, Cultural activities, Art and Craft competitions, Quiz, Paper reading, declamation, Music competitions. Mrs. Uma Menon, Mrs. Rani Patel, Mrs. Mala Bhargava, Mrs.
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Cicero Minor was then taught declamation in Greek by Cassius, and Latin with Brutus,Younger, Cicero. "Letter 34." In The Harvard Classics, Vol. 9, by William Melmoth, 181-183.
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Front entrance of the school house on Avenue Louis Pasteur. 2007 In addition to the well-known and time-honored tradition of declamation in English classes, recently the Modern Languages department instituted an annual "World Language Declamation" competition. Once a year, during National Foreign Language Week (usually the first week of March),Kate Stevenson (2008). National Foreign Language Week students from grades 8 through 12 perform orations in languages other than English.
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Grand National Tournament in Declamation (also known as Oratorical Declamation or Oratorical Interpretation, commonly abbreviated to "DEC") is a public speaking event of the National Catholic Forensic League. The category is almost always open to high school freshmen and sophomores only. It is often used as a "starter" event to get underclassmen used to the speech and debate activity in general and to prepare them for other categories such as Dramatic Performance or Original Oratory.
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Bogdan-Duică, pp. 126–127; Ghica & Roman, p. 436; Papazoglu & Speteanu, p. 321 He organized classes in acting and declamation at the Dramatic School, a branch of the Philharmonic Society.
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The school also have a number of co-curricular and extra-curricular activities. Debates, declamation, elocution, extempore, story-telling, dramatics etc. are conducted both in the English and Hindi languages.
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Open to the public library and the Museum. 1944: integration of the Institute within the Conservatory of music and Declamation. Development of dance studios. Recognition of official validity of studies.
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Some of the events that the team hosts include Lincoln–Douglas debate, policy debate, public forum debate, extemporaneous speaking, declamation, oral interpretation, original oratory, duo interpretation of literature, and dramatic interpretation.
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Aesthetically, declamation is conceived of as "accurate" (approximating the natural rhythms and patterns of human speech) or not, which informs perceptions about emotional power as expressed through the relationship between words and music.
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Hosting creative and fun events including Frames and Expose (exhibition of photographs from contests by the Photography Club), a Hogathon, Speech Triathlon(Declamation, Commentary and Policy) and an Escape Room among several others.
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A Lehrgang für Declamation und Mimik (Course in Declamation and Mimics) had been in existence in Vienna since 1852, when Max Reinhardt received a call from the University of Music and Performing Arts in 1929 to create a drama seminar. Initially, this Seminar was taught at the Schlosstheater Schönbrunn, the imperial theatre in the Schönbrunn Palace. After Reinhardt's emigration in 1937, the seminar moved to the nearby Palais Cumberland in 1940. From 1948 until 1954, Helene Thimig (Reinhardt's widow) directed the Seminar.
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He was a singer in the Opera, Oratorio and Lieder genres and was renowned for his silky voice and outstanding declamation and musicality. His art is well represented on compact disc, particularly in opera.
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The school celebrated its 75th anniversary, or Platinum Jubilee, in the year 2016. The English Literary Society is one of the school's oldest societies and it organizes elocution and declamation events for the students. The school's English Literary Society also conducted the first edition of the school's annual inter-school declamation in November 2017. The school also has an Urdu "Tehzeeb" Society that organizes declamations in the Urdu language Ms. Sylvia Pinto and Ms. Safia Hassan are the only Golden Jubilarians of the school to date.
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Suddenly the scene changes to a hunting scene, horns join the orchestra, the tempo in common time is marked "". The voice is again set in expressive declamation, saying "And afterwards I will send out many hunters ...".
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The yearly calendar, apart from academics, comprises Declamation Contests, Naat Khawani, Field Trips, Drama, Art Exhibitions, Play writing, Story writing, Poetry competitions, the St. Michael's Model United Nations, amongst classes under the tutelage of the teachers.
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Common features include asyndeton, anaphora, rhyme schemes, and complete phrases stacked two to a line, typically expressed with joy, anger, excitement or fear, routinely fast declamation of patter in a generally mechanical and often impersonal way.
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She was also active as a deputy principal and an instructor of declamation at the Dramatens elevskola in 1837-1841. Charlotta Eriksson retired from the Royal Dramatic Theatre after the 1841-42 season with a full pension.
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One of the musicians known for using agogic accents in their playing was the violinist Joseph Joachim. Some writers compared this type of rubato to declamation in speech.Philip, p. 42 This idea was widely developed by singers.
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Moorcock also collaborated with former Hawkwind frontman and resident poet, Robert Calvert (who gave the chilling declamation of "Sonic Attack"), on Calvert's albums Lucky Leif and the Longships and Hype, playing guitar and banjo and singing background vocals.
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Carlson 1998, p. 113. Lekain also protested against the method of sing-song declamation which was prevalent, and endeavoured to correct the costuming of the plays, although unable to obtain the historical accuracy that François Joseph Talma sought.
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He replied, "Before I can remember. I believe I was born with an affinity for the stage". He moved from the south to Madrid where he studied for three years at the Madrid Royal Conservatory for Music and Declamation.
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The play is lost and only fragments now remain, but a declamation attributed to the fourth-century BC orator Alcidamas probably used Sophocles' Aleadae for one of its sources.Gantz, pp. 428-429; Jebb, Headlam and Pearson, Vol. 1 pp. 46-47.
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Allama Iqbal declamation contest are yearly held in the University of Swat to promote new talent in regarding Debates, Declamations. Most raging debtors of University are Riaz Ali (Dept. of Law and Sharia), Izhar Ahmad (Dept. of Economics), Fahad Khan (Dept.
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The play is lost and only fragments remain, but a declamation attributed to the fourth century BC orator Alcidamas probably used Sophocles' Aleadae for one of its sources.Gantz, pp. 428-429; Jebb, Headlam and Pearson, Vol. 1 pp. 46-47.
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Cycle for Declamation is a song cycle for tenor solo composed in 1954 by Priaulx Rainier (190386).Allmusic gives 1953 as the year of composition, Peter Pears 1954. The latterbeing the work's commissioner and original performerseems the more reliable source.
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Daisy became more active in college as she moved on to writing poetry and short skits for class or for official school activities and directed them. She became known as the Barbra Streisand of the school with her lip synchronization acts of Streisand's Minute Waltz, I'm Five, Jingle Bells and the like. She also won declamation and songwriting competitions during her college days. In fact, for two successive years, she brought home the grand prize for the English and Tagalog categories of the Declamation Contest included in Inter-School Annual Literary-Musical Festival in the city.
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Eusebia Cosme Almanza (5 March 1908 – 11 July 1976), known as Eusebia Cosme internationally, was an Afro-Cuban poetry reciter and actress who gained widespread fame in the 1930s. Because of racial segregation, Cosme did not pursue an acting career in the traditional Cuban theater, instead focusing on the art of declamation, or poetry reading. She was the sole Cuban woman and one of the few black women to participate in African-themed declamation. Her performances went beyond reciting the poems, as she used gestures, facial expression and vocal rhythm to convey the emotion of the written word.
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Leonhart (1939), p. 165. In addition to providing forums for the development of student debaters, the societies focused on declamation and oratory. In 1914, the societies began bestowing medals upon four graduating seniors with the best declamatory, debating, extemporaneous speaking, and essay skills.
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Born in Paris and orphaned at an early age, Roger was brought up in Paris by his uncle. He entered the Paris Conservatoire and studied with Blès Martin. At the completion of his training, he won first prize in singing and declamation.
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Nukta is an annual inter-university event held under the collaboration of both PIEAS debating society and PIEAS Performing Arts Society. This event consists of Declamation, Dramatics and Short films. Six editions of NUKTA have been held with NUKTA'19 being the latest.
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He eventually entered the University of Bucharest Faculty of Law, which was to be his alma mater,Ciprian, p.77; Crohmălniceanu, p.570–571; Deligiorgis edition, p.5 while also taking lectures in composition and counterpoint at the Music and Declamation Conservatory.
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In a small freshman class of six students, Williams studied a typical curriculum of Greek, Hebrew, logic, ethics, politics, arithmetic, geometry, astronomy, declamation, and divinity.Medlicott Jr., Alexander Guild. “The Journals of the Reverend Stephen Williams”. (PhD. Diss., University of Washington, 1962), p. 26.
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The DC International Book Fair offers book releases and exhibitions. The Fair also features youth contests in Spot Poetry Writing, English Quiz, Malayalam Quiz, Street Drama - Malayalam, Declamation, Pen A Story, Special Schools Only, Film Appreciation, English Reading, Malayalam Reading, Painting, and Readers Theatre.
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Their standing improved upon receiving a heritage from Sofia's paternal family.Pazos 2010, pp. 19-20 In Madrid Sofia frequented the Conservatorio, where she began to study poetry and declamation. Her first poems were published when she was fifteen years old, in the Faro de Vigo.
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Most students choose to declaim in the modern language they are studying, though some choose Latin, Greek, or their native tongue. Judges are brought in from various institutions around the city, and mark the students in similar categories to those used in Public Declamation. Entrants are categorized by level, rather than language, such that all students declaiming at the first-year level of various languages are competing against each other, all students at the second-year level compete against each other, and so on. Students who regularly perform exceptionally well at World Language Declamation are honored at Prize Night with the Celia Gordon Malkiel Prize.
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The climactic event of the week is Declamation, a speaking contest where five representatives from each society deliver prepared monologues. Winners of each event during the week earn points for their respective societies, with the largest number of points awarded at Declamation. The winning society claims bragging rights for the next 12 months. Each year, on the Friday evening of Alumni Weekend (often held in October), students gather on the steps of Main Hall for Step Songs, which involves the singing of school songs and traditional cheers as a pep rally for the next day's athletic contests, usually against a Mid-Atlantic Prep League opponent.
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Soon after completing her schooling, Cosme performed as a cupletista in a melodramatic, singing cabaret performance at the Teatro Neptuno. From the late 1920s to early 1930s, she was often listed in playbills as part of the cast of various variety shows. Returning to Santiago, she improved her skill in declamation techniques by performing for the Fernández Marcané household and made her public debut in Santiago in 1930. The household returned to Havana when Fernández Marcané served in the Senate and in 1931, she began lessons in elocution at the Municipal Conservatory's Academy of Declamation studying with Graziella Garbalosa, the academy's director and founder.
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Luigi Romanelli (July 21, 1751March 1, 1839) was an Italian opera librettist. Romanelli was born in Rome. He wrote tens of librettos, most of them for operas to be performed at La Scala in Milan. In the same city he was professor of declamation at the conservatory.
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46 ff. (frs. 77-89). The play is lost and only fragments now remain, but a declamation attributed to the fourth century BC orator Alcidamas probably used Sophocles' Aleadae for one of its sources.Gantz, pp. 428-429; Jebb, Headlam and Pearson, Vol. 1 pp. 46-47.
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In addition to the annual sports meet and cultural fest, the school organises intra-school competitions of declamation, handwriting, creative writing, speech, drawing and painting. The children participate in cluster, zonal, national level tournaments organized by the CBSE and have won gold, silver and bronze medals.
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Malthus continued for a period to be tutored by Gilbert Wakefield, who had taught him there. Malthus entered Jesus College, Cambridge, in 1784. While there, he took prizes in English declamation, Latin and Greek, and graduated with honours, Ninth Wrangler in mathematics. His tutor was William Frend.
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Enrico Tamberlik. Enrico Tamberlik (16 March 1820 - 13 March 1889) was an Italian tenor who sang to great acclaim at Europe and America's leading opera venues. He excelled in the heroic roles of the Italian and French repertories and was renowned for his powerful declamation and clarion high notes.
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While there he earned a Franklin Medal and won Lawrence Prizes for declamation and reading. In his senior year he held the post of adjutant of the school's battalion. He graduated with high honors in 1886. He was 27 when he enrolled at Harvard University a few months later.
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Inarticulate groans, animal roars, tender folksongs, liturgical > chants, dialects, declamation of poetry: everything is there. The sounds are > interwoven in a complex score which brings back fleetingly the memory of all > forms of language.Flaszen, L. (1975) 'Akropolis – treatment of the text.' In > J. Grotowski (ed) Towards a Poor Theatre.
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The institution was established on 1 October 1860, as the Music and Declamation School, by decree of Prince Alexandru Ioan Cuza, followed 26 days later, by the foundation of the School for Sculpture and Painting. In October 1864, Cuza approved the Charter for the Music and Declamation Conservatory and the Charter for the National Schools of Fine Arts (establishing the departments of painting, sculpture, gravure, architecture and the art of landscape architecture).The history of the "George Enescu" University of Arts at studenterasmus.ro In 1931, the Conservatory and the School of Fine Arts became the Academy of Music and Dramatic Art of Iași, which soon adopted the name George Enescu, and the Iași Academy of Fine Arts, respectively.
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Although limited to one soprano voice, Bach achieves a variety of musical expression in the eight movements. All but one recitative are accompanied by the strings (accompagnato), and only movement 5 is secco, accompanied by the continuo only. The solo voice is treated to dramatic declamation, close to contemporary opera.
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There was much media coverage of the premiere and a generally positive welcome for the work. The story is loosely based on the play by Shakespeare and mixes traditional opéra comique elements with dance (the title role) and actors. Grove talks of the opera’s "mobile declamation oscillating between speech and song".
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Most of his songs were inspired by his wife's "clear-voiced soprano".Villamil, p. 61 "Though his refined, intelligent, atonal songs require advanced musicianship, the natural declamation and pliant, expressive vocal lines make them gratifying to sing." His compiled set of Five Early Songs are highlighted by Carmen et al.
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Phillips composed music for many songs, including "The best of all good Company", and "Shall I, wastynge in despaire". His autobiography appeared as Musical and Personal Recollections of Half a Century, 2 vols., London, 1864. He also wrote Hints on Declamation, London, 1848, and The True Enjoyment of Angling, London, 1843.
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The Main Building is located at 319 Lombard Street, housing academic classrooms, Admissions, STEAM Lab, Science Lab and Administrative Offices. The Alumni Theater is for performances, assemblies, Declamation, and special events. The Robert B. Blum Library is used for Preschool - 6th Grade library classes. It is open to all students.
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The institute provides facilities for games and co-curricular activities. The students participate in inter-departmental games and competitions organized by the Riphah International University and other civic agencies in the city of Islamabad. Students also participate in debates, declamation contests, quizzes and seminars organized by the institute or student bodies.
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Carolina Bock DTM Karolina Bock was the principal and drama teacher of the Dramatens elevskola twice: from 1831 to 1834 and from 1841 to 1856. She also served as instructor of declamation there. Several generations of Swedish actors were shaped by Bock. Among her students were Emilie Högquist and Jenny Lind.
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Quoted in Wardle 1971, p. 203. Francis Jeffrey, editor of the Edinburgh Review After publication, not all of the reaction was this positive. The Tory British Critic sniped that the book was "stuffed with dull, common-place, Jacobin declamation",Quoted in Wu 2008, p. 212. See also The British Critic 1818, p. 19.
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Frederick, was educated at Eton and Trinity College, Cambridge 8 February 1750. He seems to have won Paris's college declamation prize, and his oration was published at the request of the master and fellows as 'Oratio in laudes Baconi,' Cambridge, 1755, 4to. He graduated Master of Arts (MA) per lit. reg. in 1757.
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Joseph was also required each day to write a Latin theme or declamation, though in other respects he seems to have been left to his own devices. He learned from his father to be not only a scholar, but also an acute observer, aiming at historical criticism more than at correcting texts.
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This is according to a declamation attributed to the fourth century BC orator Alcidamas, Odysseus 14-16 (Garagin and Woodruff, p. 286) which probably used Sophocles' play Aleadai as a source (see Gantz, p. 428). Alcidamas is the only source for the oracle given to Aleus (see Jebb, I, p.46, 47).
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In 2010, Parkersburg High School was awarded third place overall at the State Tournament. In 2017, six of Parkersburg High School's students qualified at the state level and went on to compete in the Catholic League Grand National Tournament in Louisville, Kentucky. They competed in Declamation, Original Oratory, Duo Interpretation, and Public Forum Debate.
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Concurrently, he took a declamation course at the Music Conservatory and audited courses on classical philology, graduating these in 1870. August Treboniu Laurian taught the history of Latin literature, while Epaminonda Francudi dealt with Greek. These classes absorbed his intellectual energy and solidified his Latinist beliefs. His planned undergraduate thesis dealt with Greek historiography prior to Herodotus.
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The PAF Academy holds an All-Pakistan Declamation Competition, one of the biggest annual events. Some forty teams from major higher education institutes in Pakistan are invited to take part. The event takes place over four days during which a number of rounds are held. The PAF bears all the expenses of travel and accommodation of the teams.
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Maria van Bourgondië, Margaretha van Oostenrijk, Maria van Hongarije. Leuven, Van Halewijck. Agrippa dedicated his arguably feminist work Declamation on the Nobility and Preeminence of the Female Sex to her. The Governor was so impressed with diplomant Thomas Boleyn's charm that she offered his daughter Anne Boleyn (future Queen consort of England) a temporary place in her household.
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Students at Saint Peter- Marian may participate in the following school-sponsored organizations: Art Club (Jr. and Sr. High), Best Buddies, Campus Minister Team, Chorus (Jr. and Sr. High), Class Officers, Computer Club, Declamation Club (Jr. High), Eucharistic Ministers, Fair Tax Club, French Club, Guardian Globe, Guardians for Life, Habitat for Humanity, Junior High Speech Club Linus Club (Jr.
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In 1915, money was sanctioned to construct the administration block and the quad. More buildings were constructed in the 1950s and 1960s including the Chapel of the Holy Family. The first Indian principal to take charge of the school was CA (Acca) Joseph in 1963. Extracurricular activities includes sport, debate, creative writing, dramatics, declamation, verse speaking and choir.
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Williams was born in Worcestershire, England, the son of a merchant's clerk. He attended a Grammar School in Newark and entered Trinity College, Cambridge in 1872. He gained a foundation scholarship, an English declamation prize, the New Testament Greek prize and an exhibition and graduated with a first-class honours BA in 1876 and MA in 1879.
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The album is introduced by a long voice declamation ("Soon you'll be aboard a tramway..."). After several minutes the music evolves gradually into a full sway with what would have a been a single suite if not to the technical limits of old LPs. The music sometimes resembles Gentle Giant or ELP's one. It includes passages of total improvisation.
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Gloria Criscione Pineda is daughter of an Italian father and a Spanish mother; she was born in Paraguay. She started her studies at the age of 5 years old. She attended the School of Fine Arts where she began studying declamation and dance. At the age of eleven she became a student of the famous teacher Aurelia Camihor Lofrucio.
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Maria Flechtenmacher (born Maria Mavrodin; 1838–1888) was a Romanian writer, publicist and pedagogue. Her parents were Costache and Anicăi Mavrodin. She was educated in private girls schools. In 1850-1853, she was active as an actress, and after her marriage to the composer Alexandru Flechtenmacher, she continued as a teacher in declamation at the Elena Doamna.
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The song is an easy listening dialogue between Mina's singing and Lupo's declamation. The lyrics' theme are hollow words. These intertwine the lady's lamentation of the end of love and the lies she has to hear with the male protagonist's recitation. In the dialog she scoffs at the compliments he gives her, calling them parole – just words.
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"There Goes My Baby" and "Dive" are also commended as showcase standouts of his "superior R&B; vocal range" by Consequence of Sound's Ryan Hadfield, and MadameNoire's Brande Victorian. For Hard II Love, Jon Pareles of The New York Times commented "a genuinely expressive voice that encompasses an ardent croon, a melting falsetto and quick, singsong declamation".
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Moisés Moleiro (28 March 190418 June 1979) was a Venezuelan pianist and composer. He was born in 1904 and studied under Salvador Llamozas. Moleiro founded the Orfeón Lamas and taught piano at the Caracas Musical Declamation Academy (today the Escuela de Música José Ángel Lamas). His works have been performed in the United States, Europe, and across Latin America.
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Raabe tried to show that – in cases – Liszt's declamation of the German lyrics was wrong. "Mignons Lied", for example, was composed in 4/4 time. Of the words "Kennst du das Land", "du" was put on a first, and "Land" on a third beat. Raabe imagined this as if only "du" was stressed while "Land" was not stressed.
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Schütz followed Monteverdi's seconda pratica in setting the biblical texts not in the older polyphonic style, but in dramatic declamation close to the opera of the period. This approach to word setting mirrors the ideas of the Reformation in its focus on the words of scripture. The settings have been described as "eloquent, sensitive, and often sensuous".
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Though she dashed at every difficulty, with an intrepidity only to be found in German singers, none was, in very deed, mastered.'Chorley, Thirty Years' Musical Recollections, Vol. II, pp. 242-47. Chorley, however, had no liking for German stagecraft, which he considered mannered and formulaic, nor for German theatrical singing, which he called "tasteless declamation accompanied by an orchestra".
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Gannushkin was a modest and diffident man and he disliked public speaking. When attending psychiatric conferences, he preferred to stay in the background. Only among fellow scientists and when lecturing to his senior students was Gannushkin able to speak his mind. An experienced clinician, he was a proponent of the natural science method who considered himself an enemy of pompous and meretricious declamation.
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Abreu moved to Caracas in 1957 to study composition. Abreu later studied music with Doralisa Jiménez de Medina in Barquisimeto. Later, he attended the Caracas Musical Declamation Academy in 1957, where he studied piano with Moisés Moleiro, organ and harpsichord with Evencio Castellanos, and composition with Vicente Emilio Sojo. In 1967, he received the Symphonic Music National Prize for his musical ability.
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Born in Bouchain, a small town between Cambrai and Valenciennes in the French département Nord, Pilati studied at the Paris Conservatory where he won a first prize in solfège as early as 1823,Pierre Constant: Le Conservatoire National de musique et de declamation. Documents historiques et administratifs (Paris: Imprimerie Nationale, 1900), p. 830. but from which he was dismissed.Riemann (1882).
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Swat university entrance gate under construction 2015 The athletics team represented the university at the Higher Education Commission Pakistan Inter varsity Championship 2014 held on 22–24 April 2014 at the Pakistan Sport Complex, Islamabad. Riaz Ali representing University of Swat in 17th inter- university Declamation Contest for the award of Allama Iqbal Shield. The University Athletics team consisted of 12 players.
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He was a star at the Royal Dramatic Theatre for sixty years, where he was a notable male actor in tragedy. When he visited Paris in 1829, he was called the "Swedish Talma" by Mademoiselle Mars. In 1834 he had a wage of §1800, the highest paid by the theatre. He was teacher of declamation at Dramatens elevskola 1834–40.
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Extracurricular activities include an innovation cell, the community development society Aayas, mechanical engineer's society Yantrikaa, the Illuzion dance club and the photography club. Recently, a new literary club, Regnant Ink got formed that organises various literary activities every week. The club was especially formed to hone and bring out the talents of the students. Declamation, writing, film making are all encouraged here.
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Oratorical Interpretation (often shortened to Oral Interp, Oratorical Interp, Oratorical, or abbreviated to OI) is an event in American competitive high school forensics (public speaking). In 2015 the category was officially renamed to Declamation. Similar to Original Oratory, Oratorical differs in that the speeches performed must be published material, not original material. The speeches given are speeches originally delivered in a public forum.
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Jeanne Tordeus Jeanne Tordeus (24 December 1842 - 6 January 1911) was a Belgian stage actress. She was the first Belgian actor active at the Comédie- Française in Paris, in 1864-1870\. In 1872-1909, she was active as a professor at the conservatory in Brussels. She founded the prize for declamation which bears her name: prix Jeanne Tordeus-Adeline Dudlay (1910).
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Bernstein, p. 298 After moving to Milan he wrote a series of settings of the Magnificat which he dedicated to Borromeo. Stylistically these works are in conformance with the dictates of the Council of Trent in their scope, declamation, and overall. Boyleau's secular music consists of madrigals and canzoni, published or copied in six books, only three of which have survived.
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MTV's Tami Katzoff has called him a "legendary TV character", noting his "moral ambivalence about the work of his shadow organization" and his ability to show "empathy for Mulder and Scully". The San Francisco Chronicle Bob Graham has praised Neville's portrayal of the character in the feature film, calling his expository monologue "a Wagnerian demonstration of the art of declamation".
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On May 29, 1900, she received a gold medal for her recitation of "Old Mother Goose" at Wesleyan's declamation contest. She lost her father around 1894 when she was a teenager, and her mother remarried Fred Lavoie in 1895. They divorced the next year. In order to make ends meet, her mother made extra money by renting out homes in nearby Centerville, Montana.
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Hope was a man of imposing presence, with a magnificent voice, which, according to Lord Cockburn, 'was surpassed by that of the great Mrs. Siddons alone', and a wonderful gift of declamation. Though a violent political partisan, and greatly wanting in tact and judgment, 'his integrity, candour, kindness, and gentlemanlike manners and feelings gained him almost unanimous esteem'. His charges to juries were singularly persuasive and impressive.
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She was awarded a place at Corpus Christi College, Oxford in 2000. She won a declamation prize at Oxford for Latin recital in 2001 and was also reported to give recitals in her lunchtimes at college as a soprano singer, and lecture on Ovid, Hellenistic poetry and Catullus. Her research had been funded by the Arts and Humanities Research Council. In 2010, she was awarded a D.Phil.
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OHSSL logo The Ohio High School Speech League (OHSSL) is the body that organizes high school forensic competition in the state of Ohio. The OHSSL provides all of the National Forensic League events, but also provides several other events including Declamation. In the 2001-2002 season, Impromptu Speaking was added as an experimental event. The following year Impromptu was made an official OHSSL event.
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The first movement opens with a piano declamation of one of the major themes, and then moves into a furious tutti section. This opening section contains the expression of the movement's chief melodies. Through inversion, retrograde, and counterpoint variations of these melodies (which will appear in later movements), Barber spins out the entire movement. It begins (after a tonally ambiguous introduction) and ends in E minor (; ).
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Horizontally, Cardine enters all the variations of the main neume. The system of neumes used in most of the earliest notational styles is rhythmically complex and sophisticated, particularly the styles of Laon and Einsiedeln Abbey. Cardine states that natural speech-rhythms provide a rhythmic basis for the declamation of Gregorian chant. He divides syllabic time into three categories: "normal" "enlarged, more heavy" and "light, more liquid".
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The music for the dialogue of Jesus and the Soul is more dramatic than in other church cantatas by Bach. Most of the recitatives are secco, as in the opera of the time, driving the action. John Eliot Gardiner sees Bach here as the "best writer of dramatic declamation (recitative in other words) since Monteverdi". The first aria is dominated by long vocal phrases.
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They feature events including "Point of View", a debate in which participants represent a country and speak on a topic as if they were a member of that country. "Mime Time" is a mime acting event and "Sonorous" a standard declamation. "A Cut Above" is a movie review while "Point Blank" is a personal interview. Events like "Lit-rapture", aka creative writing, and "Contradix" complete the scenario.
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Applegate 2005, pp. 30–33 Once the fuller group of singers and the orchestra were brought in, Devrient recalled, participants were amazed at "the abundance of melodies, the rich expression of emotion, the passion, the singular style of declamation, and the force of the dramatic action."Applegate 2005, p. 34 The 20-year-old Felix himself conducted the rehearsals and first two performances by the Singakademie.
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He chose to give the melodic lines of the singer to the instruments of the orchestra, often giving the instruments rhythms that mimic the cadences of French poetry and the declamation of the Mallarmé poem.Literature, Modernism, and Dance. Corby: Oxford UP, 2013. Print. p. 41 It is this that results in the subtitle "orchestral recitation" and not any intent to actually include a recitation of the poem.
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Two Baltimore City College policy debaters advanced to the final round National Catholic Forensic League Grand National Tournament, a tournament which also featured Bancroft/Carollton-Wight members Gareth Imparato participating in Lincoln-Douglas Debate and Emma Koch participating in Declamation, where she reached quarterfinals and was ranked 14th in the United States. City College also qualified two policy debate teams for the National Forensic League Tournament in Kansas City, MO.
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Music for kapa haka is primarily vocal. All song types, with the notable exceptions of mōteatea and haka, are structured around European-style harmony, frequently with guitar accompaniment and acoustics. Spurts of haka-style declamation are woven into the songs, as are dance movements, facial expressions and other bodily and aural signals unique to Māori. Song poetry is completely in Māori and new material is continually being composed.
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The two sections reflect two concepts mentioned in the text, (fishermen) and (hunters). The first section paints a seascape in undulating figuration of the strings with the oboes in 6/8 time on a pedal point. Bach "represents the movement of waves and water", which is termed barcarolle by John Eliot Gardiner, the conductor of the Bach Cantata Pilgrimage in 2000. The voice presents the text several times in varied declamation.
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His face is good, too, as > regards expression.Dwight's Journal of Music (24 August 1861) p. 168 After studying singing with Paul Laget and declamation with Nicolas Levasseur, Caron graduated from the Conservatory in 1862, winning the First Prize in opera. He was engaged by the Paris Opera that same year and made his official debut on 26 September 1862 as Count di Luna in a revival of Verdi's Le trouvère.
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Braham was a virtuoso of the old Italian school, able to deliver florid passages with intensity, accuracy and declamatory power. In 'assuming his mantle', Reeves consciously imitated his breadth of repertoire, and at his best had a very powerful and flexible declamation combined with great sweetness of tone and melodic power. Shaw classed his 'beautiful firmness and purity of tone' with Patti's and Santley's.Shaw 1932, iii, pp. 255–56.
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He studied declamation at the Iași Conservatory from 1897 to 1899. In the summer of 1899, after graduation but before receiving his diploma, he attended a theatrical performance by State Dragomir, and began whistling to express his disapproval. An outraged Dragomir demanded punishment; the school's leadership met to discuss its options, and resumed its investigation in autumn. Finally, the Education Ministry decided to withhold his diploma for two years.
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His poems, which have mostly been written in pictographic script of Vietnamese, show deep feeling. Some findings have shown that Nguyễn Công Trứ had over 1000 poems mainly of Tang prosody and declamation style of Vietnam. The majority of them is now missing. Approximately 150 of his works remain today. What people find remarkable for Nguyễn Công Trứ’s poems is the individualism, which is truly of the freedom and the independence.
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249 They are written in a chromatic idiom with careful attention to text declamation. His three-act opera Hamlet, in a lyrical style ranging from tonal to 12-note, was first performed in Baltimore on 9 November 1962. A second opera, The Suitor (based on Molière’s Monsieur de Pourceaugnac), was never completed. As an editor, he prepared 39 volumes of songs and arias for the International Music Company.
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In exaggerated Black Vernacular English, the lyrics tell of Dan Tucker's exploits in a strange town, where he fights, gets drunk, overeats, and breaks other social taboos. Minstrel troupes freely added and removed verses, and folk singers have since added hundreds more. Parodies and political versions are also known. The song falls into the idiom of previous minstrel music, relying on rhythm and text declamation as its primary motivation.
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The text of each upper voice is distributed in such a way that each of the three main parts, despite their diminishing length in time, has the same amount of text to convey (i.e. two stanzas in the motetus, three in the triplum). Thus, text declamation becomes progressively much faster towards the end of the composition, resulting in an overall effect of structural accelerando. Polymetric structure between the three voices.
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María Guerrero Torija was born in Madrid in 1867. She enrolled at the Official School of Declamation, in the prestigious Madrid Royal Conservatory, where she was trained in the theatre with dramatist Teodora Lamadrid. Guerrero debuted in 1885 and later performed for José de Echegaray, one of the principal figures in the Culture of Spain, at the time. She later performed for French dramatist Benoît-Constant Coquelin, and with Sarah Bernhardt.
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For Massenet he first provided a libretto for the oratorio Marie-Magdeleine (1872) which proved to be Massenet's first major success and the first of his four dramatic oratorios. Georges Bizet's one-act opera Djamileh to Gallet's libretto premiered successfully, 22 May 1872 at the Opéra-Comique, Paris), but two other Bizet operas by Gallet and Edouard Blau remained incomplete at Bizet's untimely death in 1875: La coupe du roi de Thulé (1869) and a five-act Don Rodrigue (1873). In his libretto for Massenet's Thaïs he employed an unrhymed free verse that he termed, in Parnassien fashion, poésie melique which, like its classical Greek predecessors, was designed for a declamation with accompaniment (melodrama). In Gallet's hands declamation rose by degrees into a freely-structured aria that was raised above the level of prose by its sonorities and syntactical patterns, formulas that were finely suited to the musical techniques of both Saint-Saëns and Massenet.
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The other three compositions are a chanson in French, and two motets, evidently his only sacred compositions to survive.CMM, volume 94 Some of his madrigals are in the note nere (black note) style. This style of composition, which began with the work of Costanzo Festa around 1540, used shorter note values than were previously used in madrigal composition (hence "filled in" note-heads, i.e. black notes) and quick syllabic declamation, often with syncopation.
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Brooks also contributed much to the English education. He conducted the three kinds of English classes, "English" including "Composition" and "Elocution," "Debate," and "Declamation" from 1877 to 1886. His instruction, with diligence and leadership, was intended to qualify students to write and speak English correctly and effectively; focused on the essential points, less encumbered with irrelevant matter; and improved students greatly, giving both more ability and confidence in the expression of ideas.Akaishi, K. (2013).
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The academic year begins in the first week of April, with summer and winter breaks in July–August and December respectively. Apart from the high academic standards envisaged by the scheme of studies, an array of co-curricular activities in Elocution, Debate, Declamation, Recitation, Quiz, Essay —writing, Exhibitions, Sports, Picnics, Annual Day, every Thursday circles and several other such activities are incorporated in the curricular for the growth and the development of the pupils.
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Josif Marinković (Serbian Cyrillic: Јосиф Маринковић; Vranjevo, near Novi Bečej, 15 September 1851 – Belgrade, 13 May 1931) was a Serbian composer and choral director. Like his younger contemporary Stevan St. Mokranjac, he was devoted to mainly vocal genres—lied and choral. Marinković was a romanticist with a pronounced affinity for melodic expression. He invested exceptional attention to the text declamation, which represented a rather novel quality in Serbian music at the time.
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The Brooklyn Latin School subscribes to the classical belief that to be a leader in any field, academic or otherwise, one needs to be well- spoken. As Cicero notes in De Oratore, mastering the art of speech involves mastering all of the arts. Those trained to speak well possess sharper memories, better writing skills, and more expansive areas of expertise. That they may enjoy these advantages, Brooklyn Latin School students must take part in declamation.
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He died in Dresden in 1872. Dawison was considered in Germany an actor of a new type; a leading critic wrote that he and Marie Seebach swept like fresh gales over dusty tradition, and brushing aside the monotony of declamation gave to their roles more character and vivacity than had hitherto been known on the German stage. His chief parts were Mephistopheles, Franz Moor, Mark Antony, Hamlet, Charles V, Richard III and King Lear.
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Newspapers such as the Examiner gave the first performance a begrudging review: > Her action is easy and graceful though somewhat redundant. Her declamation > and studied choice of attitudes show that she has been a careful student in > the French school of High tragedy. Her voice from a peculiarity in its > intonation has a monotonous effect…Marshall, Kishi, Davis, Freeman, Raby, > 2009, p.166. Publishes primary source, Examiner, 17 May 1829, p.308.
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Melodeclamation (from Greek “melos” = song, and Latin “declamatio” = declamation) was a chiefly 19th century practice of reciting poetry while accompanied by concert music. It is also described as "a type of rhythmic vocal writing that bears a resemblance to Sprechstimme." It combines the principles of melodrama with a kind of extended technique. Examples can be found in the music of Robert Schumann, Franz Liszt, Anton Arensky, Mélanie Bonis, Vladimir Rebikov, Isaak Dunayevsky, Dmitri Shostakovich, etc.
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Emmanuel Hiel (30 May 183427 August 1899), was a Flemish-Dutch poet and prose writer. Hiel was born at Sint-Gillis-Dendermonde. During his life he held various jobs, from teacher and government official to journalist and bookseller, busily writing all the time both for the theatre and the magazines of North and South Netherlands. His last posts were those of librarian at the Industrial Museum and professor of declamation at the Conservatoire in Brussels.
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He was born at Liége, Belgium on May 26, 1766. He was the premier bass singer at the Paris Opéra from 1785 to 1804 and took alternative operatic roles with another great singer, Auguste-Athanase Chéron (1760-1829); afterwards he became choirmaster at the opera. In March 1822 Martin-Joseph succeeded Lainé as professor of declamation at the École royale de musique. Unfortunately, he did not live long to enjoy his new position.
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Declamation, or memorized speech, is the high-school interpretation and presentation of a non-original speech. Speeches may be historical (such as Martin Luther King Jr.'s "I Have a Dream" speech) or adapted from magazine articles, commencement addresses, or other adaptations of non-original material (including forensics speeches from previous years). Declamations are generally persuasive, and the competition is similar to Original Oratory. Like Oratory, speeches are about eight minutes long.
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The school offers French, Spanish, and Chinese languages, and students may choose to take Japanese for dual credit through the University of Alaska Fairbanks. The school also regularly sends participants to both regional and state level Language Declamation contests. The regionals are held locally, and the state competition usually takes place in Anchorage. West Valley often is home to many state champions in this program, including 2009 state champions Jasper Holton and Andrew James.
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In the beginning, he acted in the company stagione of Nándor Alapi, he performed in several minor roles in Budapest, but he also played in Győr, Pécs and Balassagyarmat. On 24 December 1938, he held an independent performance at the Liszt Academy. In January 1939 he had his own declamation of poems of Endre Ady, Ferenc Kölcsey, Gyula Illyés, Mihály Babits, Dezső Kosztolányi and Lőrinc Szabó. The upcoming anti-Jewish laws blocked him from stage.
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Christus was described by its composer as a 'sacred opera'. This is a term invented by Rubinstein, ('geistliche Oper' in German) denoting staged works with 'use of polyphonic choruses and a sober, edifying style relying on ‘exalted declamation’.'Dixon and Taruskin, Sacred opera Rubinstein composed three other works of this type, Sulamith, Moses and Der Thurm zu Babel (The Tower of Babel). A fifth sacred opera, Cain, was uncompleted at his death.
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The career of Marisol, her artistic name, had just begun. She was extremely popular in Spain and Latin America. She received dance, acting, declamation classes with the best teachers with the idea of making her the star of children's and youth cinema. From her first film Un rayo de luz a huge merchant produce was organized around the new star with books, dolls, cards and all kinds of objects with the image of the girl.
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Zytomirski had taught his students the best works of art of the modern Hebrew poets and writers (Constitution Generation): Bialik, Tchernichovsky, Peretz and Frug. In his students' hearts he implanted the Zionist vision and the desire for leaving diaspora and aiding the national renewal of the Jews in the Land of Israel. While teaching he used various advanced pedagogical methods: plays, poetry, public declamation of pieces, and trips out-of-town.Sheingarten, Noah.
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The Department of Communications and Cultural Activities (DECOMACCU) offers three programs which run throughout the year. Periqueando newsletter is produced for elementary (K – 6) and Perquiting for secondary (7 – 11) students. Student activities of a cultural, athletic, pastoral, or social nature are covered. Festivals and cultural contests discover, promote, and reward the creative and artistic talents of students, through writing (composition, poetry, and narrative), speaking (oratory and declamation), and performing (music, drawing, theater, and dance).
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He continued to act as jeune premier until he was sixty, his grace, marvellous diction and passion enchanting his audiences. It was especially in the plays of Alfred de Musset that his gifts found their happiest expression. In the 37 years during which he was a member of the Comédie-Française, Delaunay took or created nearly two hundred parts. In 1877 he was appointed professor of dramatic declamation at the Conservatoire de Paris.
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In The Ecuador Reader (Carlos de la Torre & Steve Striffler, eds.), pp. 226-236. Duke University Press (2008). . During declamation, there is a pause between stanzas, as well as a pause between the fourth and fifth lines of each ten- line stanza. PThis is reflected in the structure of the poems as well: a transcription of a décima will invariably have a period or a semicolon at the Eend of the fourth line.
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Haskell, H.J. "This was Cicero." 1964: 103-104. Cicero was sent off to Athens by his father to learn philosophy. While he was at Athens he wrote a letter to Tiro, a slave and later freedman of the Cicero family, in which he said that he was practising declamation in Greek with Gorgias but had to let him go, because his father, whom he did not want to offend, had told him to.
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Accessed 3 November 2009. From 1890 to 1891 he attended the Conservatory of Music and Declamation in Iaşi (in the historical region of Moldavia, very near the northeastern border of modern Romania), studying harmony and choral conducting with Gavriil Musicescu. He subsequently moved back to Banat, obtaining a post in Lugoj (midway between Caransebeş and Timișoara) where he stayed for the rest of his life. Almost all of his compositions are for chorus.
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Cobden had the calmness and confidence of the political philosopher, Bright had the passion and the fervour of the popular orator. Cobden did the reasoning, Bright supplied the declamation, but mingled argument with appeal. No orator of modern times rose more rapidly. He was not known beyond his own borough when Cobden called him to his side in 1841, and he entered parliament towards the end of the session of 1843 with a formidable reputation.
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However, he was educated in philosophy and rhetoric. It seems that Livy had the financial resources and means to live an independent life, though the origin of that wealth is unknown. He devoted a large part of his life to his writings, which he was able to do because of his financial freedom. Livy was known to give recitations to small audiences, but he was not heard of to engage in declamation, then a common pastime.
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The elderly poet blames current corruption on the mania for money and invites his young friend to a banquet held at the villa of Trimalchio, a wealthy freeman, and his wife Fortunata. Eumolpus's declamation of poetry is met with catcalls and thrown food. While Fortunata performs a frantic dance, the bored Trimalchio turns his attention to two very young boys. Scandalized, Fortunata berates her husband who attacks her then has her covered in gizzards and gravy.
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Retrieved 4 November 2011. Keel's defiant setting of "Tomorrow", written while interned at Ruhleben during World War I, was frequently programmed at the BBC Proms after the war.'Frederick Keel — Tomorrow' at the BBC Proms archive. Retrieved 4 November 2011. Another memorable wartime composition is Ivor Gurney's climactic declamation of "By a bierside", a setting quickly set down in 1916 during a brief spell behind the lines.Dunnett, Roderick (2009). 'Ivor Gurney (1890–1937): Songs' [CD booklet notes].
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Wilson, Music and Merchants, 165. Some of the chief poets included Lorenzo de' Medici and his mother Lucrezia Tornabuoni de’ Medici, Feo Belcari, Francesco degli Albizzi, and Ser Michele Chelli. The musical style ranged from organal textures, simple note-against-note polyphony, works in the style of early Dufay, syllabic and homorhythmic declamation, and cantilena textures with supportive lower voices. Simple two-part settings were also prominent and could have been embellished or have included a third improvised part.
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The chief aim was to achieve > strong and sounding lines, magnificent epithets, and powerful declamation. > This again led to abuse and to mere bombast, mouthing, and in the worst > cases to nonsense. In the best examples, such as in Marlowe, the result is > quite impressive. In this connexion it is to be noted that the best medium > for such expression was blank verse, which was sufficiently elastic to bear > the strong pressure of these expansive methods.
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Unlike nearly all other specialized high schools, Brooklyn Latin has a strong focus on the humanities and classics. All students are required to take four years of English, History, Latin and a modern foreign language. The Brooklyn Latin School is an International Baccalaureate (IB) school and offers the IB Diploma and its mandatory classes. All classes regularly hold Socratic Seminars, in which students lead roundtable question-and-answer discussions, and all students take part in declamation (public speaking) exercises.
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Each year, The Brooklyn Latin School celebrates Founders' Day to recognize the hard work of those individuals and partner organizations—magistri, discipuli, staff, parents, Replications, Inc., Boston Latin School—who have made and continue to make the school's formative years a success. Prize declamation is also one tradition of Founder's Day. Founders' Day reminds those in the Brooklyn Latin School community of their roots, and it inspires them to live up to the school's tradition of excellence.
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Literary activities include debates, declamation, dramatics recitation, and quizzes. NCC Training is compulsory for all the students who are admitted to the school. The school imparts training to all three wings of NCC namely Army, Navy and Air Force, In Army wing the school has Senior Division NCC. The students are given an opportunity to appear for ‘B’ Certificate examination (an examination which is usually reserved for NCC cadets at undergraduate level or higher) in THE ARMY wing.
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Birks was born on 28 September 1810 in Staveley in Derbyshire, England, where his father was a tenant farmer under the Duke of Devonshire. The family being nonconformists, Birks was educated at Chesterfield and then at the Dissenting College at Mill Hill. He won a sizarship and a scholarship at Trinity College, Cambridge, and in his third year gained the chief English declamation prize. As the holder of this prize he delivered the customary oration in the college hall.
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The historical figure is used only as a device for communicating Plato's ideas. In classical Rome, students of rhetoric had to master the suasoria — a form of declamation in which they wrote the soliloquy of a historical figure who was debating a critical course of action. For example, the poet Juvenal wrote a speech for the dictator Sulla, in which he was counselled to retire. The poet Ovid enjoyed this exercise more than the other final challenge — the controversia.
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After the age of 7, Songhai was raised in Roxbury, Massachusetts, and graduated from Boston Latin School.Boston Latin in Quotations since 1635 Songhai excelled at Public Declamation, Student Government, and writing, and graduated in the top 10% of her class. She was also the President of the African Cultural Society, and a member of the National Honors Society. Songhai was voted most likely to become Head Master due to her immense involvement in her high school.
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Lucrezia Di Siena (fl. 1564), was an Italian stage actress. Mirella Schino, Dodici schede sul teatro italiano in Glynne Wickham, Storia del Teatro, Il Mulino, Bologna 1988 She is known as the first identified female actor in Italy and Europe since the antiquity. She signed a signature for an acting contract by a Commedia dell'arte theatre company in Rome on 10 October 1564, in which she is stated to be able to sing, do declamation and play music.
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In April 1915, Winnaretta Singer, Princesse Edmond de Polignac, commissioned Stravinsky to write a piece that could be played in her salon. She paid the composer 2,500 Swiss francs. The work was completed in Morges, Switzerland in 1916, and Stravinsky himself made a staging plan, trying to avoid any resemblance to conventional operatic staging . He created, rather, a new form of theatre in which the acrobatic dance is connected with singing, and the declamation comments on the musical action.
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Jean-Pierre Ouvrard could not content himself with theory alone through musicological study and, above all, to continue his vocal practice, but wanted to revive Renaissance music - an ancient music that had been forgotten or even lost - and to make it resonate again in a region dotted with masterpieces of architecture from the same period. In November 1973, he founded the university ensemble of early music whose first auditions took place the following month and the first concert, 25 April 1974, in the Amphitheatre of the Faculty of Letters of Tours. An intense activity of dissemination and animation of the heritage opened up in parallel with the university research that he carried out to feed them from this confrontation with the reality of interpretation. Declamation was important for him because the accentuation of the text influenced his interpretation: "By choosing, on the other hand, the restitution of the declamation and the ancient pronunciation, we make the bet that polyphony[...] will find in this apparent archaism the catalyst of its modernity".
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Joseph was constantly encouraged to read books that were advanced for his age. His parents introduced him to various authors, to build his interests and knowledge of other cultures and people. In 1983, Joseph moved back to New Delhi with his parents and attended St. Columba's School, Delhi. By the age of 9, trained extensively in voice and diction by his father, Joseph started consistently winning inter-school declamation and debate championships, which continued till the time he was 17.
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Orff's musical setting of Friedrich Hölderlin's Sophocles translation from 1804 created a novel form of musical theatre in which the poetic text itself becomes musicalized through the declamation of the singing voices. An extraordinary reduction of the structures of the pitch domain, in connection with the predominance of rhythmic patterns, has been described as an essential feature of Orff's late style. Stefan Kunze: Orffs Tragödien-Bearbeitungen und die Moderne. In: Jahrbuch der Bayerischen Akademie der Schönen Künste 2/1988. pp.
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In 1792, separated from Gaillard, for political reasons, he gave lessons in declamation. In June 1795, he asked permission to open an Odéon national on the site of the former Théâtre- Français (modern Théâtre de l'Odéon), which would operated only one month. In 1799 he established a theatre for young comedians, the Théâtre des Jeunes Élèves, rue dauphine, and published L'Art de la représentation théâtrale the following year. The date of his death, placed by some biographers in 1806 is uncertain.
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Audrey Call was born in Alton, Indiana, in 1905, and began playing the violin at an early age. She studied under Chicago composer and concertmaster P. Marinus Paulson at Sherwood Music School. She won a number of important competitions, one of which led to her performing the Paganini Violin Concerto in Chicago. She then was awarded a scholarship to study in France at the Conservatoire Nationale de Musique et de Declamation in Paris, now known as the Conservatoire de Paris.
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In a declamation attributed to Quintilian, Declamatio minor 340.13 as quoted by Sebesta, "Women's Costume," p. 532. Persius, Satire 5.30–31, calls the praetexta the guardian (custos) of childhood. It was religiously impermissible (nefas) to use obscene language in front of those wearing the praetexta,Praetextatis nefas sit obsceno verbo uti: Festus 282–283 L = 245 M). and Cato claimed that in front of his son he tried to speak as though Vestal Virgins were present.Plutarch, Life of Cato 20.5Williams, p. 69.
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Brooklyn Latin Unlike nearly all other specialized high schools, Brooklyn Latin has a strong focus on the humanities and classics. All students are required to take four years of English, History, Latin and a modern foreign language. All classes regularly hold Socratic Seminars, in which students lead roundtable question-and-answer discussions, and all students take part in declamation (public speaking) exercises. Because of the small class size, Brooklyn Latin offers a relatively small student-to-teacher ratio (currently around 16:1).
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Victor Guillermo Ramos Rangel (February 10, 1911, Cúa, Miranda state, Venezuela – December 10, 1986, Caracas) was a Venezuelan classical musician. Started his career in the Caracas Musical Declamation Academy (nowadays renamed in honor to José Ángel Lamas), where he graduated as composer. Ramos was one of the first students of Vicente Emilio Sojo and helped him in the compilation of Venezuelan folk songs. In 1930, he is part of the founders of the Venezuela Symphony Orchestra and the Orfeón Lamas.
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Mantinades (singular mantinada, Greek: μαντινάδα, μαντινάδες) is the art of musical declamation (recitative) in form of a narrative or dialogue, sung in the rhythm of accompanying music. It is prominent in several parts of Greece, especially on the island of Crete where mantinades are performed in accompaniment of the Cretan lyra and Cretan laouto (a stringed instrument resembling lute). The word is derived from Venetian matinada, "morning song". They typically consist of Cretan rhyming couplets, often improvised during dance music.
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John Bull's 6-part circular canon Sphera mundi. (From an 18th-century MS.) With the significant shift of style of composers of the Humanist movement—the rediscovery and translation of Greek texts in the mid-16th century—eye music flourished. The change in musical practice, particularly with the madrigalists and their focus on text declamation, at a word-by-word basis, was fertile ground for eye music. Words that suggest "blackness," such as "death" or "night," receive "black" notes (e.g.
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In terms of literary genre, the original editor, the Michigan University papyrologist advanced the view, somewhat anachronistic, that it exhibited features of a Good Friday sermon. A general consensus formed that it was therefore to be classified as a type of homily. More recent commentaries entertain the idea, on the basis of the extensive use of rhetoric, that it is an example of declamation. Frank L. Cross proposed the idea that it was best read as a Christian Passover haggadah.
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Pears also commissioned Rainier's Cycle for Declamation (1954) and The Bee Oracles (1970), a setting of Edith Sitwell's poem The Bee-Keeper scored for tenor, flute, oboe, violin, cello and harpsichord. Pears first sang it publicly at the Aldeburgh Festival in 1970.Another source says it was premiered at the Wigmore Hall on 21 March 1971. The oboe quartet Quanta was commissioned by William Glock, Head of Music at the BBC, and written for Janet Craxton and the London Oboe Quartet.
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Born in Pau, Auriacombe studied music at the Conservatoire de Toulouse where he won the prizes for violin (1931), singing and declamation (1937), harmony (1939). He then studied conducting with Igor Markevitch in Salzbourg from 1951 to 1956. He first appeared in public in Linz in 1956 and assisted Markevitch in Salzburg and Mexico City (1957), Compostela (1966), Madrid (1967) and Monte Carlo (1968). In 1953, he founded the , composed of twelve strings and the harpsichord, which he conducted until 1971.
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The 3-day experience included technical events such as Robo Soccer, Mud Rally, Line Sychophant, Circuit King, Robo Wars, Electrical Junkyard, Code Caffeine etc., literary events such as Braniac, Symposium-the group discussion, Promethean fantasy-the picture declamation, Spur of the moment. All these events were aimed at strengthening the cultural and literary aspects and giving the students a platform to explore the horizons of these fields. Cultural events included Cotillion - a dance competition and A-la-mode - a fashion show.
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Born to a conseiller d'État, he at first followed a military career, rising to the rank of mestre de camp in the régiment des dragons de la Reine. He then left the army for a literary career and linked himself to Voltaire, via an assiduous correspondence (more than 50 letters by Voltaire to Thibouville survive). His taste for the theatre and declamation allowed him to act as intermediary between Voltaire and actors putting on his plays, and sometimes between Voltaire and his editors.
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At Oneida, like most college students at the time, William received what in the 20th century would be called ministerial training: Hebrew, Biblical Greek, theology, and philosophy, with small amounts of science, algebra, and public speaking (declamation). During the summer of 1841 he "taught in a school for fugitive slaves in Canada" (see Hiram Wilson). Allen had fond memories of Oneida, from which he graduated in 1844. He settled in Troy, New York, where he was active in a black suffrage organization.
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Several years after the death of Socrates the sophist Polycrates composed a declamation against him, to which Lysias replied.John Addington Symonds, A problem in Greek Ethics, XII, p. 64 A more authentic tradition represents Lysias as having spoken his own Olympiacus at the Olympic festival of 388 BC, to which Dionysius I of Syracuse had sent a magnificent embassy. Tents embroidered with gold were pitched within the sacred enclosure; and the wealth of Dionysius was vividly shown by the number of chariots which he had entered.
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Currently, Tamiya-ryū has 11 techniques in its first set (Omote no maki) and 14 in the second and last set (Koran no maki). Also, there are 10 paired techniques, called as Tachitai. Tsumaki Seirin also added kenbu (martial dance with sword and fan) and shigin (Japanese poetry declamation) to the curriculum. Odawara Tamiya-ryū have developed new sets of techniques based on their research of Kubota Sugane's writings, introducing 11 techniques classified as Chūden (middle transmission) and 3 techniques classified as Ougi (supreme technique).
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The Congress "shall call a convention." Nothing in > this particular is left to the discretion of that body. And of consequence, > all the declamation about the disinclination to a change vanishes in air. > Nor however difficult it may be supposed to unite two thirds or three > fourths of the State legislatures, in amendments which may affect local > interests, can there be any room to apprehend any such difficulty in a union > on points which are merely relative to the general liberty or security of > the people.
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John Potter: Tenor History of a Voice, Yale University Press, 2008. From 1924, he taught the course of lyrical declamation at the Conservatoire national de musique et de déclamation. Apart from a short interlude at the head of a French lyrical troupe touring Canada and New York in 1926, Salignac remained faithful to this house where he completed his career. Among the students who followed her instruction was the singer Solange Michel. A renowned professor, he was admitted to retirement on 1 October 1936.
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There were two levels of masters who taught the children: the grammaticus, who helped children with imitations, speaking and writing exercises, and the rhetor, who prepared students for the final stage of declamation, when they gave fictitious speeches.Murphy, J.J. (1996). Quintilian. In T. Enos (Ed.), Encyclopedia of rhetoric and composition: Communication from ancient times to the information age (581–585). New York: Garland. The ultimate goal of Quintilian’s curriculum was for men to have facilitas: the ability to speak extemporaneously on any subject at any time.
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Late Renaissance composers in particular were concerned with matching text up with music in such a way that the latter could be said to express the former. Madrigalists used a declamation technique known as word painting (text painting or tone painting) to make musical notes illustrate word meanings, trying literally to paint visual images with sonic materials. Thomas Weelkes' madrigal "As Vesta was from Latmos hill descending" uses word painting throughout to declaim textual meaning:Altas, Allan W. 1998. Renaissance Music: Music in Western Europe, 1400-1600.
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He had the assistance of various members of the philosophe côteries in his most important work, L'Histoire philosophique et politique des établissements et du commerce des Européens dans les deux Indes (Philosophical and Political History of the Two Indies Amsterdam, 4 vols., 1770). Diderot is credited with a third of this work, which was characterized by Voltaire as "du réchauffé avec de la declamation." The other chief collaborators were Pechméja, Baron d'Holbach, Paulze, the farmer-general of taxes, the Abbé Martin, and Alexandre Deleyre.
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Every Friday the students from the four houses compete against their peers in activities such as debates, dance, elocution, declamation, mimes, group dance, and quizzes. Apart from the inter-house competitions the students participate with other Kendriya Vidyalayas in Regional and National Level science and social science fairs that are held each year. The school has a Scouts and Guides unit. Being central government affiliated the school has grand celebrations on national holidays of significance such as 26 January (Republic Day) and 15 August (Independence Day).
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Mills was born on November 19, 1929, in Waco, Texas, the son of Roosevelt Mills of Marshall, Texas, and Jenye Vive Mills, also of Texas. He went to A.J. Moore High School in Waco, where he was captain and quarterback of the football team. A member of the debate and declamation squad, he was named "Most Outstanding Student" in 1947. He moved to California after graduation and then received an associate in arts degree from Compton College and a Bachelor of Arts degree from UCLA in 1951.
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The reading department contains the principal newspapers > and periodicals of the city, and many from different parts of the country, > and is in a most flourishing condition. A cabinet of minerals and > curiosities has been commenced; an annual course of free lectures is > supported by the institution; an elocution class has been formed, the > exercises of which consist in the reading of original compositions, > declamation, and debate. ... The library is open three hours every Tuesday > and Saturday evening. About 10,000 volumes are lent out annually.
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The revised 1799 version borrowed its overture from an earlier Méhul opera, Horatius Coclès (1794). Dry recitative, with only the simplest of orchestral accompaniment, predominates in the early part of the opera, possibly as a way of allowing the singers more freedom in their declamation. Musical numbers become more frequent as the score progresses. The score shows the influence of the Sturm und Drang style popular during the French Revolutionary era - and already present in operas such as Johann Christoph Vogel's La toison d'or (1786).
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Houston's version received universal acclaim from music critics, being later called her "signature song". Stephen Holden of The New York Times said it was a "magnificent rendition", commenting > Houston transforms a plaintive country ballad into a towering pop-gospel > assertion of lasting devotion to a departing lover. Her voice breaking and > tensing, she treats the song as a series of emotional bursts in a steady > climb toward a final full-out declamation. Along the way, her virtuosic > gospel embellishments enhance the emotion and never seem merely ornamental.
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He was born in Lille, or a nearby village, and studied bassoon,La Salle, Albert de. Histoire des Bouffes-parisiens. Librairie Nouvelle, Paris, 1860, p64: In Les Petits Prodiges (1857), he played a solo, alongside an eccentric violin solo from Tayau and one on the cello by Léonce. singing, and declamation at the Lille Conservatory. His first appearances were at small theatres in Belgium and northern France beginning in 1845. In 1847, he arrived at the Théâtre Montmartre in Paris where he met Hervé.
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Though she was not pressured directly to excel in school, it is easy to see that with all the intellectual influences in Shaughnessy's home and life growing up she would naturally be drawn to academics. Throughout high school Shaughnessy excelled in academics and extracurricular activities. She graduated fourth in her class and was heavily involved in the dramatic performances and declamation contests, receiving awards for her participation and writing. Mina would develop each of these areas as she pursued further education and her career.
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Tefta Tashko-Koço was born on 2 November 1910 into an Albanian family in Faiyum, Egypt. In 1921, the family moved to Korçë, Albania, and in 1927, Tefta left for France to study singing at the Conservatoire de Montpellier. From 1932 to 1936, she studied singing in the Conservatoire de Paris under André Gresse, Declamation lyrique with Salignac and Maintien and Art Mimique with G. Wague. In 1936, she permanently returned to Albania, where she performed operatic and chamber music as well as Albanian urban songs.
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An authentic style of performance in Dastgāh-e Māhur customarily begins with an improvisation under the name of Moqaddame (meaning introduction in Persian) before the Darāmads. This Moqaddame is sometimes followed by a group of metric pieces, which are of recent origins and not of sufficient interest or authenticity to be considered here. The Moqaddame itself is nearly always included in a performance. It is a stately but unornate declamation which sets the tone for the Dastgāh, even though its characteristics are not maintained throughout.
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How often have I > thought of this proposal since then-and how many thousand bloated and > puffing lines have I read that by this process would have tripped over the > tongues excellently. Likewise I remember that he told me on the same > occasion—'Coleridge! the connections of a Declamation are not the > transitions of Poetry—bad, however, as they are, they are better than > "Apostrophes" and "O thou's," for at the worst they are something like > common sense. The others are the grimaces of Lunacy'.
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The majority of the material is asymmetrical, based on the principle of 'free declamation', that is to say: the melodic curve and length of two consecutive sentences usually vary. Frequently Vermeulen spins long melismas into ever continuous melodies, in which every memory of period structure is absent. Particularly striking is the free rhythm of flowing lines, which have become disengaged from a fixed classification of metre by antimetric figures and ties. Yet elsewhere we come across short and pithy melodies, with a clear pulsation.
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Whitman went on to take an Assistant Professorship at Lehigh University. He was invited to Rutgers University in 1906, and accepted the Chair of the Rutgers University English Department in 1911, a position he maintained until his death. His tenure saw many reforms, most importantly the creation of a graduate program, the doubling in size of the faculty, and a transition from declamation to composition and analysis. At the time of this death he was considered "one of the most popular professors at the university".
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Carolina Kuhlman was contracted as First Premier Actress at the Royal Dramatic Theater in 1800, a position she kept until 1833. She made a pause in her career at the royal stage in 1820–23, when her husband was director of the Segerlind theatre in Gothenburg and she joined him as an actress there. She was an instructor of declamation and deputy principal of the Dramatens elevskola in 1829–31. Kuhlman belonged to the most successful actors of the Royal Dramatic Theater during her tenure there.
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Leatham was elected MP for Huddersfield in 1859 but gave up the seat in 1865. In 1861 he instituted the Huddersfield College Prize Medals for history and English declamation which were awarded for the two subjects in alternate years.Huddersfield and District History He was re-elected for Huddersfield in 1868 and held the seat until 1886. In 1875, he acquired an estate at Miserden, Gloucestershire.Miserden: Manors and other estates, A History of the County of Gloucester: Volume 11: Bisley and Longtree Hundreds (1976), pp. 49-52.
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The time changes often allow for a natural declamation of the text, including extra measures of . A first climax is reached with the words "He is the great King", where the choir is divided in five parts, marked fortissimo. The following verses are given to one part only, with the altos beginning "He shall subdue the people under us", marked tranquillo. The text "O sing praises unto our God" is broader, while "sing ye praises with understanding" is given to the choir a cappella.
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Spanish ruffled dress in the style worn by Cosme When Fernández Marcané and his family moved back to Santiago, Cosme remained in the city and took up residence with an aunt. To pay the rent on her apartment, she took in students from the neighborhood. In 1932, Cosme gave a declamation for a hurricane benefit, appearing on stage with Ignacio Piñeiro. In her first major speaking engagement in Havana on 16 March 1933, Cosme recited a tribute to the Spanish actor, at the Payret Theater.
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Outdoor games include football, basketball, hockey, volleyball, cricket, badminton, tennis, and squash. Inter house competitions in all these events are organized, and athletic competitions (track and field) are held. Club activities include art club, craft club, story – telling club, physics club, chemistry club, bio club, bird watching club, computer club and trekking club. The school encourages cadets to participate in inter-school competitions, in debates, declamation, quiz competitions, essay writing, poetry composing, short story writing, drawing and painting and all sports and games events.
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The school sends a large number of cadets to attend camps (NCC and others) organized around the country. The Literary Club English and Hindi organizes the inter-house competitions in declamation, debate, essay writing, poetry, recitation, spelling competition, science quiz, general quiz, weekly news analysis, and group discussions. There are tours to National Defence Academy, Indian Military Academy and defense establishments in Mumbai, Cochin, Bangalore, Madras, and Hyderabad; educational tour to historical places like dwarika,somnath,mumbai,; cycle expedition for class IX; and a trekking expedition.
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Fourteen out of the fifteen poems in the collection are sonnets, and the style matches the elegance of the language, attaining considerable virtuosity in text setting.Einstein, Vol II p. 557. Einstein writes: "For us this is ... the height of artificiality and mannerism; for Guarini's contemporaries it was the height of virtuosity, if not of wit." Some of the settings are innovative harmonically and rhythmically, with one madrigal, S'armi pur d'ira disdegnoso ed empio, foreshadowing the Baroque stile concitato of rapid declamation over a homophonic texture.
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On their 1992 album Duality, the English Neoclassical Dark Wave band In The Nursery used a recitation of the entirety of Donne's "A Valediction: Forbidding Mourning" for the track "Mecciano" and an augmented version of "A Fever" for the track "Corruption." Prose texts by Donne have also been set to music. In 1954, Priaulx Rainier set some in her Cycle for Declamation for solo voice. In 2009, the American Jennifer Higdon composed the choral piece On the Death of the Righteous, based on Donne's sermons.
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New York: Dodd, Mead, & Company, 1979. . On 2 October 1813, Bournonville made his first stage appearance in a small part as the son of a Viking king in Galeotti's Lagertha, the first ballet on a Nordic theme. Less than a year later, he received his first personal applause for dancing a Hungarian solo at the Court Theatre. In addition to dance, Bournonville was a voracious reader, learned French at home, played the violin, sang in a boy soprano voice, and studied declamation with the actors Michael Rosing, Lindgreen, and Frydensdahl.
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To Italian and German parts he brought an elegance and nobility nurtured in the school of dramatic declamation of the Académie nationale de musique, related to that of the Comédie Française and the whole historic conception of tragic and heroic performance in French literary theater. He was also a first-rate bel canto master, utterly accomplished in matters of vocal production and breathing. This combination of declamatory and vocal command gave his singing a unique authority and brilliance. It can be stated with confidence that very, very few artists have stood on his level.
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It was during a high school theatre class that his younger sister convinced him to take with her that Godinez became interested in theatre. From this new fascination that was sparked by the class, he went on to take part in rhetoric and declamation competitions, taking first place at a competition in Oklahoma during his junior year of high school. After high school Godinez decided to study theatre in his undergraduate years at the University of Dallas. After graduating in 1980, Godinez worked in an apprenticeship in Louisville at The Actor's Theatre.
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Her high school days were focused on developing her skills in oration, declamation, acting, singing and song composition. She was awarded a Department Medal upon graduation. As a freshman in college taking up Mass Communications, she was voted to direct the freshman's entry to the school's Drama Festival with Wilfrido Ma. Guerrero’s Wanted: Chaperon. They won five out of six awards including best director and best production - a first in the school's history that the freshman year would win over higher years and winning most of the awards at the same time.
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The structure of the piece follows the biblical narration of the devil leading Jesus into the desert and tempting him three times. The composition is in F-sharp minor in free meter, changing at times without indication from the general 4/4 to 5/4 for reasons of text declamation. No tempo marking is given at the beginning, but relative markings such as "breiter" (broader) appear occasionally. For most of the piece, the sopranos are divided, occasionally also the men's voices to three parts, however never six different parts at the same time.
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Bilderdijk wrote a mourning poem on Julius Willem Bilderdijk, his twenty-year- old son who perished at sea, stretching his poetic text into the hereafter. His rhyming declamation De Geestenwareld (1811) mentions celestial beings looking after their living relatives. Distinct liberal notions about the hereafter we find in Justine's family archives, in rare examples of Dutch poems about grief. In two of them, family members who died are mentioned as spiritual manifestations: a deceased great-uncle of her mother's and the deceased twenty-two-year-old great-uncle Johan Wilhelm Hoek (JWH).
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This is rhetoric of ceremony, commemoration, declamation, demonstration, on the one hand, and of play, entertainment and display, including self-display. It is also the rhetoric used at festivals, the Olympic games, state visits and other formal events like openings, closings, anniversaries as well as at births, deaths, or marriages. Its major subject is praise and blame, according to Aristotle in the limited space he provides for it in the Art of Rhetoric (Freese translation). This rhetoric deals with goodness, excellence, nobility, shame, honor, dishonor, beauty, and matters of virtue and vice.
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Chimène (1783) Étienne Lainez (or Lainé, Laînez) (23 May 1753 – 15 September 1822) was a French operatic tenor, and leading figure at the Paris Opera for over thirty years. In the course of his career there he created many tenor roles including Rodrigue in Sacchini's Chimène, Énée in Piccinni's Didon, Narcisse in Gluck's Echo et Narcisse, and Licinius in Spontini's La vestale. Lainez was born in Vaugirard in Paris, and died in Paris as well.Musicsack. After his retirement from the stage, he taught lyric declamation at the Paris Conservatoire.
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Some stanzas incorporate rhymes within some or all of the 8-syllable lines. The whole poem is grouped into 6 untitled sections of 16, 13, 37, 23, 17 and 3 stanzas. A version with only 63 of the stanzas, divided into 4 sections of 15, 7, 22 and 19 stanzas, and allegedly based on the original draft, was included in the posthumous editions of Wilde's poetry edited by Robert Ross, "for the benefit of reciters and their audiences who have found the entire poem too long for declamation".
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At age 15, Singerman married Rubén Enrique Stolek, who became her manager and set her on a career of literary declamation. Her connections with highly regarded literary figures, including poet Alfonsina Storni and writer Horacio Quiroga, helped propel this career into international fame, and she was befriended by numerous literary and artistic luminaries, including Pablo Neruda, Juan Ramón Jiménez, Gabriela Mistral and Alejo Carpentier. By the 1930s, Singerman was performing throughout the Spanish- and Portuguese-speaking world, including Spain, Mexico and Brazil, at times attracting huge crowds. Her career lasted into the 1980s.
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The term itself is a recent invention of scholars. No composer of the 17th century ever called a piece a monody. Compositions in monodic form might be called madrigals, motets, or even concertos (in the earlier sense of "concertato", meaning "with instruments"). In monody, which developed out of an attempt by the Florentine Camerata in the 1580s to restore ancient Greek ideas of melody and declamation (probably with little historical accuracy), one solo voice sings a melodic part, usually with considerable ornamentation, over a rhythmically independent bass line.
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Al-Kashshaaf 'an Haqa'iq at-Tanzil, popularly known as Al-Kashshaaf () is a seminal tafsir (commentary on the Qur'an) by Al-Zamakhshari written in the 12th century. Considered a primary source by all major scholars, it is famous for its deep linguistic analysis, demonstrations of the supremacy of declamation of the Qur'an, and the representation of the method the Qur'an uses to convey meaning using literary elements and figurative speech. However, it is criticized for the inclusion of Muʿtazilah philosophical views.John Esposito, The Oxford Dictionary of Islam, pg. 346.
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In typical Monteverdi fashion the opera's characters are vividly portrayed in their music. Penelope and Ulisse, with what is described by Ringer as "honest musical and verbal declamation", overcome the suitors whose styles are "exaggerated and ornamental". Iro, perhaps "the first great comic character in opera", opens his Act 3 monologue with a wail of distress that stretches across eight bars of music. Penelope begins her lament with a reiteration of E flats that, according to Ringer, "suggest a sense of motionless and emotional stasis" that well represents her condition as the opera begins.
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The Marching Band has also travelled to various locations throughout the United States, including Pennsylvania, Florida, among other locations. Student performers have also been participants of the Illinois High School Theater Association's (IHSTA's), annual TheaterFest. Students throughout the state compete for roles in the annual performance of a classical musical or drama production. The Speech and Performance Team is also a competitive group which has continued to develop and fine-tune their Forensics Speaking abilities throughout the years, with various events in Dramatic and Humorous Interpretation, Radio Speaking, Poetry Reading, and Oratorical Declamation.
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269 This madrigal was appealing on many levels. According to Alfred Einstein, writing in The Italian Madrigal, "… he is content with a simple, tender declamation of the text, depending upon the elementary and magical power of music, of harmony, which veils this poem in a cloak of sublime and distant sentimentality. Here is attained the ideal of what the time expected of the dolcezza [sweetness] and the suavità [suaveness] of music. Arcadelt has conferred upon this composition a quality which is very rare in sixteenth-century secular music, namely durability …"Einstein, Vol.
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In the late 16th and early 17th centuries, Jesuit colleges spread across Europe, and almost all of these presented at least one play each year. The first recorded performance was in 1551, at the College Mamertino at Messina, in Sicily, but by the mid-17th centuries, several hundred plays were being performed annually. The 'Ratio studiorum' of 1599 made it mandatory for Jesuit schools to exercise their students in rhetorical self-expression through dramas, debates, and other declamation of poetry. As Jesuit drama expanded, it also evolved, becoming more elaborate.
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The first stage of making the case for Symbolism is an aggressive and frank definition of the movement, its beliefs and priorities. As a reaction against the authority of rational naturalism, the manifesto describes symbolists as enemies "of education, declamation, wrong feelings, [and] objective description." As a reaction against the newly self-styled decadents, the manifesto goes on to stipulate the primacy of "the Idea". The purpose of creativity is to find an appropriate way to subjectively express the Idea through extravagant analogy, using natural and concrete things to obliquely reference "primordial Ideas".
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" Edna Dean Proctor wrote an ode for the event, and "There was also an oration suitable for declamation." Bellamy held that "Of course, the nub of the program was to be the raising of the flag, with a salute to the flag recited by the pupils in unison." He found "There was not a satisfactory enough form for this salute. The Balch salute, which ran, "I give my heart and my hand to my country, one country, one language, one flag," seemed to him too juvenile and lacking in dignity.
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Shield of arms of Charles Grey, 2nd Earl Grey Descended from a long-established Northumbrian family seated at Howick Hall, Grey was the second but eldest surviving son of General Charles Grey KB (1729–1807) and his wife, Elizabeth (1743/4–1822), daughter of George Grey of Southwick, co. Durham. He had four brothers and two sisters. He was educated at Richmond School, followed by Eton and Trinity College, Cambridge, acquiring a facility in Latin and in English composition and declamation that enabled him to become one of the foremost parliamentary orators of his generation.
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He ranked first in MA in Economics examination at the Punjab University, setting a new record in that subject. During his time at the Punjab University, Haq participated in a large number of declamation contests and prize debates and was often judged as the best speaker. From 1936–38, he was an activist of All-India Muslim League and was a student advocate of the assertion of the separate identity of Indian Muslims. He attended the All-India Muslim League meeting in Calcutta in December 1937 as a student delegate.
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On 3 February 1933, four days after his appointment by Reich President Paul von Hindenburg, Chancellor Adolf Hitler sought the support by Reichswehr commander-in-chief General Kurt von Hammerstein-Equord, unveiling his political ideology in an extended declamation. Despite the support by new Reichswehr Minister Werner von Blomberg, Hitler's appearance resulted in a grave crisis with the army command and Hammerstein-Equord's resignation in December. He was succeeded by Lieutenant General Werner von Fritsch. From the mid-1930s onwards, large annexes were erected along Bendlerstraße according to plans designed by Wilhelm Kreis.
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His principal speech, four hours in length, was characterized by eloquent appeal, polished wit, and logical reasoning. It greatly extended his fame. The passage in which he depicted in glowing colors the home of Harman Blennerhassett and "the wife of his bosom, whom he lately permitted not the winds of summer 'to visit too roughly'", as "shivering at midnight on the wintry banks of the Ohio, and mingling her tears with the torrents that froze as they fell", was for many years a favorite piece for academic declamation.
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As a boy, he worked as a soda jerk and had three newspaper routes in Houston, until he finished high school as valedictorian at age 15. He attended University of Chicago on a scholarship, waited tables, and tutored other students. He was among six lower division students to win a University Prize for excellence in declamation (summer, 1901) and took part in the Freshman Sophomore debate on whether England was right in the Second Boer War (March 15, 1902). He finished his four-year curriculum in three years.
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Chopin, Nocturne in B major, Op. 62, No. 1 350px One of his last works, the Nocturne in B major opens with what might be described as a bard's striking of the strings. After the simple introductory chords, a simple melody in B major emerges. At first, the action proceeds gently and smoothly (dolce, legato). But the song soon turns into declamation, led by a lofty, dramatic raised voice, and after a flashy scale in the right hand, Chopin leads us to the B section of this ternary formed (ABA) nocturne.
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Percy Fitzgerald recalls his "tremendous force and rough declamation." His stage presence was generally described as commanding, although many observers noted that his voice tended to become hoarse in the later acts of challenging plays. He was, like Garrick, a restless, physically dynamic performer; critics also noted his skill in using his eyes to convey complex thoughts or emotions, and his ability to project stage-whispers even in a large venue. Little record of response to his early romantic roles exists; however, his technique in his mature tragic roles is abundantly recorded.
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Leigh Hunt agreed, arguing that Cooke reduced all of his characters to their lowest motives. Of Cooke's famous style of declamation (like Macklin, he delivered soliloquies as if thinking aloud), Hunt complained that it merely turned Shakespeare's poetry into indignant prose. As Richard III, Cooke offered an interpretation that both differed from and excelled Kemble's rather staid performance. In such melodramatic scenes as the murder of Henry VI, Cooke excelled in conveying Richard's horrid glee (as, indeed, had Kemble); unlike Kemble, however, Cooke was also able to convey a sense of Richard's disgust with himself.
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"" is the French form of recitative, a style of musical declamation that hovers between song and ordinary speech, particularly used for dialogic and narrative interludes during operas and oratories. An obsolete sense of the term was also "the tone or rhythm peculiar to any language." Both of these definitions suggest the story's episodic nature, how each of the story's five sections happens in a register that is different from the respective ordinary lives of its two central characters, Roberta and Twyla. The story's vignettes bring together the rhythms of two lives for five, short moments, all of them narrated in Twyla's voice.
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The guy's natural singing prowess and effortless ability to jump across genre make him a national treasure. In just about every context, he sounds like a pro." John Pareles of The New York Times commented "he has all the gifts and skills he needs, starting with a genuinely expressive voice that encompasses an ardent croon, a melting falsetto and quick, singsong declamation that puts him at the border of rapping. Told Wright from Vulture wrote "the album is a true return to form for the R&B; artist, complete with falsetto crooning and sexy bed-thumping beats".
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Baltimore City College is a charter member of the Chesapeake Region of the National Forensics League and the National Catholic Forensic League, and is founding member of the Baltimore Catholic Forensic League and the Baltimore Urban Debate League. The Bancroft Literary Association and Carrollton-Wight Literary Society now exist as the Baltimore City College Speech and Debate team. Bancroft members compete in speech events which include Dramatic Interpretation of Literature, Declamation, Extemporaneous Speaking, and Original Oratory. The Carrollton-Wight Literary Society competes in debate events which include Student Congress, Lincoln-Douglas Debate, Policy Debate, and Public Forum Debate.
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She studied at the University of Oxford (New College), where she completed a DPhil in Social and Economic History (2017) and at the Université de Paris-Sorbonne where she completed a PhD in Literature and Theatre (1999) and an Habilitation à Diriger des Recherches (2005). As a Reader, she taught French literature and theatre in Oxford. Her books on acting and declamation in the seventeenth and eighteenth centuries have become reference works,.Michael Hawcroft, Review on L'Art du comédien, Papers on French Seventeenth Century Literature, XXIX, 56, 2002.« Hors-série "Quoi de neuf Molière" », Le Figaro littéraire, 2014.
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In 1963, he turned semi-professional as a singer- guitarist in a group called "Les Eperviers" [The Sparrow hawks]. He left the technical college in 1965 for the Liège conservatoire to study violin, where he took courses particularly in diction, declamation and voice. In 1966, he joined a new group called "Les Tigres Sauvages" [Wild Tigers] and won the "Microsillon d'Argent" [Silver Microgroove Record] at the Festival of Châtelet in Belgium – a prize that included the recording of a single. He recorded two titles: “Petite fille” [Little Girl] and "”Ne pleure pas" [Don't cry], under the pseudonym of François Bara.
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The term 'sacred opera' (geistliche Oper in German) was invented by Rubinstein to denote staged works with "use of polyphonic choruses and a sober, edifying style relying on ‘exalted declamation’."Dixon and Taruskin, Sacred opera Rubinstein composed three other works of this type (Sulamith, Moses and Christus). A fifth sacred opera, Cain, was uncompleted at his death. The composer had hoped for a premiere in Berlin, but was consoled by the work's second production in Vienna on 20 February 1870, (which was attended by Johannes Brahms), after which Rubinstein wrote it had been 'brilliantly performed and very well received by the public.
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Vishwanathan Venkatachalam was born on 7 July 1925 in Kovilpatti, Tirunelveli district of Tamil Nadu. His father was a Head Master and mother a homemaker. In his early years, Venkatachalam won gold medals from Madras Sanskrit College and Sriperumbudur Sanskrit College; numerous book-prizes from St. Xaviers College and Madras Sanskrit College for competitions in essays, elocution, declamation, debate etc. in Sanskrit as well as in English; book/cash prizes from institutions like Sanskrit Academy, Kuppuswami Sastri Research Institute, Theosophical Society and Ramakrishna Math of Chennai and an All India Essay Competition in English from Ramakrishna Math, Sorisha, West Bengal.
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Lyricists whose work he set to music included not just Brecht, but also Goll, Mehring, Klabund and Wedekind. Hennenberg highlights Bruinier's powers in respect of declamation, parody and punch lines, but he does not see Bruinier as a great original. "A personal voice is not much in evidence, which leaves you with a more or less skilful montage of musical cliches" ("Ein eigener Ton bleibt meist aus, und es kommt nur zur mehr oder weniger geschickten Montage von Klischees"). Bruinier himself published an essay in the "Rundfunk-Rundschau" magazine in 1927 in connection with his music for the radio play "Sahara".
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Reeves's declamation in The Crystal Palace was a main attraction and was repeated at each succeeding triennial festival until 1874. During the later 1860s Reeves felt it necessary to make public representations against the constantly increasing rise in English Concert Pitch, which was by then half a tone higher than elsewhere in Europe and a full tone higher than in the age of Gluck. The pitch of the organ at the Birmingham Festival was (of necessity) lowered, after a similar reduction had been forced by senior artistes at Drury Lane. Singers such as Adelina Patti and Christine Nilsson made similar demands.
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His balleti music basically had a simple chordal texture, fast declamation and rhythmic accents at the expense of contrapuntal display, as is to be expected from their close relationship to dance music. Gastoldi's Balleti a Cinque Voci was published in Venice in 1591, and immediately became a "best seller." Within a short time, the collection was reprinted ten times, not only by their original publisher but also in other countries as well. Composers like Vecchi, Banchieri, Hassler, and Morley were greatly captivated by this musical creation (compare Morley's ballett Now is the Month of Maying for a clear example of Gastoldi's influence).
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Field trips are arranged to supplement the lessons learned inside the classroom. OBMC has a variety of extra-curricular activities. Membership in school clubs such as the: O.B. Montessori Angels Choir, Angklung Ensemble, Marching Band, Glee Club, O.B.Montessori Dance Club, Basketball, Varsity, Badminton and Taekwondo Varsity Teams, Junior Police Training Program, and the participation in the Poetry/Declamation Festival and the semi-regular religious/historical musical productions including the Christmas Tableau are encouraged to develop the child's confidence, discipline and appreciation of the arts. From 1977 to 1982, OBMCI grade school graduates would normally go to traditional schools for their secondary education.
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After graduation, he joined the Punjab University Law College at Lahore, where he became secretary of the Punjab University Law Society, and the editor of the college magazine, "Al-Mizan". He was declared the best English debater of 1968 in the Punjab University after winning the "Krishan Kishore Grover Goodwill Gold Medal Declamation Contest". He graduated in 1968 with a top honours for best all round activities in academics, sports and debates. Khalil ur Rehman Ramday himself was appointed Advocate General of Punjab in 1987 when PML-N leader Mian Nawaz Sharif was Chief Minister of the province.
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70 Demeteriade was the uncle of Eraclie Sterian, the sexologist and playwright, and the great-uncle of poet- sociologist Paul Sterian. Victor Durnea, "Cazul Paul Sterian - Ortodox și futurist", in România Literară, Nr. 29/2007 Mircea left high school early and then took declamation courses at the Bucharest Conservatory. In 1880, he appeared alongside his sister and (on his retiring performance) his father, in a production for the National Theater Bucharest; the chosen play was Victor Séjour's "Outlaw of the Adriatic", and he had the title role.Bonifaciu Florescu, "Revista teatrala", in Literatorul, Nr. 4/1880, pp.
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This, Platoff argues, "draws comedy from human foible rather than mechanized display of patter declamation", suggesting that Leporello is telling us as much about himself as he is about Giovanni. Leporello's aria contains no epigram—the Andante section takes its place. C. Headington, R. Westbroook, and T. Barfoot in Opera: A History (1987) say that "Ho viaggiato in Francia, in Spagna" "must surely be ranked as the forerunner of Leporello's... aria", but they seem to have gone to the next most familiar piece of music rather than digging into research. Platoff notes that catalogue arias were a particular specialty of Bertati.
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Ella Némethy (5 April 1895 – 14 June 1961) was a Hungarian mezzo-soprano who had an active international career in operas and concerts from 1919 to 1948. Music historian Péter P. Várnai writes in The New Grove Dictionary of Music and Musicians that "she was the leading mezzo-soprano in the interwar years, especially in Wagnerian roles such as Brünnhilde, Isolde and Kundry. Her interpretations were characterized by vocal amplitude, rich colouring and grand declamation."Péter P. Várnai, ed Stanley Sadie, "Némethy, Ella (1895 - 1961), mezzo-soprano ", The New Grove Dictionary of Music and Musicians, Second Edition (London: Macmillan, 2001), 29 vols. .
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Most of Lucian's account of Demonax is filled with pithy sayings in order to illustrate Demonax's wit. Long lists of anecdotes (known as chreia), were often collected concerning philosophers, especially Cynic philosophers, in order to demonstrate their character and wit: > When he once had a winter voyage to make, a friend asked how he liked the > thought of being capsized and becoming food for fishes. "I should be very > unreasonable to mind giving them a meal, considering how many they have > given me."Lucian, Demonax, 34-35 > To a rhetorician who had given a very poor declamation he recommended > constant practice.
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Sidonius asked Basilius' help, as he needed to petition Emperor Anthemius on behalf of his people; Basilius suggested that he compose a panegyric in honour of the Emperor, in occasion of the beginning of Anthemius' consulate (January 1, 468). After the declamation, Basilius interceded with Anthemius for Sidonius, and the Emperor made the Gallo-Roman poet a senator, a Patricius and Praefectus urbi.Sidonius Apollinaris, Epistulae, i.9.1-7. Basilius had three sons, all of them Consuls: Caecina Mavortius Basilius Decius (Consul in 486), Decius Marius Venantius Basilius (consul in 484), and Basilius iunior (consul in 480), identified with Caecina Decius Maximus Basilius.
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His children's music is the most notable of all his works. He continued the Russian penchant for the whole tone scale, using it in the piece Les demons s'amusent, included into the melomimic suite Les Rêves (Dreams, 1899). He used new advanced harmony such as seventh and ninth chords, unresolved cadences, polytonality, and harmony based upon open fourths and fifths. He also was experimenting with novel forms, for instance, in his piano pieces, Mélomimiques Op. 10 (1898), and Rythmodéclamations in which music and mime are combined, and he introduced a type of musical pantomime known as "melo-mimic" and "rhythm-declamation" (see melodeclamation).
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After returning from France Espín passed the examination as organist in Santo Domingo de la Calzada, and in 1833 moved to Madrid to continue his studies entering the Royal Conservatory of Music and Declamation. While studying in Madrid Espín started giving singing and piano classes. On 29 January 1836, he married Josefa Pérez Colbrand, a niece of Rossini´s first wife, signer Isabella Colbran. The couple had four children: Joaquín who became a well-known conductor, Julia who became a prima donna and a muse of Gustavo Adolfo Bécquer, as well as less known Josefina and Ernestina.
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Fesenmaier edited the school newspaper and was a member of the Girl's Athletic Association, Debate, Declamation, and Discussion Club, the Student Council, the Madrigals, the school choir, its glee club, and honor roll. After leaving high school, she enrolled at Smith College, Massachusetts, studying printmaking with Leonard Baskin. Fesenmaier was intrigued by Kurt Schwitters' collages and Baskin introduced her to how important print-making was. She graduated with a Bachelor's degree in 1959, and went on to study for a Bachelor of Fine Arts degree in fine art under Josef Albers at Yale School of Art from 1959 to 1961.
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Josquin's motet style varied from almost strictly homophonic settings with block chords and syllabic text declamation to highly ornate contrapuntal fantasias, to the psalm settings which combined these extremes with the addition of rhetorical figures and text-painting that foreshadowed the later development of the madrigal. He wrote many of his motets for four voices, an ensemble size which had become the compositional norm around 1500, and he was also a considerable innovator in writing motets for five and six voices.Milsom, p. 282 No motets of more than six voices have been reliably attributed to Josquin.
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Although Berlin's compositions differed significantly from classic piano rags by Scott Joplin and other African- American composers, Hamm contends that Berlin's work targeted a different audience and the commercial success of Berlin songs such as "That Mysterious Rag" neither helped nor hindered the sales of piano rags. Or as Richard Crawford explains, "That Mysterious Rag" recognizes the style's haunting, distracting traits and removes it from a racial setting. Crawford finds other faults with the lyrical structure: It would be hard to find another Berlin song with one-syllable words so awkwardly stretched or natural declamation so bent out of shape.
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Clément came to France at a young age, and entered the Conservatoire de Paris in November 1938, in the classes of Claire Croiza (singing), Georges Viseur (theory), and Vanni Marcoux (stage declamation). Due to the war, he completed his studies in Lyon, and graduated in July 1941, joining the Théâtre des Quatre Saisons Provinciales and singing at the Lyon Opera in the 1942–43 and 1943-44 seasons. He made his debut as Martin in Le Chemineau by Xavier Leroux. In 1944 he made what was the first of many radio broadcasts, as Pippo in La Mascotte.
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Reyes was born and raised in Lipa City, the second child of Florante Luz Reyes, a photographer, and Teresita Marquinez Saludo, a housewife. His youth was not particularly musical and his on-stage experiences were focused on oratorical contests which he regularly won. He started playing guitar at 14, helped by his elder brother Ferdinand who was a "natural" guitarist. The Reyeses were not rich, and his first proper guitar was a fake Gibson acoustic worth Php150.00 that his mother promised as a gift if he won a declamation contest during his junior high school year in De La Salle Lipa.
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She adapted Louisa May Alcott's Little Women for performance in 1939,Beverly Lyon Clark, The Afterlife of Little Women (JHU Press 2014): 118. and wrote a stage adaptation of Jane Eyre in 1941,Amnon Kabatchnik, Blood on the Stage, 1975-2000: Milestone Plays of Crime, Mystery, and Detection (Rowman & Littlefield 2012): 486. as well as stage adaptations of J. M. Barrie's The Little Minister (1940)Pauline Phelps, The little minister, a play based upon J. M. Barrie's book of the same name, in three acts (Wetmore Declamation Bureau 1940). and Jane Austen's Pride and Prejudice (1941).
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Sent to Paris to continue her musical studies, she won the first prize of the Conservatoire de Musique in lyrical declamation on 2 August 1902, at the age of 24. Her soprano voice was noticed by the Opéra de Paris who immediately engaged her.Mlle Rose Féart, de l'Opéra, immediately gave her first public concert at Argenton-sur-Creuse on 21 August 1902. Rose Féart became one of the most important opera singers for the great repertoire, especially in Wagnerian roles, and worked with composers of her time such as Massenet, Fauré, Debussy, César Franck, and André Caplet.
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Other than this song and a fragment of his aria from the first act, all is conversation in music, rapid and free declamation over a continually varied orchestral accompaniment. Gaussin's father and mother and Irène, a "jeune fille," adopted by them, and evidently destined as the wife for Jean, say "good-bye". No sooner are they out the door than Fanny comes in, unannounced, immediately takes possession of Jean and the apartment, and drives out all memory of his parents. Here is more of the conversational style, interrupted by a duet between these two that has the accent of passion.
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Yalden was born in 1670 in the city of Oxford, and was the sixth son of Mr. John Yalden of Sussex. Having been educated in the grammar-school belonging to Magdalen College there, he was in 1690, at the age of nineteen, admitted commoner of Magdalen Hall, under the tuition of Josiah Pullen. The next year, he became one of the scholars of Magdalen College, where he was distinguished by a lucky accident. It was his turn one day to pronounce a declamation, and Dr. John Hough, the president, happening to attend, thought the composition too good to be the speaker's.
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Ruston High School Speech and Debate has won numerous state championships: Advanced Cross Examination in 2000, 2006, 2011, and 2012; Intermediate Cross Examination in 2001 and 2002; Novice Cross Examination in 2003, 2004, 2007, and 2010; Intermediate Lincoln-Douglas in 2007 and 2009; Oral Interpretation in 2006; Declamation in 2007, 2010, and 2011; and Student Congress (Senate) in 2007. The team finished in a tie for second overall at the Louisiana High School Speech League state championships in 2006 and finished third overall in 2007. They also received the Novellen Price Ellis Rotating Sweepstakes Trophy in 2007.
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The use of former Original Oratory speeches in Declamation has become quite widespread in recent years. Some see this practice as unfair or undermining the category's original purpose, as these speeches were originally written for the purpose of winning in forensic competition, and not necessarily conveying an important message. At the beginning of 2003–2004 season, the NCFL enacted a ban on all former high school competitive oratories, effective as of the 2005 Grand National Tournament. However, at the beginning of the 2004–2005 season, the restriction was removed, and thus, the ban never truly came into effect.
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Santley saw him as Shylock, and observed that (although Formes always preserved a strong German accent in conversation) his English declamation and rhythm were exemplary, better than the English actors: His second wife, from Wiesbaden, also failed to safeguard his money.Memoirs, 235. However Formes returned to singing, and to America. Anschütz established German Opera at New York in 1862, and in October 1864 Formes was with Leonard Grover's German Opera Company in Boston, with Johannsen and Marie Frederici (mezzo),Born Marie Friedrichs, married to Franz Himmer: a noted Agathe and Margarethe: Apthorp, By The Way, II, p.66.
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With rare exceptions, Meyerbeer does not entrust the character with particularly virtuosic music; he prefers to invent a kind of lyrical declamation that reinforces the credibility and dignity of this role as a mother. On the musical level, the role is particularly difficult and was specifically written for the rare voice of Pauline Viardot. Finally, the trio of the Anabaptists, who act, speak and move as if they were only one person, is, for Robert Letellier, an invention of great originality. Perhaps intended as a caricature of the Holy Trinity, the trio personifies hypocrisy, treason and the dangers of demagogy.
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Aeschylus mocks Euripides' verse as predictable and formulaic by having Euripides quote lines from many of his prologues, each time interrupting the declamation with the same phrase "" ("... lost his little flask of oil"). (The passage has given rise to the term lekythion for this type of rhythmic group in poetry.) Euripides counters by demonstrating the alleged monotony of Aeschylus' choral songs, parodying excerpts from his works and having each citation end in the same refrain ("oh, what a stroke, won't you come to the rescue?", from Aeschylus' lost play Myrmidons). Aeschylus retorts to this by mocking Euripides' choral meters and lyric monodies with castanets.
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Hamilton notes that the Necessary and Proper Clause and the Supremacy Clause "have been the source of much virulent invective and petulant declamation against the proposed Constitution." This stirs up much of the issues amongst the people due to the uncertainty of the consequences of granting the government "too much power". He argues that the first clause is implicit in the constitution—if congress is granted a power, it must necessarily be able to draft laws that enable it to execute that power. Hamilton then applies this line of logic to the issue of taxation, stating that Congress must have the power to create legislation to collect taxes.
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Tichatschek was also a distinguished Lohengrin. The Dresden management presented Lohengrin in Wagner's absence during 1858–59, when Tichatschek made an urgent plea for them to send Wagner (then in exile) a honorarium of 50 Louis d'or—which they did.Newman 1931, 129–130. In 1867, when planning a production of Lohengrin for Ludwig II, Wagner recommended the almost 60-year-old Tichatschek for the role, saying that his Lohengrin had been the one really good thing the tenor had done, assuring the King that, while his singing and declamation in the role suggested a painting by Dürer, his appearance and gestures were like a Holbein.
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The school as the First Provisional Regiment headquarters In 1903 the school consisted of six forms, the first two making up the lower school and the remaining four making up the upper school; in the upper school students chose from three curricula: classical, Latin-scientific, or English- scientific. Students received grades for deportment, application, spelling, declamation and composition, church attendance, and skill at military drill, as well as in classes where they learned arithmetic, algebra, French, Latin, German, and Greek. Sports included baseball, football, tennis, hockey, track, athletics, and golf. The school issued a merit roll every four weeks, where students were ranked on conduct, lessons and attendance.
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Orff's renunciation of the grammar of harmonic tonality allowed the composer, as the musical equivalent of Hölderlin's archaic language, to turn the declamation of the singing voices itself into the vehicle for the dramatic action. Thomas Rösch: Die Musik in den griechischen Tragödien von Carl Orff. Hans Schneider, Tutzing 2003. As Pietro Massa has been able to show, an intensive exchange of ideas with the classical philologist Wolfgang Schadewaldt, the musicologist Thrasybulos Georgiades and the stage director Wieland Wagner, who had originally been selected as director for the world premieres of Oedipus der Tyrann and Prometheus by the composer, accompanied the genesis of Orff's operas on Greek drama.
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His London Covent Garden Italian debut was in 1849, as Elvino in Bellini's La sonnambula, opposite Fanny Tacchinardi Persiani (the creator of the title role in Lucia): he made a great effect of full lyrical declamation in Tutto e sciolto... Ah! perche non-posso odiarti?. After his Edgardo in Lucia, Reeves' Elvino was generally considered his finest role in Italian opera.Reeves 1888, pp. 161–65. In the winter of 1849 he returned to English opera, and in 1850 at Her Majesty's he made a further great success in Verdi's Ernani, opposite the Elvira of Mdlle Parodi and Carlo of Giovanni Belletti,Reeves 1888, pp. 175–77.
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Official recognition came in March 1903 when Díaz de Mendoza, seen by many critics as the greatest actor of the age, was appointed by Royal Command to a professorship at Madrid's Conservatory of Music and Drama, where he was given the Chair in Declamation. In 1904 the couple moved into a luxurious three storey mansion, designed by María Guerrero, with construction managed by an architect called Pablo Aranda. The cost was reported as one million reales. An unusual aspect of the new home was that it contained in the basement garage three of the first motor cars in Madrid: a Renault, a Charron 75 and an electric Columbia.
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Kinoshita emphasized that Shakespearean speeches were supposed to be spoken by performers. However, when Kinoshita saw a production of a Shakespeare play in Japan after returning from England, he got the impression that Japanese performers’ performances did not deliver the greatness of Shakespeare’s speeches to their audience. On one hand, Kinoshita hoped Japanese actors would brush up on their oratory skills. On the other hand, as a playwright, he had kept thinking about how to translate Shakespeare's works without losing Shakespeare’s artistic declamation. He believed that playwrights can contribute to the improvement of a performance by creating a text that is the most suitable for each performer’s vocal abilities.
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He discovered that the period of study required before being called to the Bar could be reduced from five years to three for holders of a degree from Oxford or Cambridge universities. He therefore on 13 January 1776 entered himself as a gentleman commoner on the books of Trinity College, Cambridge where, as the son of an earl, he was entitled to gain a degree without sitting any examinations. He did however win the English declamation prize for an oration on the "glorious revolution" of 1688.Hostettler 1996: 12 At the same time, he was a pupil in the chambers of first Francis Buller and then George Wood.
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There were numerous children's magazines, such as Merry's Museum, The Student and Schoolmate, Our Young Folks, The Little Pilgrim, Forrester's Playmate and The Little Corporal. They showed a Protestant religious tone and "promoted the principles of hard work, obedience, generosity, humility, and piety; trumpeted the benefits of family cohesion; and furnished mild adventure stories, innocent entertainment, and instruction".James Marten, Children for the Union: The War Spirit of the Northern Home Front (2004) p. 17 Their pages featured factual information and anecdotes about the war along with related quizzes, games, poems, songs, short oratorical pieces for "declamation", short stories and very short plays that children could stage.
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Zoilo's music is similar to Palestrina's in style, using smoothly flowing contrapuntal lines with clear text declamation, with little of the experimental chromaticism and textural elements found in music in northern Italy or Naples at the same time. His sacred music is for four and eight voices, and includes masses, motets, hymns, responds, litanies, suffragia, and other a cappella vocal music. In addition to his sacred music, he published two books of madrigals. One of his madrigals, Chi per voi non sospira acquired considerable fame, being reprinted in many collections; in addition it was used by Vincenzo Galilei in his Fronimo: dialogo ... sopra l'arte del bene intavolare in a lute intabulation.
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A total of three publications by Taglia have survived: the first book of madrigals for four voices (published by the brothers Francesco and Simone Moscheni in Milan, 1555), and the first and second books of madrigals for five voices (Francesco Moscheni, Milan, 1557; Venice, 1564). Other madrigals appear individually both in publications elsewhere and in instrumental versions. Taglia preferred to set poetry by the finest and most famous poets, such as Petrarch and Ariosto. In his works he used extreme contrast between chromatic and diatonic passages, as well as between quick and slow motion; he was careful to set his texts with appropriate expression and declamation.
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In the first years after his return to England, Santley used often to sing buffo duets (for example 'Che l'antipatica vostra figura' from Ricci's Chiara di Rosemberg) with Giorgio Ronconi and Giovanni Belletti, at parties held by the influential critic H. F. Chorley. In 1859 he made his debut at Covent Garden as Hoel in Meyerbeer's opera Dinorah.C. Santley, 'The Art of Singing and Vocal Declamation' (Macmillan and Co., London 1908), pp. 15-17. In the same season he sang in the English Il trovatore (Di Luna), The Rose of Castille, Satanella, La sonnambula, and as Rhineberg in Wallace's Lurline, with William Harrison and Louisa Pyne.
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In this, as in most of Parry's songs, Plunket Greene recognised the perfect declamation of Parry's writing, the accent upon word-values falling naturally and correctly in the music. As a result, he became the original exponent or dedicatee of many of the lyrical works of Parry, and also of Battison Haynes ("Off to Philadelphia"), and of Charles Villiers Stanford. Stanford wrote Songs of the Sea for him, and the singer also greatly admired Stanford's Cushendall and Irish Idyll cycles and the Three Cavalier Songs set to Browning's words. Although his voice was not exceptionally powerful he used it with great style, musicianship and intelligence.
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He also performed there the title role in Götz Friedrich's new staging of Tannhäuser in 1978, alongside Gwyneth Jones as both Venus and Elisabeth, conducted by Colin Davis, and filmed live. A reviewer noted his assured singing and acting, giving the character both authority and anguish. In 1981, Wenkoff made his debut at the Metropolitan Opera, again as Tristan. The New York Times' review compared him to Ludwig Suthaus and Ramón Vinay, and noted his "solid lower register", "care for declamation and a sensitivity to the drama", with a focus on the character's introspection, with the "finest impact during the legato of the Act II love duet".
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Latro is said to have possessed an astonishing memory, and displayed the greatest energy and vehemence, not only in declamation, but also in his studies and other pursuits. He is described as being invariably occupied in speaking, or preparing to speak, and he was considered by some to be the "manliest" of declaimers. He would study constantly and work himself to the point of exhaustion, after which he would restore himself with a holiday in Tuscany of hunting and farming, during which he never touched a book or pen. It was a peculiarity of Latro's that he would seldom, if ever, listen to his students declaim.
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His defect was in flexibility, variety, rapidity; the characteristic of his style was method, regularity, precision, elaboration even of the minutest details, founded on a thorough psychological study of the special personality he had to represent. His elocutionary art, his fine sense of rhythm and emphasis, enabled him to excel in declamation, but physically he was incapable of giving expression to impetuous vehemence and searching pathos. In Coriolanus and Cato he was beyond praise, and possibly he may have been superior to both Garrick and Kean in Macbeth, although it must be remembered that in it part of his inspiration must have been caught from Mrs Siddons.
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In 1924 Eaglefield Hull wrote: 'He unites to a fine tenor voice, wide culture, perfection of vocal declamation and high dramatic attainments.' Of his concert repertoire Gerald Moore wrote: 'Was there ever a singer with a wider repertoire ...? He was equally at home in the lieder of Beethoven, Schubert and Schumann as he was with the early English songs of Arne, Byrd and Purcell; he championed the songs of Bax, Ireland, Howells, Warlock, and was abreast of the younger school; the chansons of Weckerlin, Bruneau, Lully, tripped as easily off his tongue as did Fauré and Duparc. In Germany they called him the ideal Siegfried and Lohengrin.
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The effect is like listening to a gigantic toccata or chorale prelude. Sometimes the effect is predominantly that of dance-music, as in the Symphony No.9, which sounds for long stretches like a huge Mahler scherzo, sometimes the effect is grimmer, with march rhythms or angry declamation predominating, as in the Symphony No.13. Pettersson maintains the listener's interest by varying the sounds and moods of the different sections, so some are more lyrical, others faster and more angry. The architecture of his symphonies is built on similar thematic material emerging at key points in the work (rather than classical statement-development-recapitulation), by rhythmic vitality and tonal progression.
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Her career lasted longer than most actors of her generation: most of her generation of actors retired after the 1809-10 season, while she remained until 1818. During her last years on the stage, she was criticized for being to melodramatic in her way of acting; she acted in accordance with the French school, which had by then became unfashionable. In 1818, she retired with a full pension. Maria Franck had, in parallel with her acting career, given lessons in declamation, and in 1819, the year following her retirement from the stage, she was engaged as the principal of the acting school Dramatens elevskola, a position she kept until 1823.
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In the political rise of the Roman Republic, Roman orators copied and modified the ancient Greek techniques of public speaking. Instruction in rhetoric developed into a full curriculum, including instruction in grammar (study of the poets), preliminary exercises (progymnasmata), and preparation of public speeches (declamation) in both forensic and deliberative genres. The Latin style of rhetoric was heavily influenced by Cicero and involved a strong emphasis on a broad education in all areas of humanistic study in the liberal arts, including philosophy. Other areas of study included the use of wit and humor, the appeal to the listener's emotions, and the use of digressions.
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143-4 Goodwin goes on to write that "More eclectic than he is often given credit for, he did have a distaste for rhetoric and declamation and a preference for the Audenesque air of jaunty reasonableness" and that "he was sceptical about large religious affirmation".Goodwin (1986) p. 144 The Bulletin, along with Meanjin and Southerly were significant magazines for promoting the poetic achievement of writers and for establishing a cultural milieu in which younger poets could refine their skills. During his editorship The Bulletin published such poets as Judith Wright, Francis Webb, David Campbell, Rosemary Dobson, Chris Wallace-Crabbe, Randolph Stow and Vivian Smith.
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The Carlton Club met to discuss the situation, with Salisbury's daughter writing: > The three arch-funkers Cairns, Richmond and Carnarvon cried out declaring > that he would accept no compromise at all as it was absurd to imagine the > Government conceding it. When the discussion was at its height (very high) > enter Arthur [Balfour] with explicit declamation dictated by GOM in > Hartington's handwriting yielding the point entirely. Tableau and triumph > along the line for the 'stiff' policy which had obtained terms which the > funkers had not dared hope for. My father's prevailing sentiment is one of > complete wonder...we have got all and more than we demanded.
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Liner notes from Dennis Brain spielt Mozart, Beethoven, Schumann und Dukas, Dacapo He was interred at Hampstead Cemetery in London. His headstone is engraved with a passage from Hindemith's Declamation section from his Horn Concerto: > My call transforms > The hall to autumn-tinted groves > What is into what > Has been.... > One of his favourite horns (by Alexander of Mainz: a single B-flat horn with an F extension as a tuning slide) was badly damaged in his fatal crash. It has since been restored by Paxman Brothers of London and is on public display in the York Gate Collections at the Royal Academy of Music, London.
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The ' was written for bass voice in the key of B major, but the key moves repeatedly through various major to minor tonalities, ending in C major. (Analysis) In Goethe's dramatic declamation by Prometheus, which would be set again, with very different effect, by Hugo Wolf,Wolf considered Schubert's "Ganymed" and "Prometheus" unsatisfactory, in part because "a truly Goethean spirit" could only be fulfilled in the "post-Wagnerian era", according to a Wolf letter to Emil Kaufmann, noted in Scott Messing, Schubert in the European Imagination: Fin-de-siècle Vienna, 2007, p. 192, note 57. "with his alternations of ariosos and recitatives, Schubert created a miniature oratorio", observes Edward F. Kravitt.
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In 1498 tutor, chaplain, and pupil returned to England; and perhaps at this time Whitford visited Oxford with Erasmus. Soon afterwards he became chaplain to Richard Foxe, bishop of Winchester; and William Roper, in his Life of More, reports that in 1504 he encouraged Thomas More in his resistance to Henry VII's exactions. A speech against Foxe ascribed to Whitford may be apocryphal, but the closeness of his friendship with More is attested by a letter written from 'the country,' 1 May 1506, by Erasmus during his second visit to England. He sends Whitford a Latin declamation composed against the 'Pro Tyrannicida' of Lucian.
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In 1856, at the age of eighteen, Espín was invited to sing for Queen Isabella II. In 1858 Espín wrote to Queen Isabella II requesting royal protection to carry out her career as a singer. However, she unlike her brother Joaquín, who was granted a training at the Imperial Conservantory of Music and Declamation in Paris, didn’t obtain the protection of the monarch. Most likely, through a mutual friend Ramón Rodríguez Correa Espín met a poet Gustavo Adolfo Bécquer. She became his muse while keeping in touch through the artistic-literary gathering in Espín’s family house. Espín became protagonist of some of the Bécquer’s verses of “Rimas” (“Rhymes”).
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The editors may marry a text "X" to a tune they feel is best, with which it appears on the hymnal page, and they may also suggest singing text "X" to an alternative tune that appears elsewhere in the hymnal (sometimes with a different text). If one refers to the hymnal's metrical index, more possible tunes may be found, of the same meter, which might be used for singing text "X". In The Anatomy of Hymnody, Austin C. Lovelace explores the relevance of the meter to a text. A meter of few syllables, perhaps with a trochaic stress pattern, fits best an exhortive or forceful declamation of ideas.
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Dabadie was born Louise-Zulmé Leroux in Boulogne-sur-Mer, where she began her music studies. According to the memoirs of Louis Gentil, her father was an army officer who had died in 1812 during the retreat from Moscow, after which her mother settled in Paris with their children. Dabadie continued her music studies at the Conservatoire de Paris under Charles-Henri Plantade and was awarded first prize in singing and declamation in 1819. She also received second prize in piano in 1823, which she had continued to study after her stage debut at the Paris Opéra on 31 January 1821 as Antigone in Sacchini's Œdipe à Colone.
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Gluck's ideals heavily influenced the popular works of Mozart, Wagner, and Weber, with Wagner's Gesamtkunstwerk vision especially influenced by that of Gluck. Old-style opera seria and the domination of embellishment-orientated singers came to be increasingly unpopular after the success of Gluck's operas as a whole and Orfeo in particular. In Orfeo ed Euridice the orchestra is far more predominant than in earlier opera, most notably in Orfeo's arioso "Che puro ciel". Here the voice is reduced to the comparatively minor role of recitative-style declamation, while the oboe carries the main melody, supported by solos from the flute, cello, bassoon, and horn.
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Huguette Tourangeau was born in Montreal, Quebec, and graduated in pedagogy and piano from the Montreal Marguerite-Bourgeoys College, before entering the Conservatoire de musique du Québec à Montréal in 1958,"La mezzo-soprano québécoise Huguette Tourangeau s’est éteinte ". Le Devoir, Sylvain Cormier, 25 April 2018 where she was a pupil of Ruzena Herlinger (voice), Otto-Werner Mueller (repertory) and Roy Royal (declamation). In 1962, she was a soloist in Monteverdi's Vespro della Beata Vergine, in Montreal. She made her operatic debut as Mercédès in Carmen, under Zubin Mehta, in 1964, also in Montreal. In 1964 Tourangeau won the Metropolitan Opera National Council Auditions.
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These are considered a later addition to the corpus because they are never mentioned by Ovid and may or may not be spurious. The Heroides markedly reveal the influence of rhetorical declamation and may derive from Ovid's interest in rhetorical suasoriae, persuasive speeches, and ethopoeia, the practice of speaking in another character. They also play with generic conventions; most of the letters seem to refer to works in which these characters were significant, such as the Aeneid in the case of Dido and Catullus 64 for Ariadne, and transfer characters from the genres of epic and tragedy to the elegiac genre of the Heroides.Knox, P. pp. 18ff.
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The Kharkanas Trilogy is an epic fantasy series by the Canadian writer Steven Erikson. The series consists of three novels, two of which—Forge of Darkness and Fall of Light—have been published as of 2019. The series serves as a prequel to Erikson's Malazan Book of the Fallen series, and tells the story of the Tiste, Jaghut and Azathanai, three hundred thousand years before the Malazan Empire began its conquest on Genabackis, with a focus on characters such as Anomander Rake, Draconus, Hood, Gothos and K'rul. The series draws inspiration from the Shakespearean declamation style, and is framed as being told by one poet to another.
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The philosopher Dugald Stewart concluded in a letter to the writer William Forbes that while it was effective as a "popular antidote against the illusions of metaphysical scepticism" it lacked the subtlety, patience, and precision of Reid's work. The philosopher Frederick Copleston commented that Beattie "indulged in declamation and diatribe in passages which were doubtless the expression of sincere indignation but which seem rather out of place in a philosophical work." He concluded that Beattie, "tends to give the impression that he has very little use for philosophy except as a means of attacking philosophies and philosophers." The philosopher Patricia Kitcher described An Essay on the Nature and Immutability of Truth as Beattie's "major work".
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In ancient times Catania was associated with the legend of Amphinomos and Anapias, who, on occasion of a great eruption of Etna, abandoned all their property and carried off their aged parents on their shoulders. The stream of lava itself was said to have parted, and flowed aside so as not to harm them. Statues were erected to their honour, and the place of their burial was known as the Campus Piorum; the Catanaeans even introduced the figures of the youths on their coins, and the legend became a favorite subject of allusion and declamation among the Latin poets, of whom the younger Lucilius and Claudian have dwelt upon it at considerable length.Strabo vi. p.
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"The performance is all that we should expect from such performers" Musical Times, nov 1, 1929, p996 1931: Wagner: Tristan und Isolde act III, with Walter Widdop, cond. Blech: One critic claimed that "[her] voice is a fine one but [she] sings here not quite so well as in some of her other recorded roles".Music Supervisors' Journal, vol 18, no 1, Oct 1931, p78 Hermann Klein for the Gramophone is more enthusiastic: "neither in the important matter of style nor for beauty of voice or purity and breadth of declamation could [her colleagues in the recording] be compared with an IsoIde like Göta Ljungberg" Gramophone, May 1928, p21 1933: Giacomo Puccini: Tosca arias with Joseph Schmidt.
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In 1903 Herman Klein wrote that 'The mantle of Braham and Sims Reeves, worthily borne by Edward Lloyd, was resting more or less easily upon the shoulders of Ben Davies, a singer whose rare musical instinct and intelligence have always partially atoned for his uneven scale and his lack of ringing head-notes.'Herman Klein (Thirty Years, pp. 467–68). (Possibly this suggests some comparison to their great predecessors, in Lloyd's and Davies's style of declamation.) However Klein later admitted that neither Lloyd nor Davies ever laid claim to be Reeves's successor.H. Klein, 'Sims Reeves:"Prince of English tenors",' in R. Wimbush (comp.), The Gramophone Jubilee Book 1923–1973 (General Gramophone Publications Ltd, Harrow 1973), 109–112.
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27 Other individual characteristics are also noteworthy. His Concerto in C major, Op. 29, published in 1795, starts with an introductory Larghetto in 3/8 time, a solemn thematic declamation that is unique to the classical concerto. His last surviving work in the genre, Opus 70 in E-flat major, was one of the first to lengthen substantially the opening movement: at 570 measures long, it is roughly a third longer than his previous contributions,Lindeman, pp. 28–9 and foreshadows the practice of a dominant opening movement in concerto writing, found, for example, in the concertos of Chopin and the two minor concerti Opus 85 and Opus 89 by Johann Nepomuk Hummel as well as Beethoven's fifth.
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Conservatory before the Warsaw Uprising, Okólnik Street Named for the Polish composer Frédéric Chopin (whose birth name was Fryderyk Chopin and who studied there from 1826 to 1829), the University dates from the Music School for singers and theatre actors that was founded in 1810 by Wojciech Bogusławski. In 1820 it was transformed by Chopin's subsequent teacher, Józef Elsner, into a more general school of music, the Institute of Music and Declamation; it was then affiliated with the University of Warsaw and, together with the University, was dissolved by Russian imperial authorities during the repressions that followed the November 1830 Uprising. In 1861 it was revived as Warsaw's Institute of Music.The Fryderyk Chopin University of Music at Culture.
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Early friendships with French avant- garde actor Serge Merlin and professor of declamation (in the tradition of Sarah Bernhardt) Pierre Spivakoff deepened his understanding of voice. He began contributing extensive articles on voice, opera and psycho-analysis, to leading journal Avant-Scène Opera (from 1977 to 1984). On Maria Callas' death (1977) French far-left daily Libération (founded by Jean-Paul Sartre) asked Salazar to write her obituary. At the prompting of both his philosophy advisor Louis Althusser and French sociologist Georges Balandier, Salazar travelled to apartheid South Africa in 1978 to undertake field-research on racial rhetoric, which led to a first doctoral dissertation in social and cultural anthropology at the Sorbonne University in Paris.
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After Wotan seizes the ring from the captive Alberich, the dwarf's agonised, self- pitying monologue ("Am I now free?") ends with his declamation of the "Curse" motif – "one of the most sinister musical ideas ever to have entered the operatic repertoire", according to Scruton's analysis: "It rises through a half-diminished chord, and then falls through an octave to settle on a murky C major triad, with clarinets in their lowest register over a timpani pedal in F sharp". This motif will recur throughout the cycle; it will be heard later in this scene, when Fafner clubs Fasolt to death over possession of the ring. Tranquil, ascending harmonies introduce the reconvention of the gods and giants.
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The king insists, by asking a series of metaphysical questions to the sage. The sage then shares with the king the philosophy of the Brahman (Universal Soul, Cosmic Principle, Ultimate Reality), described in the next lessons. Paul Deussen states that parts of the above questions, on sorrow and frailty of human life is found in the oldest Upanishads of Hinduism, for example in chapters 3.4, 3.5, 3.7, 3.28 and 4.4 of Brihadaranyaka Upanishad, yet its declamation in the question form above in Maitri Upanishad, mirrors those found in Buddhism and Samkhya school of Hinduism. It is likely, states Deussen, that these two philosophies influenced the formulation of these questions in the form presented in Maitri Upanishad.
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First valet de chambre of Louis XIII and Louis XIV, Pierre de Nyert was sent to Rome in 1633Ballet des Triomphes on Operabaroque to perfect his vocal education. He borrowed from the Italians the respect of natural prosody, good diction and the enhancement of the lyrics, but according to the French taste, he made good use of the art of embroidery while keeping a fair and refined declamation. Among his pupils were Michel Lambert, Anne Chabanceau de La Barre, Mlle Hilaire and, probably also, Bénigne de Bacilly. Pierre de Nyert was an interior valet, a title that actually covered several charges, relaying information and sometimes rumor, serving those who had the misfortune of displeasing them.
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In June 1673 he travelled to Wales on business for a friend. The result was the publication in London in 1682 of a short satirical work entitled ‘Wallography, or the Britton described,’ dedicated with fanciful rhetoric to Sir Richard Wenman of Casswell. It was published under Richards's initials only, and was subsequently, in error, ascribed to Jonathan Swift.In the preface to a second anonymous edition, entitled ‘Dean Swift's Ghost’ (London, 1753), the editor accused Richards of imitating Swift. He also wrote ‘The English Orator, or Rhetorical Descant by way of Declamation upon some notable themes, both Historical and Philosophical,’ 2 parts, London, 1680. Anthony Wood says he translated and edited with notes (completed in 1690) the ‘Nova Reperta, sive Rerum memorabilium libri duo’ of Guido Panciroli.
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Preaching from a mediaeval pulpit It has been commonly said by non-Catholic writers that there was little or no preaching during that time. So popular was preaching, and so deep the interest taken in it, that preachers commonly found it necessary to travel by night, lest their departure should be prevented. It is only in a treatise on the history of preaching that justice could be done this period. As to style, it was simple and majestic, possessing little, perhaps, of so-called eloquence as at present understood, but much religious power, with an artless simplicity, a sweetness and persuasiveness all its own, and such as would compare favourably with the hollow declamation of a much-lauded later period.
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Shortly after his active military career he started to perform in the Netherlands but also in the Dutch East Indies. 'Albert Vogel', in The Sumatra Post, 16 February 1907. When Vogel left active duty he became active as a teacher; he taught the art of declamation at the Hogere Krijgsschool (Higher Military School) and at Leiden University. He was active as room recitator of Queen Elisabeth of Romania and was the founder of the Maatschappij tot bevordering van de Woordkunst (Society for the Advancement of the Art of Words). He was from 1926–31 chairman of the Haagse Kunstkring (Art society of The Hague) and was appointed an honorary member, in 1930, by the "Société Académique d'Histoire Internationale de Paris".
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Isocrates, in his witty declamation Busiris recounts "the false tale of Heracles and Busiris" (11.30–11.40), which was a comic subject represented almost entirely in the repertory of early 5th century BC Athenian vase-painters:And in Magna Graecia, according to Livingstone, who notes that there are no vase-paintings of this subject in mainland Greece aside from Athens; for another comic episode, compare the mytheme of Heracles and the Cercopes. the theme has a narrow narrative range, according to Niall Livingstone: Heracles being led to sacrifice; his escape; the killing of Busiris; the rout of his entourage.Livingstone 2001:87. In Isocrates' rhetorical use of a theme that he considers unworthy of serious treatment,Niall Livingstone surveys the sketchy previous literary references.
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Global is an album by Trinidadian Ragga Soca artist Bunji Garlin released in 2007 by VP Records.Cunningham, Jonathan (2007) "Soca Warrior", New Times Broward-Palm Beach, 31 May 2007, retrieved 2010-10-30 The album is Garlin's first that he aimed at international audiences, with previous releases aimed only at the West Indies, and he explained "In order for the genre to grow, we have to put out music that people throughout all of the islands can feel, not just for Trinidad". The album features guest appearances by Chris Black (on "Swing It") and Freddie McGregor (on "One Family"). Allmusic's Rick Anderson called it "very nice overall", commenting that Garlin's vocals were "straight out of the dancehall -- more rapid-fire declamation than melodic calypso crooning".
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He also took part in creation of contemporary works such as Henze's Konig Hirsch, Arnold Schoenberg's Moses und Aron, Carl Orff's Antigonae, also singing as Albert in Rolf Liebermann's Leonore 40-45, the title role in Igor Stravinsky's Oedipus Rex, and Pelléas in Debussy's Pelléas et Mélisande. He was also an admired recitalist of Lieder and Bach's oratorios, especially noted as the Evangelist. In the 1950s, he began exploring ancient music and became a noted interpreter of Monteverdi's L'Orfeo, where his evenly controlled technique, wide vocal range, expressive declamation and highly individual timbre were shown to great effect. Krebs made guest appearances at the Munich State Opera, the Vienna State Opera, La Scala in Milan, and the Royal Opera House in London and the Glyndebourne Festival Opera.
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While Berchem wrote a few sacred works – two masses and nine motets have been securely attributed to him – it is on his more than 200 secular works that his reputation rests. Most of his secular works are Italian madrigals, with the rest being chansons in French. The sacred works are relatively conservative in style, using cantus firmus techniques, canon, and other devices common a generation earlier. In his secular music, his style varied throughout his career, with his earlier madrigals, such as in the 1546 collection, tending towards polyphonic textures as was the common practice of the Franco-Flemish school, and the later madrigals, such as those in the 1561 collection, being more homophonic and syllabic, often with quick text declamation.
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Tamagno's intensely bright, steel-tipped voice with its stentorian timbre, open production, vigorous (but never disruptive) vibrato and incisive declamation is preserved on two batches of technologically primitive recordings of operatic items. They were made during February 1903 at Tamagno's holiday retreat in Ospedaletti and during April 1904 at a 'studio' in Rome. The British Gramophone & Typewriter Company, HMV/EMI's predecessor, produced all of Tamagno's recordings (issued in the US by the Victor Talking Machine Company), which were released on shellac discs 10 or 12 inches in diameter and play correctly at speeds in the range of 73 to 77 rpm (the 78 rpm standard was not established until the 1920s).Notes to Issue 32- Tamagno 10″ Records (www.historicmasters.org). Accessed 25 September 2016.
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On 3 December 1783 Papillon de la Ferté, intendant of the Menus- Plaisirs du Roi, proposed that Niccolò Piccinni should be appointed director of a future École Royale de Chant (Royal School of Singing). The school was instituted by a decree of 3 January 1784 and opened on 1 April with the composer François-Joseph Gossec as the provisional director. Piccinni refused the directorship, but did join the faculty as a professor of singing. The new school was located in buildings adjacent to the Hôtel des Menus-Plaisirs at the junction of the rue Bergère and the rue du Faubourg Poissonnière.. In June, a class in dramatic declamation was added, and the name was modified to École Royale de Chant et de Déclamation.
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Excited by the visit, although unaware that Tiriel is their son, they ask him to stay with them, but he refuses and resumes his wanderings. Later, after Tiriel has had most of his own children killed, he returns to the Vales with the express purpose of condemning his parents, and the way they brought him up, declaring that Har's laws and his own wisdom now "end together in a curse" (8:8); Upon this declamation, Tiriel then dies at their feet. In the Africa section of the later poem The Song of Los (1795), which is set chronologically before Tiriel, Har and Heva are forced to flee into the wilderness, after their family rebel against them. In their exile in the desert, they then turn into reptiles.
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Among his students was José Francisco Vázquez Cano who founded the Free School of Music and Declamation, the Faculty of Music of the National University (UNAM) and the National University Philharmonic Orchestra (OFUNAM). Other notable students were Antonio Gómezanda (pianist and composer), Rafael Ordoñez, Rafael Adame, Vicente Teódulo Mendoza (researcher of the Mexican folklore), Gerónimo Baqueiro Foster (composer and music historian and critic), Daniel Ayala, José López Alavés (composer of the famous Mexican song Canción Mixteca), Rosendo Sánchez, Leticia Euroza, Angel Badillo, Felipe Cortés Texeira, Agustin Oropeza, and Gabriel Gómez. Carrillo organized and conducted the Beethoven Symphony Orchestra (1909) and the Beethoven String Quartet (1910). He published Discursos sobre la música (Discourses on music, 1913) and Pláticas musicales (Musical talks, 1914 and 1922).
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The UNMB was established in June 1863 as the Music and Declamation Conservatory (Conservatorul de Muzică şi Declamaţiune, also translated as Music and Drama Conservatory), by decree of Domnitor Alexandru Ioan Cuza. Initially, it was a secondary education institution which included two main sections, the Institute of Vocal Music and the School of Instrumental Music, with branches in Bucharest and Iaşi, Moldavia's former capital.Short History of UNMB, at the UNMB official site; retrieved February 21, 2008 The Bucharest branch replaced the Philharmonic School (Şcoala Filarmonică), which also offered lessons in acting. Scurt istoric , at the UNATC official site; retrieved February 21, 2008 The institution's first director was composer Alexandru Flechtenmacher, under whose leadership the Conservatory gave courses in violin, solfege, Christian music choir, piano, harmony, and singing.
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At the bar Wedderburn was the most elegant speaker of his time, and, although his knowledge of the principles and precedents of law was deficient, his skill in marshalling facts and his clearness of diction were marvellous; on the bench his judgments were remarkable for their perspicuity, particularly in the appeal cases to the House of Lords. For cool and sustained declamation he stood unrivalled in parliament, and his readiness in debate was universally acknowledged. In social life, in the company of the wits and writers of his day, his faculties seemed to desert him. He was not only dull, but the cause of dullness in others, and even Alexander Carlyle confesses that in conversation his illustrious countryman was stiff and pompous.
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Among a people who rivalled one another in their zeal to do him honor, Adrianus did not show much of the discretion of a philosopher. His first lecture commenced with the modest encomium on himself, , while in the magnificence of his dress and equipage he affected the style of the hierophant of philosophy. A story may be seen in Philostratus of Adrianus' trial and acquittal for the murder of a begging sophist who had insulted him: Adrianus had retorted by styling such insults , but his pupils were not content with weapons of ridicule. The visit of Marcus Aurelius to Athens made him acquainted with Adrianus, whom he invited to Rome and honored with his friendship: the emperor even condescended to set the thesis of a declamation for him.
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All that was required was a synthesis of Molière's play that could coherently string together the already-existing intermèdes. Such a text would have to be one third the length of Molière's, that is to say 600 rather than 1800 lines long, and would have to be composed in varied rimes and rhythms rather than the alexandrines in riming couplets used in spoken declamation. Unfortunately, Lully's usual librettist, Philippe Quinault, was in disgrace at court over his previous opera Isis and the task fell to Thomas Corneille, very likely at the bidding of the same cabal that had sought to disgrace Quinault. Whether by choice or out of necessity, Corneille's text is not a synthesis of Molière's, but rather a profoundly different plot for a profoundly different genre.
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Metastasio had an apartment there and participated in the weekly gatherings. Over the next several years Metastasio gave Salieri informal instruction in prosody and the declamation of Italian poetry, and Gluck became an informal advisor, friend and confidante. It was toward the end of this extended period of study that Gassmann was called away on a new opera commission and a gap in the theater's program allowed for Salieri to make his debut as a composer of a completely original opera buffa. Salieri's first full opera was composed during the winter and carnival season of 1770; Le donne letterate and was based on Molière's Les Femmes Savantes (The Learned Ladies) with a libretto by , a dancer in the court ballet and a brother of the composer Luigi Boccherini.
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Musique mesurée à l'antique () was a style of vocal musical composition in France in the late 16th century. In musique mesurée, longer syllables in the French language were set to longer note values, and shorter syllables to shorter, in a homophonic texture but in a situation of metric fluidity, in an attempt to imitate contemporary understanding of Ancient Greek music. Although this compositional method did not attain popularity at first, it attracted some of the most famous composers of the time. Its basis in a desire to re- create the artistic ethos of Ancient Greece, especially in respect to text declamation, had a strong similarity to contemporary movements in Italy, such as the work of the Florentine Camerata which engendered the first operas, and brought about the beginning of the Baroque era in music.
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With the presentations in Paris, Alceste became an essentially new work, the translation from Italian to French necessitating several changes in the musical declamation of text, and certain scenes significantly reorganized to new or altered music. Some of the changes were made upon the advice of Jean-Jacques Rousseau, one of Gluck's greatest French admirers, but the bulk of the adaptation was the work of French aristocrat Du Roullet, with improvements by the composer. Gluck fought several efforts to make the new version of Alceste conform to French tastes, resisting pressure to end the opera with an extended ballet. The new libretto does, however, introduce several subsidiary characters for dramatic variety, and, following the example of Euripides, on whose work the libretto is loosely based, even calls in Hercules in the final act.
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The harmonies are intensified, resolved in measure 30. After a short rest, the second line of the text is presented in similar building, this time in the sequence from inside out: alto, soprano II and tenor together, soprano I and bass almost together, all arriving in measure 50 in homophony on the last word "mecum", which marks the end of the biblical text and is followed by a long rest with a fermata. The predictions follow each other without a rest. The first (you will see a crowd) one begins in homophonic declamation, the second (which will surround me, measure 60) building with entrances in the sequence tenor, alto, soprano II, bass, soprano I, the third (you will take flight, measure 70) in denser texture with two voices entering together and a repeated motif of a faster descending line.
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Barthold Heinrich Brockes was an influential German poet who re-worked the traditional form of a Passion oratorio, adding reflective and descriptive poetry, sometimes of a highly-wrought and emotional kind, into the texture of his Passion. The Brockes Passion was much admired and set to music numerous times in Baroque Germany, although to other ages and in other countries some of Brockes' poetry has seemed in poor taste. In Brockes' version of a passion, a tenor Evangelist narrates, in recitative passages, events from all four Gospels' accounts of Jesus' suffering and death. Persons of the Gospel story (Jesus, Peter, Pilate, etc.) have dialogue passages, also in recitative; a chorus sings passages depicting the declamation of crowds; and poetic texts, sometimes in the form of arias, sometimes that of chorales (hymn-like short choral pieces), reflect on the events.
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As with Orfeo and Poppea, Monteverdi differentiates musically between humans and gods, with the latter singing music which is usually more profusely melodic—although in Il ritorno, most of the human characters have some opportunity for lyrical expression. According to the reviewer Iain Fenlon, "it is Monteverdi's mellifluous and flexible recitative style, capable of easy movement between declamation and arioso, which remains in the memory as the dominant language of the work." Monteverdi's ability to combine fashionable forms such as the chamber duet and ensembles with the older-style recitative from earlier in the century further illustrate the development of the composer's dramatic style. Monteverdi's trademark feature of "stilo concitato" (rapid repetition of notes to suggest dramatic action or excitement) is deployed to good effect in the fight scene between Ulisse and Iro, and in the slaying of the suitors.
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Blanc, Tharald Høyerup: Christiania theaters historie 1827-1877, J.W. Cappelen Christiania After her performance as Susanna in the Marriage of Figaro, a viewer commented in Christianias Aftenblad that: :"he had not seen any one above her, hardly any one alongside her. Correct declamation, loveable naivety, some afected coqettry to hid the finest virtue, a tasteful costume [...] united in the creation of a skillful actress in full grandeur."Blanc, Tharald Høyerup: Christiania theaters historie 1827-1877, J.W. Cappelen Christiania However, she was not given all praise - while considered terrific in comedy, she was not regarded to be of much use in tragedy or as a singer (for that Augusta Schrumpf (1813–1900) was her parallel in the theatre). Among her parts where Luise Miller in Kabale og Kjærlighed Maria in Correggio and Valborg in Axel og Valbor.
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However, Thomas Babington Macaulay writing in the Edinburgh Review, was neither daunted nor impressed, beginning his review > We did not expect a good book from Mr Sadler ; and it is well that we did > not ; for he has given us a very bad one. The matter of his treatise is > extraordinary ; the manner more extraordinary still. His arrangement is > confused, his repetitions endless, his style every thing which it ought not > to be. Instead of saying what he has to say with the perspicuity, the > precision, and the simplicity in which consists the eloquence proper to > scientific writing, he indulges without measure in vague, bombastic > declamation, made up of those fine things which boys of fifteen admire, and > which every body, who is not destined to be a boy all his life, weeds > vigorously out of his compositions after five-and-twenty.
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By the 17th century, such a use among the nobility was strongly and deliberately contemptuous, as in the declamation of the prosecutor at Sir Walter Raleigh's 1603 trial "I thou thee, thou traitor!" Accordingly, the use of thou began to decline and it was effectively extinct in the everyday speech of most English dialects by the early 18th century, supplanted by the polite you, even when addressing children and animals, something also seen in Dutch and Latin America (most of Brazil and parts of Spanish America). Meanwhile, as part of English's continuing development away from its synthetic origins since the influx of French vocabulary following the Norman invasion, you had been replacing ye since the 15th century. Standard English was left with a single second-person pronoun for all cases, numbers and contexts and largely incapable of maintaining a T–V distinction.
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Since the early 19th century, vocal pedagogy has made use of the vocalise as a means to present to the student specific technical challenges with an aim to solving those challenges in order to make a sound of ever increasing quality and consistency. Smith’s pedagogy differs from this tradition in that he has developed a series of six vocalises, which he trains in sequence, that he has designed to first isolate two specific activities that produce vocal sound: phonation, as in conversational speech, and breath release, as in a voiced sigh. In isolation, these activities do not necessarily produce a pleasing or complete sound. Subsequent vocalises in Smith’s progression seek to achieve balance between these two forces. Smith‘s first vocalise, a slow, sostenuto declamation of the phrase on a single pitch, isolates intention to speak as the primary force of tone generation.
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Inchindi as Max in Le chalet Jean-François Hennekindt, also known as Giovanni Inchindi (12 March 1798 – 23 August 1876) was a Belgian opera singer born in Bruges who began his career as a tenor but went on to become the one of the premier baritones in France and abroad, with a voice known for its ease in both low and high passages and adaptability to different kinds of roles. He studied singing in his hometown and debuted at the Théâtre royal d'Anvers as Cinna in La vestale. In 1822 he was admitted to the Paris Conservatoire, where he studied singing with Plantade and declamation with Baptiste the elder. The next year, having won a prize for his singing, he debuted at the Paris Opera as a cover for the famous basse-taille Henri-Etienne Dérivis and François Laÿs.
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" Despite noting that "a lot of the concrete associations [MacMillan] tries to get across in the piece didn't ring true" with him, Dobrin concluded, "But music doesn't need, or even always benefit from, a tangible relationship with real life. The pure sonic experience is more than enough reason to justify the investment of mental adrenaline needed to listen." John von Rhein of the Chicago Tribune later described the piece as an "arresting meditation" and wrote, "None of MacMillan's effects come across as meretricious, certainly not the murmurous Babel of mixed choral voices at the beginning or the magical hush of 'unborn' children's voices with solo violin at the end. Those two sections, 'Incarnadine' and 'Living Waters,' frame two darker central tableaux, 'Midwife' and 'Poppies,' that erupt in spasms of orchestral agitation undergirding powerful surges of choral declamation.
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Macklin revolutionised acting in the 18th century by introducing a natural style of acting, being the first actor of his generation to break away from the old declamatory style that had been the norm for centuries. According to Edwin Wilson and Alvin Goldfarb in Living Theatre, "the predominant approach to acting in the 18th century is usually described as bombastic or declamatory, terms that suggest its emphasis on oratorical skills". Due to this emphasis on speaking, rehearsal time was short, stage movement was standardised, and actors often spoke directly to the audience rather than characters onstage. Wilson and Goldfarb go on to say that there were a few innovators who were "opposed to the emphasis on declamation, stereotypical positions of performers onstage, and singsong delivery of verse; they wanted to create individual characters, and they wanted to have more careful rehearsal procedures".
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4A division high school sports are offered at Dimond High School: baseball (boys'), basketball, bowling, cheerleading (basketball, hockey, and football), competitive cheer, cross country running, cross country skiing, football (boys'), flag football (girls'), gymnastics (boys'), ice hockey, riflery, soccer, softball (girls'), swimming & diving, tennis, track & field, volleyball (girls'), and wrestling. Dimond also has a Debate/Drama/Forensics team, World Language Declamation Contest participants, and American Legion Oratorical Contest participants. In 2009, Dimond was named the top athletic program in the state of Alaska by Sports Illustrated after winning that year state championships in girls' volleyball, boys' basketball, competitive cheerleading, girls' track & field, and baseball. Since then, for a total of three consecutive years, the Dimond volleyball team has won the state championship twice more, each year producing a State winner for the Gatorade Player of the Year award.
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A joint venture of Miami Dade College and Miami Dade County Public Schools in Miami, Florida, the Project began in 1977, and is dedicated to exposing school children to the wide breadth of writings about the Black experience throughout the Diaspora. The Project seeks to provide an opportunity for school children in grades Pre-K through high school to discover and refine public speaking skills through a comprehensive and challenging level of learning and competition. The Project is an in-person oratory, declamation and advocacy oral presentation of persuasive or inspirational material of literary merit prepared by another person; the advocacy component being a researched problem, identified solution, and the extolled benefits or burdens of an issue in an effectively, compelling speech. The speech is memorized and each speaker is allowed a minimum of 3 minutes to present.
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It ultimately consisted of 2 flutes (II = piccolo), 5 clarinets (II = bass clarinet, III = alto saxophone, IV = tenor saxophone, V = bass saxophone), trumpet, trombone, percussion (7 players; percussion 1: wood blocks / temple blocks; percussion 2: cymbals / gongs / tam-tams; percussion 3: tom-toms / drums; percussion 4-7: tubular bells / vibraphone / marimba / castanets / 5 tartafruge / whip (instrument) / hammer / guiro / ratchet / washboard / 2 maracas / rattle / hi- hat / flexatone / tambourine / tamburo (side drum) / cassa (bass drum) / pedal timpani / flauto a culisse / large siren / ruggitso del leone) / keyboards (piano / celesta / harpsichord / electronic organ / synthesizer), 12 violins, 1 double-bass. Vustin assigned certain instruments and singing styles to the characters. Alvare uses declamation, and is accompanied by violin and trumpet, while Biondetta is songful, accompanied by three saxophones. In an extended love duet, Alvare turns more to singing, and the instrumental colours are more and more mixed.
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Monotonic passages are also used in art music for stylistic effect. In Schubert's Death and the Maiden, the character of Death generally employs monotonic recitation, described by one scholar as depicting "an inanimate being incapable of the lyricism of the living." In La gazza ladra (1817), Rossini represents Ninetta's simplicity and innocence with an almost monotone declamation at "A mio nome deh consegna questo anello",Philip Gossett (2001) "Rossini, Gioachino, §3: From Tancredi to La gazza ladra", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers). whereas in the Wolf's Glen scene of Der Freischütz (1821), Weber characterizes the powers of evil by having the invisible spirits sing in monotone, and denies song entirely to Samiel and, finally, also to Max as he succumbs to Samiel's power.
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The instrumental arrangements on tracks such as "Give It Up Or Turnit A Loose" and "Licking Stick-Licking Stick" (both recorded in 1968) and "Funky Drummer" (recorded in 1969) featured a more developed version of Brown's mid-1960s style, with the horn section, guitars, bass and drums meshed together in intricate rhythmic patterns based on multiple interlocking riffs. Changes in Brown's style that started with "Cold Sweat" also established the musical foundation for Brown's later hits, such as "I Got the Feelin'" (1968) and "Mother Popcorn" (1969). By this time Brown's vocals frequently took the form of a kind of rhythmic declamation, not quite sung but not quite spoken, that only intermittently featured traces of pitch or melody. This would become a major influence on the techniques of rapping, which would come to maturity along with hip hop music in the coming decades.
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Within the context of the Czech National Revival, the melodrama took on a specifically nationalist meaning for Czech artists, beginning roughly in the 1870s and continuing through the First Czechoslovak Republic of the interwar period. This new understanding of the melodrama stemmed primarily from such nineteenth-century scholars and critics as Otakar Hostinský, who considered the genre to be a uniquely "Czech" contribution to music history (based on the national origins of Georg Benda, whose melodramas had nevertheless been in German). Such sentiments provoked a large number of Czech composers to produce melodramas based on Czech romantic poetry such as the Kytice of Karel Jaromír Erben. The romantic composer Zdeněk Fibich in particular championed the genre as a means of setting Czech declamation correctly: his melodramas Štědrý den (1874) and Vodník (1883) use rhythmic durations to specify the alignment of spoken word and accompaniment.
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Chaïm Perelman, Lucie Olbrechts-Tyteca, The new rhetoric: a treatise on argumentation, University of Notre Dame Press, 1969, p. 52 Some of the defining terms for epideictic discourse include declamation, demonstration, praise or blame of the personal, and pleasing or inspiring to an audience. Lawrence W. Rosenfield contends that epideictic practice surpasses mere praise and blame, and it is more than a showy display of rhetorical skill: “Epideictic’s understanding calls upon us to join with our community in giving thought to what we witness, and such thoughtful beholding in commemoration constitutes memorializing” (133). Epideictic rhetoric also calls for witnessing events, acknowledging temporality and contingency (140). However, as Rosenfield suspects, it is an uncommon form of discourse because of the rarity of “its necessary constituents — openness of mind, felt reverence for reality, enthusiasm for life, the ability to congeal significant experiences in memorable language . . .” (150).
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Zelma Hedin was enrolled in the Dramatens elevskola in 1840, made her debut at the Royal Dramatic Theatre 8 December 1842, and was contracted as an actress there between 1845 and 1868 (from 1852 as a premier actress). Zelma Hedin made a success in the French salon comedies, a very popular and fashionable genre of the time, in which she was seen as the successor of Emilie Högquist, and she gradually replaced Charlotta Almlöf in coquette roles. According to a critic, while Charlotta Almlöf had always been shallow and superficial in seduction scenes, for Hedin "...flirtatiousness seemed to me to be a profession". She was famed for the elegance of her costume which was called "truly Parisian", was said to have "a grande and beautiful figure", and critics claimed that she attracted attention more for her appearance than for her ability and characterized her popular romantic roles as a "hallow declamation".
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Marie Victoire (1912–1914, première 2004) is a French-language opera in four acts by the composer Ottorino Respighi to a libretto by Edmond Guiraud (1879–1961) based on his French-language play of the same name, set in the French Revolution. This opera was composed between 1912 and 1914 but, in spite of various plans, was not performed during the life of Respighi, due to the outbreak of World War I but also to the hostility towards the work of the wife of the composer, Elsa. It was premiered on 27 January 2004 at the Teatro dell'Opera in Rome.Musicwebinternational review Marie Victoire is an opera with a large number of characters, distinguished for the «frequent recourse to direct citations of revolutionary songs and court dances» and for a «vocal style that associates to the classical lyric singing the declamation and the arioso without veristic excesses».
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Yates High School (Houston), former member of the PVIL, was located in this building in 1939. That year the principal of Yates met with the Prairie View A&M; to discuss establishing an American football league for black schools The Texas Interscholastic League of Colored Schools (TILCS) was formed in 1920 by the Colored Teachers State Association of Texas and the Negro School Division of the State Department of Education. In 1923, TILCS came under the control of Prairie View A & M College and its name became the Prairie View Interscholastic League. PVIL competitions included athletic events, extemporaneous speaking, declamation and music. By 1927, 300 schools belonged to the PVIL. In 1939 Yates High School (Houston) coach Andrew "Pat" Patterson asked the principal of Yates, William S. Holland, to meet with E. B. Evans, the president of Prairie View A&M;, to discuss regulating American football and establishing a football league.
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"Du tout plongiet–Fors seulement", a 4-voice chanson with two texts by Brumel Brumel also wrote numerous motets, chansons, and some instrumental music. His style in these also evolved throughout his life, with his earlier works showing the irregular lines and rhythmic complexity of the Ockeghem generation, while the later ones used the smooth imitative polyphony of the Josquin style as well as the homophonic textures of the current Italian composers of popular songs (for example Tromboncino, who was in Ferrara at the same time as Brumel). One peculiar feature of Brumel's style is that sometimes he uses very quick syllabic declamation in chordal writing, anticipating the madrigalian fashion of later in the 16th century. This appears sometimes in the "Credo" sections of his masses – logically, since that section has the longest text, and if set similarly to the other sections to the mass, it can be disproportionately long.
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Buddha statue in Thailand depicting the gesture as Vitarka Mudrā Ring gestures, formed by forefinger and thumb with remaining digits extended, appear in Greece at least as early as the fifth century BCE, and can be seen on painted vases as an expression of love, with thumb and forefinger mimicking kissing lips. When proffered by one person toward another in Ancient Greece, the gesture was of one professing their love for another, and the sentiment was conveyed more in the touching of fingertips than in the ring that they formed. As an expression of assent and approval, the gesture can be traced back to first century Rome where the rhetorician Quintilian is recorded as having used it. Quintilian's chironomy prescribed variations in context for the gesture's use during specific points of a speech: to open, give warning or praise or accusation, and then to close a declamation.
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So long as music could only be taught to people "by ear," it limited the ability of the church to get different regions to sing the same melodies, since each new person would have to spend time with a person who already knew a song and learn it "by ear." The first step to fix this problem came with the introduction of various signs written above the chant texts to indicate direction of pitch movement, called neumes. The origin of neumes is unclear and subject to some debate; however, most scholars agree that their closest ancestors are the classic Greek and Roman grammatical signs that indicated important points of declamation by recording the rise and fall of the voice. The two basic signs of the classical grammarians were the acutus, /, indicating a raising of the voice, and the gravis, \, indicating a lowering of the voice.
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After crown prince Frederick was declared of legal majority and resumed the regency in 1784, the Danish royal court started to make inquiries to arrange a marriage for him. Marie was among the candidates for the marriage, and described as literary interested, and reported to have composed poetry and have made a declamation of the Messiah. However, she was not the preferred candidate within the royal court, and it was pointed out both that Frederick did not share Marie's literary interests, and that she was further more given a much too free and unrestricted childhood. The influential sister of Frederick, Princess Louise Auguste of Denmark, reportedly feared that she would be replaced in her brothers affections, and her husband, the Duke of Augustenburg, likewise feared to have his influence diminished, and they were supported by a party at court which was opposed to Marie's father Prince Charles, who was widely unpopular.
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Nikolay Gogol (1809–1852) The idea to set Gogol's Marriage to music came from the advice and influence of Alexander Dargomyzhsky, who began to compose his own experimental opera, The Stone Guest, to Alexander Pushkin's tragedy just two years earlier (in 1866). Dargomyzhsky declared that the text would be set "just as it stands, so that the inner truth of the text should not be distorted", and in a manner that abolished the 'unrealistic' division between aria and recitative in favour of a continuous mode of syllabic but lyrically heightened declamation somewhere between the two. In 1868, Mussorgsky rapidly set the first eleven scenes of Zhenitba, with his priority being to render into music the natural accents and patterns of the play's naturalistic and deliberately humdrum dialogue. Mussorgsky's aim was to create individual musical signatures for each character using the natural rhythms of the text.
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Engraved portrait of Brockes (1744) by Christian Fritsch (1704–1760) Barthold Heinrich Brockes was an influential German poet who re-worked the traditional form of a Passion oratorio, adding reflective and descriptive poetry, sometimes of a highly-wrought and emotional kind, into the texture of his Passion. The Brockes Passion was much admired and set to music numerous times in Baroque Germany, although to other ages and in other countries some of Brockes' poetry has seemed in poor taste. In Brockes' version of a passion, a tenor Evangelist narrates, in recitative passages, events from all four Gospels' accounts of Jesus' suffering and death. Persons of the Gospel story (Jesus, Peter, Pilate, and so on) have dialogue passages, also in recitative; a chorus sings passages depicting the declamation of crowds; and poetic texts, sometimes in the form of arias, sometimes that of chorales, reflect on the events.
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He was born in Madrid and was educated at the Jesuit college in Ocaña, and on April 18, 1600 joined the Trinitarian Order. A sermon pronounced before Philip III at Salamanca in 1605 brought Paravicino into notice; he rose to high posts in his order, was entrusted with important foreign missions, became royal preacher in 1616, and on the death of Philip III in 1621 delivered a famous funeral oration which was the subject of acute controversy. His Oraciones evangélicas (1638-1641) show that he was not without a vein of genuine eloquence, but he often degenerates into vapid declamation, and indulges in far-fetched tropes and metaphors. His Obras posthumas, divinas y humanas (1641) include his devout and secular poems, as well as a play entitled Gridonia; his verse, like his prose, exaggerates the characteristic defects of Gongorism, but was highly regarded in his lifetime.
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István Gálszécsi's songbook was the "first Hungarian gradual to the Gregorian hymn-melodies and German choral music of which we can see new Hungarian translations", while the Cronica of András Farkas includes the first surviving historical song. About forty melodies are known from this era, and are already in a distinctively Hungarian style which took influences from across much of Europe in several dozen distinct forms that were "mostly notated in a rigid and clumsy way" but were "undoubtedly much more colourful and flexible in living performance" and were in reality "little masterpieces of melodic structure". The most significant musician of this period was Sebestyén Tinódi Lantos, the "greatest stylist and master of expression of ancient Hungarian epic poetry... whose heritage the people's music of two centuries was unconsciously nourished". Accentuated declamation was fashionable in music education during the early 16th century; a more rigid choir style is represented by a collection called the Melopoeiae, from 1507.
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In 1897, Saléza returned to the Opéra de Paris, then, in Monte Carlo, Brussels and Covent Garden of London where he sang in particular in Carmen with Emma Calvé, and Roméo et Juliette with Nellie Melba, and very often in front of the future king Edward VII. He reached the pinnacle of his glory in Chicago and the Metropolitan of New York, thanks to his interpretations in Faust, Lucia di Lammermoor, Les Huguenots… In 1912, after all these successes abroad, he returned to France and was appointed professor of lyric declamation at the Conservatoire where his results turned out to be excellent with students who won all the first prizes. But on 26 November 1916, this new career came to a sudden halt when he collapsed during a mass in the . Saléza married in 1895 to Pauline Bonnecarrère (1875–1953) and had three children: Mylio (1896–1957), Madeleine (1899–1913), and José (1905–?).
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According to Denis Arnold, although Monteverdi's late operas retain elements of the earlier Renaissance intermezzo and pastoral forms, they may be fairly considered as the first modern operas. In the 1960s, however, David Johnson found it necessary to warn prospective Il ritorno listeners that if they expected to hear opera akin to Verdi, Puccini or Mozart, they would be disappointed: "You have to submit yourself to a much slower pace, to a much more chaste conception of melody, to a vocal style that is at first or second hearing merely like dry declamation and only on repeated hearings begins to assume an extraordinary eloquence." A few years later, Jeremy Noble in a Gramophone review wrote that Il ritorno was the least known and least performed of Monteverdi's operas, "quite frankly, because its music is not so consistently full of character and imagination as that of Orfeo or Poppea." (registration required) Arnold called the work an "ugly duckling".
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19th century Ermione was first performed at the Teatro di San Carlo, Naples, on 27 March 1819. For reasons that are as yet unclear, the opera was withdrawn on 19 April after only seven performances, and was not seen again until over a hundred years after Rossini's death. One possible explanation for its failure might be Rossini's choice to renounce the use of secco recitative in favour of accompanied declamation and to connect each closed number to the next in a manner reminiscent of Gluck's French operas and of Spontini (the latter was also to have a huge influence on Weber's Euryanthe, four years later)Both Stendhal and Ferdinand Hiller made remarks on the overall French flavour of the opera. See Gossett & Bauer (2006) Despite the opera's failure, Rossini seemed to be quite fond of this work and kept its manuscript, along with a few other from his Neapolitan years, until his death.
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By 1951, Azucena Productions was established by the Arong Family (owners of Rene and Liberty Theaters). They produced Princesa Tirana (Princess Tirana), 1951 with Mat Ranillo and Gloria Sevilla (her first feature title role after she was discovered through a declamation contest at the University of the Visayas) as lead players. Their first feature together made such a box office success in the Visayas and Mindanao that other features immediately followed: Leonora (1951), Pailub Lang (Be Forebearing; 1951), Utlanan (Border; 1952), Handumanan (Memoir; 1953), Inahan (Mother; 1952), starring Mat Ranillo and Caridad Sanchez; Antigan (1952) with Virgie Postigo and Arise Roa; Carmen 1 and 2 (from the famous radio drama in Cebu; 1953), Paabuta Lang Ako (Wait for Me; 1953), Gloria Kong Anak (Gloria My Child; 1953), and Gihigugma Kong Ikaw (I Love You; 1954). Mat and Gloria then became synonymous to Visayan pictures, and since then were called as the King and Queen of Visayan Movies.
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After having inserted two symphonic songs ("Ton style", "Tu ne dis jamais rien") in his mostly pop rock oriented album La Solitude (1971), after having re-recorded his 1950s oratorio on Guillaume Apollinaire's vast poem La Chanson du mal-aimé ("Song of the Poorly Loved", 1972), Ferré feels now ready to establish himself as a complete artist, author and musician, who will do without any arrangers' services from now. So here he goes completely symphonic with his own material for the first time (he had gone orchestral before with arranger Jean-Michel Defaye but it was mostly on renowned material by French poets from the 19th century - see Verlaine et Rimbaud and Léo Ferré chante Baudelaire albums) and he often replaces singing by intense spoken-word and declamation. This very cohesive album opens with the straightforward manifesto "Preface", a reduction of a much longer text that precisely prefaces Poète... vos papiers! (Poet... your documents!), a collection of his poems formerly published in January 1957.
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Mussorgsky's career as a civil servant was by no means stable or secure: though he was assigned to various posts and even received a promotion in these early years, in 1867 he was declared 'supernumerary' – remaining 'in service', but receiving no wages. Decisive developments were occurring in his artistic life, however. Although it was in 1867 that Stasov first referred to the 'kuchka' ('The Five') of Russian composers loosely grouped around Balakirev, Mussorgsky was by then ceasing to seek Balakirev's approval and was moving closer to the older Alexander Dargomyzhsky. Ivan Melnikov as the title character in Boris Godunov, 1874 Since 1866 Dargomyzhsky had been working on his opera The Stone Guest, a version of the Don Juan story with a Pushkin text that he declared would be set "just as it stands, so that the inner truth of the text should not be distorted", and in a manner that abolished the 'unrealistic' division between aria and recitative in favour of a continuous mode of syllabic but lyrically heightened declamation somewhere between the two.
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Under the influence of this work (and the ideas of Georg Gottfried Gervinus, according to whom "the highest natural object of musical imitation is emotion, and the method of imitating emotion is to mimic speech"), Mussorgsky in 1868 rapidly set the first eleven scenes of Nikolai Gogol's The Marriage (Zhenitba), with his priority being to render into music the natural accents and patterns of the play's naturalistic and deliberately humdrum dialogue. This work marked an extreme position in Mussorgsky's pursuit of naturalistic word-setting: he abandoned it unorchestrated after reaching the end of his 'Act 1', and though its characteristically 'Mussorgskyian' declamation is to be heard in all his later vocal music, the naturalistic mode of vocal writing more and more became merely one expressive element among many. Fyodor Komissarzhevsky as The Pretender in Boris Godunov A few months after abandoning Zhenitba, the 29-year-old Mussorgsky was encouraged to write an opera on the story of Boris Godunov. This he did, assembling and shaping a text from Pushkin's play and Karamzin's history.
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During his years in the UK and Ireland, Toft worked continuously as an accompanist (lute and continuo songs). He realized that he could help vocalists animate songs in exciting ways by rooting their performances in period treatises, and as very few people studied historical approaches to singing in the early 1980s, he embarked on a long and rewarding journey to recover the old principles. Treatises from the 16th to 19th centuries document the old practices of singing, and Toft uses these sources to show performers how to complete the creative process composers had merely begun. In his workshops and master classes, singers explore period- specific historical techniques of interpretation to turn inexpressive, skeletally notated scores into passionate musical declamation, whether frottole, madrigals, English lute songs, continuo songs, recitatives and arias from operas and oratorios, or choruses from oratorios.For more details on his approach, see Toft, Bel Canto: A Performer’s Guide and With Passionate Voice: Re-Creative Singing in 16th-Century England and Italy, or Toft’s website, Bel Canto: Historically Informed, Re-Creative Singing in the Age of Rhetorical Persuasion, c.
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The number 1 is the first licensed in the country and the following letters are the initials of the station. Many programs marked the beginning of Broadcasting Caracas. They included La Hora de los Aficionados, which aired Tuesdays to Saturdays from 12:00 pm to 12:30 pm; La Radio Consulta with Francisco Fossa Andersen; Selecciones Deportivas; El Teatro de la Alegría, whose orchestra was conducted by Fortunato Barcarola; Horas del Municipal; La Familia Buchipluma; La Familia Santa Teresa; La Tremenda Jefatura, with Rafa Gonzalez Fina rojas among others great comedians and actors wcho began in Radio Caracas and later moved to the Radiodifusora Venezuela station; La Noche Joven; Conferencias Católicas; Sección Femenina; Pepe Alemán; Los Raslalantes Sanjuaneros; El Tío Nicolás; La Marcha del Tiempo and La Hora del Ministerio de Instrucción Pública, a program hosted by Guillermo Fernández de Arcila and Aracelis Cuervo Codazzi, professors at the Academy of Music and Declamation. In the area of radionovelas, Broadcasting Caracas, a pioneer in the genre, broadcast works that made history and are still remembered by those who heard them.
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In spite of the heterogenous character the opera might have assumed as a result of such a composition history, Raffaele Mellace echoes the remarks of the historian of 18th-century musical drama when he writes in his article on L'Olimpiade in the Dizionario dell'Opera 2008: > What strikes the listener, beyond any dissimilarity between the various > numbers in the score, is the essentially unified character of the musical > invention: an atmosphere of warm, joyous freshness breathes from every > single page of the opera, reaching as far as the arias for minor characters > and even the march in the third act. It offers an interpretation of the text > which is completely in harmony with Metastasio's poetry and the exaltation > of youth and love particular to this drama. The "pathetic" moments are short > and few in number in an opera which resolves even the most emotionally > lacerating situations with a grace which perfectly captures the expressive > medium of the poet's verse, treated with extraordinary sensitivity in the > declamation. Strohm himself summarised the historical significance of L'Olimpiade in his book on Italian opera of the 18th century: > Pergolesi's L'Olimpiade represents one of the happy moments in the history > of opera.
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